AD ASTRA
Written by
James Gray & Ethan Gross
8/11/16
SUPERIMPOSE THE LEGEND: ONE HUNDRED YEARS FROM NOW.
BLACK.
We TILT DOWN to REVEAL:
THE EARTH, AS VIEWED FROM ABOVE.
We HEAR MUSIC: a CHEERFUL PIECE, incongruous with the awesome
image of our planet.
CUT TO:
A NEWS REPORT on PBS.
The introductory music accompanies the logo for the Public
Broadcasting System.
EXT. SKY - DAY
The bright blue sky of EARTH. Then: THE LARGEST ANTENNA
WE'VE EVER SEEN. A structure stretching inconceivably high
in the sky, into the outer reaches of the atmosphere--around
100,000 feet in the air. A majestic lattice of multi-wire,
high-voltage tethers, studded with hardware. Towering from
earth, up through and above the cloud formations. Over THIS,
an UPBEAT VOICE:
REPORTER'S VOICE
If this looks to you like something
out of one of your children's comic
book adventures, then you're not
alone!
SERIES OF SHOTS of the ANTENNA UNDER CONSTRUCTION over which
the reporter narrates:
REPORTER'S VOICE (CONT'D)
But child's play it isn't. This
represents the beginning of a new
era in celestial communications.
It's called the Gravitational
Interferometer Space Antenna, or
"GISA," to those of us who can't
remember that mouthful. Its goal?
SERIES OF SHOTS of WORKERS in what look like SPACESUITS. On
scaffolding, hanging from wires, etc. OVER THESE IMAGES:
2.
REPORTER'S VOICE (CONT'D)
To search throughout the universe
for intelligent life. With the
recent confirmation of so many
planets capable of sustaining life
throughout the galaxy, GISA may
finally prove, once and for all,
that we are not alone.
File footage of ASTRONAUTS on SPACEWALKS.
REPORTER'S VOICE (CONT'D)
The antenna will allow us to listen
in, across the galaxy, through
gravitational waves--seen as the
ultimate means of communication
through space.
Now: footage of MACHINES going this way and that, spinning a
lattice of tethers. They're almost like spiders on a web.
Or HYDRAS, with CYCLOPS-LIKE BRIGHT LIGHTS in their centers.
REPORTER'S VOICE (CONT'D)
Self-replicators are used for its
construction. And it's not just
machines; a select few highly-
trained folks from the Army Corps
of Engineers will have to check
every inch of the carbon fiber for
flaws. It has proven one of the
most demanding jobs on Earth, but
these men and women are up to the
task. Engineer Major Roy McBride
of Las Cruces, New Mexico, says
he's not afraid of the challenge:
IMAGE OF FOUR YOUNG MEN and TWO YOUNG WOMEN, seated on a
SOFA, in a nondescript office environment with an Army Corps
of Engineers logo/graphic on a screen behind them.
One of them is ROY MCBRIDE.
Roy McBride: forties, handsome. His eyes are light blue,
seemingly friendly, but reveal little about the man himself.
He is even-tempered, but one would not call him kind; there
is an icy quality to him. Still, he is not overtly cruel or
petty, and to talk to him, one could never question his
intentions or his integrity.
Roy speaks slowly, formally, deliberately, as though he does
not want ever to repeat himself. He seems guarded, sincere,
precise, competent. His face is blank but prone to the
occasional awkward joke, and those jokes are made almost for
self-amusement. He does not seem morose.
3.
In fact, he smiles all the time, and his face often lights up
with little motivation. He speaks with a very slight
Midwestern/Western accent. Think Neil Armstrong.
As he speaks, on the screen appears the title "Maj. Roy C.
McBride".
ROY MCBRIDE
The Army Corps of Engineers trains
us to deal with our fears. And
this team here is real inspiring--
Lt. Parsegian did a repair skywalk
during an episode of pulmonary
edema. Now when you see something
like that, you just wanna get up
there and do it as good as she did.
Be part of that team. So we all
feed on each other in that way.
REPORTER'S VOICE
McBride is only the latest in a
long line of aerospace pioneers.
His father, noted activist and
educator H. Clifford McBride, was
part of an astronaut colony
tragically lost in space eighteen
years ago.
It is CLIFFORD MCBRIDE whom we're LOOKING AT. Looks somewhat
like Bill Clinton in that old Georgetown photo--almost like a
countercultural figure, a sharp contrast with Roy's buttoned-
down appearance.
ANGLE BACK ON ROY:
ROY MCBRIDE
My Dad was...he was certainly a
different kind of astronaut. He
was a free-thinker. He went all
the way to Neptune. It didn't end
up going the way he wanted, but
he's the reason I do what I do. I
just think you can't worry too much
about the past because you don't
have control over it. So I look
forward. And like I said, we've
certainly got ourselves a helluva
team here.
REPORTER'S VOICE
(cheerful again)
That team is always on the go.
(MORE)
4.
REPORTER'S VOICE (CONT'D)
In the clouds, it's all about the
work, and one gets the sense that
Roy would rather be left alone to
perform his duties than talk to
this reporter:
ROY MCBRIDE
What I want...is to serve, to do my
job as good as I can, away from the
spotlight. It's real critical to
maintain control and not to be
vulnerable to outside factors.
Roy flashes that smile.
REPORTER'S VOICE
With all of the risks, do you ever
contemplate the larger meaning of
what it is you're trying to
accomplish? How we may be able,
for example, to detect intelligent
life out there, and find out what
they might have to say to us?
ROY MCBRIDE
No...not really... That's not for
me to comment on--I don't consider
that sort of thing.
(the smile returns)
But...I do thank you for your
interest in the program, and we
hope your continued support leads
to our success.
ANGLE ON ROY as we:
FADE OUT.
FADE IN:
EXT. GISA TETHER STATION - DAY
The ANTENNA STRETCHES HIGH INTO THE SKY. LOOKS LIKE IT'S
ALMOST DONE.
INT. GISA TETHER STATION - DAY
We are inside a crowded, cramped place, where no attention is
paid to aesthetics and a lot is paid to practicality.
Exposed wires and computers and electronics. A circular logo
of "GISA" (The Gravitational Interferometer Space Antenna).
5.
Video monitors are everywhere, but so are signs of
recreation: a ping-pong table, board games, cards, etc are
mixed with more high-tech gaming equipment.
HANK WILLIAMS' MUSIC is PLAYING. It's sort of like a party
atmosphere here.
CLOSE ON: MEN AND WOMEN SMILING--and looking into the CAMERA.
Waving, gesticulating, clapping, egging us on. But we can't
HEAR them; we HEAR MERELY the Hank Williams and the SOUND of
WHIRRING: an AIRPACK, for a spacesuit of some kind.
It is Roy's POINT-OF-VIEW. He walks in a SPACESUIT and
HELMET, in his own world. A RADIO voice breaks in, over the
Hank Williams:
RADIO
(OS VOICE, RADIO FILTER)
Let's see, we got some scores for
ya, Roy... It was Auburn over
Georgia Tech, 35-16... Oklahoma
17, Syracuse 9... And San Diego
State beat Oregon, 23-20.
SMILING WOMAN
(muffled; through radio
filter)
Skywalk 714! You go, boy!
Roy waves, gives the thumbs up. Then:
INT. POD
Aided by three men in white jumpsuits (the back of which are
stamped by corporate logos for RAYTHEON), Roy is positioned
inside a small compartment with a LATCH. To a jumpsuited man
named SAL:
ROY MCBRIDE
I guess there won't be too many
more of these soon, huh Sal.
SAL
Yes sir, almost done!
Sal STARTS PUNCHING SOMETHING into a NEARBY COMPUTER. Roy
REACHES AROUND SAL'S EAR, PULLS a GOLF BALL from behind his
EAR.
Roy taps Sal, who smiles at the quite nerdy trick, nodding--
he's seen it before. Roy GRINS WIDELY. The STEEL DOOR
SLIDES OPEN, and SAL GENUFLECTS...
6.
Only now do we realize that we've been in a STATION floating
inconceivably high in the sky. Not in space, certainly
earthbound, but frighteningly high up--higher than any
aircraft we've ever been inside of.
We move outside, above a small PLATFORM.
EXT. THE BRIGHT BLUE ATMOSPHERE
We're in the outer reaches of the atmosphere--around 100
thousand feet in the air. The ground far below is both blue,
where the waters are, and tawny, where the land is. The
earth's curvature is beginning to be apparent.
The air is frigid and thin, and the environment hostile. But
there is no doubt it is beautiful. We aren't in space; we
are still connected to the earth, as Roy stands at the
station's exterior.
We cannot SEE his face, which is SHIELDED by his helmet's
dark visor. We go with Roy as he steps out of the pod and
walks onto--
EXT. GISA PLATFORM
Roy BEGINS TO CLIMB DOWN a SMALL LADDER. HAIR-RAISING
SILENCE. Roy looks UP. The EDGE OF SPACE ABOVE. Back down:
ROY MCBRIDE (RADIO FILTER)
The earth sure is beautiful today.
As always...
As he MOVES, we SEE, BELOW HIM, the TETHER CORDS, NEVER-
ENDING, or so it seems. And, THOUSANDS OF FEET BELOW ROY,
THE EARTH. It passes below his FEET, and it's just the most
spectacular vista. The CLOUD FORMATIONS are like Van Gogh's
"Starry Night," magnificent swirls, vibrant.
Between Roy and the ground is much air activity. About a
dozen shuttles (mostly unmanned) crisscross below us,
carrying tethers, busses, tether-deployment spools, and other
building blocks for modular architecture. Some tethers are
dozens of miles long.
SELF-REPLICATING MACHINES, looking like HYDRAS made of
GRAPHENE, maneuver up and down the antenna.
With the shuttles below him, and SATELLITES high above him,
Roy is sandwiched--with a lot of space--in between.
7.
The project is visually exciting, but for Roy, it's business
as usual. We HEAR STATIC. And out of the STATIC, ROY'S
RADIO FILTERED VOICE:
ROY MCBRIDE (CONT'D)
Control, I have established visual
with tether oh-niner-four-five.
Please confirm it is offline.
Over.
CONTROL (RADIO FILTER)
That's affirmative, Roy. Tether oh-
niner-four-five is offline.
ROY MCBRIDE
Roger that.
Roy floats down perpendicularly alongside a several-mile-
long, multi-wire structure.
Roy appears small, like an ant on a tree. We HEAR HIS
BREATHING...
He rappels down, rather gracefully. Turns some kind of a
wheel that allows two parts of the tether to become attached.
ROY MCBRIDE (CONT'D)
Control, I am...closing the loop
now. Over.
A POWER SURGE has HIT THE TETHER. Roy is STARTLED:
ROY MCBRIDE (CONT'D)
(some concern)
Control, I just experienced some
unusual power surges. They appear
to be quite extreme.
CONTROL (RADIO FILTER)
(alarmed, but completely
under control)
Uh, yeah Roy, we picked that up
too. We--we advise aborting here,
we uh, repeat--we do advise
aborting.
ROY MCBRIDE
Control--I have not yet completed
my tasks--
Suddenly: along the entire length of the tether to which Roy
is attached, the busses' ACTIVATION LIGHTS come on, one by
one. (The lights are how we tell the structure is active.)
The HYDRA MACHINES START UP AGAIN!
8.
Roy can see the tether is becoming active, section after
section, at breakneck speed--and he pushes himself away from
it at the last second, just as it ACTIVATES.
He REBOUNDS against another, parallel (ACTIVE!) tether, IS
SHOCKED, as he RICOCHETS against it--changing directions--and
begins to SPIN out of control.
He SPINS SO VERY FAST... Is he DEAD...?
But remarkably, he's able to speak--rather calmly, given the
situation.
ROY MCBRIDE (CONT'D)
(through heavy breaths)
Control--
As Roy continues to tumble, the radio in his helmet squawks
away--though never in a panicked tone:
ROY MCBRIDE (CONT'D)
Obviously a serious malfunction
here--I've lost balance, over.
ROY CONTINUES TO SPIN, CRAZILY, MADLY. VIOLENTLY. He barely
avoids hitting more tethers...
ROY MCBRIDE (CONT'D)
I'm gonna try and level out as soon
as this air thickens up.
(beat)
Control?
(beat)
Control, do you read?
NO ANSWER.
Then, as he descends: ROY STRETCHES HIS ARMS and LEGS OUT.
In the DENSER AIR, HE STOPS THE SPIN.
At last, Roy straightens himself out. Like a great skydiver.
HE PULLS THE RIPCORD...
A PARACHUTE shoots out from the back of his suit and opens
with tremendous force, YANKING HIM UP and AWAY FROM US.
He RIGHTS HIMSELF and begins to float safely to the earth...
CUT TO:
9.
EXT. COLORADO MOUNTAINS - PLATEAU
Roy sinks to the surface. A WIDE SHOT as we SEE: SCORES of
PEOPLE RUNNING TO HELP HIM...
MAN'S VOICE (PRE-LAP)
I must say, you seem to be in
remarkably good shape, Major.
INT. HOSPITAL - COLORADO SPRINGS CAMPUS - NIGHT
A ROW of HOSPITAL BEDS. Roy is sitting up, on one of them.
Each seat/bed has a SCREEN NEXT TO IT. Large WINDOWS LOOK
OUT INTO THE COLORADO WILDERNESS.
A pair of MED TECHS are here, doing CHECKS on Roy.
Roy sits alongside a window as they check his heart, lungs,
blood pressure, temperature, etc. Roy looks out the window.
Earth, dusk. Beautiful, with cloud formations. He has
trouble keeping eye contact with the Medical Officers. A MAN
takes ROY'S PHOTOGRAPH.
MED TECH #1 (CONT'D)
How d'you feel?
ROY MCBRIDE
Well...my left shoulder's a little
sore. It was likely hyperextended
at some point during descent.
MED TECH #1 (CONT'D)
Yeah, you got yanked around pretty
good. But you're in one piece.
(beat)
Sad to say, some of your fellow
engineers weren't so fortunate.
ROY MCBRIDE
(beat)
What's that, sir?
MED TECH #1
We lost your support crew, on the
wire--and four hundred some odd
more here on earth, too. Been
tragic.
ROY MCBRIDE
Gee... That's real unfortunate.
I'm real sorry to hear that...
10.
MED TECH #2
Would you like the shades down,
Major?
ROY MCBRIDE
No, it's okay. I like to observe
the, the cloud patterns and the
mountains.
The Med Tech hears this, nods, then TYPES something into a
small iPad-type device, except it unscrolls. The CAMERA
TILTS UP the ELECTRONIC DOCUMENT TO SEE: "MILD AUTISM".
As the Med Techs pack up, Med Tech #1 holds an earplug-sized
item.
MED TECH #1
(hands Roy the earplug)
You might want to put this in your
ear, sleep with it overnight. Just
to check for any head trauma. And
try to stay put, if you can.
ROY MCBRIDE
Yessir. I would like to be able to
return to my work.
MED TECH #1
[If] Your head checks out, you can
be cleared to go back as soon as
tomorrow.
ROY MCBRIDE
Okay. I'd like that very much.
Given all that's occurred, they're
probably pretty shorthanded up
there.
MED TECH #1
(stares for a beat; then)
Of course. Try to rest.
He packs up and leaves.
INT. DORMITORY - LATER
Roy is in bed, sitting up in hospital whites. A GREEN LIGHT
and a BUZZ to his left. He PUSHES A BUTTON. PROJECTED in
front of him, a very advanced form of FaceTime is showing:
His mother. LEANNE MCBRIDE. Late sixties. Seems older than
her age; her face is lined, her mouth slightly downturned.
11.
She SEES him, EXPLODING WITH EMOTION. The sound is worse than
the image, for some reason:
LEANNE MCBRIDE
Roy!
TEARS FLOW FORTH from HER:
LEANNE MCBRIDE (CONT'D)
Thank the Good Lord! I couldn't
lose you up there too. You're all
I've got...
ROY MCBRIDE
Hello, Ma. I'm all right. I'm
gonna go back to work soon.
LEANNE MCBRIDE
I love you--so much. I was just so
sick with worry--
ROY MCBRIDE
(smiles)
There's no reason for any kind of
concern. The fuss is unnecessary.
LEANNE MCBRIDE
Oh Lord... I know you don't
understand--you can't. Maybe
someday you will... I'm sorry
you're alone there...
ROY MCBRIDE
It's okay.
(beat)
I prefer it.
LEANNE MCBRIDE
I love you, Roy. You'll always be
my little one. Maybe I can see you
for Thanksgiving?
ROY MCBRIDE
It's possible. Goodbye, Ma.
LEANNE MCBRIDE
Goodbye, darling.
He PUSHES A BUTTON and it SHUTS OFF the image...
DISSOLVE TO:
12.
INT. DORMITORY - LATE NIGHT
The room is DARK. ROY is prostrate, in bed, asleep.
RESTLESS. We HEAR his PULSE, HIS HEART...
Roy's EYES OPEN, and he is COVERED IN SWEAT. His EYES WIDEN--
like he's SEEING A GHOST.
AWAKE, he has a VISION. FLASHING:
An image appears to him, and to us: The striking eyes and
most of the face of a YOUNG BOY. He seems around 8 years-
old, looking off-screen at something. He's smiling and
blinking, in EXTREME, STEP-PRINTED, SLOW MOTION.
But the image is very UNCLEAR. It's BLURRY, almost like a
reclaimed moment from the Zapruder footage.
WIDER SHOT -- again, EXTREME SLOW MOTION. A SMALL BOY
(probably the same person as the one in the previous image)
runs across what might be a wet, cobble-stoned street, on a
cloudy day. This time:
A GIRL, an OLDER GIRL, is JOINING HIM. The image is
haunting.
The final image: striking, mainly because it's so odd. A
MEDIUM SHOT of what looks like a MEDIEVAL CASTLE (!) IRON
GATE, COMING DOWN, in the same EXTREME, STEP-PRINTED, SLOW
MOTION as in the other image.
ROY'S BREATHING BECOMES LABORED.
CLOSE SHOT on ROY as he then looks out the window. His panic
abating somewhat, he allows his head to REST back, ON THE
PILLOW. His EYES DART BACK AND FORTH, looking out to the
ceiling--and to the heavens...
FADE OUT.
CUT IN:
INT. HALLWAY - MORNING
A YOUNG WOMAN IN ARMY FATIGUES comes down a hallway.
INT. DORMITORY
She approaches ROY, who is dressed and sitting up. Going
through a "Scientific American" on-screen magazine.
13.
YOUNG WOMAN IN ARMY FATIGUES
Morning, Major. I'm here to take
you to SPACECOM Control. For
debriefing. Is that okay?
ROY MCBRIDE
Course, Ma'am.
INT. FORT CARSON - CONTROL CENTER - MORNING
It's the center of the base. A big "USSPACECOM" SIGN. Roy
is being escorted by the woman.
A restaurant, a souvenir stand. MUZAK plays softly.
Families are here, excited. There is a TOURISM BOARD desk (A
SIGN READS, "READY TO MEET AN ALIEN? GO TO SPACE!"). A LARGE
ALIEN CHARACTER, meant to appeal to children, graces the
painted board: "Andy The Alien". Two YOUNG CHILDREN get
their PHOTOS TAKEN in ill-fitting army spacesuits in front of
a powder-blue backdrop.
INT. FORT CARSON - CONTROL CENTER - CORRIDOR
Roy is led down a long, winding CORRIDOR until he reaches a
closed door.
YOUNG WOMAN IN ARMY FATIGUES
Would you like anything to eat or
drink, Major?
ROY MCBRIDE
(friendly smile)
No, thank you. The food's real
good in the dorm.
YOUNG WOMAN IN ARMY FATIGUES
That's wonderful to hear. We
brought in a new caterer last month
and I think it's gotten a lot
better.
And a LATCH OPENS:
INT. FORT CARSON - CONTROL CENTER - USSPACECOM HEADQUARTERS
This is USSPACECOM's covert ops headquarters. Present are
FIVE of Roy's SUPERIORS. HE SALUTES THEM, mumbles cordial
"HELLOS".
14.
They are: BRIGADIER GENERAL FALLON, LIEUTENANT GENERAL
SHARPE, COLONEL EPINGER, and a woman, ADJUTANT GENERAL AMELIA
VOGEL, who refers to a PDA-type device.
Among the others here is an older man, seated SILENTLY in the
corner. Observing. His name, we will learn, is DR. MARTIN
PEDROSA. More on him later.
BRIGADIER GENERAL FALLON
Major, I'm Brigadier General
Fallon. This is Lieutenant General
Sharpe, Director of SPACECOM
Special Operations. And Adjutant
General Vogel.
ROY MCBRIDE
(nods; then)
Sirs. Ma'am.
The DOOR is CLOSED BEHIND THEM. Actually, more SEALED THAN
CLOSED. Fallon motions for Roy to sit, and he does as well.
As the others sit around him, he's looking at a file:
BRIGADIER GENERAL FALLON
Please--sit down. Your profile's
certainly very interesting. You've
done exceptionally well on the
assessment tests. Says here--
you've got a near-photographic
memory. Basic combat...space
training, too--just exceptional,
`cross the board.
ROY MCBRIDE
(subtly prideful)
Thank you, sir.
BRIGADIER GENERAL FALLON
(looks up from dossier)
Your pulse's never gone above 80
during any spacewalk or skywalk?
Even on this most recent fall?
That true?
ROY MCBRIDE
It's what we're trained for, sir.
I can't take any personal credit
for that.
LIEUTENANT GENERAL SHARPE
You know Major, generally we look
for people like you, people who
won't let emotions or fears get in
the way of a task.
(MORE)
15.
LIEUTENANT GENERAL SHARPE (CONT'D)
People who might be called "on the
spectrum," if you will. I do say
that with respect.
(beat)
So you must not be surprised that
we've reached out to you.
ROY MCBRIDE
No, sir...I expected a debriefing
on account of the accident.
(beat)
I am surprised that Ops is handling
it, but it's certainly not a
problem of any kind.
BRIGADIER GENERAL FALLON
Well, we've traveled a long way to
see you here today. And it is not
a coincidence.
The full-wall VIDEO SCREEN behind Roy plays real-time images
of Fort Carson. Lieutenant General Sharpe consults his PDA
device. Fallon stares at Roy for a moment, then:
ADJUTANT GENERAL VOGEL
General, we're ready.
LIEUTENANT GENERAL SHARPE
(nods; then back to Roy)
Major, this is not about your
accident--at least, not directly.
(beat)
We have...something of a highly
classified nature to show you.
On the WALL-SCREEN, A VIDEO begins to play. LOOKS LIKE OUTER
SPACE. Through a TELESCOPE.
No stars or anything visible. Until, tiny on the screen, a
blue dot. But not the pale blue dot of Earth. CUT TO: CLOSER
SHOT. We SEE that this is the magical, mysterious blue of:
NEPTUNE.
LIEUTENANT GENERAL SHARPE (CONT'D)
That is the planet Neptune you're
looking at, obviously. Images from
the Shun-Barcelli Telescope. Two
days ago.
This distant planet is almost all blue, with none of the
organic brown of Earth.
16.
It's like a shiny marble jewel, its sheen a uniform hypnotic
ultramarine, except for a few darker streaks and a few white
smudges of elongated clouds. Unearthly, that's for sure.
Then, our vantage point moves, and we CUT CLOSER, longer
focal length. We find our view of Neptune momentarily
obscured by a faint, partial RING of dust and ice. An arc of
white.
And then, an oblong object comes into view between us and
Neptune.
LARISSA.
LIEUTENANT GENERAL SHARPE (CONT'D)
This is one of Neptune's closest
moons, Larissa.
The small moon is dark against the eighth planet, exhibiting
a mild, azure glow, perhaps the reflection of the color of
Neptune. It's heavily cratered.
We gradually perceive that something odd is going on:
LIEUTENANT GENERAL SHARPE (CONT'D)
The degradation begins here.
Followed by--
The peaceful blue diorama is suddenly invaded by a faint
greenish blush that starts small as a pinprick and grows
slowly larger. All is not right with Larissa. Its blue
complexion is overcome by a green blemish which spreads
outwards and seems to utterly transform the moon's very
substance, cracking and fissuring it...
LIEUTENANT GENERAL SHARPE (CONT'D)
Catastrophic destruction.
The moon formerly known as Larissa becomes a color that
alternates between dark green... and dark yellow... and
black... and then...
IT EXPLODES. IN DEAFENING SILENCE.
Rock and dust scatter in every direction, as gravity fails to
hold together the transformed matter, which now glows green
and yellow.
CLOSE ON ROY'S EYES. Then we linger on this unsettling
scenario, until we return our focus to the unblinking blue
eye that is Neptune...
17.
LIEUTENANT GENERAL SHARPE (CONT'D)
That event was most likely the
cause of the fluctuations we
experienced here, on earth. The
ones that almost killed you. And
caused many other disasters on the
ground as well.
ROY MCBRIDE
(nods)
I'd surely like to know what caused
that, sir.
THE LIGHTS COME UP. Beat.
COLONEL EPINGER
Major, what do you know about the
Lima Project?
A TURN. Roy FREEZES for A SLIGHTLY PERCEPTIBLE MILLISECOND:
ROY MCBRIDE
It was a research expedition to
Neptune, sir. From twenty--I'm
sorry, twenty-one--years ago.
COLONEL EPINGER
Mmm-hmm. Anything else?
ROY MCBRIDE
Its objective was to construct a
telescope in order to search for
signs of extraterrestrial life. My
father was director.
(beat)
All crew were lost.
As everyone takes notes, Adjutant General Vogel slides E-
PHOTOS to ROY. THEY ARE OF HIS FATHER, H. CLIFFORD McBRIDE:
COLONEL EPINGER
Do you remember how his departure
affected you? It WAS a one-way
mission, was it not?
ROY MCBRIDE
It was, sir. But the family was
not told his absence would be
permanent. He said at the time
only that it was top national
priority to gain knowledge of
extraterrestrial life.
18.
COLONEL EPINGER
And how did you handle that?
ROY MCBRIDE
My, my mother has often expressed
her devastation by his abandonment.
(beat)
It's the consensus that his
departure was unforgivable.
Roy lets loose a small laugh(!). An AWKWARD BEAT. He
sobers:
ROY MCBRIDE (CONT'D)
Sir, if you're trying to test my
loyalty or fitness here, it's not
necessary. I assure you, I'm in no
need of any kind of support in this
manner. I do accept my father's
mental illness. And I acknowledge
it led to the mission failure.
The others look at each other.
COLONEL EPINGER
Roy, we have something that might
come as quite a shock to you.
(beat)
We've intercepted secret
communications sent to Neptune, we
believe from Mars. They lead us to
conclude that your father and
others from the Project are still
alive and for reasons we do not
understand, appear to be conducting
some extremely dangerous
experiments. About which we are
deeply, deeply, concerned.
ADJUTANT GENERAL VOGEL
The last intercepted communication
revealed discovery on Neptune of
large quantities of antimatter,
Major. Enough when harnessed to
destroy the entire solar system.
Roy is BLOWN AWAY; that slight smile disappears. A darkness
overcomes his countenance, and he turns inward.
COLONEL EPINGER
Major?
19.
ROY MCBRIDE
(finally; clears throat)
My father is...alive, sir?
LIEUTENANT GENERAL SHARPE
We believe so. The Lima Project's
A.I. is still online, and as you
know, this would indicate crew has
survived. We must ensure they can
do no further harm. As such, your
relationship to him is potentially
invaluable to us.
ROY MCBRIDE
Yes sir...
LIEUTENANT GENERAL SHARPE
We'd like you to try and contact
whoever is communicating with the
Lima Project. We've determined
that the signal is coming from
Mars. Presumably, any message sent
there would ultimately reach your
father, on Neptune. We've tried
already without success. It's a
bit of a Hail Mary...but we'd like
YOU to give it a shot, find out his
location and any other information
you can gather.
(beat)
You'll have to go to a secure spot
on the moon, of course--for a
quantum connection that can't be
hacked.
ROY MCBRIDE
Sir, in the event that contact is
made, you will then...attempt to
apprehend him and bring him to
justice?
LIEUTENANT GENERAL SHARPE
That is our intention, yes. Can we
count on your participation?
(beat)
Roy?
ROY MCBRIDE
Well sir, I--I'm just trying to
understand--
BRIGADIER GENERAL FALLON
Major, have you not been
LISTENING?!?
(MORE)
20.
BRIGADIER GENERAL FALLON (CONT'D)
Your father has threatened the
destruction of our entire solar
system. Does that not mean
ANYTHING to you?!?
ROY MCBRIDE
Yessir. It surely does.
Beat.
DR. PEDROSA (O.C.)
Roy, I'm Dr. Joao Pedrosa.
About to answer, Roy turns. At that moment, the old man off
to the side, Dr. Pedrosa. He speaks with a much kinder tone:
DR. PEDROSA (CONT'D)
I am currently Commander of
SPACECOM lunar operations, at
Tycho. I knew your father very
well--we studied neuroscience
together, at Purdue University. He
was a very brilliant man--a true
legend in the department. He
looked at things his own way and
contemplated vast concepts. So I
can understand well his struggles--
because keeping sanity in the face
of the infinite can be a monumental
challenge.
Pedrosa gets up, approaches:
DR. PEDROSA (CONT'D)
Like you, I was skeptical of his
survival. But after reviewing the
Neptune transmissions, I am now
convinced of their authenticity.
Of course under usual
circumstances, you would want no
part of this. But if he is truly
alive, we do not dare lose him
twice. Will you help us try to
find him?
ANGLE ON ROY. Roy looks down again, at the screen. It's an
electronic DOSSIER. (Like an old-fashioned bank file, that
opens, but its papery surface is capable of displaying
digital information. Such as photos, maps, graphs, etc.)
They PUSH THE FILE GENTLY TOWARD ROY. He sees his FATHER'S
IMAGE in a photograph. He STARES AT IT. Roy looks back up
at the men:
21.
ROY MCBRIDE
I will, sir.
BRIGADIER GENERAL FALLON
You depart for the moon in twenty-
four hours.
Adjutant General Vogel SLIPS HIM a black leather folder:
ADJUTANT GENERAL AMELIA VOGEL
All non-relevant information has
been redacted. Please familiarize
yourself with its contents...
The sound FADES OUT as we:
CUT TO:
INT. PREP ROOM
A small, bright room dedicated to preparing for space travel.
What looks like black leather Eames chairs, cases, men and
women in white pants and shirts helping astronauts get ready.
Roy is being fitted with his suit. Roy slides open a kind of
foldable iPad and places EARBUDS into his ear. We HEAR a
RADIO VOICE:
RADIO VOICE
Slate One-Niner-Four. Transmission
Lima Project, 7/19/15. Voice of H.
Clifford McBride.
He is listening to an FILE. We HEAR, with RADIO FILTER:
H. CLIFFORD MCBRIDE (V.O.)
(tone: banal, scientific)
We're coming to you now from our
base of operations for the Lima
Project. And we're going to send
you images in a bit from our new
Ocular telescope. Sponsored by our
good friends at Brookhaven Solar.
OVER THIS: ROY'S POV as: men and women prepare for
spaceflight, finishing their attire--as Roy LISTENS, an IMAGE
of CLIFFORD MCBRIDE comes up on his screen. It is like a
Skype call gone wrong; the image is high-quality, but the
feed is poor, vacillating between a still frame of Clifford
McBride and a sped-up image. The AUDIO is constant.
22.
H. CLIFFORD MCBRIDE (V.O.)
Now that we believe there are
microorganisms on many extrasolar
planets, and so many Goldilocks
planets perfect for life, we ask
the question, "How soon will it be
before we find intelligent life in
the universe?"
ROY'S SCREEN now features IMAGES of SPACE, then NEPTUNE'S
MOONS and NEPTUNE'S SURFACES as the AUDIO CONTINUES:
H. CLIFFORD MCBRIDE (CONT'D)
We are so excited about this
prospect. And who really knows if
we haven't been contacted already?
Who knows if our cosmic friends
haven't tried to reach us through
gravitational waves, or some other
method we can't fathom? We might
be cockroaches walking along a
chessboard, not knowing about the
great game of chess! Now--I...AM a
little surprised we don't have
anything yet. [Surprised by] The
silence. But--I have confidence.
So...thank you, Brookhaven Solar!
We have many--
The SCREEN GOES BLACK. "PORTION REDACTED."
A MAN IN WHITE PANTS AND SHIRT then checks with Roy. Roy
CLOSES the SCREEN. Referring to his suit:
MAN IN WHITE PANTS AND SHIRT
How's that, Major? Not too snug?
ROY MCBRIDE
No, it's fine, thank you.
MAN IN WHITE PANTS AND SHIRT
The pre-breathe for the moon should
take about fifteen minutes.
ROY MCBRIDE
Thank you.
The Man PLACES a BREATHING APPARATUS over Roy's mouth and
nose. He moves to another passenger.
23.
INT. GALLEY
Roy ascends the narrow scaffolding, with Pedrosa right
behind. It's oddly primitive; the way to the shuttle
entrance is a fifty-foot stepladder which goes straight up to
where the LUNAR SHUTTLE awaits, nose-up. Harrowing climb for
most of us, but there are several people on this ladder,
looking surprisingly businesslike and quotidian.
A VOICE through a LOUDSPEAKER:
LOUDSPEAKER VOICE
Please use the safety straps for
your wrists as you ascend. You
will find them located on the rails
on either side.
INT. LUNAR SHUTTLE
Roy and Pedrosa, on the shuttle. Both men LOOK into a small
SCANNER on the side, near the seats, while stepping on a
DEGAUSSING PAD. Then:
VOICE
Degauss complete.
The craft seems to be part of a consortium between the Army
and a Southwest Airlines-type company. A hi-tech space.
Little attempt at aesthetics--most everything is there for
practicality, functionality. BANAL.
A dozen or so PASSENGERS are aboard. Roy finds his seat and
snaps together his restraints.
ANNOUNCEMENTS are made in English and then in Mandarin and
Spanish by a MALE FLIGHT ATTENDANT.
Another FLIGHT ATTENDANT (a stout, warm woman) is giving
everybody pills and whispering into certain passengers' ears.
Then, aloud, a recording VOICE:
FLIGHT VOICE
As we exit the earth's
gravitational field, please
remember: objects will float if not
properly stored or secured.
MALE FLIGHT ATTENDANT
Guys--our rear passenger attendant,
Michelle Grierson, was...MARRIED
TODAY, EVERYBODY! GIVE HER A HAND!
24.
The passengers APPLAUD as ROY strains to see this Michelle
person behind him.
EXT. EARTH - HIGH ANGLE
The shuttle takes off and begins its ascent to the moon.
INT. LUNAR SHUTTLE - LATER
At the moment when gravity is gone, things begin to float--
stray pens, paper, etc. Roy of course has followed the
rules, but his NEIGHBOR, of Indian nationality and middle-
aged and burly, LAUGHS at his own ineptitude as his things
start to float away from him.
Roy SCANS the SCREEN in the SEAT IN FRONT of HIM: MAPS of the
LUNAR SURFACE. CLOSE SHOT on HIS EYES as he PROCESSES the
CONTOURS OF THE MOON'S VARIOUS CRATERS and other AREAS.
The Flight Attendant hands out packages of nuts. The pilot
makes an announcement:
SHUTTLE PILOT'S VOICE
On the left there, many of you can
catch an excellent view of Petavius
on the eastern limb. The moon's
gibbous period's waning, so you can
also see the Atlas, to the north.
Roy looks out the window, SEES the landmarks. But also
lights, signs of mining and human development/habitation.
Tracks and angular patterns. Snapping Roy out of his
observing, with an accented voice:
A VOICE
Your first time to the moon?
Roy turns around. It's his NEIGHBOR, across the aisle. The
NEIGHBOR is of INDIAN DESCENT.
ROY MCBRIDE
No, sir. I've been a couple times
before, as a child.
INDIAN NEIGHBOR
(trying to make
conversation)
A child! Well, it's my first time!
(laughs awkwardly; then)
There's some good new restaurants I
read, though.
(MORE)
25.
INDIAN NEIGHBOR (CONT'D)
I'm staying near Copernicus--they
tell me that's safe. How about
you?
ROY MCBRIDE
My visit will be very brief.
INDIAN NEIGHBOR
Oh... I'm in artificial
intelligence.
(with enthusiasm; wanting
to talk)
It's a very strange thing, you
know, that we have so much
technology and we keep all our
systems without any real awareness.
I understand why, but it's...it's
strange, no?
ROY MCBRIDE
(that gentle smile again)
Sir--I'd really love to talk to
you, but I'm afraid I'm just not
allowed. I'm real sorry.
INDIAN NEIGHBOR
Okay. Okay, no problem!
The Neighbor acts like he's not offended. But he is.
The Flight Attendant then makes her way down the aisle and
guides herself via a series of hoops and webbing overhead.
She checks to make sure everyone is fastened and happy. She
is handing out PILLS. Roy takes a pill and sips a drink she
hands him from a straw.
SHUTTLE PILOT'S VOICE
(perfunctory)
As we begin our approach: in
accordance with FASA regulations,
we must remind you that many areas
of the moon are in a state of
extreme lawlessness. The United
States government does not
recommend travel to certain
districts--please check your
nearest USSPACECOM Outpost for a
complete list. Thank you and safe
travels.
Roy SECURES HIMSELF as the FLIGHT ATTENDANT hands out A
CUSTOMS FORM CARD to FILL OUT. She HANDS the Neighbor a
STYLUS:
26.
FLIGHT ATTENDANT
(with a laugh)
Don't steal my pen!
Roy LOOKS OUT THE WINDOW to SEE:
As the craft gets closer to the surface: lots of SATELLITES
of varying sizes. A tether-type system that may remind us of
the GISA.
MINING SITES, GREENHOUSES, SPACE JUNK, DEPOTS, and LIVING
QUARTERS that look like they could be housing complexes in
Boulder, Colorado. There are also HOUSES OF WORSHIP: a large
CHURCH with an open roof (centered by a giant CROSS).
LIT SIGNS ANNOUNCE CHAINS WE RECOGNIZE: McDonald's, Dunkin'
Donuts, etc. MAG-LEV TRAINS link together various bases and
neighborhoods, at extreme velocities.
EXT. MOON - LUNAR BASE
The ship adjusts its gyropscopes and turns over (e.g. in Elon
Musk's rocket designs), making a gentle landing near the
army's TYCHO BASE. The base is heavily guarded.
INT. LUNAR HANGAR
The UNDERGROUND looks almost like New York's Penn Station,
combined with an enormous parking garage and the most banal
of AIRPORTS. The SHUTTLE MOVES into position, closer to an
entrance.
INT. LUNAR HANGAR - CORRIDOR
Dr. Pedrosa leads Roy through the corridor, which is,
weirdly, wood-panelled. Or is it fake wood?
There are FOUR MEN and TWO WOMEN who come from the OPPOSITE
DIRECTION, all talking amongst themselves. When Roy and
Pedrosa walk toward them, they stop talking.
Dogs roam about, smelling them and their belongings. Pedrosa
moves to talk to some of the men and women. Roy face
brightens at the sight of a dog:
ROY MCBRIDE
(to the dog, warmly)
Hey! How you doin' there, big
fella?
27.
DR. PEDROSA
This is Major Roy McBride. As you
know, he is here to help us.
EVERYONE
(to Roy)
Good morning, Major.
ROY MCBRIDE
(looks up from the dog)
`Morning.
A WOMAN, LESLIE CORTEZ, fifties, steps forward. A MAN stands
near, holding a PIECE OF EQUIPMENT that looks like a small
EKG machine.
LESLIE CORTEZ
We've kept a spot for you in the
dormitory. An overnight stay will
be necessary.
ROY MCBRIDE
Yes, Ma'am. But I'm just here to
do what I need to. I have my
duties on the antenna, and they'll
probably be needing me soon.
LESLIE CORTEZ
Of course...
Cortez leads Roy with her hand as we HEAR:
MAN'S VOICE (PRE-LAP)
Uplink should be ready to go in
just a moment.
INT. LUNAR BASE - COMMUNICATIONS CENTER - LATER
Roy and the others are in what looks like a recording studio.
A glass of water before him. Roy is seated. Dons a headset.
TECHNICIAN ONE (CONT'D)
We're preparing the connection now.
Outside the booth, TWO TECHNICIANS make adjustments.
Roy looks at a MONITOR before him, which gives him cues, as
well as technical info regarding high-rate pulse-position
modulation and error-correcting codes. A RED LIGHT goes on.
Dr. Pedrosa approaches:
28.
DR. PEDROSA
Whatever you say into this
microphone will be transmitted to
Mars, and then hopefully on to
Neptune. The first step is to try
to make contact. And then perhaps
a negotiation of some kind.
ROY MCBRIDE
Yessir.
Interrupting: the CONTROL BOOTH CHIMES IN:
TECHNICIAN ONE
Point-to-point contact with the
Mars signal is now engaged.
Through the squawk box, Major.
ROY MCBRIDE
Roger that.
DR. PEDROSA
Depress the button in order to
speak. Remember, your father may
be listening.
ROY MCBRIDE
Sir... What--what precisely is it
that you'd like me to say, in order
for us to achieve optimal results?
Dr. Pedrosa takes out a PIECE OF PAPER:
DR. PEDROSA
We have assembled a text for you,
one that we believe is appropriate
for eliciting a response. It is
written using language consistent
with your own, utilizing data from
your profile.
Roy takes the piece of paper. He looks it over. Weak joke,
but a broad smile nonetheless:
ROY MCBRIDE
Maybe I should've taken acting
classes! Okay...here goes...
Roy MOVES to DEPRESS the BUTTON. FLICKS ON THE MIC. BEGINS
TO SPEAK:
ROY MCBRIDE (CONT'D)
This is Major Roy McBride, I'm
currently on Tycho Base.
(MORE)
29.
ROY MCBRIDE (CONT'D)
(beat)
Repeat. This is Major Roy McBride.
I am currently on Tycho Base.
ON THE MONITOR: as he speaks, there's a voice print analysis.
CLOSE ON ROY. Roy's emotions are deeply buried as he READS
THE PREPARED SCRIPT:
ROY MCBRIDE (CONT'D)
Dr. McBride... It's your son, Roy.
(beat)
Prior to this message, I believed
you were dead. Our family was
informed of this approximately two
decades ago. We were told the
stress of deep space had altered
your behavior. And...as a result,
US SPACECOM was forced to terminate
your life support systems.
However, SPACECOM now believes you
have survived. And attempted
contact, without revealing yourself
due to fear of hacking. If this is
true, I'm very much looking forward
to hearing from you. I've always
felt that it's very important to
have a true bond between father and
son. We could have this bond. I
do recall we would watch motion
pictures together, very old ones in
black and white--funny ones. And I
remember your laugh even more than
your face. I would like very much
to reconnect with you. I will
surely be able to move past any
feelings of abandonment your
departure presented me with. Your
loving son, Roy.
BEAT. NOTHING. These words have unlocked something in Roy.
He flicks off the MIC, stands. Any warmth deserts him:
ROY MCBRIDE (CONT'D)
Hopefully that achieves the desired
result.
The PREPARED SPEECH is LIT ON FIRE by a MAN, its ashes placed
in a wastebasket.
30.
DR. PEDROSA
Any transmission will take
approximately 36 minutes, due to
the distance. So we must wait.
INT. HALL - LATER
Roy is standing outside, looks out the large window.
OUTSIDE: A NEARBY SIGN WITH A NEON COWBOY, PUMPING a "THUMBS
UP" GESTURE--just like the famous Neon Cowboy from Las
Vegas's Fremont Ave. Pedrosa EMERGES from the Communications
Center. A grim look:
DR. PEDROSA
There is no response. Thank you
for your participation. You will
be returned to the earth tomorrow
morning.
ROY MCBRIDE
I understand. Thank you, sir.
Sorry I was not of more help.
The men shake hands.
DISSOLVE TO:
INT. LUNAR BASE - BARRACKS - ROY'S ROOM - LATER
The room's almost like an economy room in a hotel. With the
exception being that, out the window, hangs Earth. The
CAMERA DOLLIES OVER TO SEE: a half-eaten meal on a tray.
Roy SITS, near a speaker:
ROY MCBRIDE
Confirming--shuttle 4339, moon to
earth, reservation number EH77902.
Last name, McBride.
VOICE
Reservation confirmed, McBride, Roy
C. Number EH77902.
He hangs up.
A beat.
A TV SCREEN is seamlessly embedded into a wall. Some
programming (news... sports.... something animated...).
31.
The programming forms a low level of constant noise. And
then:
The screen CHANGES--completely BLACK.
SILENCE.
A beat. Roy LOOKS UP.
A light, STATIC NOISE.
FADING IN is the sound of:
A MAN SINGING: "Hello, I must be going./ I cannot stay,/ I
came to say/ I must be going./ I'm glad I came/ but just the
same/ I must be going..."
Roy looks at the SCREEN as GROUCHO MARX APPEARS. Groucho
resumes singing after Margaret Dumont's part: "I'll stay a
week or two,/ I'll stay the summer through,/ but I am telling
you,/ I must be going."
BEEP! The SCREEN GOES BLACK. SILENCE.
THEN TEXT, on the SCREEN:
"ARE YOU COMING?"
A SERIES OF NUMBERS AT THE BOTTOM of the SCREEN.
CLOSE SHOT: ROY'S EYES. Then we SEE that the screen GOES
BLACK. We HEAR:
ROY MCBRIDE (PRE-LAP)
They appeared to be coordinates of
some kind, sir.
INT. LUNAR BASE - CONFERENCE ROOM - LATER
Roy stands as Dr. Pedrosa and TWO MEN and LESLIE CORTEZ sit
around a conference table, with looseleaf binders in front of
them. MOON PHOTOGRAPHS, illuminated from behind, line the
walls. Chairs all around. Coffee. Roy is reluctant as he
stands at attention. HE STARES STRAIGHT AHEAD, NO EYE
CONTACT. The others seem STUNNED INTO SILENCE.
ROY MCBRIDE
I believe the proper first step
would be to get me to Mars, to the
specified coordinates. I would of
course be willing, in order to help
resolve this crisis.
32.
LESLIE CORTEZ
We are very grateful to you for
your service, Major. We will
analyze the information you
received. But you may return to
Colorado now.
ROY MCBRIDE
No Ma'am, I'm sorry, but I do feel
I should continue to aid the
mission. My father is the
individual at issue here. And
under the circumstances I feel I
should remain involved in order to
bring him appropriately to justice.
DR. PEDROSA
(leaning forward)
A personal connection is an unknown
variable and represents serious
risk.
ROY MCBRIDE
Yes sir. However, the task itself
inherently involves risk,
especially as it appears you will
not have multiple chances. And if
it really IS my father who is
trying to reengage, obviously I
would be anxious to confront him.
But I'm also considering the task
itself, and not merely my personal
views.
None of them answers. Roy steps forward:
ROY MCBRIDE (CONT'D)
A situation may arise that only I
am able to respond to.
(beat)
So for this reason, I believe I
should be part of any continuing
mission.
Pedrosa can tell that Roy's serious, DETERMINED.
ROY MCBRIDE (CONT'D)
(beat)
Sirs? Ma'am? Do I have your
permission to continue on in this
manner?
33.
ANGLE ON PEDROSA as we:
CUT TO:
INT. LUNAR BASE - MAZELIKE CORRIDOR
SECURITY MEN all SURROUND ROY, like he's the President. A
POV SHOT of ROY as he WALKS toward:
AT THE END OF THE CORRIDOR is Dr. Pedrosa. Over this:
DR. PEDROSA (V.O.)
You will travel on a United States
military craft already designated
for Mars. It contains a payload of
a classified but routine nature,
and the crew will know of you only
as a passenger--a higher-ranking
officer making a visitation to the
outpost. It will depart from
outside standard surveillance, on
the Far Side of the moon. As your
participation was unanticipated,
the path from our current point
will take us through only recently-
settled territory. We will be
escorted by the United States
Army's Space Division. And I will
protect you as far as I am able.
INT. MEDICAL UNIT
Roy is sitting up on a medical table. We STILL HEAR DR.
PEDROSA'S VOICE. A MEDIC approaches ROY. CLOSE SHOT on an
injection into ROY'S ARM.
DR. PEDROSA (V.O.)
Members of the crew were selected
on the basis of skill and limited
social needs, and as such should be
no impediment.
CUT BACK TO:
INT. CORRIDOR
Dr. Pedrosa and Roy board a MONORAIL. As they do, we HEAR:
DR. PEDROSA (V.O.)
You will be contacted by a Colonel
Lipset once you reach Mars.
(MORE)
34.
DR. PEDROSA (V.O.) (CONT'D)
He will assist you as you attempt
to communicate with your father.
Your stress levels will be
monitored at all times. If
psychological failure is indicated,
you will be removed from the
mission. This is necessary due to
your relationship with the target.
ROY MCBRIDE (V.O.)
My focus is entirely on achieving a
proper resolution, sir. You need
not be concerned. He was
emotionally unfit, and I am not.
They stop at a GATE.
INT. LARGE HANGAR
Several LUNAR ROVERS are lined up, in the distance. They
aren't SLOW, LUMBERING THINGS, however; they are durable and
tough and fast and filled with artillery.
The ROVERS WHIR and WHINE with ferocity, their engines
warming up and getting ready for the trip ahead.
Roy and Pedrosa enter, joining a host of MILITARY ASTRONAUTS.
One of them, a cheerful, burly man named WILLY LEVANT, late
forties, pulls up an interactive 3D MAP. It shows the LUNAR
TERRITORIES in incredible detail. Roy listens intently as
Levant checks his clipboard.
WILLY LEVANT
Should be fine, but... We're gonna
be going through what is still
technically a war zone.
(looks up, w a laugh)
Here we are, meant to tame the
solar system, and instead seems
like we've just brought our chaos.
This your first time?
ROY MCBRIDE
(broad smile)
No, sir. I've been to many Army-
Navy games.
WILLY LEVANT
(turns dark)
This is serious business, Major.
There's no real way to know how any
man'll react in combat. It's
always a surprise.
(MORE)
35.
WILLY LEVANT (CONT'D)
(louder; to everyone)
--Almost a full moon. The Far
Side's gonna be real black.
Fortunately we should have a clean
route from here to Veda. We've had
a little problem since September
with mining pirates, looking for
helium-3. But our boys did a
heckuva job and swept it all up a
few days ago.
Roy notices that Pedrosa is fiddling with the CRUCIFIX around
his neck. Pedrosa SEES Roy looking at him.
DR. PEDROSA
You wish to join us, Roy? For a
prayer?
ROY MCBRIDE
(quietly; without any
condescension)
No thank you, sir. It's been my
experience that prayer doesn't
affect outcomes.
Pedrosa eyes Roy for a moment, nods, then starts to pray with
Levant and the others as Roy prepares his suit.
DR. PEDROSA
Almighty and merciful God, who hast
commissioned Thy angels to guide
and protect us, command them to be
our companions from our setting out
until our return...
MOMENTS LATER
Roy and the others--in full SPACESUITS--board a souped-up and
unenclosed LUNAR ROVING VEHICLE (LRV).
INT. LRV
This rover is CRAMPED. Pedrosa has a smaller version of his
mapping COMPUTER in front of him and he is next to Levant.
Levant is driving, and he makes a final consultation of the
route. ON THE TOP OF THE WINDSHIELD: photos of NUDE WOMEN.
Like old PLAYBOY centerfolds...
Roy is in the back seat:
36.
WILLY LEVANT
Arright, let's go. Veda, Sea of
Moscoviensis.
RADIO VOICE
You should be clear to Veda, over.
WILLY LEVANT
Autodrive engaged.
EXT. LUNAR BASE
The LRV departs, bursting forward with ferocity.
NOTE: ALL DIALOG in this sequence will have a "RADIO FILTER"
effect unless otherwise noted.
INT./EXT. LRV - MOVING
Levant is looking around with hi-tech BINOCULARS. Roy is
hunched back, right behind him, watching and listening:
WILLY LEVANT
Setting two-niner-oh.
The LRV traverses the lunar surface. Occasionally, the lunar
DUST kicks up, obscuring our vision. The SUN is SHINING, and
yet the SKY IS JET-BLACK.
Roy turns back as the base recedes into the distance. THE
EARTH IS IN THE SKY! PEDROSA POINTS TO IT, then DOWN TO THE
SURFACE, FOR ROY. A TALL OBELISK, made of STEEL, in the
LUNAR DIRT, near the LEGS OF THE LUNAR MODULE:
DR. PEDROSA
[That is] Tranquillity Base
Monument.
ROY MCBRIDE
Surely is a magnificent sight.
SERIES OF SHOTS of LUNAR SURFACE.
EXT. THE MOON - MOMENTS LATER
A CARAVAN OF ABOUT TEN BLACK, ARMOR-PLATED rovers that we'll
call the Russian name of LUNOKHODS appear on the horizon,
coming toward our GUYS. The Lunokhods are driven by
mysterious ASTRONAUTS in DARK BLUE SPACESUITS and HELMETS
with mirrored visors.
37.
WILLY LEVANT
(surprised)
What the fuck is this...?
(to radio)
Alpha, what do we got here?
(to radio)
Alpha, we have what looks like
between ten and twelve mining
Lunokhods approaching our position.
RADIO VOICE
Roger that, Willy. We'll see if
they're certified, over.
WILLY LEVANT
I'm sorry, gentlemen. They said
they'd cleared this zone out. I'm
sure we'll be on our way in just a
minute.
AS THEY APPROACH, LEVANT LOOKS THROUGH BINOCULARS. He
DARKENS CONSIDERABLY.
WILLY LEVANT (CONT'D)
(beat)
Uh...Alpha...we may have some
problems.
(beat; more heated)
They appear to be armed. Possibly
with stilettos. Backup requested.
Roy STEELS HIMSELF. The Lunokhods are closing in on our LRV.
WILLY LEVANT (CONT'D)
Alpha, they are definitely assuming
hostile formation--
(to computer)
Engage manual operation.
ROY BRACES HIMSELF. Dr. Pedrosa TURNS AROUND, points to a
BOX next to Roy's FEET. Roy opens the box: WEAPONS.
GRENADES and a GUN which looks ALMOST LIKE a ROCKET LAUNCHER.
(The BLUE ASTRONAUTS in the Lunokhods brandish a weapon
called a STILETTO--an electromagnet-propelled jet of liquid
metal resembling a solid bar of light.)
(VISUAL NOTE: LUNAR DUST PERIODICALLY OBSCURES the VISION.)
38.
EXT. THE MOON - THE PROMENADE DE LUNA
The LRV turns onto a route that runs adjacent to a POWER
PLANT.
The Lunokhods open fire on our LRV:
WILLY LEVANT
(to radio)
Alpha, we're now taking fire! WE
NEED BACKUP ASAP!
INT. LRV
Everyone bounces forward in their seats, restrained by their
seatbelts.
ROY ARMS HIMSELF. Ahead of them, he SEES three possible
RAMPS: one to the right, one to the center, and one to the
left.
A FORK IN THE ROAD--the left side of the fork is closed off,
blocked by A BARRICADE. The LRV is headed right for it.
At the last second, LEVANT jerks the rover to the right. The
Lunokhod's driver can't react in time. SLAMS INTO THE
BARRICADE. The blue astronaut is hurled from his Lunokhod,
CRASHES through the windshield, flies through the air. The
Lunokhod flips over and over--no air resistance, so it seems
like it won't stop...
LEVANT struggles to control the rover, which is in a major
SPIN.
INT./EXT. LRV - MOVING
OUR LRV stops SPINNING. RESTARTING, they take the left.
A BULLET/SMALL ROCKET hits the back windshield, which CRACKS
slightly.
The Lunokhods are out of view now, but they're out there. A
RADIO VOICE pipes in:
RADIO VOICE
COLONEL, WE DO CONFIRM YOU'RE
FACING PIRATE ACTIVITY. Are you
all clear now, over?
Roy is LOOKING BEHIND HIM:
39.
ROY MCBRIDE
There're at least two behind us--
WILLY LEVANT
(to radio)
That's a negative, Hawk. They're
still out there, behind us at 140
and 220 degrees.
Roy leans out. His jaw jutting forward just a bit, he seems
anxious to do DAMAGE, a strangely VIOLENT COLDNESS coming
through here. He reaches down, takes out a WEAPON.
ROY MCBRIDE
(under his breath; to no
one)
I will handle these...
He AIMS his WEAPON at the HORIZON. Then it appears. It
COMES CLOSER and CLOSER! The Lunokhod is almost upon them--
HE FIRES HIS WEAPON.
An EXPLOSION. Another Lunokhod appears on the horizon.
Gains on them. ROY AIMS, FIRES AGAIN. ANOTHER PUFF of DUST.
WILLY LEVANT
(surprised)
Excellent shots, Major! Excellent!
ROY MCBRIDE
Thank you, Colonel.
A DARKNESS OVERTAKES US. It is PERMANENT NIGHT: THE FAR SIDE
OF THE MOON.
EXT. THE MOON - FAR SIDE
We now reach the Far Side (i.e. the side always facing away
from Earth) and are weaving amongst Chinese thermonuclear
REACTORS. ENORMOUS LIGHTS SWITCH ON in front of the ROVER.
WILLY LEVANT
(into radio)
SpaceCom, we've just entered the
Far Side. We need a push in 2500
clicks! 240 degrees, 58 seconds!
ROY LOOKS OVER TO PEDROSA.
ANGLE ON PEDROSA, from ROY'S POV. HE IS SLUMPED FOR A BEAT!
HE SITS BACK UP...
40.
EXT. THE MOON - FAR SIDE - ROAD
Multiple SPACESHIPS DESCEND and DROP ORDINANCE. "Daisy
cutter"-esque MOABs do their thing. It's gruesome,
spectacular, and Roy SPOTS IT looking behind him.
It's a ferocious scene, vicious and unforgiving, made all the
more bizarre by the utter LACK OF SOUND. The silence and
carnage is astonishing. The EXPLOSIONS are beautiful and
ferocious. The sky's lit up for miles.
MOONBASE VEDA is just ahead--it's built over a massive crater
and is underneath a DOME.
WILLY LEVANT
We are approaching Veda now, Major.
(beat)
Godspeed to you, gentlemen.
Pedrosa salutes. Levant and the rest of the crew depart,
unsentimentally, leaving behind DR. PEDROSA and TWO FACELESS
ASTRONAUTS to accompany ROY.
EXT. THE FLATTENED LUNAR LANDSCAPE
Roy disembarks from the LRV, flanked by the Faceless and
Pedrosa. PEDROSA and the TWO MEN BOUND DOWN THE SIDE OF THE
CRATER, with Roy.
They reach the bottom, a LAUNCH PAD for the fusion-powered
craft, THE CEPHEUS.
INT. VEHICLE ASSEMBLY STRUCTURE
A mammoth hangar in a covert underground silo. Greenhouses,
other life-sustaining structures inside, too. The SILO is
IMPREGNABLE, surrounded by a kind of HEAT MOAT which forms a
giant RED CIRCLE around the PAD...
ROY MOVES to a STEEL BAR. DR. PEDROSA PUTS HIS FOREARM under
a BLUE LIGHT.
The SILO OPENS.
INT. LAUNCH PAD
The spacecraft--THE CEPHEUS--is poised on the pad, glowing in
the beacon lights. Dr. Pedrosa REMOVES HIS HELMET and
GLOVES. Roy does the same.
41.
We PULL BACK to reveal the massive nature of the
spacecraft/rocket. A WOMAN, SERGEANT ROMANO, approaches:
SERGEANT ROMANO
Major, are you all right? We'd
been told an officer would be
joining us, and we heard about your
trouble getting here--
ROY MCBRIDE
Yes, Ma'am. The chaos is real
infuriating, no doubt. But we were
able to engage them on their terms.
Pedrosa INTERRUPTS Roy, pulling him aside. Something is
WRONG; he's sweaty, white as a sheet. Sotto:
DR. PEDROSA
Roy--please, take it--
He hands Roy a thin silver card. Roy looks at him,
bewildered:
DR. PEDROSA (CONT'D)
(sotto)
It is the redacted section of your
father's profile. The password is
"daisywheel". Examine it only when
you are off the grid. The hard
drive will protect you from any
viral interference.
Roy SPOTS BLOOD, CASCADING DOWN Dr. Pedrosa's HAND. Looks
around for help--
DR. PEDROSA (CONT'D)
Roy.
Roy spins back around. Pedrosa grabs him, SMEARING BLOOD on
ROY'S SLEEVE:
DR. PEDROSA (CONT'D)
SPACECOM does not trust you. Try
to remain as alert as possible; do
not allow them to cloud your
perception. And you will be
required at times to be less than
completely honest--but you must, to
preserve the mission and the
broader truth.
(beat)
I have faith in you.
42.
ROY MCBRIDE
(ferociously; to others)
MEDIC!
PEDROSA CRUMPLES TO THE GROUND. MEDICS COLLAPSE on him as
ROY BACKS AWAY. Roy is SURROUNDED by ARMY, among them
SERGEANT ROMANO. They pull him away from the dying Pedrosa.
Roy holds the CARD in his hand, POCKETS IT.
INT. SILO ELEVATOR
The doors open, Roy exits. OVER THIS, we HEAR:
A WOMAN'S VOICE (PRE-LAP)
Major McBride?
INT. SUIT ROOM
Sergeant Romano hands a spacesuit to Roy:
SERGEANT ROMANO
Your vitals are all here, on your
sleeve. Standard. Pulse, oxygen,
CO2, blood pressure, and so forth.
(beat)
This is your Mission Commander,
Captain Lawrence Blunt.
(to Blunt)
Captain Blunt, this is Major Roy
McBride, he'll be hitching a ride
to Mars on the jump seat.
Nearby, three men are donning their suits and going through
their EXHAUSTIVE CHECKLISTS. They eye Roy with varying
degrees of trepidation.
Focus on LAWRENCE BLUNT--early 40s, dark wavy hair, dark
eyes, powerful physical presence.
CAPTAIN LAWRENCE BLUNT
Right-o. Welcome aboard.
Blunt shakes Roy's hand.
CAPTAIN LAWRENCE BLUNT (CONT'D)
Sounds like you went through some
tough territory to get here, Major.
ROY MCBRIDE
We surely did. Significant force
proved necessary.
43.
Blunt nods. He looks through a clipboard, then:
CAPTAIN LAWRENCE BLUNT
You're certified, I'm guessing.
ROY MCBRIDE
Yes. In EVA and spacecraft
mechanics.
ROY NOTICES PEDROSA'S BLOOD ALL OVER HIS SUIT.
CAPTAIN LAWRENCE BLUNT
Terrific... This's First
Lieutenant Scobee--our Mission
Specialist.
He refers to DONALD SCOBEE--late thirties, brown hair in a
comb-over. He's in excellent physical condition. Looks like
old Nixon aide John Dean. He stares at Roy with his piercing
eyes as he extends a hand.
ROY MCBRIDE
How do you do.
A handshake. Scobee is COURTEOUS but tough as NAILS.
DONALD SCOBEE
Major.
And FRANKLIN YOSHIDA. Mid-forties. Totally remote,
taciturn, a man of science. Barely makes eye contact with
Roy.
CAPTAIN LAWRENCE BLUNT
Frank Yoshida's our Medic. And Lt.
Alan Tanner is on for navigation
and payload.
Finally, ALAN TANNER. Early-30s. A firm handshake and
muttered greeting. Roy responds:
ROY MCBRIDE
Good to meet all you.
Roy tries to turn his forearm to hide PEDROSA'S BLOOD.
A young CADET walks in with food. Blunt looks down at an
illuminated SOLAR SYSTEM MAP.
ROY MCBRIDE (CONT'D)
I am headed to Helios South, on
Mars.
44.
CAPTAIN LAWRENCE BLUNT
That's pretty close to where we're
headed. We've got a payload for
the North division, but you can
shuttle South once we're there.
ROY MCBRIDE
Will do. Grateful for the ride.
CAPTAIN LAWRENCE BLUNT
(re: food plate)
Well all right then... Make
yourself comfortable. Looks like
there's some ginger beer and farmed
salmon for final meal...
Roy turns to Sergeant Romano. Sotto:
ROY MCBRIDE
Sergeant--do we know the condition
of Dr. Pedrosa?
SERGEANT ROMANO
Yes. Unfortunately, he passed,
Major.
Roy nods, then turns, looks through GLASS at the ROCKET THAT
will TAKE HIM TO THE STARS... THE CEPHEUS... Here, as
everywhere, ARMED MEN and WOMEN abound. Looks down at his
hand: CLUTCHING THAT DOSSIER CARD.
EXT. LAUNCH PAD
Roy, in his SPACESUIT, walks with the others holding their
airpacks into the top of the rocket.
INT. THE CEPHEUS - COCKPIT
The cockpit is aglow with instruments and screens. Roy moves
past Blunt and Scobee as they are ensconced to perform final
preparations and checks.
Roy STRAPS IN.
CAPTAIN LAWRENCE BLUNT
(into the radio)
Checklists complete. We are ready
when you are, SpaceCom.
Destination Helios Station North,
Mars. Over.
45.
SPACECOM (RADIO FILTER) (V.O.)
Affirmative, Captain. T-Minus 15
seconds. Ready to go.
SpaceCom commences COUNTDOWN.
ENGINES ROAR to life. The ROCKET SHUDDERS from the force.
DONALD SCOBEE (V.O.)
Ten, nine, eight, seven, six...
ignition sequence begin. We have
main engine start.
INT./EXT. THE CEPHEUS
The LIFTOFF TEAM scrambles to get away. The Cepheus, barely
held to the gantry, is ready to go.
EXT. THE MOON
A great fire alights beneath The Cepheus.
DONALD SCOBEE (CONT'D)(V.O.)
Three, two, one.
The Cepheus rises, shaking off its tethers.
DONALD SCOBEE (V.O.)
We have lift off...
It explodes forward, hurtling around the Far Side.
INT. THE CEPHEUS - SEDATION AREA
Roy fights the G's.
SPACECOM (RADIO FILTER) (V.O.)
Cepheus, you are a go at throttle
up. Stand by for separation.
EXT. THE MOON - CEPHEUS
The Cepheus fires its BOOSTERS and explodes forward, hurtling
around the Far Side with increasing velocity. DARKNESS
returns to the launch pad.
46.
INT. THE CEPHEUS
The group settles in just a bit. The distant sounds of the
ENGINE are a soothing, rhythmic lullaby.
DONALD SCOBEE
SpaceCom, we are commencing CTP
ingestion.
Everyone TAKES A PILL which comes ejected from the console--
EXCEPT FOR ROY, who PALMS THE PILL and SLIPS it into his
pocket.
INT. THE CEPHEUS - COCKPIT - LATER
Roy looks at his fellow travelers, all engaged in checklist
tasks, other mundane activities:
DONALD SCOBEE
Pilot report A one-niner, Mars
trajectory... The burn was on
time. The residuals before nulling-
-minus 0.1...
ROY MCBRIDE
Captain, I think my suit's suffered
an oxygen leak. It's going to
require an epoxy patch.
LAWRENCE BLUNT
Happy to assist, sir.
ROY MCBRIDE
That won't be necessary, Captain.
Thank you. I've got it.
As Roy gets up, we SEE, to his RIGHT: "CAUTION: MANUAL
BOOSTER CONTROL".
INT. CARGO AREA
Roy floats in to a SECLUDED PART of the ship. He pulls out
what Pedrosa gave him. The DOSSIER/AMULET, a thin, silver
card. He inserts it into a slot of a small computer that is
in his sleeve. Inserts an earbud.
LASERS and OPTICS read his irises. SCREENS on his helmet
inside display his biorhythms.
ROY MCBRIDE
Password DAISYWHEEL. Slate 23.
47.
The password and bioscan activate the ELECTRONIC DOSSIER.
The dossier opens up on a screen before him--in what looks
like MID-AIR.
ON SCREEN: "LIMA TRANSMISSION INTERCEPT: 12/14/16.
UNTELEVISED CANADIAN BROADCASTING CHANNEL INTERVIEW: H.
CLIFFORD MCBRIDE"
INT. FIAT LUX - OCULUS BASE
PROFESSOR H. CLIFFORD MCBRIDE, looking into the camera.
Unlike videos from today's astronauts, these are HD, fluid
images.
H. CLIFFORD MCBRIDE
Hello CBC...Toronto...
H. Clifford McBride is on a space station, but exactly where
is unclear. He looks haggard and unkempt. UNHINGED.
H. CLIFFORD MCBRIDE (CONT'D)
I'd like to use this opportunity to
reach out directly. To my son. If
you could get this to
him...please...
(beat)
Roy... Solitude has increased my
perception... I look so far into
the universe here, and I see how
cruel it is in its indifference...
So many planets potentially
suitable for life, yet as of now we
hear and see nothing... I've come
to worry that our own long-term
survival is in doubt. My death is
not something I fear. But--the
extinction of ALL ideas, of all
human expression--that is the true
terror. Our consciousness must
extend into the future, past any
force that renders us extinct. We
must commit ourselves to this
goal...
(beat)
And so I, I... If you see this--
we're, we're real far away. And
some people haven't been able to
keep their composure...
(looks down, avoiding)
It's been very difficult...
48.
ANGLE ON ROY. His FACE registers that this is his father,
addressing him directly--and his father doesn't look good.
Roy looks down, at his SLEEVE. His VITALS. Over this:
H. CLIFFORD MCBRIDE (CONT'D)
I'm sure you will have a lot of
questions about the choices I've
had to make. But... Perhaps
someday you'll understand. I do
miss you. I'm sure you miss me,
too.
ROY'S PULSE STARTS CLIMBING... So he has to stop watching
before the computer redflags his bioactivity...
CUT TO:
INT. CEPHEUS - CARGO AREA
Roy takes the small stick given to him by Pedrosa and puts it
in an airlock, adding the PILL they gave him to take.
Releases the lever and sends the items into space...lost
forever...
A VOICE, through radio earpiece, from another part of
Cepheus:
A VOICE
Major! MAJOR!
Roy turns, moves to
INT. ANOTHER SECTION OF CEPHEUS
SCOBEE and YOSHIDA seem to be in some kind of quiet panic.
SILENTLY attending to the equipment around them. Then
Yoshida comes to ROY/US (the camera is NOW SUBJECTIVE) as ROY
settles back into the main area of the craft. Yoshida turns
to Roy, with urgency:
FRANKLIN YOSHIDA
Major--we're receiving a "mayday"
from a craft that's in our zone.
Per regulation, it may require you
to accompany Captain Blunt on an
EVA.
ROY MCBRIDE
No--we can't stop.
49.
FRANKLIN YOSHIDA
(surprised)
Major?
ROY MCBRIDE
We need to reach Mars.
FRANKLIN YOSHIDA
(smiles, an uncomfortable
laugh)
Major, this is protocol. We have a
mayday--
ROY MCBRIDE
We can't stop!
Roy moves past Yoshida into:
INT. THE CEPHEUS - CONTROL ROOM
Roy enters the CONTROL ROOM, sees that the other men have put
on their helmets.
The ELECTRONIC BEEPING alert plays, and DATA flashes across
the main MONITORS on the bridge. Lawrence Blunt to the
radio, with RADIO FILTER:
LAWRENCE BLUNT
Ninety-seven hundred kilometers
away, on the proximity alert.
ROY LOOKS OVER THEIR SHOULDERS TO SEE: on a panel screen: the
image of THE VESTA IX. A small, rotating station orbiting of
"Earth's second satellite," the asteroid called TORO. Roy is
agitated:
ROY MCBRIDE
The Helios Station is the
destination, Captain--why are you
stopping?
LAWRENCE BLUNT
We have a mayday, major--this is
standard--
(INTO COMMS)
Vesta Nine, this is Cepheus Seven,
United States Armed Forces Space
Division. Do you read, over?
Roy looks impatient, unsure how to press the case:
50.
ROY MCBRIDE
Other craft will be in the
vicinity. We have our destination.
LAWRENCE BLUNT
(confused)
Major, with respect, we're
obligated to stop. As you are
merely a passenger, I'm not sure I
comprehend your position.
Unable to reveal anything, Roy turns away as Tanner looks
through flight information:
ALAN TANNER
The craft is registered as
Norwegian, the Vesta Nine, orbiting
asteroid Toro. Registered for
biomedical research.
On another screen: A scan of the Vesta IX appears. And on
another SCREEN, ship schematics.
LAWRENCE BLUNT
(INTO COMMS)
Vesta Nine, do you read, over?
Still nothing. Roy looks at a screen for information. Eyes
the SCHEMATICS for the VESTA NINE.
LAWRENCE BLUNT (V.O.) (CONT'D)
Vesta Nine, according to the Outer
Space Treaty we are responding to
your distress call.
(beat)
Do you read?
ROY OVERHEARS:
ALAN TANNER
I just accessed their log. Last
transmission was Sept. 17, 13:37
PM.
LAWRENCE BLUNT
(to Command)
Command, I'm going EVA. Possible
forced entry required.
(to Roy)
You're the only non-essential
member of this craft. As you know,
protocol is for you to come along.
(beat)
Will this be a problem?
51.
Roy thinks for a moment, then, with thinly-veiled anger, he
starts to suit up.
INT. THE CEPHEUS - EQUIPMENT SECTION
Roy and Blunt strap on equipment and make final suit
augmentations for their EVA. Roy SEES Blunt is ARMING A
WEAPON, a GUNLIKE object.
LAWRENCE BLUNT
(stares at Roy for an
uncomfortable moment;
then:)
I'd advise you to arm yourself as
well. You're no longer in a
predictable environment.
ROY MCBRIDE
(curt)
I'm aware of that.
Frustrated, Roy turns, looks through GLASS to SEE: the Vesta
IX, about the size of the Cepheus, slowly rolling in place.
We hear Donald Scobee from the cockpit...
DONALD SCOBEE (RADIO FILTER) (V.O.)
Heading three-three-four. Cannot
confirm live contact. Range three-
zero-seven-zero meters and closing.
(beat)
Reactor is still hot.
(beat)
Optimum approach angle, thirteen
degrees. Coming around to three-
three-four.
Blunt leads Roy towards the hatch...
INT. THE CEPHEUS - AIRLOCK
Roy and Blunt stand before the airlock doors... which open
into space.
Out they go...
EXT. THE CEPHEUS
A few glittering LIGHTS distinguish the Cepheus from absolute
darkness.
Roy and Blunt jet towards the Vesta IX.
52.
EXT. SPACE
They venture away from the Cepheus and frighteningly into
deep space. The Vesta is still distressingly far...
And yet, the Vesta gets closer...
And closer...
EXT. VESTA IX
And then they are upon it! Roy reaches the airlock first.
He PUNCHES BUTTONS on the DOORFRAME, to no avail. STATIC
NOISE. Blunt motions to Roy, who uses a GATLING GUN to blow
open the airlock. In SILENCE.
INT. VESTA IX - AIRLOCK
Roy and Blunt enter the craft, pulse weapons at the ready.
No one's in sight.
DONALD SCOBEE (V.O.)
Gentlemen, one of you is required
to find the flight recorder box.
Blunt points to Roy, and he and Roy move in different
directions...
INT. VESTA IX - DECK
Roy floats through the craft--it's vacant, jammed with idle
instruments, empty console chairs. It's quiet, except for an
electrical HUM. We HEAR:
CAPTAIN LAWRENCE BLUNT (V.O.)
Vesta, this is Cepheus, responding
to your mayday signal... Do you
read...?
The ZERO GRAVITY renders a lot of things floating: PENCILS,
NOTEBOOKS, EQUIPMENT, LIT FLASHLIGHTS. They spin in the
craft.
INT. VESTA IX - LAB
Roy floats deeper into the craft. It's dark. Roy scans his
TRACKING DEVICE from side to side. The SPINNING FLASHLIGHTS
illuminate spots for brief moments. Roy grabs one as it
moves.
53.
By the looks of the LAB EQUIPMENT, it appears the craft
performs research on viruses and diseases.
Roy continues...
INT. VESTA IX - PASSAGEWAY
Roy MOVES towards an OPENING that leads to a DECK. LIGHTS
are coming from that area.
INT. VESTA IX - ANOTHER DECK
Much CLUTTER here, lots of ITEMS floating around.
Roy moves silently. A SCREEN COMES ON. A bearded man,
grizzly and haunted. A NORWEGIAN ASTRONAUT:
NORWEGIAN ASTRONAUT
This is a eulogy for 12 good men...
Men who came to space to advance
scientific understanding of the
universe. But... Our supply
generator has failed... We can no
longer see the earth--and it is not
visible from our current
perspective... No more earth. And
we are adrift, without purpose...
With no hope in sight, we have
decided to do the only logical
thing...
Then: something weird... CRIMSON ORBS are floating here and
there. There must be at least a dozen. Most are baseball-
sized, some are larger, some smaller.
ROY touches one. Liquid. He removes his finger, the orb
divides into smaller orbs.
Then--
Something else is FLOATING TOWARDS US... A larger MASS...
ROY backs up--
AND bumps into a BODY.
A dead body. He is startled. Roy pushes past them.
MORE DEAD bodies ahead.
One body leaks BLOOD, which bubbles out of the man's torn
suit, up, down and around, in every direction, forming the
crimson orbs.
54.
ROY MCBRIDE
Cepheus, I have one expired
individual here, no signs of anyone
alive. I believe I've viewed a
suicide video file of some kind.
DONALD SCOBEE
Copy that, Major. Uh, Major, we've
momentarily lost contact with
Captain Blunt here.
ROY MCBRIDE
Appears I have as well. Will
attempt eye contact.
INT. VESTA IX - B-DECK
Roy is in the aft of the ship and is DOWNLOADING information
from a central computer shaft. PULLS OUT a BLACK BOX from
the console.
A small LIGHT on Roy's tracker FLASHES.
ROY MCBRIDE (RADIO FILTER)
Captain?
No ANSWER.
Roy tenses, looks around. Starts to float in that direction.
Roy moves between cramped rows of SHADOWED EQUIPMENT.
There's MOVEMENT in front of him. He hesitates. Then,
another shadowy movement...
ROY MCBRIDE (CONT'D)
Captain Blunt?
Again, no answer! Roy RAISES HIS WEAPON. MOVES FORWARD TO
REVEAL:
AROUND THE CORNER:
We SEE a truly GROTESQUE SIGHT: a BABOON DEVOURING CAPTAIN
BLUNT'S FACE!
It's a big one, a Chacma, close to 100 pounds. It's insane
and hungry.
Roy jumps back, beyond startled.
55.
ROY'S P.O.V. -- The baboon SEES ROY, SHRIEKS (LOUDLY--but
SILENT TO US because of our helmeted P.O.V.). It knocks over
some equipment as it swims toward us in the gravity-free
space, floating towards ROY'S jugular.
BANG! ROY KILLS THE PRIMATE WITH HIS WEAPON.
It TUMBLES AWAY, dead.
Roy comes over to help. He looks in what remains of Blunt's
eyes. The pupils are not dilating. Roy PUNCHES a BUTTON on
the SIDE OF HIS HELMET. OUT OF BREATH:
ROY MCBRIDE
Cepheus, a research primate has
attacked the captain. He's
critically injured. Suggest
retrieving the VDR and moving the
Captain to the Cepheus as soon as
possible. Please advise.
DONALD SCOBEE
We confirm, this is our view as
well. Over.
Just then: A RUSH OF MONKEYS APPEARS, CHARGING AT ROY. HE
PULLS HIMSELF BACK, through an AIRLOCK, YANKING the SMALL
BLACK DATA BOX as well as BLUNT inside. Just in time, too,
as the MONKEYS SLAM into the AIRLOCK DOOR. Insanity.
INT. AIRLOCK - VESTA
Roy pulls out a HELMET from a ROW of them, inside the
airlock. Locking it into place on Blunt, placing carefully
it over Blunt's BLOODIED FACE.
EXT. SPACE
Roy and his cord--pulling the black box as well as an
inanimate Blunt--move back to the Cepheus.
EXT. CEPHEUS
As Roy approaches, the Cepheus is SPINNING. He gets to the
surface of the craft, waits until the AIRLOCK DOOR
approaches.
INT. THE CEPHEUS - AIRLOCK
The airlock doors whoosh open, and Roy rockets in with the
56.
equipment and Blunt's body on a tether cord. The doors close
behind him. He takes off his helmet. Yoshida helps him/them
through the airlock; PULLING OFF BLUNT'S HELMET, he's
horrified to see what's become of his Commander. Yoshida
begins immediately to work on Blunt. Roy is out of breath.
FRANKLIN YOSHIDA
(to Roy)
What the hell happened in there?!?
ROY MCBRIDE
It was a scientific vessel--they
lost control somehow.
(with gritted teeth)
I tried to tell the Captain... ALL
of you.
FRANKLIN YOSHIDA
Tell us what?
ROY MCBRIDE
That we have a task in front of us.
And that to stop would be a waste
of fucking time.
Yoshida goes back to work on the unresponsive Blunt. Leaning
his HEAD IN through the corrugated arch, ALAN TANNER reaches
for the BLACK BOX. He pulls it toward him. Then, sotto:
ALAN TANNER
(re: Blunt)
What's his status?
Yoshida SIMPLY SHAKES HIS HEAD. The CAPTAIN WON'T MAKE IT.
ALAN TANNER (CONT'D)
I'll inform Don, he'll have to be
certified for flight.
As Tanner PULLS the black box, Roy follows him into:
INT. COMMAND MODULE - MOMENTS LATER
Tanner begins to draw on the BLACK BOX data. Scobee is going
through his checklist, comparing it the BLACK BOX DATA that
is coming in on the computer. Roy moves closer.
The RADIO INTERRRUPTS:
SPACECOM VOICE
Cepheus, we received your message
concerning Captain Blunt. We have
Cpt.
(MORE)
57.
SPACECOM VOICE (CONT'D)
Scobee's retinal scan on file, and
he is now in control of the craft.
Over.
DONALD SCOBEE
This is Cpt. Scobee, SpaceCom.
Roger that. Over.
Sotto, to Scobee, Roy grabs Scobee's arm:
ROY MCBRIDE
Mars is our assigned destination.
That is what requires our complete
focus.
DONALD SCOBEE
Understood, Major. We're on our
way to Helios Station.
(louder; to Tanner)
Prepare boosters D-6, D-9.
ALAN TANNER
Boosters D-6 and D-9, roger that.
Roy HEARS something. Turns back to SEE:
INT. NEAR AIRLOCK
The life is leaving Blunt. ROY can SEE the BODY, ENTOMBED
inside his SPACESUIT. Yoshida finishes reading LAST RITES:
FRANKLIN YOSHIDA
...I commend you to almighty God,
and entrust you to your Creator.
May the angels and the saints come
to meet you, as you go forth from
this life. May you see your
Redeemer face to face and enjoy the
vision of God for ever...
(to the men)
Airlock engaged.
DONALD SCOBEE
Airlock engaged, roger that.
The AIRLOCK opens. A WHOOOSH!
EXT. SPACE
THE CEPHEUS RELEASES BLUNT'S BODY into the VOID...
58.
Their fallen commander tumbles away, into the darkness. The
Cepheus' BOOSTER ROCKETS FIRE, and the CRAFT speeds away--
leaving Blunt's body to tumble. Forever...
DISSOLVE TO:
EXT. MARS - LATER
The RED PLANET, floating in space. A space elevator with a
SPINNING DOCKING STATION is tethered to the planet.
The Cepheus ARRIVES into view, its retros thrusting.
INT. CEPHEUS
The men speak:
DONALD SCOBEE
(to radio)
SpaceCom, we are approaching Mars,
Helios North. Over.
EXT. OUTSIDE THE SPACE ELEVATOR
It slows to a stop as it DOCKS with THE DOCKING BAY connected
to MARS.
INT. THE CEPHEUS - CONTINUOUS
As Roy, Tanner, Scobee, and Yoshida ready themselves to
leave: A DOWNLOAD COMMENCES.
SPACECOM VOICE
Cepheus, this is SpaceCom. We have
a secure download for passenger Roy
McBride.
DONALD SCOBEE
Send it through. Over.
The FILE DOWNLOADS. Roy takes the chip and:
INT. SECURE CORNER
Roy downloads the chip:
59.
SPACECOM VOICE
An additional message was sent to
the moon's communications center,
approximately seven hours after
your departure.
ROY FOCUSES. On a SCREEN comes: THE IMAGES OF THE MEDIEVAL
CASTLE THAT ROY has OBSESSED OVER! The MUSIC is odd, a
strange "easy listening" tune...
ROY MOVES CLOSE TO THE SCREEN. Then, the IMAGERY CUTS OUT,
leaving a TEXT SENTENCE, white TEXT on BLACK SCREEN:
"ARE YOU COMING?"
NEW LINE of TEXT:
"06:10:00"
ANGLE ON ROY as we:
CUT TO:
INT. DOCKING AREA - CEPHEUS
Roy SHAKES the hands of Scobee and Yoshida and Tanner:
ROY MCBRIDE
My condolences for Captain Blunt,
gentlemen. I do appreciate the
ride and wish you the best on the
rest of your journeys.
DONALD SCOBEE
Thank you, Major. Glad we could be
of service...
The HATCH OPENS for ROY, and he glides through.
INT. SHUTTLE
Roy is in the shuttle to Helios South.
INT. DOCKING BAY - MOMENTS LATER
He enters the docking bay of the space station. Nobody's
here to greet him, although there are cameras and active
screens. BEEEEP! ROY SPEAKS:
ROY MCBRIDE
McBride, Roy C. Submit.
60.
Steps forward and puts his eye in the scanner.
WOMAN ON A SCREEN
Approved.
A moment, then a WHOOSH! A LARGE DOOR OPENS TO:
INT. SPACE ELEVATOR
The CREW, entering in the elevator. Roy looks out, SEEING
THE RED PLANET'S SURFACE APPROACHING as the thing descends.
INT. HELIOS STATION - MARS SURFACE
The ELEVATOR "lands" on MARS. The LARGE STEEL DOOR UNLOCKS
AUTOMATICALLY. ROY steps out.
We don't see any people here yet. But several SIBERIAN
HUSKIES walk up and down the halls of the installation. A
couple of them come up to our men and sniff around.
A weird SCREECHING sound pervades--as if something large deep
inside the station needs repair...or, at the very least,
WD40.
THEN: A FEW SCIENTISTS staggering down the hall, too--SINGING
some unknown song badly, somewhat drunkenly. A GUY IN ROLLER-
SKATES speeds past in the background.
A SEEMINGLY INSANE MARS OFFICER, a woman of fifty, charges to
Roy:
MARS OFFICER
Did you bring us seeds?!? What
about canned produce, did you do
THAT?
ROY MCBRIDE
No. I'm sorry. I don't have any.
Sorry... Is your commanding
officer--
Roy looks past her. It's MADNESS. More passersby, more
revelry... and the return of the Roller-Skater.
Next comes an unctuous officer named SERGEANT PETER BELLO
(fiftysomething, strangely tan) greets our man. He may not
be drunk, but it's unclear if he has his wits about him.
SGT. BELLO
(with a slightly mad grin,
too loud at times)
(MORE)
61.
SGT. BELLO (CONT'D)
Good afternoon! Or evening--or
whatever the fuck! WELCOME TO THE
VERY LAST MANNED OUTPOST IN OUR
SOLAR SYSTEM! [I'm] Sergeant
Bello... You comin' from earth, or
the moon??? OR WHAT?!? Wait,
whose retinal scan'd I approve?
ROY MCBRIDE
I've been sent by SpaceCom to
conduct an inspection near Vallis
Marineris and I need access to the
location as soon as possible. I
need to see a Colonel Lipset.
SGT. BELLO
Oh, I bet he's at Shunga Show,
brother! Where we should be! Keep
ourselves right in the head--and
down BELOW, if you get my meaning--
ROY INTERRUPTS him.
ROY MCBRIDE
I need to talk to him. It's
urgent.
SGT. BELLO
Okay, cowboy... Okay...
INT. HELIOS STATION - SHUNGA PARLOR
An enormous dark space, almost like the Whale Room in New
York's American Museum of Natural History. It's lit only by
black light.
PROJECTED ALL OVER, we SEE...several physically perfect
STRIPPERS (holographic--but also totally lifelike).
ROY joins the throng of SCIENTISTS & MILITARY. EVERYONE is
SMOKING POT and doing a lot of other stuff.
Roy walks through some of the strippers.
SGT. BELLO
(excitedly)
They keep us company! Don't
misunderstand me, we're not
allowed't make `em sentient,
course. But our scientists here've
tampered with `em--given `em a
little more personality, we'll say!
(MORE)
62.
SGT. BELLO (CONT'D)
They're still well within legal
A.I. cognition limits, I promise
you!
Roy looks around him at a couple of gorgeous (fake) women,
GYRATING IN UNISON to "TALKIN' LOUD AND SAYIN' NOTHING".
Roy SEES a LARGE BUFFET TABLE with PROCESSED FOOD.
The virtual HOLO WOMEN move around Roy like ghosts.
It's James Brown night, evidently. The Godfather of Soul is
actually here in person, "on stage"--a perfect, life-like
hologram.
Roy's sort of pushing the Holo Women away, like swatting
flies. His hand just goes through them. Roy and the rest of
the crew encounter:
Sitting on a cushion, smoking a BONG and working on God-knows-
what with old-fashioned pencil and paper, is astrophysicist
SAMIR MALIK--bearded, thirtysomething, bespectacled,
hippyish. A shit-eating grin. HIS WIFE, CHERYL, is next to
him. Projected around them is a WARM SPACE, almost like a
high-end LOG CABIN. STANDING NEARBY: COLONEL LIPSET, a
grizzled man, about forty-five years old. Lined face, gaunt.
He STARES AT ROY...
SGT. BELLO (CONT'D)
Sam, this guy's got orders, from
SpaceCom. Looking for a Colonel
Lipset.
Malik smiles broadly, holds out a hand to shake Roy's.
COMPLETELY STONED. His hand is robotic, a metallic gold (for
no explained reason).
SAMIR MALIK
Samir Malik--I'm superintendant.
With National Institute of
Sciences. Cal-Tech Mafia! This's
my wife, Cheryl.
CHERYL
Pleased to meet you.
SAMIR MALIK
(with a snort)
Well, it's a pleasure to meet
anybody this far out--'specially
anybody with their heads screwed on
straight! END of the LINE here!
63.
Awkward pause, the MEN LOOK AROUND at the surroundings.
COLONEL LIPSET is still staring. Then:
SAMIR MALIK (CONT'D)
(lets out a laugh)
Gotta maintain that human
connection somehow...
The OFFICER REACHES DOWN to a METAL PLANK below his feet and
FLIPS a SWITCH. OFF GOES the HOLOGRAPHIC ROOM AROUND THEM,
that "HIGH-END LOG CABIN", revealing the real space around
them. Stepping forward is Colonel Lipset:
COLONEL LIPSET
Major, I'm Colonel Lipset.
ROY MCBRIDE
Sir. YES.
As COLONEL LIPSET MOVES to shake Roy's hand, he LEANS IN,
softly into Roy's EAR:
COLONEL LIPSET
I've been fully briefed.
Straightening up, and louder:
ROY MCBRIDE
Yessir.
Roy turns, HANDS LIPSET A PRINTOUT.
ROY MCBRIDE (CONT'D)
My destination is these
coordinates.
COLONEL LIPSET
(looks, then to Malik)
Dr. Malik?
MALIK LOOKS AT IT, then UP AT THEM, LIKE ROY'S NUTS. Grows
DEADLY SERIOUS. Turns to his wife:
SAMIR MALIK
Honey, I've gotta go back to work.
(back to Roy)
Why don't you take a ride with me.
INT. HELIOS CORRIDOR - MONORAIL
ROY, SAMIR MALIK in a SPEEDING MONORAIL. A LIT MAP IS IN
FRONT OF THEM. With Malik is his right-hand, a woman named
KATHRYN COLLINS. COLONEL LIPSET is with them, SILENT.
64.
SAMIR MALIK
The spot is in the middle of our
complex of fission reactors. It's
a Westinghouse design, built--I
wanna say six earth years ago?
He looks to Collins:
KATHRYN COLLINS
That's right.
SAMIR MALIK
Right. Well, there was a meltdown
in reactor three a few months after
completion. Likely a result of
industrial sabotage.
ROY MCBRIDE
What's its current status?
SAMIR MALIK
Kathryn knows more than I do here.
Roy TURNS TO THE MAP IN FRONT OF THEM as it scrolls up to the
northern hemisphere, then stops. Like Google Maps' "Street
View"--a remote camera has captured the exterior of a Martian
REACTOR. Roy studies the location.
Collins points to the map, which shows a "skeleton" of the
reactor's innards.
KATHRYN COLLINS (CONT'D)
This area was walled-off after the
disaster. They poured concrete to
prevent further contamination. And
many of the tunnels are still
filled with cooling water.
Roy is studying images of a large TELESCOPE ARRAY near the
reactor in Valles Marineris.
ROY MCBRIDE
What is that, to the right?
KATHRYN COLLINS
A radio telescope. Still active.
Which is why we're continuing to
pump electricity, water, and oxygen
through the reactor. No one'll
spend the money to build a new
telescope away from the
contaminated area, and it needs
those things to operate.
65.
ROY MCBRIDE
So this whole zone is deserted now--
but it still has power, that's what
I'm to understand?
COLONEL LIPSET
That is correct, major.
Everyone falls silent. Lipset's interjection is odd. Then:
KATHRYN COLLINS
SPACECOM's using Cornell University
to do an ongoing study of the
disaster. One of their fellows's
named Francesca DeSanctis. She's
their point person.
As Roy sifts through the reactor scans:
ROY MCBRIDE
I'd like to debrief her--if that's
okay with you.
COLONEL LIPSET
We'll get her to you.
A TENSE BEAT. Then:
SAMIR MALIK
Anything we should know here?
COLONEL LIPSET
I'm sorry, Doctor--how do you mean?
SAMIR MALIK
(looks to Collins, then)
Well...we had a power surge, couple
of weeks ago, and we had a lot of
repair work on our hands.
COLONEL LIPSET
I seem to recall reading that
quakes happen here from time to
time, maybe that was the cause.
SAMIR MALIK
They do, but...
(beat; shrugs)
Look, we've heard rumors. About an
explosion, off Neptune.
(beat)
I guess I'm wondering--should
we...evacuate?
66.
Colonel Lipset looks to Roy, who responds "properly":
ROY MCBRIDE
The mission's classified, I'm
sorry.
Malik purses his lips. Not the most encouraging answer.
ROY MCBRIDE (CONT'D)
Please find the woman.
CUT TO:
INT. THE HELIOS - CHAPEL/LAB - CONTINUOUS
What was once solely a chapel has been converted to a lab
mixed with a weird version of a 1960's hippy ashram.
Blankets, lamps, etc. A WOMAN whose back is to us.
SAMIR MALIK
Her name is Francesca DeSanctis--
she was born here. She's part of
the Cornell Extension program and
had been working on the Mars
geology project. So she's been
researching the territory for
years.
A CLOSE SHOT on FRANCESCA DESANCTIS, early forties, as she
turns around to us. Lovely but also fragile. Not physically
delicate, but somehow, we can tell she's emotionally
vulnerable. She is whiter than white--as if her skin has
never seen sunlight. Veins are visible beneath her temples.
She looks into the camera, then STANDS UP, walks toward us as
ROY ENTERS.
FRANCESCA DESANCTIS
Hello.
ROY MCBRIDE
Good evening.
FRANCESCA DESANCTIS
(wide smile)
Or morning.
ROY MCBRIDE
(gentle smile in return)
Right, yes.
(beat)
I'm from USSPACECOM, and I have
some questions for you.
67.
FRANCESCA DESANCTIS
All right.
ROY MCBRIDE
I ask you not to be concerned, I
just need to know what you know--
FRANCESCA DESANCTIS
(interrupting)
I'm not concerned.
ROY MCBRIDE
Okay, that's good... Dr. Malik
informs me that you've been
studying the reactors?
FRANCESCA DESANCTIS
Yes. For about four years now, for
a SPACECOM study. I toured the
area myself before a series of
quakes hit the area. I was the
last to enter.
(wry smile)
I guess I'm the lucky one.
(beat)
All my records are on file, and I
have adhered most strictly to all
regulations. My scientific work is
very important. It's, it's what I
have.
ROY MCBRIDE
(nods; then)
You haven't noticed anything
unusual inside the reactors?
FRANCESCA DESANCTIS
Apart from the physical activity?
ROY MCBRIDE
What do you mean?
FRANCESCA DESANCTIS
I informed SPACECOM about signs of
a physical disturbance inside the
reactor. Didn't they tell you?
ROY MCBRIDE
(thrown)
No...I, I have no information on
that matter...
68.
FRANCESCA DESANCTIS
Well, it's my feeling that a person
has been inside the core. I've
noticed what I think are some very
obvious signs.
ROY IS STUNNED.
FRANCESCA DESANCTIS (CONT'D)
I can take you down there--if, if
that's where you need to go. I
know the routes and I can help.
ROY MCBRIDE
(cutting her off)
Thank you. I think I have enough
information for now. I'll contact
you.
CUT TO:
INT. HELIOS CONFERENCE ROOM
Roy and Colonel Lipset are huddling. Lipset looks at DATA
PAPERS. In medias res:
ROY MCBRIDE
I do believe now it's possible that
my father escaped from Neptune,
yes. In a craft of some sort,
perhaps--something of 3-D
fabrication. We'd have to find out
where he's hiding here on Mars,
course.
COLONEL LIPSET
Either that, or it's not him.
ROY MCBRIDE
Sir, with respect, there's no one
else who had knowledge of the
things that have been sent to me.
It is him.
Lipset looks up. A beat. Then:
COLONEL LIPSET
No one's been inside there for
years. We don't know what's down
there.
(MORE)
69.
COLONEL LIPSET (CONT'D)
It could be extremely dangerous--
the radiation, the, the self-
replicators may still be active.
And you don't know the
way--
ROY MCBRIDE
I would go with Ms. DeSanctis. She
would guide me to the location and
I could then initiate the contact
with my father. I would set her
free and convince him to surrender.
You'd have continued access to my
data, and you could speak with me
directly through my MMU.
(beat)
This is the necessary mission, sir.
And time is critical.
Lipset begins to BURN the DATA PAPERS.
COLONEL LIPSET
We'll have to follow you close
behind, ready to move and hopefully
obtain intel on the Lima Project's
precise location off Neptune.
Roy LOOKS TROUBLED. DOES NOT SPEAK UP.
COLONEL LIPSET (CONT'D)
Is this a problem for you?
ROY MCBRIDE
(beat)
No sir...
COLONEL LIPSET
Good. Because we're only here to
help.
ANGLE ON ROY as we:
CUT TO:
INT. HELIOS PREPARATION ROOM
Francesca is getting a SPACESUIT put on her. She's rarely
had one on before; it looks awkward, almost preposterous, on
her. She's older than Roy; she is lovely in her
vulnerability. Incredibly aware and sensitive eyes--as well
as a seemingly easygoing manner:
70.
ROY MCBRIDE
Are you uncomfortable with the
unit, Ma'am?
FRANCESCA DESANCTIS
I've grown up with these but I've
never liked them.
ROY MCBRIDE
This one's considerably better than
the earlier models. I've noticed
increased flexibility with the
newer MMUs. They have all our
vitals here. And you can release
all the nitrogen fuel at once, if
you need to, from the pack or even
from your boots, here.
(beat; senses her stress)
If you breathe normally, there's no
cause for panic.
FRANCESCA DESANCTIS
That's what I try to do.
(smiles)
"Breathe," I tell myself. It
should be easy. It probably is,
for you.
She accepts that. Roy REACHES for a SMALL ELECTRONIC FLAT
SCREEN, which he unfolds:
ROY MCBRIDE
Is this map accurate?
FRANCESCA DESANCTIS
(nods; then)
Yes. But when we get there,
there's also a guide rope that we
installed through the tunnels right
after meltdown. It leads to the
center of the core.
ROY MCBRIDE
Okay...
(beat)
And--and thank you, Ma'am. You can
rest assured that this is of great
importance, what you're doing. For
the Earth.
FRANCESCA DESANCTIS
(nods; then)
I've only been to earth once,
actually. As a child.
(MORE)
71.
FRANCESCA DESANCTIS (CONT'D)
I have a tissue disorder because I
was born here. They said I'd die
if I tried going back, through the
radiation belt. But they're working
on new medications.
Unexpectedly, she stops speaking. Looks at Roy. Her EYES
WELL UP:
FRANCESCA DESANCTIS (CONT'D)
I remember it very well--I
remember, it was extremely
beautiful.
ROY MCBRIDE
Some parts, yes.
(lets out a laugh)
Other parts...not so much.
FRANCESCA DESANCTIS
(interior)
I wish I could be there...I wish,
more than anything else...
(louder; eases)
A lot of people here get lonely.
And they break down. The mental
hospital at Helios is always full
of patients.
(sotto; looks at the map)
It's why I always thought the
reactor crew itself caused the
meltdown. I think they just lost
it...
A beat. She seems to get an idea:
FRANCESCA DESANCTIS (CONT'D)
Hey, I think I saw a news program
on you, from a few years back. I
just realized, I think I know you!
ROY IS MOMENTARILY CONFUSED:
FRANCESCA DESANCTIS (CONT'D)
It was--it was about the Space
Antenna!
ROY MCBRIDE
Oh yes, the gravitational wave
antenna. It's almost finished now.
It's going to be an excellent
project. We'll be able to hear any
intelligent life, possibly even
respond.
72.
FRANCESCA DESANCTIS
Maybe I'll be able to go to the
Earth and see it someday...
ROY MCBRIDE
Yes, it will be completed soon.
Our team was really working toward
that. All of us, back home. It's
a very worthy endeavor--
communication with other potential
lifeforms.
DeSanctis looks at her suit. Then:
ROY MCBRIDE (CONT'D)
I think you're ready.
A BUTTON on Francesca's SUIT is PUSHED and it COLLAPSES
AROUND HER, SNUG. She looks uncomfortable--but ready. Roy
SMILES at her; he's comfortable. There's even a level of
sexual attraction, maybe. Maybe. Roy talks to his sleeve:
ROY MCBRIDE (CONT'D)
Doctor, Colonel--I think we're good
to go here.
ANGLE ON ROY as he LOOKS UP. THROUGH GLASS, we SEE: SAMIR
MALIK and COLONEL LIPSET looking at them.
CUT TO:
INT. UNDERGROUND STATION
A maze-like installation. A ROVER about to depart.
INT. ROVER
In the ROVER are Roy and Francesca. With KATHRYN COLLINS
driving.
EXT. MARS - SHUTTLE PORT - DAY
The ground opens up and the rover emerges onto the strikingly
bright Martian terrain.
EXT. MARS - VALLES MARINERIS - LATER
The rover drives alongside one of Mars's monumental canyons,
VALLES MARINERIS. It's amazing.
73.
INT. ROVER
A wonder to behold. ALL DIALOG IS RADIO FILTER:
FRANCESCA DESANCTIS
That is Valles Marineris, over to
your right--it's a thousand times
bigger than the Grand Canyon on
earth. And just about every other
month an earthsick person throws
himself off it.
INT./EXT. FRONT ROVER - CONTINUOUS
Francesca DeSanctis gestures to a large structure that
they're about to pass.
FRANCESCA DESANCTIS
The area we're entering was self-
sufficient at one time, with a
greenhouse and self-replicating
units for maintenance and repair.
(to Collins)
You can take us right to that white
circle, Kathryn.
KATHRYN COLLINS
Will do.
Collins pulls the rover over to the side of the road, near a
WHITE STEEL CIRCLE TUBE in the dirt--about 10 feet in
diameter. Roy leans forward. To Collins:
ROY MCBRIDE
I have activated GPS so you can
find us. When we're done. It
reports that we have twenty-six
minutes until we need to be inside.
KATHRYN COLLINS
Roger that. We'll be more than
happy to come pick you up on our
Mars Taxi service!
(no answer from Roy, so)
Good luck, both of you!
EXT. MARS - VALLES MARINERIS - CONTINUOUS
The rover's doors open. Roy steps out.
Roy and Francesca are left all alone as the Rover leaves
behind a trail of dust.
74.
It's silent. The landscape is mostly barren--the greenhouse,
the radio telescope, and a few other structures are in the
distance.
A purple DUST STORM materializes, gathers, grows, approaches.
The atmosphere is obscured.
Luckily, the atmosphere is so thin that these twisters are
harmless--they just leave a RED/VIOLET HUE over Roy's and
Francesca's spacesuit and helmet.
Francesca finds a HATCH, covered in dust and dirt. POINTS TO
ROY. Roy bends down, shoves the dirt away and find a metal
protuberance. After removing more dirt, he is ABLE TO LIFT
UP THE HATCH.
DOWN THEY GO, INTO AN UNDERGROUND CHAMBER.
INT. UNDERGROUND CHAMBER
A CONCRETE SARCOPHAGUS. A WALL. With a CIRCULAR WHEEL,
leading DOWNWARD. FRANCESCA GESTURES.
ROY TURNS THE WHEEL. It opens, and they descend into the
DARK WATER:
INT. TUNNELS
THEY ARE NOW SWIMMING in a TUNNEL of DARKNESS. Roy and
Francesca have HELMET LIGHTS which illuminate a few feet in
front of them.
They PULL THEMSELVES ALONG by the GUIDE ROPE.
ROY'S SLEEVE BLINKS: "EXCESSIVE RADIATION"
INT. DEEPER INTO THE TUNNELS
They are dark.
Only a few feet in front of Roy is illuminated.
THE TWO PULL THEMSELVES ALONG THE ROPE SLOWLY and CAREFULLY.
INTO THE DARKNESS.
But then we see the movement of particulate in the air.
Something is causing dust to disperse in that DARK TUNNEL...
ROY MCBRIDE
Something appears to be moving.
75.
The breaths quicken.
TERROR on her face. He looks down the pipeway; he can focus
on nothing else...
SOMETHING begins to appear in the darkness...
FRANCESCA DESANCTIS
I just received a text message,
imploring us not to proceed. It
says if we do we will be
destroyed...
SLOWLY BUT SURELY we begin to make it out...
It is a creaturelike SELF-REPLICATING MACHINE.
We've SEEN SOMETHING LIKE IT before; they were working on the
tether, in the beginning of our story. But this one is
larger, somehow more unforgiving. Its HEAD is ONE HEADLIGHT;
the head looks like Odilon Redon's portrait of the CYCLOPS...
It charges at them in silence, through the dense water. It
appears to be WELDING--it has TENDRILS, like a HYDRA, which
it uses to push itself down the TUNNEL.
It gets CLOSER AND CLOSER!
ROY MCBRIDE
Please send it code, tell it that
we'll proceed no further and it
need not be concerned.
She is typing into her sleeve. A TENDRIL REACHES OUT about
to GRAB FRANCESCA.
AND THEN IT STOPS. STOPS PROCEEDING.
Roy steps forward. Approaches the enormous hydra, which
seems frozen and no longer threatening.
AT INCREDIBLE SPEED, he withdraws his PULSE WEAPON, FIRES AT
IT. DIRECT HIT!
It moves spasmodically for a moment after it is hit--almost
as if in physical pain.
ROY APPROACHES IT, CLOSE, FIRING THE PULSE WEAPON to the
CENTER of the EYE of the HEAD...
THE HYDRA JERKS SPASMODICALLY AGAIN.
ROY then GRABS FRANCESCA'S ARM; REACHES OVER and PULLS on
what LOOKS LIKE A RIPCORD of sorts from his MMU.
76.
THE MMU on ROY'S BACK RELEASES ALL THE NITROGEN in the PACK,
YANKING HER and ROY with TREMENDOUS SPEED PAST THE DESTROYED
HYDRA; they TUMBLE THROUGH THE WATER, BLOWING away from the
HYDRA and toward relative safety.
ROY finds the CABLE, and, holding onto FRANCESCA, he uses her
own MMU for power.
INT. TUNNEL AIRLOCK
The TWO ENTER:
Francesca leads him.
ROY MCBRIDE
(to radio)
Command, it appears we encountered
a self-replicator of some kind,
perhaps one meant to secure the
structure.
COMMAND VOICE
Copy that, Major. Is it still
active?
ROY MCBRIDE
Negative. It has been disabled.
COMMAND VOICE
All right, proceed to the core.
You have twelve minutes until you
reach the time indicated.
INT. DIFFERENT TUNNEL
The two enter a long, BLUE-LIGHT TUNNEL. After a few steps,
Roy stops. Something's wrong:
FRANCESCA DESANCTIS
Major? Are you all right?
A beat.
ROY MCBRIDE
My pulse is getting a little more
rapid here.
FRANCESCA DESANCTIS
Mine is as well. We didn't expect
to encounter that.
(MORE)
77.
FRANCESCA DESANCTIS (CONT'D)
The unit was perhaps agitated by
the recent quake--disoriented by
having to operate alone.
ROY MCBRIDE
No...Ma'am--that's, that's not it.
Situations of that nature don't
present difficulties for me.
(checks his numbers)
And this is indicating that my
metabolic levels are increasing
only now, as we approach the core.
(beat; to himself)
I, I have to address this...
FRANCESCA DESANCTIS
Should we wait to enter?
(beat)
Perhaps you're getting anxious
about what you'll find there--
ROY MCBRIDE
(interrupts)
No. We must enter the core.
INT. UNDERGROUND CORRIDOR
They MOVE THROUGH the corridor to:
INT. UNDERGROUND CHAMBER - THE CORE
A massive chamber. Roy and Francesca come ACROSS THE
ENORMOUS BASE of the REACTOR. A FLICKERING SERIES of
FLUORESCENT LIGHTS illuminate HALF the ROOM. It looks almost
lived-in, frozen in time. Like there should be half-drunk
cups of coffee on the consoles.
Francesca DeSanctis's back is to ROY.
ROY MCBRIDE
Is this it, Ma'am?
FRANCESCA DESANCTIS
Yes.
ROY MCBRIDE
All right. Ma'am, I have to inform
you, I've got an operation I need
to conduct shortly, and it's
classified. So...you're not going
to be able to remain here.
(MORE)
78.
ROY MCBRIDE (CONT'D)
(beat)
I'm sorry.
She LIFTS THE HELMET OFF HER HEAD. We STARE FOR A BEAT at
the BACK OF HER HEAD. Then:
ROY MCBRIDE (CONT'D)
Ma'am? Did you hear what I said?
FRANCESCA DESANCTIS
Did it--ever seem possible that you
might find out something about
yourself? Something that might--
change you?
ROY MCBRIDE
I don't know exactly what you're
referring to. As I said, I have
some objectives, and our
conversation has to be terminated
now.
FRANCESCA REACHES OVER, HITS a LARGE KEY on a console. A
RECTANGULAR MONITOR begins to PLAY IMAGES WE'VE SEEN, of the
boy and girl at THE CLOISTERS!
FRANCESCA DESANCTIS
It always felt like we were
destined to meet again. Like it
was fate.
THIS TIME, we SEE the ENTIRE SET OF IMAGES. A LARGE FAMILY,
at THE CLOISTERS. THE YOUNG BOY is DRAWING for a somewhat
older GIRL. A SMALL PICNIC, or PARTY... AND the GIRL MOVES
to SIT ON...
H. CLIFFORD McBRIDE'S LAP. The BOY HANDS A DRAWING TO THE
GIRL.
FRANCESCA DESANCTIS (CONT'D)
It's the only time I saw you, the
only time I was on earth. But--I
feel as though I know you so well.
Your father photographed you a lot
as a child. And I still look at
the pictures and the videos all the
time. So...I feel very connected
to you.
(beat)
I wish you knew about me.
ROY IS FLUSTERED. FOR THE FIRST TIME in our STORY, HE IS
TRULY THROWN.
79.
The RADIO begins to SOUND in ROY'S HEAD:
COMMAND RADIO
Major, we are registering her non-
compliance. We are within ten
meters, ready to engage.
She TURNS TOWARD HIM and US, HOLDING a BLACK FOLDER in HER
HANDS. She takes a step toward him. He reaches down, toward
his PULSE WEAPON.
FRANCESCA DESANCTIS
Your father was so lonely in his
travels. He had another life here,
on Mars. Another family.
She smiles to him, gently--a genuine though somehow
melancholy smile.
FRANCESCA DESANCTIS (CONT'D)
He is my father, too.
FRANCESCA DESANCTIS then PUSHES THE BLACK FOLDER toward ROY.
She FLIPS IT OPEN.
IT IS THE DRAWING THAT THE BOY GAVE THE GIRL in the VIDEO.
ROY LOOKS AT THE DRAWING. It's incontrovertible. HE
REALIZES. It's TRUE.
FRANCESCA DESANCTIS (CONT'D)
He wanted me to reach out to you.
I was afraid you couldn't be
trusted at first. But then I lost
touch with him and when I saw you,
I knew it was the right thing to
do.
(beat)
I called for you, Roy. The
messages were from me.
HE APPROACHES the SCREEN. NOW IT IS FOOTAGE OF ROY through
the YEARS, beyond the IMAGES we've seen. HIM AS A TODDLER,
AS A TEEN, AS A CADET. FRANCESCA is NOW BEHIND HIM AGAIN.
COMMAND RADIO
Major, we are ready to intercede.
ROY MCBRIDE
What...is it you want from me...?
HIS EYES BEGIN TO WATER. YES, WE ARE SEEING TEARS BEGIN TO
FORM IN HIS EYES!
80.
FRANCESCA DESANCTIS
He needs our help.
ROY MCBRIDE
(for himself)
Dr. McBride...abandoned me...
FRANCESCA DESANCTIS
Your father went to Neptune to try
and save us.
Now Francesca, emotional as well, her back to us again:
FRANCESCA DESANCTIS (CONT'D)
The mission went too far from the
Earth, and many in the crew went
insane...
(over her shoulder, to
Roy)
You've seen for yourself how hard
it becomes when the Earth is no
longer visible. When they
attempted their sabotage, he did
what he had to do to continue on.
(eyes back down to the
floor)
He is a truly great man. He told
me they found antimatter, that he
wanted to make it all anew. But
he's gone silent now. All his
findings have stopped being sent to
Earth. I am concerned--I worry for
him so much...
(she turns to Roy)
He needs our help. I can locate
him. I will give that to you.
Roy STARES AT HER for a MOMENT. Lost, almost as if he's
short circuited:
ROY MCBRIDE
I have...my own...directives.
She approaches him:
FRANCESCA DESANCTIS
We're his family. He had no way
back, but maybe you will.
(beat)
Please. He needs our help! He
cared about you, he did. HE LOVED
YOU, all this time. I know he did--
81.
HE IS SHAKING. A BEEPING BEGINS; it's his VITALS, on his
SLEEVE. THEY'RE OUT OF CONTROL!
She touches his arm with tenderness.
ALL OF A SUDDEN:
The DUCTS SLIDE OPEN. STEPPING IN: TANNER and YOSHIDA, in
their suits. POINTING WEAPONS RIGHT AT HER. The THREAT is
clear. FRANCESCA is startled. To her:
ALAN TANNER
Down! On your knees! Right now!
Roy begins to approach Francesca. The others intervene. A
CHAOS BUILDS. AS TANNER PULLS OUT a STRANGE CORD:
ALAN TANNER (CONT'D)
We'll handle the interrogation from
this point forward, Major.
ROY MCBRIDE
She--she may well have information
only I can access here!
ALAN TANNER
Major, you are currently under no
condition to continue this
interview.
ROY MCRIDE
That's incorrect. It's imperative
that you interrogate her with me
present--
AS TANNER ATTACHES IT TO HER:
ALAN TANNER
Orders are now that you are to
retrieve all relevant data and
return to the Cepheus. There is a
shuttle waiting for you. She'll be
processed appropriately.
TANNER PULLS HER AWAY. SHE IS YANKED OUT OF THE SPACE, and
as she IS, SHE STARES AT ROY as the two EXIT. Yoshida
remains, with Roy.
Roy MOVES to the CONSOLE, where his FAMILY HISTORY CONTINUES
TO PLAY OUT IN FRONT OF HIM:
FRANKLIN YOSHIDA
Major, we have to proceed now.
82.
Roy does not move. LIKE A SHORT CIRCUIT.
FRANKLIN YOSHIDA (CONT'D)
Major.
(beat)
MAJOR.
(beat)
YOUR ORDERS ARE TO RETRIEVE THE
DATA CELLS AND RETURN TO THE
CEPHEUS.
YOSHIDA DEPARTS. ROY MOVES TO THE CONSOLE and BEGINS TO
REMOVE THE DATA CARD FROM THE BOARD, UNSCREWING THE CARDS.
THE IMAGES OF HIM DISAPPEAR FROM THE SCREEN as he TAKES ALL
THE INTEL HE CAN.
EXT. MARS SURFACE - LATER
ROY EMERGES, boards the automated, driverless GPS-guided
ROVER THAT IS WAITING FOR HIM.
INT. SPACE ELEVATOR
CLOSE ON ROY...in the silent elevator car as it lifts up,
away from Mars.
INT./EXT. DOCKING PLATFORM
Roy ENTERS/FLOATS INTO the DECK, returning from the elevator.
Roy retreats inward at the sight of Colonel Lipset:
ROY MCBRIDE
(distant)
The tasks are completed.
Everything from the core's system's
been obtained...
COLONEL LIPSET
I'm sorry, Roy. SPACECOM and I
felt it necessary to contact your
associates from your trip to Mars.
Your behavior with them did cause
concern. We have fully briefed
them now.
ROY MCBRIDE
Concern...?
83.
ALAN TANNER
You sent data into space. You also
neglected to take your sedative
capsule, and you protested the
response to a standard mayday call.
ROY MCBRIDE
(sotto)
You know why I resisted now...
A WARNING LIGHT GOES OFF on the console.
FRANKLIN YOSHIDA
I'd recommend a sedative for you,
Major.
ROY MCBRIDE
NO. My metabolics will return to
normal in just a moment. The
environment on Mars was high-
stress, and it was a standard
reaction. I just need to do this--
Roy ATTACHES the DATA BOX to the Cepheus. DATA BEGINS TO
FLOW from it into the craft's computer.
Yoshida tries to hand Roy a pill and a cup of water.
FRANKLIN YOSHIDA
Major--
COLONEL LIPSET
Major, take the sedative--
ROY MCBRIDE
I HAVE TO DO THIS RIGHT NOW. THIS
IS MY TASK.
Roy PUSHES THEM AWAY. Alan Tanner looks to Donald Scobee.
Scobee moves to speak into the console as the Cepheus
DECOUPLES FROM the elevator's docking platform:
DONALD SCOBEE
SpaceCom, we are ready to proceed.
ANGLE ON ROY as he is turned inward. No eye contact with the
rest of the crew.
FRANKLIN YOSHIDA
Major, I'm going to have to insist.
84.
ROY MCBRIDE
(to Colonel Lipset)
What--was the result of your
interrogation of Ms. DeSanctis?
The men have no reaction at first.
ROY MCBRIDE (CONT'D)
Did you gain any further
information from her?
Then, without a word, LIPSET REACHES OVER and PRESSES a
BUTTON ON the CRAFT'S CONSOLE MONITOR. He types in
something, and on comes a SURVEILLANCE CAMERA IMAGE:
THE SURVEILLANCE IMAGE is of Francesca DeSanctis, seated, in
what looks like a small white room with a dropped ceiling and
fluorescent light. We hear some MURMURING, which is
UNINTELLIGIBLE from her, and from the others who surround
her.
ROY WATCHES, IN TURMOIL.
The MEN who surround her are our team: Lipset, Tanner,
Scobee, Yoshida. They are at moments on, and offscreen,
their backs to us. They appear to be interrogating her. We
HEAR SNIPPETS.
"What were you doing there...?"
"You are sitting there, without any..."
She isn't looking at them. Entering the FRAME is LIPSET:
COLONEL LIPSET
LOOK AT US.
After a BEAT:
FRANCESCA DESANCTIS
I won't speak to you until Major
McBride is here. He needs to be
present.
COLONEL LIPSET
Major McBride is not part of this
particular operation. So you're
going to need to respond to us--
right now, Ma'am.
FRANCESCA DESANCTIS
You don't understand. I am not
your enemy. You're talking to me
like I'm your enemy--and I am not.
85.
COLONEL LIPSET
You are admitting that Clifford
McBride is your father, and you've
been in contact with him. That's
correct, is it not?
She stares at Lipset.
COLONEL LIPSET (CONT'D)
You're aware he is posing a
potentially catastrophic threat?
FRANCESCA DESANCTIS
I need to see my brother. Major
McBride.
COLONEL LIPSET
WHAT IS THE PRECISE LOCATION OF THE
LIMA PROJECT?
FRANCESCA DESANCTIS
I need to see my brother.
She STANDS UP. TANNER MOVES BEHIND HER with INCREDIBLE
SPEED. As this is happening--
LIPSET THROWS her BACK, to the CHAIR. VIOLENTLY. But she
still TRIES TO GET UP, so LIPSET SLAPS HER, HARD, ACROSS THE
FACE.
She FLAILS. The MEN CHARGE AT HER, and TANNER PUTS her in a
CHOKEHOLD. Francesca starts to GASP. And SHAKE.
FRANCESCA DESANCTIS (CONT'D)
I--I need help--
DONALD SCOBEE
If you want help, you'll tell us--
Francesca SHAKES VIOLENTLY NOW. Is it a SEIZURE...?
FRANKLIN YOSHIDA
Hold it, hold on there--whoa--
SHE CRUMPLES TO THE GROUND, her body VIBRATING with
uncontrollable force. WEIRDLY QUIET, FAST...
TANNER PUTS HIS KNEE ON HER BACK. We HEAR the men through
MUFFLED SOUND:
THE IMAGE ENDS. BACK TO:
86.
INT. THE CEPHEUS - COCKPIT
Where the men are now ominously surrounding Roy. Tanner at
the controls, initiating STAGE-1 liftoff away from the dock:
ALAN TANNER
...Booster looking good at 4
minutes. Level sense arm at 8 plus
17; outboard cut-off at 9 plus
11...
ROY MCBRIDE
(disturbed)
Where--where is she?
COLONEL LIPSET
The subject is dead. She stopped
breathing and couldn't be revived.
But we extracted the coordinates of
the Lima Project transmissions.
From the Mars reactor data. We
know where to go.
ROY MCBRIDE
(interior)
You...killed her?
FRANKLIN YOSHIDA
It was likely some kind of
congenital disorder.
ROY'S RAGE is building.
COLONEL LIPSET
Major, your contribution to this
mission has come to a close.
The ship's STAGE-1 thrusters (minor, low-velocity) are
FIRING, powering the ship away from the Helios's upper
station (the top of the space elevator).
ROY MCBRIDE
(reverts to form)
What's--what's important here
is...the mission.
COLONEL LIPSET
We're appreciative of your
contributions.
ROY MCBRIDE
I have followed orders and
accomplished my objective. I need
to brief SpaceCom.
87.
FRANKLIN YOSHIDA
SpaceCom's already fully aware of
the situation. You failed your
last two psych-evals.
Roy stops himself. He sees them surrounding him. Scobee is
in front of a control panel.
The Cepheus has reached a safe radius, about a mile away...
So the STAGE-2, high-power rocket thrusters now have room to
fire safely. Tanner initiates Stage-2 procedure, a COUNTDOWN
begins.
The suspense intensifies, and it's eerie, as everyone's just
floating, suspended, waiting...
Roy's FACE GOES WHITE.
COLONEL LIPSET
Major. We don't want to have to
eliminate you.
Yoshida moves towards Roy.
Yoshida continues forward, towards Roy--Roy's eyes burn with
intensity. Tanner GRASPS his PULSE WEAPON.
It's clear they do want him DEAD. Scobee APPROACHES Roy,
too. Lipset stays back. Just as Scobee is near Roy--
Roy IGNITES his MMU's BOOT JETS, which blow Scobee back
against the opposite wall with such force that Scobee's
KILLED instantly, and he CRUSHES AND KILLS Lipset--behind him-
-as well by the force of his body.
The OTHERS MOVE TO ROY, who--PULLS DOWN on a THRUSTER on the
CONSOLE of the CRAFT.
The ENTIRE CRAFT BEGINS TO REVOLVE, MAKING A FULL REVOLUTION
every SECOND.
The CENTRIFUGAL FORCE PUSHES EVERYTHING to the SIDES of the
craft--all the CLIPBOARDS, FLIGHT PLANS, PENS, PROCEDURE
BOARDS, etc. STICK TO THE WALLS.
The MEN are all SHAKEN up. Completely DISORIENTED for a
moment.
Tanner is shaken loose and hit hard, but he's only stunned.
By this point, Yoshida ATTACKS Roy with vicious BLOWS.
Roy LURCHES TOWARD the WALL of the CAPSULE; HE PULLS a small,
metal CANNISTER that is strapped to the wall near him.
88.
He swings the cannister at Yoshida and connects with
Yoshida's skull. Yoshida tumbles away.
Now, it's just Roy and Tanner. Roy is bleeding. Tanner is
holding a PULSE WEAPON. All Roy has is the cannister. But
with the CRAFT SPINNING, it's virtually impossible to AIM.
Tanner pulls the trigger--the weapon BLASTS.
Roy manages to twist out of the way of what was bad aim due
to the spinning. The BLAST barely misses him.
ROY GRABS a PEN from the SIDE OF THE CRAFT.
He STABS YOSHIDA in the NECK. YOSHIDA'S BLOOD BLOOMS. This
FORMS GLOBULES of BLOOD in the WEIGHTLESSNESS!
Roy uses the moment to EVADE Tanner. Utilizing the
NETTING/WIRING along the side of the ship, Roy scrambles
away.
The SUNLIGHT COMES THROUGH the WINDOWS FLASHES AS FAST AS A
STROBE LIGHT...
INT. THE CEPHEUS - ANOTHER AREA - CONTINUOUS
Roy moves around a CORNER, disappearing into a DARKER area of
the ship...
INT. THE CEPHEUS - COCKPIT -
Tanner PULLS the REENTRY LEVER over his head. The CRAFT
STOPS SPINNING. HE wraps YOSHIDA'S WOUND with a TOWEL, to
stop the blood. He TURNS BACK AROUND to FOLLOW/KILL ROY.
INT. THE CEPHEUS - ANOTHER AREA - CONTINUOUS
Tanner pursues Roy.
Tanner presses a BUTTON to OPEN the fairing door, and leans
into that section, when...
Suddenly, Roy emerges from the tangle of WIRES AND OTHER
MATERIAL against the wall where he'd been hiding, and SHOVES
Tanner deep into the fairing section.
And Roy presses the button to CLOSE the fairing section
door. He's trapped Tanner in this part of the ship.
89.
The Stage-2 COUNTDOWN approaches liftoff, and Roy hurries to
the safety of a harness just in time. He holds onto the
harness as the Cepheus EXPLODES FORWARD.
As the STAGING occurs, and the INTER-STAGE FAIRING SECTION
and ROCKET ENGINE beneath it can be seen through the window
below Roy, falling away into the void.
NOTE: The physical environment in the ship is now especially
CHAOTIC and MESSY: Wiring, equipment, debris, balls of blood
and sweat... all criss-crossing this way and that in the zero-
g...
INT. THE CEPHEUS - COCKPIT
Roy moves into the cockpit.
He check's Yoshida's pulse. Nothing. Yoshida is now DEAD.
Roy eyes the floating CORPSES of former crewmates Scobee and
Yoshida.
INT. THE CEPHEUS - AIRLOCK
Roy prepares the two bodies with none of the ceremony or
religion that were afforded to Blunt. He leaves them in the
airlock and steps out, back into--
INT. THE CEPHEUS - OUTSIDE AIRLOCK
He presses a button to open the airlock to the void.
EXT. SPACE - THE CEPHEUS
THE SHIP RELEASES THE TWO BODIES as the Cepheus speeds
away...
INT. COCKPIT
Roy grabs a fresh helmet and moves into the cockpit. A man
ALONE. He PAUSES FOR A MOMENT; his HANDS are BLOTCHY and
BLEEDING...
ROCKET COMPUTER VOICE
Significant damage to rocket
staging capability... Reentry
protection in section THREE
DESTROYED...
90.
EXT. THE CEPHEUS - SPACE
The spaceship is moving at such a terrific velocity that
there's PERCEPTIBLE MOVEMENT in the surrounding field of
stars: APPROACHING STARS appear blue, RECEDING STARS become
amber. (This is the "red shift" effect.)
INT. COCKPIT
Roy is seated at the fore of the ship. He's still BLEEDING
PROFUSELY. He goes through a MEDICAL KIT, applies GELS to
his wound. He's trying to stem the seeping tide of blood.
He is ghostly and alone in the ship's DARKNESS. And outside
of the ship's darkness: INFINITE PITCH BLACK.
But... finally... a slight GLOW appears from the COCKPIT
MONITOR...
ROY MCBRIDE
Destination, Neptune Moon Galatea
coordinates.
COMPUTER VOICE
Length of journey: 19 days, 4
hours, 8 minutes. Sedation is
advised.
Roy HOOKS HIMSELF UP to a FEED TUBE, into his arm. He
BUCKLES HIMSELF IN, and straps start sending ELECTRICAL
PULSES to his body, to keep his muscles in some sort of tone.
Roy SETTLES IN, and the ROCKETS ALIGHT... He is on his
way...
DISSOLVE TO:
EXT. SPACE
The craft PASSES an UNMANNED SPACE PROBE...
A distant ASTEROID FIELD... JUPITER, distant...
INT. CEPHEUS
Roy examines the view outside his window. He grows AGITATED.
ALL OF A SUDDEN, BLOOD STARTS POURING INTO THE CRAFT, from
EVERY WALL!
It FILLS THE CAPSULE!
91.
YOSHIDA and SCOBEE are BACK, INSIDE. They ARE ASSAULTING
ROY!
THE CAPSULE BEGINS SPINNING AGAIN!
WHAT IS HAPPENING?
And then--
THROUGH THE SPINNING--he REACHES over to the console and
injects something into his arm.
Within moments, the craft is no longer spinning. THE
ASTRONAUTS ARE GONE.
HE WAS HALLUCINATING...
DISSOLVE TO:
EXT. SPACE - SATURN - LATER
The giant gas planet SATURN looms magnificently against the
black backdrop. Its RINGS look like thin ribbons encircling
the planet. So perfect is this gas giant, so symmetrical and
flawless in its geometry... it almost looks UNREAL.
We TILT DOWN to SEE the Cepheus PASS US BY.
INT. CEPHEUS
Roy's EYES ARE HALF-MAST. His P.O.V.: A WATERY surface over
his eyes causes a slight oblong, double-vision VIEW of the
CAPSULE CONSOLE.
COMPUTER VOICE
Now passing final unmanned outpost,
Trojan QF99. Conserve oxygen and
food supply if possible--
ROY CLOSES HIS EYES.
DISSOLVE TO:
EXT. SPACE - URANUS
The planet, in the distance. Roy's spacecraft passes it...
DISSOLVE TO:
92.
INT. CEPHEUS
SOUNDS. It's a 1930's RADIO SHOW that somehow his craft has
picked up. ROY'S EYES OPEN.
A STRANGE and NATURAL and UNEXPLAINED SPACE PHENOMENON
OCCURS.
What looks like FIREFLIES FLOWS through the CAPSULE. It's
HALLUCINATORY and ROY SEES THEM through SEDATED EYES.
He REACHES UP to TOUCH THEM; the SPARKS SEEM TO FLOAT RIGHT
THROUGH his HANDS. (These unexplained phenomena do exist.)
His BODY BEGINS TO LIFT UP, OUT OF THE SEAT. He STAYS in
PLACE because of the seatbelts.
His BREATHING BECOMES HEAVIER. Close to some kind of panic.
Roy starts to HYPERVENTILATE, STRUGGLING. He INJECTS
something into his arm. As we:
CUT TO:
EXT. SPACE - NEPTUNE
The BLUE PLANET. STILL. EERIE.
INT. CEPHEUS
A CHIME:
COMPUTER VOICE
Task Load Index completed.
ROY UNBUCKLES HIMSELF.
MOVES back to the PILOT'S SEAT.
EXT. SPACE - NEAR NEPTUNE
Now: Roy's spaceship, the Cepheus, comes into view, its RETRO-
THRUSTERS firing on full blast (in utter silence) to slow its
velocity.
NEW ANGLE
More prominently now, THE RINGS OF NEPTUNE.
CLOSER ANGLE
93.
On one of the OUTER RINGS. The Cepheus is tiny against the
magnificent vista.
INT. CEPHEUS
Roy PILOTS the CRAFT as it nears the EDGE of the rings, and
keeps pace with the speed of the rings' orbit.
Roy LOOKS DOWN at the CONSOLE. BLINKING:
"CRAFT OXYGEN LEVEL: 12 PERCENT"
He LOOKS OUT HIS WINDOW and is momentarily energized by
Neptune's BLUE GLOW. The rings are more visible now. They
are magnificent, comprised of various-sized ROCKS of dirt and
ice that circle around us, almost like cars on a racetrack.
Roy looks at the control panels, the monitors.
ROY MCBRIDE
Locate signal source.
COMPUTER VOICE
The source is [scientifically
correct location, tbd].
He PULLS a LARGE SWITCH.
The cockpit board flashes: "AUTOPILOT ENGAGED".
ROY PUNCHES THE GALATEA COORDINATES into his SPACESUIT
SLEEVE.
A BLINKING RED LIGHT on the CONSOLE.
He REACHES OVER, TOGGLES THE SWITCH:
EXT. THE CEPHEUS - CONTINUOUS
Roy EMERGES from the craft, in his suit. He REMAINS TETHERED
TO THE CRAFT. The CRAFT, moving along with the orbiting
rings of detritus, begins to move closer to the rings...
CLOSER TO THE RINGS
He maneuvers his way BEHIND THE COCKPIT SECTION of the craft,
so he is protected FROM the DETRITUS of NEPTUNE'S RINGS by
the CRAFT'S BODY ITSELF.
He REMOVES a SMALL SOLAR PANEL--ABOUT FIVE FEET IN LENGTH,
and about THREE FEET IN WIDTH--from the SIDE OF THE CEPHEUS.
94.
He CLIMBS to the ROTATING ARTIFICIAL GRAVITY WHEEL.
He GRABS ONTO ONE OF THE SPINNING WINDMILL-LIKE BLADES.
HE UNHOOKS HIS TETHER.
HE HOLDS ON.
SPINNING AND SPINNING. DIZZYING.
HE LOOKS AT HIS SLEEVE. A COMPASS NUMBER KEEPS SCANNING
different DIRECTIONAL COORDINATES.
AND THEN--at JUST THE RIGHT MOMENT--
HE LETS GO.
HE IS PROPELLED THROUGH SPACE, without his TETHER.
EXT. THROUGH THE RINGS
He enters the rings. Miniscule particles begin to hit the
SOLAR PANEL that ROY USES AS HIS SHIELD.
Some come insanely close to ROY, to his HEAD, to puncturing
his SUIT.
The SOLAR PANEL is GETTING NICKED and DAMAGED by the
PARTICULATE, but it protects Roy.
EXT. CLOUDS OF NEPTUNE
He TUMBLES FURTHER, now ENTERING THE CLOUDS OF NEPTUNE.
The CLOUDS are DENSE, like bad CLOUD COVER during an airplane
flight. EXCEPT--THEY ARE A RICH, INTENSE BLUE.
As Roy TUMBLES, the SHADE OF THE CLOUDS goes from that BLUE
to a BEAUTIFUL and BEYOND-THIS-EARTH PINK, then to a DEEP
MAGENTA.
AND THEN IT BEGINS TO APPEAR, EVER SO FAINTLY.
A SPACECRAFT.
It is TETHERED to the slowly ROTATING MOON CALLED GALATEA
which orbits NEPTUNE inside Neptune's atmosphere.
It is THE LIMA PROJECT.
CLOSER AND CLOSER it comes to us. ROY SEEMS SPINNING TOWARD
IT, OUT OF CONTROL.
95.
And then he THROWS the THRUSTER in his PACK. His tumbling
GRADUALLY GETS UNDER CONTROL.
He STOPS. OUTSIDE THE LIMA PROJECT STATION. IN the
DISTANCE: a SYMMETRICAL SERIES of SCANNING MIRROR TELESCOPES.
In a LATTICE.
NEW ANGLE OF ROY - behind him, in the deep distance, is
Earth, a tiny pinprick of light 900 million miles away. (See
recent Cassini photograph.) Then, CUT TO WHAT HE SEES:
Hovering over the station, still far away from Roy, are:
ASTRONAUTS. Appearing as figures on the dark blue horizon,
levitating over NEPTUNE.
THE LINE OF ASTRONAUTS FLOATS, STILL.
ROY PUSHES a BUTTON on his WRIST. We HEAR STATIC.
ROY MCBRIDE
LIMA PROJECT. This is Major Roy
McBride. I have taken control of
the Cepheus, United States Armed
Forces Space Division. I am
attempting to reach Dr. Clifford
McBride. Over.
Static. No movement.
ROY MCBRIDE (CONT'D)
Repeat: Lima Project, this is the
Cepheus, of the United States Armed
Forces Space Division. I am
attempting to reach Dr. McBride.
Do you read.
NO RESPONSE.
ROY TURNS his RIGHT WRIST OVER.
"MMU OXYGEN LEVEL: 21 PERCENT"
"THRUST LEVEL: 39 PERCENT"
HE MOVES toward the SURFACE of the LIMA PROJECT STATION. As
HE DOES, he LOOKS to his RIGHT to SEE, maybe a mile away
(hard to tell relative direction here), the very BEGINNINGS
of a graphene arc.
96.
EXT./INT. LIMA PROJECT STATION
Roy "floats" inside. The Craft/Station has a kind of LARGE A-
FRAME.
Roy VENTURES through the CENTER of the STATION.
HUGE SPACES filled with SELF-REPLICATORS that do not resemble
anything anthropormorphic, but rather look like the kind of
machines which make AUTOMOBILES. WE HEAR Roy's BREATHING.
ROY'S P.O.V. - The robots are in repose, ready to be
awakened. WE CONTINUE TO HEAR Roy's BREATHING...
He passes the anthropoid robots, and enters another, even
larger, area.
ROY'S P.O.V. - A flurry of automated activity, as we pass
EVERY SPECIES OF ROBOT, from giant vehicles to small, squat
machines, gliding to and fro. Some are fitted with grabs and
manipulators and cutting/welding equipment.
Again, no sign of humans. The robots move slowly, with
secret purpose, WARNING LIGHTS whirling for the benefit of
the unseen humans.
INT. INNER SANCTUM
ROY now ventures to SEE, on both sides:
WINDOWS, through which we can spot the INTERIOR of the LIMA
PROJECT.
As Roy makes some final adjustments to his equipment, we
notice one of the very small robots on the side of the A-
Frame. A CAMERA mounted on it silently ROTATES towards Roy,
and a RED LIGHT blinks on next to the camera. It knows Roy
is here. Roy LOOKS RIGHT INTO IT:
ROY MCBRIDE
I am Major Roy McBride. Do you
read. I am attempting to reach Dr.
McBride.
AGAIN, no ANSWER. ROY PLACES EXPLOSIVE CHARGES on the
DOORFRAME of the LIMA STATION.
They BLOW.
Just then, an APERTURE on the station opens up. ROY VENTURES
INSIDE. LIKE HE IS ENTERING A DREAM.
97.
INT. LIMA PROJECT - DORMITORIES
HUMAN BODIES are FLOATING, gravity-free. The FLUORESCENT
LIGHTS FLICKER.
We STILL HEAR ONLY ROY'S BREATHING. LOUD, PRESENT. We ARE
COMPLETELY INSIDE HIS HEAD.
Roy finds himself inside a KITCHEN-TYPE area, which is housed
somewhere within a laboratory. There are machines and
equipment and tables and sinks, but no people besides Roy.
There's ZERO GRAVITY here.
ROY'S POINT-OF-VIEW:
A DOOR IS OPEN, revealing a dark PASSAGEWAY lit only by BLUE
LIGHT.
INT. PASSAGEWAY
Roy enters/floats into it. ALL OF A SUDDEN, ALL THE MONITORS
on each side--and there are several--switch on. THE LIGHTS
BRIGHTEN. ON THE SCREENS: ROY'S FATHER! DR. H. CLIFFORD
MCBRIDE. Roy HALTS:
H. CLIFFORD MCBRIDE
This will be the final message
recorded by the Lima Project. Our
efforts have come to an end, and
its entire story must be told in
the hopes that someday it will be
known.
ROY MOVES CLOSER TO THE SCREEN. It is his FATHER, virtually
seeming to speak from the dead:
H. CLIFFORD MCBRIDE (CONT'D)
We came here to pursue mankind's
most noble goal: the search for
intelligent life beyond the Earth.
But our telescope has repeatedly
confirmed only the singular
importance--and ephemerality--of
our moon, oceans, and magnetic
field. After extensive analysis,
we now confirm that we are entirely
alone in the reachable universe.
We shall no longer honor false
gods; there is no intelligent life
elsewhere, and the rage of the
cosmos will destroy us in time.
(MORE)
98.
H. CLIFFORD MCBRIDE (CONT'D)
For this reason, we on the Lima
Project had begun to devise a plan
for a new system--with galaxies,
stars, and planets. We dreamed to
be the first lifeform to make the
universe anew.
CLOSE ANGLE ON ROY MCBRIDE.
CUT TO:
INT. NARROW STAIRWELL
Roy CLIMBS the STEPS. We STILL HEAR, CONTINUING:
H. CLIFFORD MCBRIDE (V.O)
With the vast stores of antimatter
we have discovered here, our
research focused on the creation of
a new big bang. Such a project
would take perhaps several thousand
years to develop. But only such a
bold, long-term endeavor would
untether us from the earth and
ensure the permanent survival of
our species.
INT. CONTROL CENTER - STATION
Roy FLOATS TOWARD the Control Center. Like the Control Tower
of a large airport, it's somewhat dark--but everything is ON.
Multiple MONITORS, SCREENS, GAUGES, etc., all like a symphony
of blinking, fluttering color and light.
H. CLIFFORD MCBRIDE (V.O)
Our research is contained on the
onboard VD recorder. It is the
most extensive set of data ever
assembled about the visible
universe. This must be brought
back to Earth so that our
scientists can be convinced to act.
However, our computer system is
currently preventing all outside
communication. As it is charged
only with the continued pursuit of
intelligent life, it has been
unable to adapt to our changed
prerogatives. All attempts to
reprogram it have failed. With no
alternatives, we sought to return
to the Earth.
99.
Roy looks around at the many screens in front of him; they
are like SECURITY CAMERAS, constantly cutting from one angle
to another. ONE ANGLE REVEALS:
A SPACECRAFT, with a GANTRY. MODEST SIZE. CLOSE SHOT ON
ROY. THEN CLOSE SHOT ON IMAGE OF SPACECRAFT. THEN:
ROY SCANS THROUGH BASIC BLUEPRINT PLANS of the LIMA PROJECT's
CRAFT.
INT. DATABANKS - LIMA PROJECT
It is ROWS of DATA, stored. A CLOUD for all the information
collected by the Project.
Roy FLOATS THROUGH IT, approaching TWO LARGE ORANGE STEEL
CANNISTERS: "VOYAGE DATA RECORDER" He PULLS THEM OUT FROM
THE FRAME. Over this, we STILL HEAR:
H. CLIFFORD MCBRIDE (CONT'D)
A craft was assembled from 3-D-
printed parts, piece by piece, out
of view of the onboard system. But
it was recognized upon completion,
and our nuclear fuel has been
intentionally destroyed by the
system. This resulted in the
catastrophic destruction of moon
Larissa. All of us have suffered
severe radiation poisoning. Brain
death is imminent. The onboard
system will likely maintain only
our organ function in order for it
to remain operational.
INT. LIVING QUARTERS
CLOSE SHOT: "DR. CLIFF MCBRIDE". A PAPER TAB, HANDWRITTEN.
On the DOOR of his LIVING QUARTERS.
Roy FLOATS INTO/ENTERS the LIVING QUARTERS.
H. CLIFFORD MCBRIDE (V.O.)
We hope we will be mourned by a
Mother Earth that dared send so
many of her sons and daughters into
the unknown. In ancient days,
human beings looked at stars and
saw their heroes in the
constellations. In modern times,
our heroes have become creatures of
flesh and blood.
(MORE)
100.
H. CLIFFORD MCBRIDE (V.O.) (CONT'D)
Others will follow us, and surely
find their way home. Our mission
must not be denied.
HE LOOKS AROUND. He SEES the SPACE. It is MODEST, with
SCIENCE BOOKS, and DIARIES, and FAMILY PHOTOS everywhere,
pinned on the WALLS. Then we HEAR Francesca's VOICE, more
PRESENT than CLIFFORD McBRIDE'S had been:
FRANCESCA'S VOICE
"The brain is wider than the sky,
for, put them side by side, the
other will include, with ease, and
you beside..."
(beat)
It's so beautiful... Do you want
to hear another one...?
Then, APPEARING: FRANCESCA! SEATED, SOMEHOW STILL OBEYING
GRAVITY as ROY FLOATS! She STARES, saying nothing.
Roy doesn't know what to do, or say. He STOPS HIS MOVEMENT.
He lifts his ARM toward her...
She GETS UP, begins to WALK TOWARD ROY!!
NEAR HIM NOW, HE REACHES OUT, and...
HIS HAND AND ARM GO RIGHT THROUGH HER!!!! SHE WALKS RIGHT
THROUGH HIM, sits down at the other end.
Roy LOOKS AROUND THE SPACE and SEES NOW that it's like his
home where he grew up, his home from pictures. PROJECTED.
IT'S ALL HOLOGRAMS.
He SEES: HIMSELF, as a CHILD, on the FLOOR, PLAYING WITH
TRUCKS. And his MOTHER, LEANNE, YOUNGER. His HAND can go
right through them, too.
(As ROY FLOATS, these HOLOGRAMS remain "earthbound"; that is,
they seem to have "gravity".)
Roy TURNS BACK to LOOK AT FRANCESCA. She is in conversation
with someone "offscreen," smiling, looking lovely and warm
and everything an idealized version of her would be.
CLOSE ANGLE ON ROY.
We HEAR the PITTER-PATTER of RAIN. RAIN? ALL OTHER SOUND
DROPS OUT. And we:
CUT TO:
101.
EXT. NEW YORK - THE CLOISTERS - RAINY DAY
A lowered gray sky. Deserted. A monastery on the UPPER WEST
SIDE of NEW YORK'S MANHATTAN ISLAND. A PORTCULLIS.
COBBLESTONES. The VIDEO we saw, yes, but now we are "here,"
in the space.
A GROUP of children PLAY. ADULTS speak to each other,
standing behind the children, watching them play, making
small talk. The scene has a strange, dare we say, unearthly
quality to it. There is a distance to it; not an emotional
distance, but a visual distance. A haze, almost. A
dreamlike quality.
A SMALLER GROUP of adults, and two children, are here, too.
They are nearby and yet somehow apart.
We SEE: ROY'S MOTHER, LEANNE. Much YOUNGER. She seems
PREOCCUPIED, though she smiles a lot as she attends to the
children. Also here is some other woman we don't know, about
Leanne's age. She is completely quiet, almost nervous, as
she watches the children play.
Then there is H. CLIFFORD MCBRIDE, who is involved with the
children, making hats for them, drawing for them, joking with
them.
AMONG THE CHILDREN: the young ROY. And the young FRANCESCA
(though she is older than Roy--she seems around 16 or 17, he
around 8). She has a grin from ear to ear; Roy does not,
instead dedicated to whatever he seems to be DRAWING.
H. Clifford McBride stops clowning with another child and
moves to Roy's side. Warmly:
H. CLIFFORD MCBRIDE
Roy?
(beat)
Roy?
(to Young Francesca)
He gets very involved in what he's
doing.
YOUNG FRANCESCA
(a laugh; a smile)
It's okay.
H. CLIFFORD MCBRIDE
Sweetheart, I need you to listen to
me for just a moment--you can go
back to your drawing very soon.
Roy finally looks up--for just a brief beat.
102.
H. CLIFFORD MCBRIDE (CONT'D)
This is Francesca.
YOUNG FRANCESCA
(ebullient)
Hello!
ROY MCBRIDE
(back to his drawing)
Hi.
H. CLIFFORD MCBRIDE
She's someone...very close to me,
someone I really care for. I want
you to meet her--I think you'll
really like her.
Roy keeps drawing--AND THEN TURNS HIS BACK TO HER A BIT.
H. CLIFFORD MCBRIDE (CONT'D)
It's not so easy for Roy to meet
new people. It's something we're
trying to work on with him.
(quieter)
We're hoping he'll break through it
someday...
Clifford approaches Roy. Not unsympathetically, he touches
his son and attempts to communicate an important lesson about
human interaction:
H. CLIFFORD MCBRIDE (CONT'D)
(to Roy)
When someone talks to you, you say
hello, you look them in the eye.
You listen, and you ask how they
are--you don't want them to think
you don't care about them.
Roy REACTS IMMEDIATELY. He starts to get teary out of
embarrassment and awkwardness. Sensing this, she moves to
comfort him:
YOUNG FRANCESCA
It's okay, you can go back to your
drawing. He just wanted us to
meet.
Roy then eyes her directly, and without a word. She looks at
his drawing. Warmly:
YOUNG FRANCESCA (CONT'D)
That's a wonderful picture. Is
that a rocket?
103.
ROY MCBRIDE
(nods; then)
My father goes into space.
YOUNG FRANCESCA
That's where I'm from.
ROY MCBRIDE
(looks up, interested now)
Where?
YOUNG FRANCESCA
I'm from Mars. Which is really,
really far.
ROY MCBRIDE
Yeah. Sometimes it's more than 140
million miles away. But right now
it's only 80 million miles.
YOUNG FRANCESCA
(again with a laugh)
I didn't know that!
ROY MCBRIDE
Are you by yourself there?
YOUNG FRANCESCA
No, but it feels like that
sometimes. That's why I'm so glad
I met you.
UNEXPECTEDLY, responding to her kindness to such a degree he
can overcome his shyness, he hands his drawing to her.
Francesca looks at the drawing and she is very moved. TEARS
OF HAPPINESS come to her eyes. Roy STARES at the tears as
though they are foreign objects. The SWELL OF EMOTION from
her is as strange as anything he has seen.
YOUNG FRANCESCA (CONT'D)
Oh--thank you so much! That's so
sweet of you! It's beautiful!
She gives him a BIG, TENDER HUG. Roy ALLOWS HIMSELF to be
"crushed" by the hug.
Roy's FATHER BEAMS...
DISSOLVE TO:
104.
INT. HULL OF CRAFT - CORNER OF MCBRIDE RESIDENTIAL QUARTERS
A chamber that appears almost like an old "Iron Lung"
machine. Roy APPROACHES IT.
CLOSE SHOT: "MCBRIDE, CLIFFORD, 788919-0323"
It's a small, illuminated medical identification card. WIDEN
TO REVEAL:
ROY, COMING UPON his FATHER'S BODY, inside what looks like a
kind of ELECTRONIC SARCOPHAGUS.
Dr. H. Clifford McBride exists in a vegetative state, resting
in a large silver CASE. Through glass, we can SEE that his
EYES ARE slightly OPEN, his BODY HOOKED UP to LIFE SUPPORT
SYSTEMS.
MONITORS around the case MEASURE his PULSE and other VITAL
SIGNS. He is KEPT COLD.
ROY moves to it, OPENS THE SARCOPHAGUS. STARES AT HIS
FATHER'S LOBOTOMIZED FACE.
He LIFTS his FATHER'S STIFF, LIFELESS BODY out of its
electronic SARCOPHAGUS, pulling off the DIODES and IVs which
keep him "alive".
When the body EMERGES from the SARCOPHAGUS, it seems almost
to FLOAT STANDING STIFFLY UPRIGHT. It starts SPINNING IN THE
WEIGHTLESSNESS.
ROY GRABS the SPINNING BODY, in a way that becomes an
EMBRACE. PULLING THE BODY WITH HIM, he FLOATS BACK OUT...
CUT TO:
EXT. OUTSIDE THE LIMA PROJECT STATION - IN SPACE
ROY releases his FATHER'S BODY INTO SPACE, PUSHING IT TOWARD
the SURFACE of NEPTUNE.
IN the DISTANCE, WE SEE H. CLIFFORD McBRIDE'S BODY drift
TOWARD a RING AROUND NEPTUNE.
The BODY comes in contact with a SMALL ICE ROCK. It SHATTERS
INTO A MILLION PIECES. LIKE BROKEN WINDSHIELD GLASS.
Almost at the VERY INSTANT that H. CLIFFORD McBRIDE's BODY is
destroyed, LIGHTS COME ON in a formerly DARKENED SECTION of
the LIMA CRAFT.
105.
EXT. SPACE - NEAR THE LIMA CRAFT - OUTSIDE 3-D PRINTED CRAFT
A spacecraft which remains DOCKED. It has been constructed
for Dr. Clifford McBride's return, presumably. It NOW HUMS
WITH LIFE.
INT. 3-D PRINTED CRAFT
Roy enters the cockpit, HOLDING the ORANGE VDR ("VOYAGE DATA
RECORDER") CANNISTERS.
Examining the craft's SYSTEMS, he and we recognize that it is
astonishingly similar to the Cepheus. (The spacecraft are
all constructed by 3-D PRINTER, and there is a uniformity to
their design and construction.)
The entire SYSTEM of the CRAFT COMES TO LIFE, ONLINE.
AS DOES: RADIO STATIC FROM THE EARTH! Communication has been
restored:
ROY PRESSES THE RADIO BUTTON, TURNS DIALS FOR A CERTAIN CODE:
ROY MCBRIDE
SpaceCom. This is Major Roy
McBride. I have taken it upon
myself and have reached the Lima
Project; all crew are deceased. I
have recovered significant material
for analysis, which I am now in the
process of forwarding to you. The
self-replicators here malfunctioned
and must be destroyed to prevent
any unforseen further catastrophe.
Therefore, I'm inputting target
coordinates 34.34 North, 81.92 West
from Earth standard vector 100.
(beat)
I'm going to attempt a return to
the earth now. The onboard system
indicates I'll be arriving in
approximately 41 days and 9 hours.
My journey will have kept me in an
isolated state for a considerable
period by that time. I...I am very
much looking forward to the day
that solitude ends. Over.
He FLIPS OFF THE RADIO.
He PULLS DOWN on a LARGE LEVER which looks almost like the
kind of control switch for a 747 airplane.
106.
He moves around the CAPSULE, OBSERVING a PRINTED CHECKLIST.
Adjusts SEVERAL SWITCHES.
MOMENTS LATER
Roy is SETTLING IN to his COCKPIT SEAT. He is about to PUT
an OXYGEN MASK ON. He activates the CRAFT's GYROSCOPES and
CONTROL STICK.
Then:
ROY MCBRIDE (CONT'D)
Outgoing mail. McBride, Roy M.
Send to Leanne McBride.
He SEES an IMAGE of HIS MOTHER. It's a photo of her, with
him as a little boy. A little ANIMATED BEE flies around the
picture, making a PUTT-PUTT SOUND.
ROY MCBRIDE (CONT'D)
Record voice message.
After a BEEP--Roy begins to record his message. As we know,
he's not much one for communicating--especially when emotions
are concerned. But here...
ROY MCBRIDE (CONT'D)
Mother, I'm on a classified mission
right now.
(beat)
I am by myself.
THE CAMERA SLOWLY--almost imperceptively so--PUSHES INTO HIM:
ROY MCBRIDE (CONT'D)
(equivocating; then he
steels himself)
I am attempting now to return to
the earth. In the event I cannot,
I don't want you to wonder about
me.
(beat)
I'd like to express to you that I
realize that you gave me an
excellent childhood. I am grateful
to you now for attempting to
nurture friendships and other
relationships. Perhaps you don't
think I remember much, but I do.
Sometimes the smell of certain
foods will bring back exceedingly
pleasant memories... On this
mission I've encountered people who
knew father.
(MORE)
107.
ROY MCBRIDE (CONT'D)
I don't know how much you know
about this, but it appears he had
another child, a daughter named
Francesca. We both met her once.
She and I talked. She informed me
that father acted out of the
noblest principles. And that he
sacrificed himself in the name of
science.
He stops. TEARS WELL UP AGAIN. He CLOSES HIS EYES and BOWS
HIS HEAD. Then begins to speak again:
ROY MCBRIDE (CONT'D)
Mother, I, I was unable to protect
her. I regret this--terribly.
Even worse than I regret any
negative feelings toward father.
It's led me to commit acts that you
would condemn--but were required by
circumstance. It has forced me to
be alone, a situation I now find
unacceptable.
(exhales; regroups)
But I have succeeded in my mission.
I want to say goodbye now, and
whatever occurs on my return, I am
forever your loving son.
He SHUTS OFF the RECORDER. ANGLE ON THE FROZEN IMAGE of
ROY'S MOTHER.
EXT. SPACE - 3-D PRINTED CRAFT
The Craft's GANTRY RELEASES the ship. Slowly.
The CRAFT begins to move, its ROCKETS FIRING.
Almost at the same time: A BEAM, HIGH-INTENSITY, HITS A PART
OF THE STATION.
It EXPLODES! In SILENCE. The colors of the explosion, set
against the DEEP BLACKNESS of SPACE.
Then another SILENT and COLORFUL EXPLOSION.
INT. 3-D PRINTED CRAFT
Roy looks through his windows to SEE:
A SERIES OF LASERS HITTING VARIOUS PARTS of the STATION and
TELESCOPE.
108.
In SILENCE, the EXPLOSIONS ARE VAST, FEROCIOUS, and somehow
oddly BEAUTIFUL.
They ILLUMINATE the dead BLACKNESS of SPACE even as they are
utterly destructive, devastatingly so.
EXT. SPACE - 3-D PRINTED CRAFT
Roy's ROCKET starts to STAGE, AFTER its initial BURST. It
leaves the CONTINUED DEVASTATION of the LIMA PROJECT in its
wake as it PROPELS FORWARD.
INT. 3-D PRINTED CRAFT
Roy's HEAD SHAKES TO AND FRO; the ROCKET'S FORCE is
ASTONISHING.
EXT. SPACE - 3-D PRINTED CRAFT
The CRAFT FIRES a NEW SET OF ROCKETS. It moves on, deeper
and deeper and deeper toward the earth. The RADIO PIPES UP,
and it's in the most straightforward, almost banal, tone
imaginable:
SPACECOM VOICE
Major McBride, this is SpaceCom.
We have verified the authenticity
of your coordinates and have begun
to target sites accordingly. Upon
reentry to earth's orbit, we will
intercept your craft and you will
be debriefed. However, we do
acknowledge the potential of your
data files to transform rather
radically our view of what the
universe may hold.
(beat)
We wish you godspeed on your
journey homeward. US SPACECOM out.
Finally, Roy's ROCKET disappears from our view, hurtling back
toward the EARTH.
THE END
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