2012
Written by
Roland Emmerich & Harald Kloser
Second Draft
February 19th, 2008
OVER BLACK
We listen to the immortal music of Mozart's Adagio of the
Clarinet Concerto in A.
FADE UP
EXT. THE SOLAR SYSTEM
Space, infinite and empty.
But then, slowly all nine planets of our Solar System move
into frame and align.
The last of them is the giant, burning sphere of the sun.
Just as the sun enters frame, a solar storm of gigantic
proportion unfolds. The eruptions shoot thousands of miles
into the blackness of space.
FADE TO BLACK
2009
FADE UP
EXT. COUNTRY SIDE/INDIA - SUNSET
Mozart's concerto filters from a jeep's stereo, fighting the
drumming sounds of the monsoon rain. PROF. FREDERIC WEST, 66,
listens to the music.
An Indian BOY playing by the roadside steers his wooden toy
ship across a puddle.
The Professor turns to his driver, pointing to the boy.
PROF. WEST
Watch out!
But it's too late. The jeep drives straight through the
puddle at full speed, sinking the boy's toy ship.
In the background, the jeep stops in front of a building. The
driver jumps out, leading the Professor towards its entrance.
The sign at the door reads: `Institute for Astrophysics -
University of New Delhi'.
2.
INT. NAGA-DENG MINE/INDIA - SUNSET
An endless mine shaft. An old elevator cage comes to a
grinding halt. When Prof. West steps out we see that he is
accompanied now by a nervous DR. SATNAM TSURUTANI, 32.
PROF. WEST
How deep are we?
SATNAM
8200 feet. Used to be an old copper
mine, Professor, sir.
As Prof. West follows Satnam, he takes in the unusual setting
for this science lab.
PROF. WEST
Helmsley told me that the neutrino
count doubled during the last sun
eruptions.
SATNAM
Correct, sir. But that is not what
worries me...
They enter a large room with low hanging ceilings. A small
group of WHITE COATS look up from their computers, which all
show images of the solar storm we witnessed earlier.
SATNAM (CONT'D)
There was a new solar storm, so strong
that the physical reaction got even
more severe.
PROF. WEST
How can that be?
SATNAM
We don't know, Professor, sir.
Satnam walks over into another room. There he opens a hatch
on the floor and hot steam rises.
SATNAM (CONT'D)
The neutrinos suddenly act like...
microwaves.
Prof. West slowly steps closer. When he discovers that the
water in the tank below is boiling, his face goes pale.
CUT TO:
3.
EXT. LARGE TERRACE/WASHINGTON D.C. - EVENING
A major fund raising party is under way. The setting is
spectacular. A terrace overlooking the Washington Mall and
the Capitol Building.
ADRIAN HELMSLEY, 32, stands with a group of young POLITICAL
AIDES. He is the only African-American among them.
One of the aides spots CARL ANHEUSER, 58, White House Chief
of Staff, working the crowd.
POLITICAL AID #1
Look at Anheuser. Anyone would think he
was President. Did you hear, he wants
us to sign in and out like school boys?
ADRIAN
I still can't believe that Wilson chose
him of all people to run the White
House.
POLITICAL AID #2
Why not? Anheuser owns the Senate and
the Congress.
ADRIAN
Shame he's such a pompous ass.
ANHEUSER (O.S.)
Somebody mention my name?
Adrian turns to see Anheuser smiling.
ADRIAN
(SHOCKED)
Yes sir... No, sir.
ANHEUSER
Which one is it?
ADRIAN
We were talking about what a great
speech you gave tonight. Well done,
sir.
ANHEUSER
It's Helmsley, right? I'll remember
that.
Anheuser walks away with a dangerous smile.
POLITICAL AID #2
That guy scares the shit out of me.
At that moment Adrian's cell phone rings.
(CONTINUED)
4.
ADRIAN
(into the phone)
Professor West?
PROF. WEST (O.S.)
I've been trying to reach you!
INT. LIVING ROOM/SATNAM'S HOUSE - NIGHT
Prof. West is on the phone. In the background we make out
Satnam's family around the dining room table.
PROF. WEST
Listen, Adrian. The situation is much
worse than we thought...
Satnam quiets his little son. It is the boy we saw earlier
with his toy ship.
INT. HALLWAY/WHITE HOUSE - DAY
Adrian follows Anheuser through a hallway of the White House,
papers in hand.
ADRIAN
Sir, the President needs to know this.
ANHEUSER
Helmsley, how long have you been on the
job as science advisor?
ADRIAN
Four months this week.
ANHEUSER
I would say that's enough time to learn
that we have rules here. You'll just
have to wait until the quarterly
science briefing.
ADRIAN
If this is about what I said last
night, I am truly sorry, sir.
ANHEUSER
So you didn't like my speech?
Exasperated, Adrian holds out the papers to him.
ADRIAN
Can you please have a look at this,
sir? It's really important.
(CONTINUED)
5.
Finally, Anheuser rips the papers out of his hands and starts
to walk away, reading.
Suddenly he slows down.
ANHEUSER
Who wrote this?
ADRIAN
An Indian astrophysicist I graduated
with from Harvard and Prof. West, the
preeminent geologist in the US.
ANHEUSER
Who else knows about it?
ADRIAN
No one, sir.
ANHEUSER
Let's keep it that way, Helmsley.
Anheuser walks away.
FADE TO BLACK
2010
FADE UP
EXT. SEVILLE/SPAIN - DAY
G8 Summit. Riot police control the unruly crowd with water
cannons.
We see PROTESTERS with Anti Globalization signs behind a
fence. A convoy of limousines is approaching a historic
building.
INT. BIG HALL/ALHAMBRA - DAY
We follow the American delegation into the conference room,
where the other G8 delegations are seated around an enormous
table.
The President of the United States, THOMAS F. WILSON, 56,
doesn't sit down. He addresses the room and everybody goes
quiet.
PRESIDENT WILSON (O.S.)
Good Morning...
For the first time we see the President's face. He is African-
American.
(CONTINUED)
6.
PRESIDENT WILSON (CONT'D)
I hereby present a motion to meet
privately with my seven fellow Heads of
State, kindly excluding the rest of the
delegates.
A murmur erupts. The Russian President SERGEY MAKARENKO, 62,
whispers to one of his interpreters.
RUSSIAN INTERPRETER
Mr. Makarenko wishes to have his
interpreters present.
President Wilson looks over to the Russian Colleague.
PRESIDENT WILSON
Mr. President, judging from the
conversations we've had in the past, I
can assure you, your English is
absolutely fine, for what I have to
say.
As the Russian President waves his interpreter away, all the
international delegates leave as well.
The huge doors of the hall close. A secret service officer in
the sound booth switches off the recording equipment to the
chamber.
The President gathers himself.
PRESIDENT WILSON (CONT'D)
Six months ago I was made aware of a
situation so devastating, that at
first, I refused to believe it.
(PAUSE)
However through the concerted efforts
of the brightest scientists of several
nations, we have now confirmed its
validity.
Dead silence.
PRESIDENT WILSON (CONT'D)
The world as we know it, will soon come
to an end.
CUT TO:
EXT. CHO MING VALLEY/TIBET - DAWN
A huge Chinese military helicopter blasts through a majestic
mountain valley in Tibet. We are at the top of the world.
(CONTINUED)
7.
A Chinese COLONEL, wearing dark sun glasses, watches from the
chopper as the army forces the evacuation of the villages and
monasteries.
VOICE (O.S.)
(in Chinese)
You will have new houses, electricity
and running water...
EXT. VILLAGE/TIBET - DAY
Someone speaks on a megaphone in the village square as
villagers are evicted by soldiers and herded into trucks.
VOICE (O.S.)
... Some among you will even have the
chance to work for the glorious
People's Republic of China building the
biggest dam project in the world...
NENG PANG, a young monk, 18, is loaded into a truck together
with his PARENTS, both in their 60's.
EXT. SCHOOL/TIBET - DAY
Neng's older brother, LIN PANG, 25, is part of a huge crowd
of young men and women staying behind by a Tibetan school
building. He turns and yells after the truck.
LIN
I will send you money mother.
The Colonel with the dark glasses steps up, addressing the
masses.
COLONEL
Who can read and write?
Eager hands fly up in the air. An official makes notes.
COLONEL (CONT'D)
Who can weld?
Lin's hand shoots up in the air. We hear a siren echoing
through the mountains and suddenly an explosion. Lin turns.
In the BACKGROUND, a series of explosions punch enormous
holes into the side of the mountain, showering rock
everywhere.
FADE TO BLACK
(CONTINUED)
8.
2011
FADE UP
INT. DORCHESTER HOTEL/LONDON - DAY
A MAN in a dark suit walks through a hallway of the
Dorchester looking like your typical MI-6 agent. The decor is
plush and luxurious. He's stopped by two security men who
frisk him.
INT. PRESIDENTIAL SUITE/DORCHESTER HOTEL - DAY
Heavily ringed fingers flip through a folder.
MI-6 OFFICER (O.S.)
Has his Highness had the opportunity to
study the dossier?
A SAUDI PRINCE looks up and nods without expression.
SAUDI PRINCE
You must understand I have a very big
family. Mister...
MI-6 OFFICER
Isaacs.
SAUDI PRINCE
Mister Isaacs, one billion dollars is a
lot of money.
MI-6 OFFICER
I'm afraid the amount is in Euros, your
Highness.
CUT TO:
INT. LOUVRE/PARIS - NIGHT
A group of dark figures in overalls walk past famous
Renaissance paintings. They stop at the Mona Lisa.
MANFRED PICARD, 63, head of the French National Museums,
stands by LAURA, a young African-American woman in her late
20's. They observe the specialists opening the case of the
famous painting.
A whoosh of air as the vacuum seal breaks.
MANFRED PICARD
Laura, I'm putting a lot of trust in
your people.
(CONTINUED)
9.
Laura answers in almost perfect French.
LAURA
There are too many crazy people who
could hurt her, Manfred. The World
Heritage Foundation has done this all
over the world.
In the BACKGROUND the Mona Lisa is taken off the wall and
replaced with a perfect replica. Picard still looks uneasy.
He watches as the real Mona Lisa is sealed into an airtight
case.
MANFRED PICARD
And she'll be safe now? Tucked away in
the Swiss Alps?
LAURA
Perfectly safe.
Picard looks suspicious but says nothing. The CAMERA MOVES IN
on the face of the fake Mona Lisa until all we see is her
mysterious smile.
FADE TO BLACK
2012
FADE UP
FUZZY TV IMAGES:
Lifeless bodies encircle a huge fire pit. They resemble the
rays of the sun. In the background we see the famous step
pyramids of Tikal.
NEWSCASTER (O.S.)
... The mass suicide was discovered by
a BBC documentary crew in the ancient
Mayan city of Tikal...
Many of the dead are women and children looking peaceful and
are surrounded by colorful flowers.
NEWSCASTER (CONT'D)
... the victims were said to have
adhered to the Mayan-Quiche Calender
which predicts the end of time to occur
on the 21st of December this year, due
to the sun's destructive forces...
The CAMERA slowly pulls out and we are in--
10.
INT. JACKSON'S APARTMENT/LOS ANGELES - EARLY MORNING
A shabby apartment in Silverlake. The TV is on.
NEWSCASTER (O.S.)
... Strangely enough, scientific
records do support the fact that we are
heading for the biggest solar climax in
recorded history...
A small tremor rocks the apartment and the dishevelled face
of JACKSON CURTIS, 33, pops up from behind the couch. He fell
asleep at his laptop last night.
JACKSON
Oh no. Not again.
One look at his watch and he is off running. He throws some
clothes and a toothbrush in a bag. His cell phone rings.
JACKSON (CONT'D)
Hello?... What do you mean? I'm not
late. It's not even 10:30...
Jackson turns off the TV and darts towards the door, stopping
only to slide his laptop into a knapsack. As he turns, he
stumbles over a stack of books, all shrink-wrapped and
identically titled: `Farewell Atlantis'.
JACKSON (CONT'D)
Damn it!
(into the phone)
Kate, I'm on my way... For god's
sake...
Frustrated, he kicks them out of his way and exits. We hold
on the books and realize that Jackson's photograph is on
their back covers.
EXT. JACKSON'S GARAGE/LOS ANGELES - EARLY MORNING
The phone call continues as Jackson opens the garage door,
struggling to pack his old SUV with camping equipment.
JACKSON
They're kids, Kate, going on vacation.
It's not a doctor's appointment... it's
supposed to be fun. You remember that,
right? Fun?
He tries to start the engine, but the battery is dead.
Frustrated, he hits the steering wheel.
11.
EXT. JACKSON'S STREET/LOS ANGELES - EARLY MORNING
Jackson runs across the street with his camping equipment,
throwing it into the trunk of a stretch limo parked by the
curb.
JACKSON
... I know it's mosquito season at
Yellowstone, Kate. I'll pick some up on
the way.
He notices a deep crack in the asphalt. His neighbors, an
elderly couple, stand there and stare at it.
NEIGHBOR
Merrill, we should move back to
Wisconsin.
Jackson gets into the limo and speeds off.
INT. STREETS/LOS ANGELES - EARLY MORNING
Jackson drives through LA with the radio on.
RADIO HOST (O.S.)
... Those shake-proof coffee mugs are a
genius idea, and they just show the
true nature of us Californians.
We pass a family frantically loading boxes into a van.
RADIO HOST (O.S.) (CONT'D)
We'll not bow to little inconveniences
like these so called `mini-quakes'...
Jackson passes a man in a wheelchair. He's holding up a
cardboard sign: `Repent - The End is Near'.
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
Jackson stops and honks in front of an upscale Westwood home.
RADIO HOST (O.S.)
... If you have a funny `mini-quake'
story you wanna share, call Lisa &
Randy at 1-800...
Jackson switches the radio off. Two kids NOAH, 10, and LILLY,
7, come running down the driveway. They slow down, as they
see the limo.
NOAH
Jackson, what is this?
(CONTINUED)
12.
JACKSON
Don't call me Jackson, Noah, I'm your
father.
Lilly yells from inside the limo.
LILLY (O.S.)
Noah! Look! Daddy's got Space-Busters
in the car... and Space-Busters 2.
Awesome!
Their mother, KATE CURTIS, 32, a beautiful woman appears.
KATE
So what, you're a chauffeur now? What
happened to the temp work?
JACKSON
This is better hours for me. Means I
can still write.
KATE
Of course.
Kate's new boyfriend, GORDON SILBERMAN, 43, pulls out of the
garage in his Porsche wearing his Bluetooth.
GORDON
(on the phone)
Simone, how many times have I told you,
we don't do Lipo on Fridays. It's too
messy.
Jackson smiles bitterly. Gordon waves at the kids.
GORDON (CONT'D)
Have fun guys. And watch out for those
bears.
(to Jackson)
Nice car.
Jackson waves grudgingly as Gordon pulls away.
KATE
Noah needs to read twenty pages from
his book each day...
She follows Jackson to the car with a bag of pull-up diapers.
KATE (CONT'D)
... and Lilly has to put these on,
before she goes to sleep.
JACKSON
Still?
(CONTINUED)
13.
He shuts the trunk and gets back behind the wheel. She looks
at him seriously.
KATE
Jackson, they've been really looking
forward to this you know. Don't let
them down.
He nods as the car pulls away.
CUT TO:
EXT. SHIP DECK/SAN FRANCISCO HARBOR - DAY
HARRY HELMSLEY, 73, and his partner TONY DELGADO, 68, board
an enormous cruise ship, the `Freedom of the Seas'. Harry is
African-American, Tony is Italian. He carries a large case.
They pass a poster: `Jazz Night with Harry Helmsley & Tony
Delgado'.
HARRY
So this time we'll hit the Japs.
TONY
So what?
HARRY
Well Tony, electronics are cheap there
and... you could visit your boy Will.
TONY
Afternoon ladies...
TONY shoots a charmers smile at a couple of older single
ladies on sun loungers. They smile back coyly.
HARRY
Are you even listening to me?
TONY
Yes unfortunately I am Harry.
HARRY
I heard from Audrey you're a grandpa
now.
TONY
Why don't you keep your nose out of my
family. You're cramping my style.
HARRY
He married a Japanese girl - how is
that the end of the world? You should
at least go see him.
(CONTINUED)
14.
TONY
Why? Do you see your boy?
HARRY
Not as much as I'd like. DC is a long
way. But at least we talk.
TONY
What about?
HARRY
Life, how short it is...
Suddenly they're thrown off balance by a large swell that
pulls the massive `Freedom of the Seas' away from the
landing, about ten yards.
The next moment, the ship slams back against the dock with an
earthshaking BOOM.
TONY
What the hell was that?
A murmur goes through the crowd. Luckily nobody is injured.
CUT TO:
INT. LAURA'S BEDROOM/D.C. - EARLY MORNING
The phone rings twice before Laura switches on a light. We
catch a glimpse of a framed photo of her and Adrian. She
answers the phone.
MANFRED PICARD (O.S.)
Laura? They lied to us.
LAURA
Manfred is that you?
EXT. STREETS/PARIS - NIGHT
Picard is speeding in his Peugeot, anxiously checking his
rear view mirror.
MANFRED PICARD
I had my suspicions. I should have said
something. They are following me.
LAURA (O.S.)
Who is?
MANFRED PICARD
They may be listening to us too. Laura
the Heritage Foundation is a sham.
(CONTINUED)
15.
Picard's car approaches a tunnel.
LAURA (O.S.)
What?
MANFRED
The art you collected, it's not in the
Alps.
The Peugeot enters a tunnel.
LAURA (O.S.)
Then where is it?
A huge blast rips through the tunnel as his car explodes.
SMASH CUT TO:
EXT. ROAD/YELLOWSTONE NATIONAL PARK - DAY
JACKSON AND LILLY
(singing along to the
RADIO)
`We all live in a Yellow Submarine...'
They're driving through the glorious landscape of Yellowstone
National Park. Noah sits in the back with headphones on
playing Space-Busters 2.
As they pass over a ridge, the music station is overpowered
by a talk show filtering through. We hear a raspy and
excitable voice.
RADIO HOST
... After what is going on in La-La-
land with all those surface cracks, I
told myself: Get your stupid ass to
Yellowstone. I don't want to miss all
the great fun, when it finally blows...
Lilly reaches for the dial of the radio.
LILLY
What happened to the music?
JACKSON
Hang on, sweet pea, let daddy listen to
this for a moment...
Jackson corrects the dial to get better reception.
RADIO HOST
... There's been government people
flying in and out all morning. And
trust me, they did not look happy...
(CONTINUED)
16.
A huge black helicopter brushes over the limo.
RADIO HOST (CONT'D)
... Folks, always remember, you heard
it first from Charlie.
They watch in awe as the chopper disappears behind a ridge.
CUT TO:
INT. OVAL OFFICE/WHITE HOUSE - MORNING
Laura bursts in and heads straight for the TV. The President
looks up from his desk.
LAURA
You have to see this.
Sally the President's Secretary enters, flustered.
PRESIDENT WILSON
It's alright Sally.
Sally closes the door as Laura turns up the TV.
CNN ANCHOR
... Mr. Picard had been the director of
the French National Museums for 24
years. As fate would have it his
assassination took place in the same
Paris tunnel where Princess Diana died
in 1997.
The President comes around his desk. Laura looks at him
distraught.
LAURA
I just talked to him, Dad. He told me
the world Heritage Foundation is a
sham. Is that true?
The President shoots an anxious look across the room. Laura
turns and suddenly realizes that Adrian is standing in the
corner.
LAURA (CONT'D)
You knew too? You sleep with me and you
didn't say anything?
Adrian looks ashamed.
LAURA (CONT'D)
I can't even look at you. Either of
you!
(CONTINUED)
17.
PRESIDENT WILSON
Honey, calm down.
LAURA
A man was killed! I want the truth Dad.
Right now.
CUT TO:
EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - DAY
A dense forest trail. We hear Lilly before we see her.
LILLY (O.S.)
Daddy, where are we going?
JACKSON
To a very special place, Lil'bee. It's
a lake. A place where mommy and daddy
fell in love.
(winking to Noah)
Remember the book I gave you?
NOAH
I don't want to know where you and mom
had sex. I'm not ready for that,
Jackson.
JACKSON
I'm your dad, Noah.
LILLY (O.S.)
Daddy!
Jackson runs to catch up with Lilly who has reached a fence
with a `keep out' sign posted.
JACKSON
This wasn't here before.
Jackson starts to climb the fence.
NOAH
Don't you see the signs?
JACKSON
It's fine guys.
EXT. RIDGE/YELLOWSTONE NATIONAL PARK - DAY
Jackson and his kids crest a ridge. They look down on a
parched basin with cracked terrain.
(CONTINUED)
18.
JACKSON
It's gone. The whole darn lake is gone.
I swear you guys there was a lake here.
The kids roll their eyes.
EXT. EMPTY LAKE BED/YELLOWSTONE NATIONAL PARK - DAY
A puddle of water is all that remains of the lake. Jackson
and the kids walk into the basin, unaware of being watched
THROUGH BINOCULARS.
Jackson spots an electronic measuring device and crouches to
have a closer look.
Elsewhere in the lake bed, we see sand seeping through CRACKS
in the ground.
NOAH (O.S.)
Jackson!
When he looks up, he sees heavily armed soldiers coming
towards them from all sides.
JACKSON
It's okay, Noh'.
Through the BINOCULARS, we see Jackson and his kids arrested
and led over a ridge.
With this we reveal an ENORMOUS RESEARCH FACILITY with
hundreds of tents and vehicles surrounding a massive drilling
tower.
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
Adrian Helmsley and Prof. West exit the drilling tower, both
studying papers. Adrian notices Jackson and his kids nearby,
being interrogated by an OFFICER.
ADRIAN
I'll be with you in a second,
Professor.
Adrian walks towards them. Jackson stares at the officer with
defiance.
OFFICER
... And then you climbed over a posted
fence? Just like that?
NOAH
I told you.
(CONTINUED)
19.
JACKSON
Isn't this supposed to be a National
Park? There shouldn't be fences. What
are you guys doing around here anyway?
ADRIAN (O.S.)
We're geologists...
Jackson turns and sees Adrian standing there.
ADRIAN (CONT'D)
I'll handle this officer. Thank you.
The officer reluctantly hands him Jackson's license.
JACKSON
So, where did the lake go?
ADRIAN
That's what we're trying to find out.
We think this whole area has become
potentially unstable. I would advise
you to take your kids and leave, Mr...
He throws a look at Jackson's drivers license.
ADRIAN (CONT'D)
... Curtis.
He looks up at Jackson with renewed interest.
ADRIAN (CONT'D)
Are you by any chance the Jackson
Curtis, the author of `Farewell
Atlantis'?
JACKSON
(SURPRISED)
Yeah, that's me.
Jackson straightens up proudly. Lilly smiles.
ADRIAN
What a coincidence. I'm reading your
book, as we speak... first third,
around day 300, when the shuttle loses
communication with earth and drifts off
into space.
JACKSON
You're one of lucky 422 who bought it.
ADRIAN
Actually I didn't buy it. My father
gave it to me.
(CONTINUED)
20.
JACKSON
Oh, I see.
Prof. West waves at Adrian from one of the container labs.
Adrian hands back Jackson his drivers license.
ADRIAN
Officer, can you return them to the
campgrounds, please.
(to Jackson)
Pleasure to meet you, Mr. Curtis.
Jackson and his kids look after Adrian hurrying away.
LILLY
He was very nice.
JACKSON
Yes he was, Lil'bee.
EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - LATER
Jackson and the kids walk back to the campgrounds when
suddenly CHARLIE FROST, 62, a crazy looking guy with
binoculars around his neck, stands in their way.
CHARLIE FROST
What did the government guys tell you?
Jackson looks at him, instinctively picking up Lilly.
JACKSON
They think it's not such a good idea to
climb over their fences. They feel the
area is unstable.
Charlie bursts out laughing.
CHARLIE FROST
Unstable! Ha-ha! They say its unstable!
That's funny...
With this he turns around and leaves.
EXT. TENT/YELLOWSTONE NATIONAL PARK - DUSK
Jackson is sitting on a camp chair, right outside the tent.
He's on his laptop, looking enquiringly at an aerial picture
of Yellowstone on Google earth.
In the background we see the kids are in the tent.
(CONTINUED)
21.
NOAH
There are mosquitos in here. Did
anybody spray the tent?
Jackson looks up, remembering he forgot the spray.
JACKSON
We'll get some of that tomorrow. For
tonight just put your head under the
blankie.
LILLY
Daddy you said you weren't gonna work
on your book.
JACKSON
I'm not Honey, I promise. Are you
wearing your pull-ups?
Lilly nods as Jackson walks over and tucks her into bed. He
kisses her good night. He turns and is surprised to see Noah
typing a text on his cell phone.
JACKSON (CONT'D)
Did mommy buy you that?
NOAH
No... Gordon gave it to me for my
birthday.
Jackson takes the phone from out of Noah's hands.
JACKSON
Noah. Things like a cell phone have to
be discussed in the family.
NOAH
(BITTER)
What family?
Jackson reads the message Noah has typed `Hey Gordon, Camping
Sucks!'. Hurt, Jackson hands back the phone.
JACKSON
Go to sleep guys.
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DUSK
Commotion. The base packs up. Adrian and Prof. West duck low
as they board a chopper. Adrian is on the phone.
ADRIAN
... You have to immediately inform the
President, Mr Anheuser. The readings
look much worse than I expected.
(MORE) (CONTINUED)
22.
ADRIAN (CONT'D)
Plus Satnam's neutrino figures from
India confirm...
We hear Anheuser, yelling.
ANHEUSER (O.S.)
... But you guys said...
ADRIAN
We were wrong! By five or six months...
A second later the chopper lifts off.
INT. LIMO/YELLOWSTONE NATIONAL PARK - DUSK
Jackson has his laptop open with the cursor blinking away on
the words `Chapter Seven'. But he can't concentrate on
writing after what Noah has said.
A chopper flies overhead. Jackson follows it's path over the
campsite and his eyes fall on an American flag fluttering on
top of a massive radio antennae. This belongs to an RV truck.
Through the RV's window, Jackson sees the silhouette of
Charlie Frost, the guy with the binoculars, speaking into a
microphone.
Curious, Jackson flicks on the radio and twists the dial.
ON THE RADIO
(Charlie's voice)
... We have a listener calling in. Bill
from Cooke City, you're on the Charlie
Frost Show.
(Bill's voice)
I wanted to know, where will this all
start?
Jackson is intrigued. He puts his laptop down.
ON THE RADIO (CONT'D)
(Charlie's voice)
Well, something like this could only
originate in Hollywood, Ha-Ha! But
seriously, they've got the earth
cracking under their asses already,
Bill.
Jackson climbs out of his car and starts towards the RV. He
can still hear the radio.
ON THE RADIO (CONT'D)
(Bill's voice)
Our family believes in the gospel of
our Lord Jesus.
(MORE) (CONTINUED)
23.
ON THE RADIO (CONT'D)
We have nothing to fear, Charlie.
(Charlie's voice)
Good for you Bill, good for you!
INT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DUSK
Charlie hits a switch. Music starts playing. The Doors, `The
End'.
CHARLIE FROST
... This is Charlie Frost reporting
live from Yellowstone National Park,
soon to become the world's largest
active volcano.
Charlie is about to take a bite of his sandwich, when there's
a knock on the door. Jackson sticks his head in.
JACKSON
Hi. Mind if I join you?
CHARLIE FROST
I only got a few minutes.
Charlie bites into his sandwich as Jackson looks around at
all the equipment.
JACKSON
I just heard part of your broadcast...
Mind me asking a question? What exactly
is it... that will start in Hollywood?
CHARLIE FROST
(CHEWING)
Actually it's gonna be the whole west
coast...
JACKSON
What are you talking about?
CHARLIE FROST
The apocalypse, the end of days. The
Mayans knew it, the I Ching and the
Bible, kind of...
Charlie looks at his watch.
CHARLIE FROST (CONT'D)
I got to eat... Just check my blog. You
can download it for free.
Charlie clicks on his laptop.
CHARLIE FROST (CONT'D)
... However, we do take donations.
(CONTINUED)
24.
A crudely animated film starts to play. Charlie narrates on
screen in an overly dramatic fashion.
CHARLIE'S VOICE
In the year 2012 a cataclysmic event
will unfold. Caused by an alignment of
the planets in our solar system that
only happens every 640,000 years...
Just imagine the earth as an Orange...
Charlie appears as an animated figure holding an orange.
CHARLIE'S VOICE (CONT'D)
... our sun will begin to emit such
extreme amounts of radiation, that the
core of the earth will melt - that's
the inside part of the Orange, leaving
the crust of our planet free to shift.
On screen the middle of the orange shrinks, now the skin
moves freely around it.
CHARLIE'S VOICE (CONT'D)
In 1958, Prof. Hapgood named it `Earth
Crust Displacement'...
A faded portrait of a scientist appears on screen.
CHARLIE FROST
... and Albert Einstein endorsed it...
The infamous photo of Einstein, sticking out his tongue.
CHARLIE FROST (CONT'D)
The forces of mother nature will be so
devastating it will bring an end to
this world on winter solstice 12-21-12.
The film ends with an image of the whole earth covered with
water.
Charlie shuts the laptop.
CHARLIE FROST (CONT'D)
Pretty neat, huh? It's a big hit on
YouTube. I did the animation myself.
(PAUSE)
I know what you're thinking. But all
the governments know about this.
JACKSON
If they all knew, don't you think
somebody would tell us?
(CONTINUED)
25.
CHARLIE FROST
They can't. Just think about it. First
the stockmarket would crash...
Charlie opens a can of beer. Phsssh!
CHARLIE FROST (CONT'D)
Then the economy... boom. The dollar...
boom. And then the people in the
streets...
(mimicking gun fire)
Boom, boom! Pandemonium, revolution,
war! They would never tell us. Beer?
Jackson shakes his head still struggling to digest this.
CHARLIE FROST (CONT'D)
Only if you're some Sheik, Bill Gates,
or maybe one of those Russian
billionaires do you stand a chance to
buy a seat.
JACKSON
A seat?
CHARLIE FROST
(INTENSELY)
They're building spaceships, man.
JACKSON
Oh... I see.
CHARLIE FROST
No really... One of my listeners, a
geography professor at UTSC, has even
figured out where they're building
them. He sent me a map.
JACKSON
Well... Charlie, I think I gotta go. My
kids are sleeping.
Charlie looks at him bug eyed.
CHARLIE FROST
Get them out of Yellowstone, man. It's
gonna get ugly here.
JACKSON
Night, Charlie.
As Jackson exits, Charlie gets back on the air.
(CONTINUED)
26.
CHARLIE FROST
Sorry for the delay, folks. But even in
times like these, a man has got to
eat...
CUT TO:
EXT. PARKING LOT OF SUPERMARKET/LOS ANGELES - NIGHT
Westwood. The parking lot of Gelson's is nearly empty.
Eerie silence. Suddenly some of the cars begin to shift in
place from an unseen force. A small CRACK creases the asphalt
and slowly crawls towards the brightly lit supermarket.
INT. BETWEEN AISLES/SUPERMARKET - NIGHT
Muzak is playing. Kate and her boyfriend Gordon are shopping
late. She picks up some pull-ups for Lilly, Gordon steps up
behind her, wrapping his arms around her waist.
GORDON
Why don't we make a baby?
He reaches up and touches her breasts.
KATE
Stop it! We're in public.
Gordon lets go of her with mock disappointment.
GORDON
Honey, I created them. And now suddenly
I can't touch them?
Kate pushes him away and moves on.
A few customers are paying at the checkout stand.
BEHIND THEM: Huge glass windows reveal cars slowly sliding
into the ever widening crack in the parking lot. Nobody
inside notices.
Gordon catches up with Kate.
GORDON (CONT'D)
You always act strange after he shows
up?
KATE
Just because I don't care for your
arrogant humor doesn't mean I'm acting
strange. He is the father of my kids.
(CONTINUED)
27.
GORDON
Maybe biologically. Can I remind you
what that guy did? First you gave up
med school to have Noah... Then you
practically raise him and Lilly by
yourself while he sat glued to a laptop
writing that junk.
KATE
Some of his stuff is actually... He's
published Gordon.
GORDON
(MOCKINGLY)
Yeah, published! You know your mother
was right. You've always been drawn to
guys with lofty dreams and empty
pockets. But not this time right,
sweetheart?
Kate smiles awkwardly and picks up a can of soup. The shelf
in front of her shakes for a moment.
KATE
Did you see that?
GORDON
See what?
Kate slowly puts the cans of soup into her cart and looks
around. Gordon senses a problem between them.
GORDON (CONT'D)
You know Kate, we have to keep working
at this... our relationship. Because I
won't end up being just a re-run of you
and Jackson.
(PAUSE)
I mean Honey, I feel like... something
is pulling us apart?
Before Gordon finishes his sentence--
A violent ROAR! From front to back, the entire supermarket
rips open right between Kate and Gordon.
The few customers scream in horror at the sight of the huge
crevasse forming beneath them. Kate and Gordon are thrown up
against opposite aisles holding on for dear life.
They cling to the columns as the shelves fold into the ever
widening crack...
CUT TO:
28.
INT. CONVENIENCE STORE/YELLOWSTONE - MORNING
Jackson puts down some groceries at the checkout.
JACKSON
Just stop scratching. You'll get them
infected.
He smiles at the female cashier behind the counter who does
not look friendly.
JACKSON (CONT'D)
Something for Mosquito bites please?
CASHIER
Before or after?
JACKSON
What?
The woman looks at Lilly and Noah with their red lumps.
CASHIER
I'd get before and after.
She slams two mosquito products on the counter.
LILLY
(POINTING)
Look! Mrs. Birnbaum, my teacher is on
TV!
On the store's TV: A heavy-set blonde WOMAN, 45, speaking to
a reporter in front of Gelson's.
NOAH
That's our supermarket.
The gap in the ground is enormous now, at least half a mile
long and 200 feet wide.
JACKSON
(WORRIED)
Kids, we have to pack up and go find
mommy.
CUT TO:
INT. HALLWAY/WHITE HOUSE - MORNING
President Wilson and Anheuser walk towards the Situation
Room.
(CONTINUED)
29.
ANHEUSER
Sir, you have to initiate the boarding
process immediately.
PRESIDENT WILSON
Is this even possible? What's our
information from China?
ANHEUSER
They estimate four of the ships will be
ready for launch.
The President is shocked by this news.
PRESIDENT WILSON
Only four?
ANHEUSER
If it's alright with you sir, I'll
brief the panel about the new
development.
PRESIDENT WILSON
I'd rather have Adrian do that. They
trust him. I told him to be in on the
meeting.
Anheuser fumes as they enter the situation room.
INT. SITUATION ROOM/WHITE HOUSE - MORNING
Flat screens line the walls. A video conference is under way
with each of the G8 members represented.
PRESIDENT WILSON
Ladies and Gentlemen, we all knew this
day would come. But we never imagined
it would come this soon.
He looks over to Adrian.
PRESIDENT WILSON (CONT'D)
I would like to pass this over to my
science advisor, Adrian Helmsley.
Adrian steps up and gathers himself. Anheuser watches.
ADRIAN
I'll make this brief...
Pointing to a set of charts.
(CONTINUED)
30.
ADRIAN (CONT'D)
... According to our latest data from
Yellowstone, the temperature of the
subterranean crust of the earth, the
cement that holds our landmass in
place, is increasing at a rapid rate,
much faster than anticipated...
All the heads of state are glued to his words.
ADRIAN (CONT'D)
... This causes extreme polar
instability. The magnetic fields have
decreased by more than 80% over the
last 48 hours.
The German Chancellor, a woman, interrupts.
GERMAN CHANCELLOR
How much time do we have, Mr. Helmsley?
Adrian glances to Professor West, standing in the back.
ADRIAN
Two, maybe three days if we're lucky.
The Prime Minister of Italy breaks in, upset.
ITALIAN PRIME MINISTER
How can you speak about luck in such a
situation?
ANHEUSER
Apologies Prime minster. He's still new
to the job.
President Wilson steps up.
PRESIDENT WILSON
Nevertheless, Mr. Antonioni, we have to
make an immediate decision.
We hear CHEERING and APPLAUSE.
BOXING ANNOUNCER (O.S.)
Introducing the 320 pound muscle
machine from the Ukraine...
CUT TO:
INT. BOXING ARENA OF MGM GRAND/LAS VEGAS - NIGHT
The arena is filled to its max. The crowd is on its feet.
(CONTINUED)
31.
BOXING ANNOUNCER
... and tonight's challenger for the
heavy weight world championship of the
world. Here he is... Mister Zultan
Balashin!
The crowd ROARS as the boxer and his entourage enter.
The CAMERA moves in on a tall man with blonde clean cut hair.
He is well built, wearing designer clothing from head to toe.
YURI KARPOV, 45, stereotypical Russian oligarch.
He approaches the ringside corner and whistles.
YURI
Zultan!
The nervous boxer turns.
ZULTAN
(in Russian)
Ah, finally, Yuri. I thought I would
not see you.
Yuri hits the boxer's gloves. Zultan is nervous. His coach
steps in.
COACH
He needs to concentrate now, Mister
Karpov.
YURI
You shut up... when I talk to my boy,
understand?
COACH
Yes, Mr. Karpov.
YURI
Good... That is good.
(in Russian to the
BOXER)
Zultan my friend. Do not forget. We are
fighters. We never go down. We always
stay on our feet...
Zultan just keeps nodding, pumping himself up.
YURI (CONT'D)
... No matter who is hitting us. No
matter how hard.
GONG. First Round. The fight is on.
YURI (CONT'D)
Now, go kill the bastard.
(CONTINUED)
32.
Yuri walks to his seat, sitting down next to his trophy:
TAMARA, 28, blonde, wears the shortest mini one can imagine,
designer shoes, handbag, glasses and boobs. In her lap she
holds CAESAR, a tiny dog wearing a diamond collar.
In the ring the boxers maul at each other. Yuri's cell phone
beeps. It's a text message:
START BOARDING PROCEDURE
Yuri's whole demeanor changes. Without a word, he gets up and
walks out of the arena.
TAMARA
Yuri bear... where are you going?
Yuri does not respond as he squeezes through the crowd.
Zultan, the boxer, notices Yuri leave. In that split second
distraction, he is hit HARD and goes down for the count.
The crowd ROARS!
CUT TO:
EXT. WESTWOOD/LOS ANGELES - SUNRISE
Jackson has driven all night. The sun rises, a giant glowing
orb.
PUBLIC RADIO NEWS (O.S.)
... Caltech believes that the incident
in the Westwood supermarket has
released most of the surface tension...
EXT. KATE'S HOUSE/LOS ANGELES - EARLY MORNING
Jackson pulls up. The kids are asleep.
PUBLIC RADIO NEWS (O.S.)
... It looks like life in the city will
soon be back to normal, Mayor Gonzales
said at an early morning news
conference from his home in Hancock
Park.
Jackson switches off the radio and wakes his kids gently.
JACKSON
Lilly, we're home sweetie.
(to Noah)
Wake up big man.
(CONTINUED)
33.
Kate heads to the car. Still sleepy, the kids grab their
stuff and run into her arms.
KATE
Oh honey, I'm so glad you're back...
And you too, darling.
JACKSON
We tried calling but -
LILLY (O.S.)
I'm hungry Mummy.
KATE
At least it looks like the Mosquitos
ate well.
She looks at Jackson and softens.
KATE (CONT'D)
Wanna come in?
Gordon appears at the door. Jackson watches painfully as Noah
runs and gives Gordon a big hug.
His cellphone beeps with a message.
YURI (O.S.)
Where are you Curtis?
INT. PRESIDENTIAL SUITE/LAS VEGAS - EARLY MORNING
Yuri stands at a huge window overlooking the strip talking
into his phone.
JACKSON (O.S.)
Back in Westwood, Mister Karpov.
YURI
Good. That is good. I'm sending the
Gulfstream to pick up Alec and Oleg.
Tamara hovers in the background packing her Louis Vuitton
luggage. Caesar, her little dog, watches from the bed.
TAMARA
(in Russian)
Tell him to bring Caesar's raincoat,
it's in the Range Rover.
Yuri brushes her off.
34.
EXT. STREET/BEL AIR - MORNING
While talking to Yuri, Jackson is standing in front of the
open trunk, changing into his chauffeur suit.
YURI (O.S.)
Curtis, make sure you get my boys as
fast you can.
EXT. MANSION/BEL AIR - MORNING
A palatial home. Completely gaudy. The twins, ALEC and OLEG,
wait impatiently. They are 12 years old and wear identical
clothing by Dior.
ALEC
Curtis, you are late.
Jackson ignores him and starts throwing the luggage into the
limo. The other twin notices his muddy sneakers.
OLEG
Careful with our stuff. Don't get it
dirty.
EXT. STREETS/LOS ANGELES - MORNING
Ahead of the limo a crowd has formed in the streets, singing
songs and chanting about the end of days. A SKINNY MAN with a
ponytail preaches from the scriptures.
PREACHER
... There will be famines, pestilences
and earthquakes, sayeth the Lord.
Jackson has to maneuver through the people. Banners read:
`Prepare for the End'-- 'You cannot escape his judgement'--
Alec looks up from his video game, annoyed.
ALEC
Curtis, can't you go faster?
JACKSON
Are you guys blind? I can't run people
over.
OLEG
Why not? They're idiots anyway.
Jackson shoots these spoilt brats an angry look.
35.
EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING
Jackson stops in front of the Gulfstream. SASHA, 40, Yuri's
Russian pilot is expecting them.
SASHA
Hey Jackson. Took you a while...
Jackson mutters under his breath as he unloads the luggage,
dropping one of them on Alec's foot on purpose.
ALEC
Ouch! Be more careful!
The other twin has noticed Jackson's intensions. He gets into
his face.
OLEG
Now you're laughing, Curtis. But we are
going on a big ship.
(PAUSE)
We will live... and you will die.
Oleg grins back at Jackson as the jet door closes. The
Gulfstream taxis onto the runway.
As Jackson turns back to the car a fine surface crack shoots
across the tarmac. We hold on his face as it hits him like a
ton of bricks:
THE CRAZY RADIO HOST, CHARLIE FROST WAS RIGHT!
Frantically Jackson looks around and spots a MAN in overalls
working on a twin engine Cessna. He runs to him.
JACKSON
Where can I rent a plane?
The man points to a shabby office building.
CUT TO:
INT. KITCHEN/LOS ANGELES - MORNING
Kate is in her kitchen cooking breakfast for the kids. Gordon
watches the Governor on the news.
GOVERNOR
(with Austrian
ACCENT)
... just this morning my people at
Caltech told me that in the last 36
hours we had basically zero earthquake
activity in Southern California, which
is very rare...
(CONTINUED)
36.
The phone rings. Kate picks up.
EXT. STREETS/LOS ANGELES - MORNING
Jackson drives like crazy.
JACKSON
... Kate, we have to get out of LA!
I've rented a plane for us. Get the
kids ready! I'll be there in five.
KATE
The kids have plans today...
JACKSON
Are you kidding me!
KATE
No I'm not! Noah has music at 2 and
Lil' has Karate.
Gordon rolls his eyes and mutters.
GORDON
Not that we'd expect him to remember.
JACKSON
(SCREAMING)
California is going down! Pack up the
kids!
KATE
You're crazy! The Governor just said
we're fine now.
JACKSON
The Governor's a meathead, how would he
know anything? Kate listen! You gotta
trust me over some politician. Come on.
INT. KATE'S HOUSE/LOS ANGELES - MORNING
Kate slams the phone down. Lilly stops eating.
LILLY
Mommy, why are you so angry with Daddy?
LAURA
Because your daddy is a lunatic,
darling.
On the TV, the interview comes to an end.
(CONTINUED)
37.
GOVERNOR
... it looks to me, like the worst is
over.
That moment a MASSIVE QUAKE hits Los Angeles.
Everybody dives under the table.
ON TV: The news casters and the Governor do the same. A few
seconds later the signal cuts out.
Gordon pulls Kate and the kids close as the earth shakes
violently for 20 seconds.
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
Jackson flies into the driveway and runs into the house.
INT. KATE'S HOUSE/LOS ANGELES - MORNING
When he enters, Lilly immediately runs into his arms. The
next tremor hits. Cracks form on the kitchen floor.
JACKSON
We have to leave! Noah, let's go!
KATE
I think we're safer here!
JACKSON
Noah, now! Kate please...
The whole house rides up and down like on a wave.
GORDON
I think he's right.
Finally Kate pushes her son out from under the table. They
all scramble out of the house in a panic. Kate is cut on the
shoulder by falling glass but she hardly notices.
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
As they storm out of their front door the house crumbles
behind them.
JACKSON
Get in the car!
The whole street starts to buckle. Left and right the houses
are shaken and smashed like toys.
(CONTINUED)
38.
Just before the wave of destruction can reach them, Jackson
tears out of the driveway.
EXT. STREETS/LOS ANGELES - MORNING
Jackson maneuver's the limo through the crumbling
neighborhood. Right in front of their eyes, streets
disappear, trees fall, electrical lines snap. Sewer pipes
burst in front of the car.
NOAH
Holy shit!
Jackson has to turn on the windshield wipers.
EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING
The limo crashes through a gate onto the tarmac, coming to a
stop in front of a twin engine Cessna.
JACKSON
Damn it! Where's the pilot?
Kate turns to Gordon.
KATE
Gordon, you know how to fly.
GORDON
I... had a couple lessons...
JACKSON
Did you cover taking off?
GORDON
Yeah.
JACKSON
That's good enough for me.
They start running, when Jackson remembers something and
heads back to the Limo.
He grabs his knapsack from the front seat fumbling to zip his
laptop back inside it. Kate shouts.
KATE (O.S.)
Jackson, what are you doing?
JACKSON
I'm coming.
He jumps out of the car and races back after them. Behind
Jackson the hangar starts to disintegrate.
(CONTINUED)
39.
IN THE DISTANCE
A gigantic fissure forms in the earth, shooting towards Santa
Monica airport.
Gordon fumbles with the controls, Jackson yells from the
copilot seat.
JACKSON (CONT'D)
Come on, come on...
GORDON
(pointing at the
INSTRUMENTS)
But I'm supposed to check all these
first...
Jackson reaches over and slams Gordon's hand down and the
plane lurches forward.
As the Cessna speeds onto the tarmac the control tower goes
down and explodes.
Noah discovers the giant crevasse forming behind them.
NOAH
Guys, behind us!
As the plane accelerates, the giant crack closes in on them.
Gordon's hand trembles on the throttle control. Everybody
screams on top of each other.
EVERYBODY
Gordon! Damn it! Lift off!
Gordon gathers his courage and pulls the lever. The plane
almost rockets into the air just as the ground beneath them
gives way.
They hover for a moment, almost caught in mid-air as the
widening crevasse beneath them fights to suck them into the
bowels of the earth. Gordon fights to maintain control but
they begin to be pulled down.
The daylight vanishes. Debris and mud smashes into the plane
from all sides. The canyon walls erupt.
GORDON
I can't get it up!
Taking desperate measures, Gordon nearly rips the control
stick out of its joint - with a lurch the Cessna lifts out of
the abyss.
(CONTINUED)
40.
They all take a deep breath only to realize that now they are
flying directly into the collapsing towers of downtown Los
Angeles!
Like a roller coaster, Gordon manages to weave the little
plane through the tumbling high rises.
They dive one last time to evade the plummeting US BANK
TOWER, the tallest building on the west coast.
All are dead silent as they watch the whole of Los Angeles
crumble beneath them. Kate covers Lilly's eyes.
NOAH
(in total shock)
That was amazing, Gordon!
Jackson looks at Kate and notices her cut.
JACKSON
Are you okay?
KATE
(brushing it off)
I'm fine. How did you know this was
gonna happen?
JACKSON
I didn't.
(To Gordon)
Do we have enough fuel to make it to
Yellowstone?
The plane veers off in a northeasterly direction. Behind them
the destruction of Los Angeles continues.
CUT TO:
EXT. FREEDOM OF THE SEAS/PACIFIC - DAY
The gigantic cruise ship plows through the Pacific. We hear
lounge music...
INT. BAR/FREEDOM OF THE SEAS - DAY
Adrian's father Harry and his partner Tony are on stage.
Harry on the piano, singing, Tony playing the bass. A waiter
brings drinks. Water for Harry, and a brightly colored
cocktail for Tony.
WAITER
You got fans Tony...
(CONTINUED)
41.
Tony raises his glass to two old ladies who are sitting at
the bar.
WAITER (CONT'D)
There's a call for you Harry. Want me
to take a message?
HARRY
(while still playing)
I'll be right there.
The waiter nods. A few more bars of music, then applause.
HARRY (CONT'D)
(into the microphone)
Thank you ladies and gentlemen. Let's
hear it for the one and only Tony
Delgado... And I'm Harry Helmsley and
we'll be back after a short pit stop.
Applause. Harry rushes off stage.
ADRIAN (O.S.)
Dad... what I have to tell you is very
serious...
INT. HALLWAY/WHITE HOUSE - DAY
Adrian is standing in a dark corner. Behind him people are
packing up, carrying boxes.
ADRIAN
You remember when I told you about the
dam in China? Well, it's happening much
sooner than we anticipated.
INT. GALLEY/CRUISE SHIP - DAY
Harry's face has turned serious.
ADRIAN (O.S.)
The President has ordered us to clear
out the White House.
HARRY
Hah... About time someone cleaned up
that mess.
INT. HALLWAY/WHITE HOUSE - DAY
Adrian fights back the tears.
(CONTINUED)
42.
ADRIAN
Where are you, dad? What exactly is the
course of the `Freedom' right now?...
HARRY (O.S.)
It's all good, Adrian. Don't worry
about your old man. You have more
important things to do now.
INT. GALLEY/CRUISE SHIP - DAY
There's a tremor in Harry's voice.
HARRY
You know, your mom and I, we had a hell
of a great life... and a hell of a
great kid too.
(PAUSE)
And the `Freedom' is a pretty big ship
you know... Don't write your old man
off, just yet.
INT. HALLWAY/WHITE HOUSE - DAY
A tear runs down Adrian's face.
HARRY (O.S.)
... Besides, I could never leave Tony
alone. You know how he can't keep
decent time by himself.
Pause.
ADRIAN
I love you, dad.
INT. GALLEY/CRUISE SHIP - DAY
Harry bites his lip.
HARRY
Love you too, son.
INT. BAR/CRUISE SHIP - DAY
Back in the lounge, Tony has finished his cocktail. Harry
walks up and hollers at the barkeeper.
HARRY
Hey Herb. Get me a double Jack on the
rocks.
(CONTINUED)
43.
TONY
After twenty-five years on the wagon?
HARRY
Why not? Who cares how long we do
certain things? How long we drink
booze, how long we talk to people... Or
how long we don't talk to people.
Harry grabs Tony by his shirt.
TONY
Woah!... Harry, what's the matter with
you? Let's go. We're back on.
Harry pulls him even closer.
HARRY
Call your kid, you stubborn old ass.
(PAUSE)
I'm not going back on that stage unless
you promise to call him.
WAITER
(INTERRUPTING)
Tony, the ladies are waiting for you.
HARRY
Promise me, Tony... please.
Harry stares him down.
TONY
Yeah, maybe I should call him...
Harry smiles, downs his bourbon and walks back on stage.
CUT TO:
INT. ADRIAN'S OFFICE/WHITE HOUSE - DAY
Adrian enters his office. The TV is on.
NEWS ANCHOR
... There is little we know at this
point, but the earthquake registered at
10.1 on the Richter scale. The whole of
the Western seaboard was hit...
Assistants stare at the news in shocked disbelief, some of
them are crying. Prof. West appears at the door.
ADRIAN
(pointing at the TV)
Have you seen this?
(CONTINUED)
44.
Prof. West silently nods and beckons Adrian, who follows him
down the hall into a dark control room. They look at a wall-
sized high def monitor.
PROF. WEST
We have satellite images. Here's the
sequence we've got so far.
On the monitors, detailed satellite imagery displays how the
monstrous quake unfolds, leaving California sliding into the
sea.
ADRIAN
Any news from Yellowstone?
PROF. WEST
Anytime now.
CUT TO:
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
The base is abandoned but for a few structures and the
enormous drilling tower.
Gordon manages to land the plane next to what looks like a
fueling station. Jackson leaps out checking the pump.
JACKSON
Guys, there's fuel! Fill her up and
I'll look for Charlie.
KATE
You're sure about this?
JACKSON
Kate, everything this guy said so far
has happened. I'll be right back.
Jackson runs off towards the hills.
LILLY
Daddy wait! I wanna come with you!
Lilly runs after him. Jackson picks her up.
KATE
Lilly! Come back!
JACKSON
It's fine! I'll take her.
Kate watches as they disappear, worried. Noah and Gordon have
started to fuel the plane.
45.
EXT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DAY
Jackson and Lilly find Charlie's RV with it's door hanging
open. They enter. The key is in the ignition. The radio
transmitters are on, but Charlie is gone. Jackson fiddles
with the switches and Charlie's voice comes on.
CHARLIE'S VOICE
... I am standing here at the highest
point on what is the rim of this super
volcano...
JACKSON
He's got to be close by, Lil'bee...
Jackson jumps behind the wheel and turns the ignition.
LILLY
Let's go back, Daddy.
JACKSON
Listen to me. We have to find Charlie.
He's got a secret map, you know, like
Jack Sparrow in `Pirates'.
That catches her interest.
JACKSON (CONT'D)
Lil', we have to work as a team now,
okay? You have to help me.
Jackson passes her his mobile phone. Lilly nods. He throws
the RV into gear and they speed off over the bumpy terrain.
In their dust, we see the earth fissuring!
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
Jackson drives like a bat out of hell.
CHARLIE'S VOICE
... The last time this baby blew, was
640,000 years ago...
JACKSON
Dial Mommy's number, sweetheart.
Jackson tears up the mountain looking for Charlie.
EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY
Kate's phone rings.
(CONTINUED)
46.
LILLY (O.S.)
Hi mommy...
KATE
Where are you, honey!?
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
Jackson hears the stress in Kate's voice. He hisses at Lilly.
JACKSON
Tell her we'll be back in ten minutes.
LILLY
(EXCITED)
We're looking for a secret map, mommy.
Jackson grimaces.
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
Kate tries to keep it together for Lilly.
KATE
Let me speak to your daddy, darling.
LILLY (O.S.)
Daddy can't talk right now, he's
driving really fast...
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
The RV runs over a boulder. Lilly hits the roof.
LILLY
Ouch!
KATE (O.S.)
LILLY!
In the background Kate hears the voice of Charlie Frost.
CHARLIE'S VOICE
... I tell you guys, any minute now...
any minute the fireworks will start...
KATE (O.S.)
Who's in the car with you? Who's that
man screaming?
LILLY
He's not in the car. He's on a mountain
waiting for fireworks.
(CONTINUED)
47.
Lilly spots Charlie way up on a ridge. He has erected his ten
foot radio antenna with the flag fluttering on top.
LILLY (CONT'D)
(to Jackson)
There he is! Up there!
JACKSON
You're the best, darling. Give Daddy
the phone...
(into the phone)
Kate I am sorry, I can't talk...
The road ends just below the mountain peak.
KATE (O.S.)
Bring back my child, Jackson! NOW!
Jackson sees Charlie up above, broadcasting. He hangs up the
phone and jumps out of the RV.
JACKSON
You wait here for me! You watch the
ship while Captain Curtis talks to the
pirate. Okay?
LILLY
(UNCERTAIN)
Okay...
Jackson climbs up to Charlie.
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
Charlie has his broadcasting equipment strapped to his body.
The antenna's flag is whipping in the wind.
CHARLIE FROST
(into his mic)
... I wish you guys at home could see
this on TV...
He notices Jackson and muffles the microphone.
CHARLIE FROST (CONT'D)
How did you make it up here? Thought
you were toast.
JACKSON
The spaceships Charlie, where are they?
CHARLIE FROST
You can't make it there.
(CONTINUED)
48.
JACKSON
We have a plane. We can get you out of
here too. Let's go Charlie!
All around the landscape begins to collapse. A three mile
crater forms, revealing the awe-inspiring sight of the super-
volcano.
CHARLIE FROST
You'll never make it out in time. Just
stay and enjoy the big bang. That your
kid?
Jackson discovers Lilly standing behind him, staring at
Charlie with her big brown eyes.
Jackson grabs Charlie lifting him off the ground.
JACKSON
Where is that god damn map!
CHARLIE FROST
Easy, easy. Watch the mic... I don't
know. Somewhere in my camper.
A low rumble builds to a rapturous thunder as MILLIONS OF
BIRDS tear into flight.
CHARLIE FROST (CONT'D)
Wow! Look at that!...
(into his mic)
Fly birdies fly! This marks the last
day of the United States of America
folks and by tomorrow...
The mouth of the volcano starts to break apart revealing
molten lava underneath.
CHARLIE FROST (CONT'D)
... the last of mankind. Soon they'll
see us from a million miles away, out
there in the milky way...
Jackson grabs his wide eyed daughter and races down the
mountain.
EXT. BELOW MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
Jackson and Lilly jump into the RV and races off, with
Charlie's broadcast still playing.
CHARLIE'S VOICE
... The ash cloud will travel
everywhere.
(MORE)
(CONTINUED)
49.
CHARLIE'S VOICE (CONT'D)
First the lights will go out in Vegas,
then Dallas, St. Louis and then
Washington DC...
Jackson's cell phone rings and he picks up.
JACKSON
We're on our way.
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
KATE
Jackson, things are really looking bad
here!
In that instant, the air around them vanishes, as if sucked
from the landscape into a vacuum.
THE BIGGEST EXPLOSION THE WORLD HAS EVER SEEN... At least in
the last 640,000 years.
To them, all this occurs in total silence. The sound of the
eruption has not reached them yet.
They are frozen, unable to comprehend what is happening.
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
The explosion begins to resembles an atomic mushroom.
CHARLIE FROST
... it's beautiful, kids! Just
beautiful!
The sound waves reach Charlie, throwing him to the ground.
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
The RV flies over the rugged terrain. Everywhere the earth is
cracking, falling apart. Jackson struggles to swerve around
the disappearing landscape.
LILLY
(SCREAMING)
It's following us!
Lilly has discovered the expanding ASH CLOUD behind them.
JACKSON
Just don't look back, Lil'bee!
The THUNDERING sound envelopes them! On the radio, the voice
of Charlie is getting shrill.
(CONTINUED)
50.
CHARLIE'S VOICE
Majestic!... Oh yeah!
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
Charlie slowly tries to stand again, silhouetted against the
cloud of dust and fire towering above him.
Flaming rocks fly towards him. When they hit the ground, they
detonate like fire bombs.
CHARLIE'S VOICE
Oh baby! It's coming!
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
Rocks plummet like comets around the RV as Jackson races over
a collapsing bridge. On the radio, in his delirious state,
Charlie begins to sing...
CHARLIE'S VOICE
`This is the end, my friend'...
Yellowstone looks like a war zone. The RV dodges the
bombardment of fire and rock.
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
Huge tree trunks and glowing boulders fly at Charlie through
the ashes. He screams at the top of his lungs.
CHARLIE FROST
... Folks, always remember, you heard
it first from Charlie.
A second later, Charlie's radio antenna comes spinning like a
scythe through the air. It decapitates Charlie in an instant.
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
The radio cuts out. The forest and the camp grounds are mown
flat by the extreme force of the ASH CLOUD. In the rear view
mirror Jackson sees it gaining on them.
JACKSON
LILLY! DOWN!
A firebomb hits the RV, ripping half the roof off.
Lilly barely makes it under the dashboard.
(CONTINUED)
51.
JACKSON (CONT'D)
Stay down there, Lil'! We're almost
there! Just keep looking at daddy.
Jackson spots the little Cessna in the distance.
EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY
At the entrance to the airstrip a huge crevasse forms,
cutting the RV off from reaching the plane.
Lilly sticks out her head.
LILLY
Mommy!
Jackson swerves wildly to miss the crack, sending Lilly
flying out. Without thinking, he lets go of the wheel,
lunging after her and pulling her back inside.
JACKSON
Stay down darling.
Jackson races the RV alongside the forming crack.
Spotting a narrow point in the crevasse, he makes a decision.
Slamming the accelerator down, he races towards it at full
speed.
Moments later the RV is airborne!
Kate watches, too shocked to scream. A few drawn out seconds.
Then the RV touches down, crashing 200 feet from the plane.
Kate runs towards the wreckage of the camper. Lilly jumps
out, racing into her mom's arms. Jackson turns and sees the
cloud approaching.
JACKSON (CONT'D)
You guys go! I'll be right there!
Kate pulls Lilly back to the plane.
Jackson jumps into the back of the RV scavenging through the
shelves, looking for Charlie's map.
Kate lifts Lilly onto the wing of the plane. Gordon revs up
the engines.
NOAH
Give me your hand, Lil'.
Noah pulls his little sister into the cockpit.
(CONTINUED)
52.
Fiery rocks rain from the sky, detonating to the right and
left of their plane as Kate climbs in.
GORDON
We have to take off!
NOAH
No!
LILLY
Where's daddy?!
GORDON
Kate, I'm sorry but if we wait we'll
all die!
Gordon pushes the throttle. The plane starts to move. Kate
screams.
KATE
Gordon! Wait!
Back in the RV, Jackson is frantically going through the
masses of books and papers on the shelves. Finally, a map. He
unfolds it. But it's only of the London underground system.
He throws it to the ground and finds another. This time he's
lucky! There are markings everywhere.
As he races to the door, the ground gives way beneath the RV.
Kate and the kids watch it disappear from sight.
KATE (CONT'D)
JACKSON! NO!
Noah begins to cry and Lilly clings to her mom. Gordon just
stares, paralyzed.
The ASH CLOUD is almost upon them!
Gordon takes action and accelerates the plane.
Kate turns back. A hand emerges from the crevasse. Then
another, holding a map. Her face lights up.
LILLY
It's daddy!
Jackson pulls himself up and sprints towards them, the map in
his hand.
KATE
Jackson! Here!
Kate leans out of the cockpit reaching for him.
(CONTINUED)
53.
NOAH
Faster Dad. You can make it!
GORDON
Kate, grab him for god sake. We're
almost out of runway.
Using every last ounce of energy, Jackson leaps onto the wing
and is yanked into the plane by Kate.
Just at that moment, the plane lifts off.
Jackson falls into the cockpit, completely out of breath.
Lilly crawls over and hugs him.
JACKSON
Thanks for waiting guys.
Now all eyes are glued to the speedometer. 180... 190...
The violent ASH CLOUD is hitting their tail rudder. The plane
swerves wildly! Gordon gets it back under control.
The speedometer finally creeps towards 200 mph and the CLOUD
slowly falls back. Everybody breathes a sigh of relief.
KATE
So, now that you got your map, where
are we going?
Jackson unfolds it and takes a look. Hundreds of markings
clutter the map. In the left corner he discovers a large
letter C followed by H - I - N - A.
He looks up.
JACKSON
We're gonna need a bigger plane.
CUT TO:
INT. WEST WING/WHITE HOUSE - LATE AFTERNOON
The White House is being evacuated. Amidst the chaos stands
Anheuser. Adrian puts down a phone and looks at him.
ADRIAN
Just a few minutes ago Yellowstone
erupted, sir. The ash cloud will reach
Washington in roughly 7 hours. Maybe 6.
We have strong easterly winds...
ANHEUSER
And the crustal displacement?
(CONTINUED)
54.
ADRIAN
No one knows, sir.
Anheuser starts walking, Adrian trails behind.
ANHEUSER
Let's get the government airborne
and... I mean now.
INT. OVAL OFFICE/WHITE HOUSE - LATE AFTERNOON
Anheuser and Adrian burst into the Anteroom of the Oval
Office. The President's secretary, SALLY, 55, is packing.
ANHEUSER
Where is the President, Sally?
Sally looks up stone faced.
SALLY
He said he wanted to spend a few
minutes alone. I think he's over at the
chapel.
ANHEUSER
The whole North American continent is
about to perish, and Wilson decides to
go to church!
Adrian shoots an angry look at Anheuser.
ADRIAN
He's praying sir. Which considering the
circumstances is not a bad idea.
ANHEUSER
Maybe. But right now I need the leader
of the free world off his knees and on
Air Force One. Wheels up 1900 hours.
Can I leave that with you Helmsley?
Anheuser walks away. Adrian and Sally exchange a look.
SALLY
I really don't like that man.
INT. CHAPEL/WHITE HOUSE - SUNSET
Adrian finds the President standing near the front of the
chapel.
ADRIAN
Mr. President? We need to get you out
of Washington immediately.
(CONTINUED)
55.
President Wilson stays with his head bowed.
PRESIDENT WILSON
Now matter how idealistic you are
taking office. You lose your innocence
behind that desk.
(PAUSE)
Laura was right. People have died
because of the decisions I made.
ADRIAN
That's not your fault sir.
He turns to face Adrian.
PRESIDENT WILSON
You sound like Anheuser.
This quietly affects Adrian.
PRESIDENT WILSON (CONT'D)
Laura's never looked at me like that
before. Only once... When I told her,
her mother had died. You knew the first
lady?
ADRIAN
A little.
PRESIDENT WILSON
You know what she said to me that night
we brought her to the hospital?
(PAUSE)
`Tommy... I think you should do a
lottery. Every one should have a chance
to go'. That's what Dorothy said to me.
That's what we should have done.
ADRIAN
There would have been chaos, sir.
President Wilson looks Adrian in the eyes.
PRESIDENT WILSON
You know what I believe, Adrian. I
believe nature should choose for
itself, from itself.
Adrian takes this in.
PRESIDENT WILSON (CONT'D)
Don't let her go. You'll regret it if
you do. Prove to Laura what kind of a
man you are. And I'll do the same...
You go now. And watch your back for
Anheuser.
(CONTINUED)
56.
Adrian stares at the President in disbelief.
ADRIAN
But sir?
PRESIDENT WILSON
Go. That's an order Helmsley.
A tense moment before Adrian starts to walk away. Just as he
exits the chapel, Wilson calls after him.
PRESIDENT WILSON (CONT'D)
Would you tell my daughter... there's
nothing on earth that I cherish more
than her.
We hold on President Wilson's face.
CUT TO:
EXT. LAS VEGAS - SUNSET
Most of Las Vegas is destroyed. A 200 foot wide canyon now
divides sin city along its famous strip. The towering casinos
still teeter along the canyon's rim.
All forms of emergency rescue operations are deployed around
the city.
In the FOREGROUND, we see Las Vegas International Airport,
its runway cut dramatically short. Large pieces of tarmac
continue to break off into the crevasse.
EXT. AIRFIELD/LAS VEGAS AIRPORT - SUNSET
Gordon maneuvers his plane through the chaos. Airplanes are
strewn about the runway. Passengers everywhere.
GORDON
I told you we should have gone to my
parents' in the Rockies.
KATE
Gordon's right. Look at this mess.
Jackson looks around frantically.
JACKSON
You don't understand, it's our only
chance.
(CONTINUED)
57.
GORDON
This isn't one of your crazy stories
now. How the hell are we gonna make it
to China?
NOAH
Gordon, without Jackson, we'd never
have made it out of California.
Silence. Noah is right and they know it. They taxi past a
private jet whose front wheel is stuck in a hole in the
tarmac.
We hear a dog barking and the CAMERA finds Tamara, with
Caesar in her arms.
YURI (O.S.)
Careful with the landing gear!
(in Russian)
Tamara, get the boys out of the way!
An airport tow truck attempts to pull Yuri's Gulfstream jet
out. Sasha, the pilot, helps. A safety announcement echoes
through the whole area.
VOICE
(over loudspeaker)
Attention! The US National Guard has
informed us, that an extremely
hazardous ash cloud is headed towards
the city of Las Vegas.
Tamara looks scared and secretly reaches for Sasha's hand.
They share an intimate look, no one else sees.
VOICE (CONT'D)
We strongly advise every one to move
indoors immediately...
The tow truck driver panics and runs inside.
We move in on Yuri. For the first time he looks helpless.
In the background, Jackson and his family join the panicked
crowd heading towards the terminal building. Firemen and
rescue workers usher them forward.
FIRE MAN
Let's move people! Inside the terminal!
Jackson and his family are swept along.
CUT TO:
58.
INT. AIR FORCE ONE/ARLINGTON AIRPORT - DUSK
Adrian rushes up the stairs of Air Force One, approaching one
of the flight officers.
ADRIAN
Where's Anheuser?
OFFICER
In the command center, sir.
Adrian moves on.
INT. COMMAND CENTER/AIR FORCE ONE - DUSK
Adrian enters. Anheuser immediately senses something is
amiss.
ADRIAN
The President is not coming. I couldn't
convince him to.
Everyone in the room looks up, speechless.
ANHEUSER
So, the captain doesn't want to leave
his sinking ship?
(PAUSE)
Well, Mr. Helmsley, we just learned
that the Vice President's chopper
crashed 80 miles north of Atlanta.
Adrian is shocked.
ADRIAN
What about the Speaker of the House?
ANHEUSER
In this chaos... I have no idea!
ADRIAN
But she's Commander In Chief now. Sir,
I just think -
Anheuser moves in dangerously close.
ANHEUSER
I don't care what you think, Helmsley.
Laura quietly enters the Command Center, as Anheuser and
Adrian stare each other down.
(CONTINUED)
59.
ANHEUSER (CONT'D)
Your ass only made it into the White
House, because your old man knew the
First Lady... and because of all that
affirmative action bullshit.
Anheuser takes it even further.
ANHEUSER (CONT'D)
There was a white kid, much more
qualified than you. Just so you know.
Adrian's face is ashen.
LAURA (O.S.)
Where is my father?
Everyone turns to Laura. Silence.
ADRIAN
He wanted to stay with his people.
Suddenly, the engines of Air Force One turn over. Laura
panics.
LAURA
We have to go back!
Adrian tries to hold her close to him. Anheuser sees this
intimate moment and gives a suspicious, questioning look. A
second later Laura pushes Adrian away.
LAURA (CONT'D)
Let me get out. Mr. Anheuser - tell the
Captain.
ANHEUSER
There is a protocol for just this
situation Ms. Wilson and I'm afraid
we'll have to follow it to the letter.
Anheuser turns to an officer.
ANHEUSER (CONT'D)
Tell the Captain, to take off
immediately.
Laura looks at him incredulously.
CUT TO:
INT. AIRPORT TERMINAL/LAS VEGAS AIRPORT - DUSK
Emergency lights illuminate the densely populated terminal.
(CONTINUED)
60.
RESCUE WORKER
People, stay away from the windows!
One of the rescue workers yells, pushing Jackson and his
family back.
Frustrated, Jackson turns to Kate and Gordon.
JACKSON
We can't get stuck here.
Suddenly a voice...
VOICE (O.S.)
Dr. Silberman? What are you doing here?
They all turn and stare at Tamara, holding her little dog
against her plump breasts.
Kate gives Gordon a look.
GORDON
(EMBARRASSED)
She's a patient, honey.
JACKSON
(SARCASTICALLY)
Nice work.
But when Jackson discovers Yuri behind her, his tone suddenly
changes. He gets in Yuri's face.
JACKSON (CONT'D)
You bastard. You knew it all along!
(at the twins)
You and those spoiled rotten sons of
yours...
Sasha comes running in and cuts through this.
SASHA
I found us a plane, an Antonov. They
were just about to take off, but the
tower didn't let them.
YURI
Can you still fly that thing?
SASHA
Sure... But I need a copilot.
Lilly chimes in.
LILLY
Gordon is a pilot.
(CONTINUED)
61.
Before Gordon can protest Jackson picks up Lilly.
JACKSON
Let's go!
They burst through the emergency exit, setting off an alarm.
Emergency personnel yell after them.
RESCUE WORKER
Hey! Stop! You can't go out there! Come
back!
But they keep on running. Sasha now leads the way.
EXT. AIR FIELD/LAS VEGAS AIRPORT - DUSK
They race around the corner and come to a halt. Before them,
a Russian freight plane of enormous size--
The ANTONOV 225, the biggest aircraft in the world.
NOAH
Wow, that is a big plane.
YURI
(PROUDLY)
It's Russian.
Sasha, who has run ahead turns back and sees:
A MASSIVE GREY WALL OF ASH moving towards the airport.
SASHA
Guys, follow me!
They all run after him up the stairs.
INT. COCKPIT/ANTONOV - DUSK
Sasha enters the cockpit and puts on the headset while
readying the plane for takeoff.
SASHA
(into the mic)
You'll find folding seats on each side
of the cargo hold...
INT. CARGO HOLD/ANTONOV - DUSK
SASHA (O.S.)
... Sit down and buckle up!
They all scramble to get into their seats.
(CONTINUED)
62.
NOAH
Wow! Look at those!
They discover the cargo they are carrying--
Sports cars, SUV's, concept cars and luxury models, some of
them are labeled `Las Vegas Auto Show 2012'.
YURI
We had VIP tickets for that.
The six engines of the Antonov come roaring to life.
INT. COCKPIT/ANTONOV - DUSK
The plane is starting to move. Gordon sits uncomfortably in
the copilot's seat.
SASHA
You check the main bus for the
hydraulics. I'll balance the tanks.
GORDON
Uh... What?
Sasha reaches over and does it himself.
SASHA
Work the radio and keep an eye on the
fuel, okay?
Gordon nods and puts on the headset, trying to focus.
INT. TERMINAL/LAS VEGAS AIRPORT - DUSK
People start SCREAMING, when they discover the menacing WALL
OF ASH racing towards them.
RESCUE WORKER
Move back, people... down on the floor!
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
The nose of the Antonov turns onto the runway. This humongous
plane suddenly looks small against the wall of ash.
INT. COCKPIT/ANTONOV - DUSK
Gordon is panicking.
GORDON
We have to get going!
(CONTINUED)
63.
Sasha hits the throttle.
SASHA
(CALM)
We're going, we're going.
A deafening THUNDER emanates from the engines.
INT. CARGO HOLD/ANTONOV - DUSK
Everybody grabs their seat as the vibration of the aircraft
builds.
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
The Antonov steadily gains speed as it rumbles down the
cracked and uneven runway.
The canyon that has swallowed half the city looms ahead. And
behind them the volcanic cloud bears down.
INT. COCKPIT/ANTONOV - DUSK
Sasha stares down the gap ahead, determined. Gordon's face is
as white as a sheet.
GORDON
We're not gonna make it!
SASHA
Shut up! We will!
INT. TERMINAL/LAS VEGAS AIRPORT - DUSK
The violent cloud has finally reached the airport. The
terminals are hit by flying debris.
Seconds later, Yuri's Gulfstream is whipped through the air,
shattering the huge windows into a thousand pieces.
People are thrown like rag dolls as the jet explodes in a
massive fireball.
INT. CARGO HOLD/ANTONOV - DUSK
Kate and Jackson hold their kids tight. Tamara clings to
little Caesar and Yuri to his twins.
64.
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
The Antonov lumbers heavily towards the inevitable drop off
on the horizon. The runway is way too short...
And to make matters worse, the ground begins to move again,
slowly arching the tarmac upwards, creating a crooked ramp at
the end of it.
INT. COCKPIT/LAS VEGAS AIRPORT - DUSK
A drop of sweat trickles down Sasha's forehead as he pulls
back the wheel.
Gordon holds on for dear life as the huge plane barely lifts
off, veering sideways.
EXT. CANYON/LAS VEGAS - DUSK
The Antonov is on a collision course with the crumbling
casino towers along the other side of the rim.
INT. COCKPIT/ANTONOV - DUSK
SASHA
GOVNO! (shit). Help me pull!
Gordon grabs the wheel on his side, helping Sasha pull up the
beast of a plane.
EXT. CANYON RIM/LAS VEGAS - DUSK
Very slowly the plane starts to rise and Sasha's face lights
up. They barely make it over a casino called `Paris; Las
Vegas'.
But the plane clips its wheels on a high metal structure
right behind it, ripping away part of the landing gear.
INT. COCKPIT/ANTONOV - DUSK
After some struggle, Sasha manages to steady the Antonov.
Gordon's face is green as he looks back.
GORDON
Was that the Eiffel Tower?
Sasha looks over and grins. He grabs the microphone.
(CONTINUED)
65.
SASHA
Ladies and gentlemen, we are on our way
to China.
CUT TO:
EXT. YAK LA MONASTERY/TIBET - DAY
An ancient monastery built atop a solitary mountain rock. In
the distance, the sun glistens off the peaks of the
Himalayas.
NENG PANG, a young monk, 20, sits with his superior and
teacher LAMA YAK LA, 65. They have tea beneath a huge bronze
bell.
LAMA YAK LA
(in Chinese)
Do not believe in anything simply
because you have heard it, Neng.
NENG
But Lin is my brother. He is working
inside the big tunnels, where the ships
are made.
The Lama remains silent.
NENG (CONT'D)
What is in your wisdom for us to do,
great Lama... if Lin is right, if our
world is indeed coming to an end?
Instead of answering, the Lama serves him more tea.
When the cup is full, the Lama doesn't stop pouring. Neng
watches the tea overflow until he can no longer restrain
himself.
NENG (CONT'D)
It's full, great Lama. It can hold no
more!
The Lama stops pouring and looks at Neng.
LAMA YAK LA
Like this cup, Neng, you are full of
your own opinions and speculations. How
can I show you wisdom unless you first
empty your cup?
Neng bows his head in embarrassment.
The Lama smiles to himself and takes a chain from around his
neck. On it hangs a set of rusty car keys.
(CONTINUED)
66.
LAMA YAK LA (CONT'D)
Be careful with the clutch. It tends to
slide.
The Lama throws him the keys and the young monk catches them,
smiling from ear to ear. They bow to each other and Neng runs
off.
Lama Yak La looks after him as a father would. He gets up and
strikes the bronze bell with a wooden mallet.
EXT. HOUSING PROJECT/TIBET - DAY
As far as you can see is a series of identical little houses.
The house in the foreground has a chicken coop in the garden.
Mrs. Pang enters the coop. We last saw her when the village
was being evacuated. She grabs one of the hens. She places
its head on a woodblock and picks up a rusty hatchet.
Just about to strike, she hears a strange RATTLING noise.
An old truck comes driving towards the house. Behind the
wheel sits her son Neng. She puts down the hatchet, yelling.
MRS. PANG
(in Chinese)
Bata! Neng is coming!
The young monk jumps out, quickly bowing.
NENG
Mother, I got a message from Lin. He
wants us to meet him in Cho Ming, at
the west gate. He says he can get us on
one of the ships he is working on.
Mrs. Pang is still holding the chicken by its throat.
MRS. PANG
I thought Lin is working on the dam?
NENG
The dam is a ship, Mother. The
government lied to us. There will be a
big flood.
The chicken hangs limp in Mrs. Pang's hand.
MRS. PANG
Not here in the mountains... Let's eat
first.
The hen panics as she puts its head back on the block,
raising the hatchet again.
(CONTINUED)
67.
NENG
No mother! We must pack up right away.
NENG'S MOTHER
We took a trip with the Laem Song ferry
once. Your father was throwing up the
whole way.
The door opens and Mr. Pang appears.
MR. PANG
Neng, I did not know you were coming
for dinner.
At that moment the hatchet drops with a THUD!
CUT TO:
EXT. ANTONOV/OVER THE PACIFIC - NIGHT
The majestic Antonov is flying high in the Pacific skies.
OLEG (O.S.)
Look, the new Bentley.
INT. CARGO HOLD/ANTONOV - NIGHT
The boys are exploring the huge freight deck. Caesar, the
little dog, is traipsing along.
Alec, Oleg and Noah marvel at a stylish mixture of luxury and
performance cars.
ALEC
Our dad had one on order. We were
supposed to get it next year.
OLEG
But then he cancelled it again, because
of the ships.
Noah points to a 2012 Aston Martin parked further back.
NOAH
If I was rich, I'd get one of those.
OLEG
We have one. How many cars does your
family have?
NOAH
My Mom's boyfriend has a Porsche, a
Carrera 4.
(CONTINUED)
68.
ALEC
Our parents are divorced too.
The boys share a moment of understanding.
NOAH
Nothing we can do about that.
Noah reaches for the door of the Bentley. To his surprise, it
opens.
NOAH (CONT'D)
Wow... look at this.
Noah jumps into the car.
KATE (O.S.)
Be careful, Noh'!
Kate and Lilly are still belted in next to Tamara. Jackson
and Yuri sit on the other side of the Antonov.
TAMARA
How did you meet Dr. Silberman? He's
great, isn't he?
KATE
I think for the same reasons you did.
You know, after breast feeding two
kids...
Kate looks at Tamara.
KATE (CONT'D)
Did your husband ask you to get your's
done?
TAMARA
We are not married. And we probably
never will... But he paid for them.
KATE
I bet he did.
They laugh.
LILLY
What did the man pay for mommy?
KATE
Nothing, Lil'bee.
Kate looks over at Jackson who's trying to make sense of
Charlie's map. Tamara catches her looking.
(CONTINUED)
69.
TAMARA
What's your situation?
Kate lets out a sigh.
KATE
Way too complicated...
On the other side of the plane, Yuri has been watching the
two women talk.
YURI
They seem to like each other.
JACKSON
I guess... So tell me Mr. Karpov - how
much did you pay?
YURI
One billion euro, per seat.
JACKSON
That's disgusting.
YURI
You know Curtis, I wasn't always
businessman. I am a boxer. Was my only
playing when I was a boy, back in
Murmansk. My coach...
(SMILING)
... his name also Yuri... He always
said: `Someone wants to beat you... he
has to kill you first'.
Yuri puts his hand on Jackson's shoulder.
YURI (CONT'D)
What would you have done, if you rich
like me? Just look at your gorgeous
kids. And call me Yuri...
Yuri offers his hand but Jackson doesn't shake it.
Sasha's voice comes over the radio.
SASHA (O.S.)
Hi guys. The plan is to refuel in
Hawaii. So, buckle up... Gordon and I
will do the rest.
INT. COCKPIT/ANTONOV - NIGHT
Gordon turns to Sasha.
(CONTINUED)
70.
GORDON
Let's get this straight, Sasha. I'm not
a pilot. I'm a plastic surgeon. I just
took some lessons to overcome my fear
of flying.
SASHA
Why did you give up?
GORDON
It didn't work.
Gordon points to the declining altimeter.
GORDON (CONT'D)
What about the wheels we lost at take-
off?
SASHA
There's 14 on each side. Some of them
must still be there.
With that, Sasha commences the landing procedure.
EXT. ANTONOV/OVER HAWAII - NIGHT
The Antonov dives into a thick layer of clouds.
SASHA (O.S.)
Still nothing from the tower?
INT. COCKPIT/ANTONOV - NIGHT
Gordon shakes his head.
The two pilots stare ahead watching as the clouds slowly
change color, from yellow... to orange.
They stare out the window in disbelief.
INT. CARGO HOLD/ANTONOV - NIGHT
Gordon comes climbing down the metal ladder whispering to
Jackson and Yuri.
GORDON
Guys, you really oughta take a look at
this.
Jackson and Yuri follow Gordon back into the cockpit. The
women exchange a worried glance.
71.
INT. COCKPIT/ANTONOV - NIGHT
When Jackson and Yuri enter, they don't believe their eyes.
YURI
What is that?
SASHA
The State of Hawaii!
YURI
Not good. That is not good.
EXT. ANTONOV/OVER HAWAII - NIGHT
From above we watch as the Antonov flies over an endless
ocean of fiery red lava. The Islands of Hawaii have turned
into one big volcano.
INT. COCKPIT/ANTONOV - NIGHT
JACKSON
How much fuel do we have?
SASHA
Not enough. We'll have to make a water
landing somewhere in the South China
Sea.
GORDON
At least we won't need our landing
gear.
Yuri wonders.
YURI
What about it?
GORDON
We lost it all... in Vegas.
EXT. ANTONOV/OVER HAWAII - NIGHT
The damaged landing gear slowly retracts into the vast belly
of the Antonov as it veers off to the east.
CUT TO:
INT. PRESIDENTIAL CABIN/AIR FORCE ONE - NIGHT
Adrian knocks quietly and sticks his head around the door.
Laura is sitting in her father's chair.
(CONTINUED)
72.
ADRIAN
Can I come in?
LAURA
I've got nothing to say to you.
ADRIAN
But I do...
Adrian enters. He has his travel bag in one hand. He looks at
Laura and gathers himself.
ADRIAN (CONT'D)
Your Dad and I... we were trying to
protect you.
LAURA
(EXPLODING)
I'm a big girl Adrian. I don't need
protection. You used me. You guys had
me gallivanting around the world, as
part of your little cover-up.
ADRIAN
But you were doing a good job.
LAURA
Sure, if your name's Da Vinci or
Picasso. But if you're some young
talent in Podunk, Texas, sorry you're
not famous enough. People like you and
Anheuser and my father - you think you
can play God.
Adrian takes a moment, he's desperate to make her see.
ADRIAN
You know what your father believed.
That nature will choose itself from
itself.
LAURA
That's bullshit and you know it. It's
the fittest, the richest and the
strongest that survive.
ADRIAN
That's not true.
Adrian glances down and spots Jackson's book poking out of
his bag.
(CONTINUED)
73.
ADRIAN (CONT'D)
What would you say were the chances of
a first time, middle-aged writer, who
barely sold 500 copies of his novel
making it on board this plane?
LAURA
Zero. What's your point?
Adrian pulls out the book from his bag. He shows her.
ADRIAN
It's called `Farewell Atlantis' and
it's a fantastic read. It's part of our
legacy now.
Laura takes this in. The plane's intercom cuts through the
moment.
INTERCOM (O.S.)
Mr. Helmsley, Prof. West requests your
presence immediately.
Adrian takes a breath, but before he leaves -
ADRIAN
What if I tried to sort some of this
mess out? I need to know you can
forgive me...
Laura looks at him sadly, but with a little hope.
LAURA
I need to know that too, Adrian.
Adrian moves for the door. He stops.
ADRIAN
One more thing. Your father told me you
were the most precious thing to him in
the whole world... You are to me too.
As Adrian exits, we hold on Laura's conflicted face.
CUT TO:
EXT. WHITE HOUSE/WASHINGTON D.C. - NIGHT
The cloud from the Yellowstone eruption has hit Washington
D.C. hard. Pennsylvania Avenue resembles a war zone. A ten
inch layer of ash lies on the ground.
The gates of the White House are wide open, with ash-covered
rescue workers running about, resembling ghosts.
74.
INT. WEST WING/WHITE HOUSE - NIGHT
The President has turned the whole West Wing into a shelter.
He walks through the packed rooms assisting where he can.
An old African-American LADY holds a crying young girl.
President Wilson kneels down to her.
OLD LADY
She can't find her mother.
PRESIDENT
Why don't you two girls make yourself
comfy on that big couch? I'll see what
I can do.
The child nods. The President gets up.
PRESIDENT WILSON
Sally, can you take care of them. I'll
go check with the Red Cross...
As he leaves, the old lady looks up at Sally and smiles.
OLD LADY
No wonder the First Lady fell for him.
I knew Miss Dorothy Jones long before
the President, when she was still
singing jazz down in Atlanta with Harry
Helmsley.
SALLY
I know, she was amazing.
EXT. FRONT LAWN/WHITE HOUSE - NIGHT
The President walks up to the Red Cross tents placed on the
front lawn. He stops one of the Red Cross volunteers.
PRESIDENT WILSON
Who can help me with missing persons?
Without looking up, the young guy responds.
RED CROSS VOLUNTEER
Sorry man, I'm busy right now.
He then recognizes who he's talking to.
RED CROSS VOLUNTEER (CONT'D)
I mean, of course sir. I didn't
realize... What can I do for you, Mr.
President?
The President pats him on the shoulder.
(CONTINUED)
75.
PRESIDENT WILSON
Don't worry about it. You're doing a
great job son...
A deep, low rumble begins, stopping everybody in place.
As it builds, the President grabs onto a tent pole to secure
himself. He looks out over Washington D.C. His eyes grow
wide...
The National Mall bends like rubber. The towering Washington
Monument breaks into pieces.
An even more deafening sound makes him turn--
The Capitol Building rises from behind the trees, lifted up
by earth's incredible force.
As the whole building breaks apart, the President is thrown
to the ground.
CUT TO:
INT. COMMAND CENTER/AIR FORCE ONE - DAY
All the officers and scientists are glued to monitors that
show satellite images from all over the globe. Adrian and
Prof. West stare in disbelief.
SCIENCE OFFICER
The capitol was hit by a 9.4.
Laura enters the command center unnoticed.
COMMUNICATIONS OFFICER
We lost communication with the White
House, sir.
She stands there frozen, emotionless. She looks over to
Anheuser, who is shouting orders. Another officer hands him a
phone.
LIEUTENANT #2
President Makarenko for you sir. He's
just entered Chinese air space.
Anheuser takes the phone and after a beat answers.
ANHEUSER
That's affirmative, Mr. President.
Until communication is restored, I am
in command.
Adrian and Laura look to each other baffled.
(CONTINUED)
76.
ANHEUSER (CONT'D)
... It seems all other Heads of State
are en route, however there are
unconfirmed reports that the Italian
Prime Minister has also decided to stay
behind and trust in prayer rather than
action...
CUT TO:
EXT. ST. PETER'S SQUARE/ROME - DAWN
Pope Benedict XVI holds mass in St. Peter's Basilica.
Millions of followers flood Vatican City. It's a sea of
candles.
Amidst the mass of believers we see the Italian Prime
Minister Antonioni with his family clinging to him. They all
are praying.
A low RUMBLE. People look around frightened. In the distance
we hear SCREAMING.
INT. SISTINE CHAPEL/CEILING - DAWN
A few cardinals huddle together in silent prayer under
Michelangelo's famous fresco. Most prominent above them is
`The Creation of Adam'.
The cardinals look up in horror as the rumbling intensifies.
A crack forms on the ceiling, shooting straight through God
touching the finger of Adam.
Then the whole fresco breaks apart.
EXT. ST. PETER'S SQUARE/ROME - DAWN
The people in St. Peter's square begin to panic--
The entire Vatican is lifted up in the air. We hold on the
Prime Minister and his family, as the basilica collapses onto
the fleeing masses.
CUT TO:
EXT. MOUNT CORCOVADO/RIO DE JANEIRO - DAY
The giant statue of `Christ the Redeemer' on Mount Corcovado.
Behind it, we see Rio de Janeiro being obliterated by violent
quakes.
(CONTINUED)
77.
The famous statue of Jesus Christ begins to topple over and
crashes down the mountain.
CUT TO:
EXT. MOUNTAIN PASS/TIBET - NIGHT
Neng Pang, the young Tibetan monk drives his truck up a bumpy
mountain pass. His parents huddle in the back of the pick-up.
The steering wheel is vibrating badly in his hands as he
slides the clutch and downshifts. As the vehicle slows on the
steep incline, the vibrations become much worse. Neng worries
that the truck may be breaking down.
He pulls up and switches off the engine but to his surprise
the steering wheel continues to vibrate.
Looking out the windshield, he sees the whole earth shaking
violently.
NENG
(in Chinese)
Hold on back there!
Rocks fall all around them.
CUT TO:
INT. THE ANTONOV - NIGHT
Jackson sits inside one of the luxury cars and tries the
radio. Kate opens the passenger door and gets in.
JACKSON
Couldn't sleep huh? Me neither.
KATE
Anything?
JACKSON
Nothing, just static. Not even an
emergency signal.
KATE
I can't think about what's going on
down there.
Jackson switches off the radio.
KATE (CONT'D)
I wanted to thank you. For coming back
for us.
(CONTINUED)
78.
JACKSON
I couldn't have left you...
Silence. They both look out through the front windshield at
Lilly and Noah curled up together.
KATE
Do you think people change?
JACKSON
By `people' are we talking about me?
KATE
Do you think you've changed since we
separated?
JACKSON
Well I certainly eat a lot more cereal
now...
KATE
You know, you always had tunnel vision.
You could always just block things out
and write. You blocked all of us out
Jackson.
He thinks about this and can't help asking.
JACKSON
Do you love him? Gordon...
KATE
I love him enough.
Kate gets out of the car and shuts the door. He watches her
go.
CUT TO:
INT. COMMAND CENTER/AIR FORCE ONE - DAY
The computers buzz with the incoming data.
COMMUNICATIONS OFFICER
... Cho Ming reports the first tremors,
however none higher than 5.0.
Anheuser looks relieved. Then the big news hits.
SCIENCE OFFICER #1
The crust has begun to shift, Prof.
West.
PROF. WEST
By what degree?
(CONTINUED)
79.
SCIENCE OFFICER #1
1.2 percent, but still moving.
ANHEUSER
Any clue what to expect next,
Professor?
PROF. WEST
Once the movement of our land masses
comes to a halt, we expect the
formation of tidal waves, sir...
proportional to the magnitude of the
corresponding quakes.
Adrian looks distressed as he turns to one of the officers.
ADRIAN
Do we have any news from the Japanese
seaboard?
Laura notices Adrian's concern.
SCIENCE OFFICER #2
We've recorded two quakes averaging
8.3.
She grabs Adrian's hand. Anheuser sees this and his
suspicions about them are confirmed. A cold little smile
appears on his face.
CUT TO:
INT. SALON/CRUISE SHIP - NIGHT
Tony is watching TV with a group of passengers. Harry has
just entered and stands near the back of the room.
A TEENAGE BOY with bad acne searches for an available channel
that is still broadcasting. He finds a news program with
lousy reception.
NEWSCASTER
... Tokyo seems to have taken the
severity of the hit... Unconfirmed
reports indicate that the entire island
of Japan is below water...
The signal gets weaker.
Harry watches Tony slowly stand up. As he turns to his
friend, his knees begin to buckle. His face is pale.
TONY
I called... But I never got through.
(CONTINUED)
80.
HARRY
I'm so sorry.
Tony only stares back at him.
Behind them, the TV rolls to the side, as the whole room
begins to tilt.
Harry grabs on to the door frame, as the passengers along
with Tony fall like dominoes.
HARRY (CONT'D)
Tony!!
As the ship rolls to the side, Harry finds himself hanging
from the door frame now 20 feet off the ground. He's barely
able to pull himself up and roll onto the middle deck.
EXT. MIDDLE DECK/CRUISE SHIP - NIGHT
On his back, Harry is shocked to see the star field and the
moon shifting across the sky.
An eerie sound fills the air. A gigantic swell has formed off
to his right. It's a mountain of water.
Harry turns to see another gargantuan swell close in from the
other side of the `Freedom of the Seas'.
CUT TO:
EXT. SHIBAM/YEMEN - DAY
The old walled city of Shibam is in ruins. The 2,000-year-old
towers lie on the desert ground. Hundreds of believers have
gathered to pray towards Mecca.
As they raise their hands to heaven in unison, they slow
their motion and the chanting dissipates.
They stare into the distance not knowing if what they see is
reality or only a mirage.
A monstrous tidal wave rises from the desert sands thundering
towards them.
CUT TO:
EXT. WHITE HOUSE/WASHINGTON DC - NIGHT
President Wilson's body lays between the rubble. As he slowly
regains consciousness, all he can hear is the flapping sound
of the collapsed Red Cross tents.
(CONTINUED)
81.
As President Wilson gets to his feet, he sees--
A tidal wave come sweeping over the remains of the Washington
Mall and it carries with it the battleships of the 14th Fleet
of the US Navy that were anchored in Chesapeake Bay.
The President looks ahead, calm and peaceful.
PRESIDENT WILSON
I'm coming home Dorothy...
The CAMERA follows the aircraft carrier `USS John F. Kennedy'
as it slams broadside into the White House.
CUT TO:
INT. COMMAND CENTER/AIR FORCE ONE - DAY
Hushed voices. Anheuser, Adrian and Prof. West stand amongst
a group of officers and analysts.
COMMUNICATIONS OFFICER #1
All global ground communication has
ceased sir.
COMMUNICATIONS OFFICER #2
The only signal our satellites are
picking up are coming from the vessels
in Cho Ming.
ANHEUSER
At least some good news.
Anheuser turns to Adrian.
ANHEUSER (CONT'D)
Would our science advisor care to give
us his assessment?
ADRIAN
We expect enormous tsunamis to reach
landfall in every continent. The Cho
Ming area will be impacted in
approximately six hours.
He nods to one of the analysts, who types in a couple of
commands.
ADRIAN (CONT'D)
... and it looks like the crust has
shifted by nearly 23 degrees in a south-
westerly direction. Here's the computer
simulation.
(CONTINUED)
82.
Everybody stares as the graphic illustrates what happened to
planet Earth.
ADRIAN (CONT'D)
Our data also shows, that our earth's
poles have reversed their magnetic
fields...
(POINTING)
... These are their new positions.
Anheuser looks at the monitor, then turns to Adrian.
ANHEUSER
So Helmsley, what you're telling us
here is that... the north pole is now
somewhere in Wisconsin?
Silence. Adrian clears his throat.
ADRIAN
It's the south pole, sir.
An ALARM SIGNAL goes off--
CUT TO:
INT. COCKPIT/ANTONOV - DAWN
A red light blinks on the plane's instrument panel.
YURI (O.S.)
What's that?
SASHA
Engine failure. GOVNO! Two of six are
down. We must get ready.
Yuri and Jackson are standing behind the pilots.
JACKSON
Let's go wake up the kids.
Yuri nods and they make their way back to the lower deck.
INT. CARGO HOLD/ANTONOV - DAWN
Jackson's family are all asleep in their seats, Lilly in her
mom's lap. She looks like a little angel. Jackson can't bear
to wake them. He caresses Lilly's face.
NOAH (O.S.)
Why do you hate Gordon?
Jackson turns to see Noah is awake.
(CONTINUED)
83.
JACKSON
What are you talking about? I don't
hate Gordon.
NOAH
But you don't like him either.
JACKSON
I don't know him that well.
NOAH
But I know him. He's really nice. You
should talk to him more often. You guys
would get along really well.
This breaks Jackson's heart. He pulls Noah tightly to his
chest.
JACKSON
I'll give it a try, Noah. I promise.
Kate opens her eyes.
KATE
Is it time?
Jackson nods.
KATE (CONT'D)
Wake up Lil'bee. We're getting ready to
land.
On the opposite side of the aircraft, Yuri and Tamara help
the twins get into their life vests. Noah is suspicious.
NOAH
What's wrong?
Jackson looks at his kids. They both look scared.
JACKSON
Sasha told us, it could get a little
bumpy... and wet.
The Antonov jerks to the side. Two more engines out. Alarm
signals flash.
EXT. ANTONOV - DAWN
The remaining two engines barely hold the plane in the air as
it dives into the clouds.
84.
INT. CARGO HOLD/ANTONOV - DAWN
Jackson and his family huddle together. He puts his arms
around Lilly and Noah.
JACKSON
Your daddy has to tell you something.
In the background, Gordon climbs down from the cockpit. He is
about to speak when he hears Jackson's voice.
JACKSON (CONT'D)
I know that with my writing and work I
didn't have a lot of time for you
both...
Jackson glances at Kate.
JACKSON (CONT'D)
I wasn't there for you, the way I
should have been.
Jackson looks Kate directly in the eyes.
JACKSON (CONT'D)
... And I am so very sorry for that.
Gordon watches as Kate pulls the kids and Jackson tight. For
the first time, they seem a little like the family they once
were.
GORDON (O.S.)
Jackson, Yuri... I think you guys
should come back up here.
INT. COCKPIT/ANTONOV - DAWN
First Jackson and then Yuri enter the cockpit. Sasha points
out of the window.
SASHA
Don't ask me how that happened.
Behind them Yuri and Jackson stare at the snow covered
mountains of the Himalayas.
SASHA (CONT'D)
There's no more ocean, and it looks
like we're pretty close to where we
wanted to go.
GORDON
It's as if the whole earth shifted by
1500 miles...
(CONTINUED)
85.
JACKSON
No shit.
(BEAT)
It's called 'Earth Crust Displacement'
Gordon... Prof. Hapgood, 1958.
Jackson brims with joy.
JACKSON (CONT'D)
Way to go Charlie!
A JOLT!
SASHA
We lost our last two engines.
The plane drops rapidly, nearly scraping the tip of a
mountain. Sasha and Gordon are doing all they can to keep the
Antonov in the air.
A vast glacier spreads out in front of them.
SASHA (CONT'D)
I'll shoot for that glacier. Drain the
brake fluids. It's going to get
rocky... There, the blue levers!
The plane plummets, loosing altitude fast.
SASHA (CONT'D)
Listen up guys! This may sound a little
crazy, but here's what you got to do...
INT. CARGO HOLD/ANTONOV - DAWN
Jackson and Yuri come running. Yuri yells at his boys.
YURI
(in Russian)
Get up! Follow me!
TAMARA
Yuri bear, what are we doing?
YURI
We're taking the Bentley!
INT. COCKPIT/ANTONOV - DAWN
Sasha is struggling with the gyrating wheel. The glittering
snow field comes flying towards them.
(CONTINUED)
86.
SASHA
CHTO ZA... Gordon! We're still too
fast!
Sasha pulls the Antonov back up.
SASHA (CONT'D)
Now! Open it!
Gordon yanks with all his might. A loud NOISE.
INT. CARGO HOLD/ANTONOV - DAWN
The cargo door drops open. The Antonov is extremely close to
the glacier's surface.
Jackson tries to start the Bentley, but nothing happens.
Everyone screams in panic.
YURI
SHUT UP EVERY ONE!
They all go quiet, except for a few muffled barks from
Caesar. Yuri speaks towards the dashboard, slowly and
clearly.
YURI (CONT'D)
Engine... start...
The motor revs to life. Yuri looks at Jackson.
YURI (CONT'D)
Voice control... Sold me on it.
INT. COCKPIT/ANTONOV - DAWN
Sasha barely holds on. He yells at Gordon.
SASHA
Your turn Gordon! Go! Make sure that
they make it out of here before I touch
down!
GORDON
What about you?!
SASHA
I'll be fine! I have to land this
thing!
Gordon hesitates.
SASHA (CONT'D)
What are you waiting for!
(CONTINUED)
87.
Sasha nods at him reassuringly. Gordon bolts out.
INT. CARGO HOLD/ANTONOV - DAWN
The cargo door scrapes against the glacier, hurling ice
everywhere. The Bentley roars.
YURI (O.S.)
Push it Curtis!
JACKSON
We're waiting for Sasha and Gordon.
Noah turns and sees Gordon.
NOAH
Tamara! Open the door!
Gordon jumps in. Tamara yells at him in desperation.
TAMARA
Where's Sasha?
GORDON
He said he'll be fine and we should get
out of here before he touches down.
Yuri notices Tamara's distress as she keeps looking back to
the cockpit. Jackson slams the pedal down trying to gain as
much speed as possible to soften their landing.
LILLY
Daaadddy!
The Bentley shoots out the back of the plane. As it hits the
snow, the air bags deploy cushioning the passengers.
The Antonov hits the ice and catapults the rest of the luxury
cars out of the back cargo hold. They barrel past the Bentley
like skittles, narrowly missing it as they fly off in
opposite directions.
The plane skids across the glacier, clipping its wing and
causing the aircraft to break apart.
Sasha has no control anymore and watches helplessly as he
shoots towards the ledge in the Antonov, plunging into the
deep.
The plane crashes and explodes.
88.
EXT. GLACIER/TIBET - DAWN
As the snow settles we see that the glacier is scattered with
luxury cars tomb-stoned in the snow.
The Bentley is half buried. We hear Caesar barking.
JACKSON (O.S.)
Everybody okay back there?
KATE (O.S.)
We're all fine.
The door opens and Jackson climbs out, looking around. Just
above the wind, he hears the SOUND OF HELICOPTER BLADES.
One by one the others appear behind Jackson and stare at a
surreal sight--
Several Chinese Mil-26 choppers airlift animals over the
mountain pass.
GIRAFFES, ZEBRAS, EVEN ELEPHANTS hang by huge straps from
these flying machines.
One of the smaller helicopters veers from the transport fleet
and lands near the Bentley.
Armed soldiers jump out. Their Commander speaks to them in a
sharp tone.
CHINESE COMMANDER
Welcome to the People's Republic of
China.
Jackson nods to them.
JACKSON
Thank you...
(to Lilly and Noah)
Say thank you, kids.
The others acknowledge the soldiers as well. Hi... Hello...
CHINESE COMMANDER
What color are your passes?
Jackson stands dumbfounded. The Commander repeats.
CHINESE COMMANDER (CONT'D)
What color are your boarding passes?
Still no answer. He yells an order. The soldiers point their
guns at them.
(CONTINUED)
89.
YURI (O.S.)
I have green card.
Surprised, Jackson turns to Yuri who's holding up three green
plastic cards.
YURI (CONT'D)
For my boys and me.
Tamara can't believe what she's hearing.
TAMARA
It's a joke... a mistake...
(LAUGHING)
Right Yuri?
Yuri shrugs. Tamara lunges at him.
TAMARA (CONT'D)
(in Russian)
You disgust me. You pig.
Yuri brushes her off, coldly. And then speaks so they can all
understand him.
YURI
You think I did not know about you and
Sasha? May god rest that poor bastard's
soul.
With that Yuri turns to the others.
YURI (CONT'D)
I am sorry guys. Good luck. And Jackson
remember, if someone wants to beat
you... he has to kill you first. Come
boys!
The twins grab Caesar and climb into the helicopter. The dog
barks furiously, wanting to stay with Tamara.
The next moment, the helicopter takes off.
GORDON
What!... Did that just happen!?
They're stranded.
CUT TO:
EXT. AIRFIELD IN CHO MING VALLEY/TIBET - DAWN
Air Force One is in the background as Laura, Anheuser, and
other members of the crew are rushed towards a group of
waiting helicopters.
(CONTINUED)
90.
Adrian is a little way back in the middle of the pack. A
Chinese Officer with a list shouts over the noise.
CHINESE OFFICER
(POINTING)
Mr. Anheuser - you're in Chopper 1. Dr.
Wilson the same.
Laura and Anheuser reach the chopper. An authoritative Naval
Officer greets them, and raises his voice.
CAPTAIN MICHAELS
I'm Captain Richard Michaels. I'm the
skipper of the American boat sir. After
you!
Anheuser nods and climbs in the chopper. Captain Michaels
helps Laura in. Adrian arrives just as the Chopper door
slides shut and it lifts off.
INT. HELICOPTER/CHO MING VALLEY/TIBET - DAWN
Laura catches Adrian's look of unease before they soar away.
CAPTAIN MICHAELS
My sincerest condolences Dr. Wilson,
for your father...
Laura's look thanks him for this. He turns to Anheuser.
CAPTAIN MICHAELS (CONT'D)
Your party is the last to arrive.
ANHEUSER
I've been told of damages?
CAPTAIN MICHAELS
We haven't completed the assessment but
it looks like we lost Number 4 when the
crust shifted.
Captain Michaels looks up and points into the distance.
CAPTAIN MICHAELS (CONT'D)
There it is!
EXT. CHO MING VALLEY/TIBET - DAWN
The CAMERA follows the choppers revealing--
Nine gigantic oval gates that measure at least 60 stories,
built into the face of a mountain.
(CONTINUED)
91.
In front of every gate there is a line of huge `Y' shaped
metal support structures, which are the launching towers for
the ships. They are each at least 800 feet high. It's an
unparalleled feat of engineering.
EXT. CHOPPER/CHO MING VALLEY - DAWN
The lead chopper descends onto a platform in front of one of
the gates, dwarfed against this majestic setting.
The door slides open and Anheuser jumps out. Laura follows.
She looks around in awe.
Even the utility entrances that lead into the mountain are
immense. The Captain guides them into the hollow mountain.
In the BACKGROUND we see an angry Yuri scream and argue with
military personnel, waving his tickets.
YURI
What do mean we can't board Number 4? I
want to speak to your supervisor.
SOLDIER
I am the supervisor! Now get in line
with all the others while we make
arrangements.
YURI
I want your name!
SOLDIER
(pointing to his
BADGE)
Can you read? Now get the hell back
with the other green cards, or I'll
have you detained.
The twins stand nearby, holding Caesar. They look afraid.
CUT TO:
EXT. THE GLACIER/CHO MING - DAWN
Jackson and his group are small specks in a barren landscape.
They have made it down the glacier and are now walking over a
scree field.
It is hard going. Jackson carries Lilly.
JACKSON
Keep thinking warm thoughts sweetheart.
You're doing great.
(CONTINUED)
92.
Kate holds Noah by the hand. Gordon and Tamara trail behind.
She's still very upset.
TAMARA
I should have listened to you, Dr.
Silberman. I actually liked the way I
looked before that monster talked me
into it.
GORDON
Did you know he asked for a discount...
and he paid in installments?
TAMARA
Cheap bastard.
GORDON
You're better off without him. What he
said about you and Sasha, is it true?
Tamara nods silently.
TAMARA
Now that he's gone I think he was worth
a hundred times a man like Yuri.
Suddenly they hear the PUTTERING of an engine.
JACKSON
You guys hear that?
In the distance, an old rusty truck comes bumping down the
dirt road. Jackson puts down Lilly and chases after it.
EXT. DIRT ROAD/NEAR CHO MING - DAWN
Neng and his parents drive past, billowing a huge cloud of
dust just as Jackson reaches the road.
JACKSON
(out of breath)
Hey! Help! Wait for us!
But Neng doesn't hear him over the rattling truck. Jackson,
pissed, kicks at the rocks on the road.
JACKSON (CONT'D)
Shit! Shit!
Just then, Neng's mother, sitting in the back of the truck,
turns and sees his tantrum. She bangs on the rear window of
the cabin.
Neng looks in the mirror and hits the brakes. Jackson can't
believe his luck.
(CONTINUED)
93.
The others show up and they all run towards the truck.
CUT TO:
INT. INSIDE MOUNTAIN/CHO MING - DAWN
Anheuser and Laura follow Captain Michaels and a Chinese
Steward over one of the many boarding bridges erected inside
the cavernous mountain that lead to one of the monstrous
arks. Laura stops halfway, gazing in awe--
Deep down below, thousands of workers are swarming over the
ship, readying it for launch.
Laura looks up and sees the contrast, spotting the SHEIK we
met in the Dorchester Hotel as he boards comfortably with his
huge family.
Laura points down at the workers.
LAURA
Captain Michaels? What happens to all
those people?
The Captain doesn't know what to say. Anheuser turns.
ANHEUSER
Dr. Wilson, there's a protocol for all
that. You just stick to your art. We'll
handle the rest.
Laura hates him in that moment.
ANHEUSER (CONT'D)
Captain? Where is the Bridge?
Anheuser and Captain Michaels move away as Laura stands and
watches the frantic workers who are now boarding the animals
we saw being airlifted over the mountains.
CHINESE STEWARD (O.S.)
Dr. Wilson? Your cabin is this way.
Laura has a look of guilt as she follows the steward.
CUT TO:
EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE
Thousands are on the march up the mountains. Behind them a
valley stretches into the horizon. Plumes of smoke rise from
destroyed cities in the distance.
(CONTINUED)
94.
Amongst the refugees, we discover Satnam, the young
astrophysicist, holding his little son. The rest of Satnam's
family trails behind.
Distant WARNING SIRENS pierce the silent march, coming from
the cities below.
People start to scream and run, but Satnam stands there
frozen. He fumbles for his satellite phone, then hits a
number on its speed dial.
INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE
Adrian is unpacking. He lays down his copy of `Farewell
Atlantis' just as his cell phone rings.
ADRIAN
Satnam?
(CONFUSED)
Where are you?
SATNAM (O.S.)
On the Nampan Plateau...
Adrian's face goes pale.
ADRIAN
What?!
SATNAM
There's a tidal wave coming from the
East! It's huge!
ADRIAN
Satnam, what happened?
SATNAM (O.S.)
We never got picked up, Adrian, the
airlift never came!
Adrian closes his eyes.
EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE
Satnam swallows hard. He stares out into the valley.
SATNAM
I have to go!
A wall of undulating foam and debris comes rolling towards
him. A tidal wave of gigantic height.
Everybody panics and scratches for a higher elevation. But
for Satnam it is clear, they do not stand a chance.
(CONTINUED)
95.
He picks up his little son, squeezing him tightly to his
chest, humming an Indian lullaby for the scared child.
INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE
Adrian hears SCREAMING on the phone and the deafening sound
of the approaching wave. He tenses up, desperate but unable
to do anything.
As the noise reaches its height, the line goes dead. Adrian
is left breathless.
INT. BRIDGE/AMERICAN SHIP - SUNRISE
Adrian storms onto the bridge. Many officers and analysts are
at work under Captain Michaels.
ADRIAN
Do we have the latest satellite images
of Napam, India?
SCIENCE OFFICER
One moment, sir.
Anheuser and Prof. West step over and join him.
ANHEUSER
Helmsley, what's going on here?
ADRIAN
Looks like our model was wrong.
They all stare at the monitor showing several tidal waves
coming in from the south.
ADRIAN (CONT'D)
Satnam was talking about a wave from
the East.
A science officer selects a different quadrant on the
satellite display. They all stare at the new tidal wave
that's coming from the East of the Cho Ming valley.
PROF. WEST
Jesus!
Anheuser is shocked.
ANHEUSER
What does this mean?
(CONTINUED)
96.
ADRIAN
The flooding will happen earlier.
Bobby, can you plug in the new data
please?
As the officer does this, Prof. West looks at Adrian with
questioning eyes.
ADRIAN (CONT'D)
Satnam didn't get picked up.
Prof. West is horrified.
SCIENCE OFFICER (O.S.)
Ready sir.
Adrian turns back to the monitor and sees the new tidal wave
that is coming towards the Cho Ming valley.
ADRIAN
This one is at least 1500 meters high!
ANHEUSER
Talk to me Helmsley. What does this
mean for us?
ADRIAN
Bobby, plug in the new data and adjust
the count down?
Every one on the bridge stares at a display. It reads--
02hrs - 09min - 07sec
The science officer nervously hits a few keys and the display
changes to--
00hrs - 28min - 10sec... and counting.
We see the shock on Anheuser's face.
ANHEUSER
Get me the other Heads of State.
CUT TO:
EXT. GATE/CHO MING SITE - EARLY MORNING
Neng's truck, loaded with Jackson and the others, creeps up
to the service entrance of the launch site.
A lone figure awaits them. This is Neng's older brother Lin,
who we saw signing up for the 'Chinese Dam Project'.
Lin notices the strangers in the pick-up truck.
(CONTINUED)
97.
LIN
(in Chinese)
Who are they?
Neng answers hesitantly.
NENG
We found them by the side of the road,
my brother.
LIN
You must send them back.
NENG
I am a follower of the great Lama Yak
La. You know I cannot do that.
The others watch the interaction but do not understand.
Jackson senses a problem. He grabs Lilly and Noah.
JACKSON
Come with daddy.
Gordon and Tamara stare perplexed as Jackson approaches Lin
with his kids.
JACKSON (CONT'D)
At least take our children with you.
Please.
Lin answers in broken English.
LIN
Why should I do that?
JACKSON
For the same reason you sent for your
parents.
Lin stares at him stone faced. In desperation, Kate turns to
Mrs. Pang.
KATE
I have no clue if you understand what
I'm saying, but I ask you as a mother,
please take my kids with you!
Silence. A beat. The old Chinese lady turns to Lin.
MRS. PANG
(in Chinese)
We are all children of this earth.
LIN
My plan will not work for so many,
mother.
(CONTINUED)
98.
She looks up at her son, determined.
MRS. PANG
We will take them all. Bata?
Mr. Pang nods and reluctantly, Lin motions to Jackson to
follow. Kate bows to Mrs. Pang.
KATE
Thank you ma'am. Thank you so much.
Jackson and the others acknowledge what Kate has done.
CUT TO:
INT. SHIP BAY/CHO MING - EARLY MORNING
We finally reveal the unbelievable magnitude of this ship
yard, built into the hollow belly of the mountains.
Nine gargantuan vessels are lined up next to each other.
Their size is at least four times that of the `Freedom of the
Seas'. However, they look more like spaceships than anything,
having been built aerodynamically to withstand the full force
of nature.
But only three of these monstrous ARKS are complete. Number 4
is being repaired, all the others are still under
construction, surrounded by scaffolding.
Suddenly SIRENS goes off!
The boarding bridges to the finished vessels begin to
retract. There's growing confusion among the thousands of
workers and security personnel.
INT. PLATFORM, SHIP BAY/CHO MING - EARLY MORNING
Opposite the boarding bridges, on a large platform, Yuri and
his boys sit in line with the other waiting passengers.
They watch as massive stern gates begin to close. Yuri jumps
up and yells to the others.
YURI
They're leaving without us!
The soldier from earlier points his gun at him.
SOLDIER
What did I tell you!
Caesar barks at the guy.
(CONTINUED)
99.
YURI
(POINTING)
Look! Idiot! They are leaving you
behind too!
The soldier turns to the ships and Yuri knocks him out. He
grabs his boys and runs towards the closing gates. All the
other passengers surge forward with him.
In the distance, on the bow side of the ships, the huge
mountain gates of the bay open, revealing a stunning view of
Cho Ming Valley.
CUT TO:
EXT. MOUNTAIN RIDGE/CHO MING - MORNING
Lin leads his group over a ridge. In front of their eyes--
The gates to the mountain open!
LIN
(in Chinese)
We have to hurry!
(to Jackson)
They launch! We run out of time!
They follow Lin rushing down the hill, towards one of the
many Y-shaped launch structures towering in front of the
gates. Neng and Kate help Mr. and Mrs. Pang down the rocky
terrain.
INT. SHIP BAY/CHO MING - MORNING
A screeching and thundering noise!
THE THREE COMPLETED VESSELS BEGIN TO INCH FORWARD on metal
girders connecting the Y-shaped launch towers.
INT. LIVING QUARTERS/AMERICAN SHIP - MORNING
Laura feels a jolt. She rushes out of her small cabin and
into a swarm of people moving down a crammed endless
corridor. She struggles to fight her way through.
A digital voice blares over the speakers.
COMPUTER VOICE
Countdown to departure. Launch in 17
minutes - 42 seconds.
Laura bumps into one of Adrian's Science Officers.
(CONTINUED)
100.
LAURA
Where can I find Adrian Helmsley?
SCIENCE OFFICER
He's in the Technical Command Centre.
Follow me.
EXT. LAUNCH SITE/CHO MING VALLEY - MORNING
The three gigantic vessels emerge from the mountain, into the
open. Support helicopters swarm around them like flies.
EXT. BENEATH A LAUNCHING TOWER/CHO-MING - MORNING
Lin and his group look like ants as they scale the metal
ladders of one of the launch towers.
INT. BRIDGE/AMERICAN SHIP - MORNING
Verbal commands fly back and forth. Anheuser watches the
preparations from a large window.
He looks over to the command bridges of the other vessels as
they continue to be pulled into place.
INT. COMMAND BRIDGES/OTHER SHIPS - MORNING
We cut to the various Heads of State, all at their command
posts.
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
A hatch opens at the top of the launch tower. Lin is the
first to climb out.
Right before his eyes, the hull of the American Ship slowly
creeps towards him. He's but a speck against this man-made
behemoth.
Lin hastily pulls the others up.
LIN
(in Chinese)
Faster, Neng! Help father! Mother, give
me your hand.
It's a race against time. The huge ship's hull closes in
fast. Lin and his family crawl up the side arm while Jackson
hurries to pull up the rest of the group.
Lilly freezes at the sight of the approaching ship.
(CONTINUED)
101.
JACKSON
Move Lil'bee!
Jackson rips her out of harm's way, just in time. In a
frenzy, he pushes her up the support arm where the others are
already huddled on a small platform.
As the towering wall of steel passes by them, inches from
their faces, Mr. Pang loses his balance. Jackson and Lin both
see this, but Jackson is closer--
He grabs the old man by his arm, saving him from falling to
his death.
For the first time, Lin acknowledges Jackson with a nod.
EXT. SHIP BAY/CHO MING SITE - MORNING
The three completed ships are half way out, grinding to their
final launching position.
A mob of passengers led by Yuri has fought their way to the
ship. More and more people join them, including soldiers.
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
Lin, Jackson and the group are huddled on the platform.
The sound of SCREAMING PEOPLE makes them turn. The storming
masses have arrived at the access platform. There is now a
huge drop off between them and the tails of the ships.
TAMARA
(POINTING)
Oh my god, that's Yuri!
Next to Yuri are his twins, holding Caesar. She yells!
TAMARA (CONT'D)
Caesar!
EXT. ACCESS PLATFORM/CHO MING SITE - MORNING
The little dog hears Tamara and jumps out of Oleg's arms,
leaping onto one of the thick cables, that connects the
platform with the launching towers.
Alec and Oleg attempt to run after Caesar, but Yuri grabs
them by their necks.
YURI
Let that stupid dog go!
(CONTINUED)
102.
He's panicked. The arriving masses are pushing them to the
drop off at the edge of the platform.
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
The ship has reached its targeted position. A small hatch
lines up directly in front of Lin and his group.
LIN
(in Chinese)
Okay. Now!
One by one they all climb into the hatch. Jackson being the
last in, notices that Tamara has stayed back.
JACKSON
Tamara! Come on! Get in!
She doesn't move, anxiously waiting for her beloved dog
darting towards her.
EXT. ACCESS PLATFORM/CHO MING SITE - MORNING
The mob pushes at Yuri and his boys. Passengers on either
side tumble off the platform.
Yuri watches one of them fall, hitting his head against a
tiny ledge 8 feet below. To his right, he sees a small ladder
leading down.
YURI
(in Russian)
Down there! Oleg, you go first!
As they hurry down the ladder, people keep tumbling into the
deep. Reaching the ledge, Oleg discovers Caesar running
towards Tamara.
OLEG
Daddy look, Tamara!
Yuri cannot believe his eyes.
EXT. TOP OF LAUNCHING TOWER/CHO MING SITE - MORNING
The hatch behind Tamara begins to move. The hydraulic
supports are being lifted, sealing up the vessel.
TAMARA
Caesar darling!
Jackson reaches out from the closing hatch.
(CONTINUED)
103.
JACKSON
Tamara! Get in!
Tamara climbs inside the hatch and turns.
TAMARA
Come to mommy!
Caesar leaps into her arms only seconds before the hatch
seals. As a last gesture, Tamara sticks out her arm and gives
Yuri the finger.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - MORNING
Lin leads the group into a long and narrow chamber where the
hydraulics for the tail gate are located.
He opens a tool cabinet, retrieving a giant electrical power
drill, almost too big to be carried by one person.
Lin climbs to a hatch near the ceiling and begins to unscrew
the huge bolts. He looks at Jackson.
LIN
I need your help.
INT. TECHNICAL COMMAND CENTER/AMERICAN SHIP - DAY
Laura and the Science Officer enter the Technical Command
Center. She finds Adrian staring at a wall of monitors
showing the horrifying scenario on the platforms.
People are falling to their deaths in large numbers in their
desperation to board the ship.
LAURA
What in god's name is happening Adrian?
ADRIAN
Anheuser convinced them all to launch.
Outside, panicking workers, screaming for their life!
Deserted passengers waving their green cards!
Adrian makes a decision and rushes out.
INT. BRIDGE/AMERICAN SHIP - DAY
Anheuser turns hearing Adrian storming onto the bridge.
ADRIAN
Anheuser! We have to stop this madness.
(CONTINUED)
104.
With that, Adrian turns to the Communication Officer.
ADRIAN (CONT'D)
Bobby, make sure the other bridges can
hear this.
The officer hesitates as Laura enters in the background.
ANHEUSER
What do you think you're doing?
ADRIAN
I know exactly what I'm doing.
(To Bobby)
Turn it on!
Bobby flicks a switch. Adrian's voice echoes through all the
ships.
ADRIAN (CONT'D)
This is Adrian Helmsley, science
advisor to President Wilson...
INT. BRIDGE/EUROPEAN SHIP - DAY
The German Chancellor turns to one of the technicians on the
bridge of the European Ship.
GERMAN CHANCELLOR
Can you please turn up the volume, Mr.
Hoffmann?
Next to her stand the British and French Prime Ministers.
ADRIAN (O.S.)
I know we've all been involved in
making difficult decisions... to save
our human civilization...
INT. BRIDGE/AMERICAN SHIP - DAY
Anheuser looks on stoney faced.
ADRIAN
... But to be human means to care for
each other, and civilization means to
work together to create a better life.
If that's true there is nothing human
and nothing civilized about what we're
doing here. Ask yourselves ... Can we
really stand by and let all those
people out there die?
Laura watches him proudly.
(CONTINUED)
105.
ADRIAN (CONT'D)
A civilization that allows that, does
not deserve to survive.
(PAUSE)
Or at least I don't want to be part of
it.
Anheuser cuts in with sarcasm.
ANHEUSER
We'll miss you Helmsley but somehow
we'll get by. Officer switch that off.
The Communications Officer looks at Adrian.
ANHEUSER (CONT'D)
That's an order soldier.
ADRIAN
Don't do it!
INT. BRIDGE/ASIAN SHIP - DAY
The Russian President, together with the heads of state from
China and Japan, listen in as Adrian responds.
ADRIAN (O.S.)
We have to open our gates and let these
people in. All of them.
INT. BRIDGE/AMERICAN SHIP - DAY
Anheuser has had enough.
ANHEUSER
Have you lost your mind? Look at the
countdown. We have less than five
minutes left... And none of our ships
have the resources to feed those
people. If you save them today we all
starve tomorrow.
He's almost screaming now.
ANHEUSER (CONT'D)
Do you wanna be responsible for the
extinction of the human race? Can you
handle that, Adrian?!
Silence.
Adrian's battle seems lost. But he doesn't give up, and
instead speaks softly now.
(CONTINUED)
106.
ADRIAN
There is a young astrophysicist from
India who is the reason we are all
here, trying to give mankind a second
chance. He's the one who discovered it
all, the one who connected the dots. We
all owe him our lives.
All eyes are glued to Adrian.
ADRIAN (CONT'D)
I just learned that he was killed with
his family by a tsunami in eastern
India. You know why?
Adrian stares Anheuser in the eyes as he continues.
ADRIAN (CONT'D)
He died because we forgot to pick him
up.
(PAUSE)
I beg you... whatever our future holds
don't let us start it with an act of
cruelty. What will you tell your
children... and their children?
Silence. Laura steps up alongside Adrian.
LAURA
If my father were here, he would open
the gates.
Adrian and Laura share a look.
RUSSIAN PRESIDENT (O.S.)
The people of Russia along with...
INT. BRIDGE/ASIAN SHIP - DAY
His Asian colleagues nod in approval.
RUSSIAN PRESIDENT
... China and Japan agree to open the
gates.
INT. BRIDGE/EUROPEAN SHIP - DAY
The German Chancellor speaks up.
GERMAN CHANCELLOR
The United Kingdom, Spain, France and
Germany, and I believe I can also speak
for the Italian Prime Minister...
107.
INT. BRIDGE/AMERICAN SHIP - DAY
GERMAN CHANCELLOR (O.S.)
... We vote to open the gates.
Laura and Adrian watch Anheuser shaking his head in defeat.
Bobby, the Communications Officer smiles with relief. Adrian
turns to the Captain.
ADRIAN
Captain Michaels, you heard them.
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
One by one the gigantic gates at the stern of the three ships
begin to creek open.
The masses gathered on the platform CHEER wildly!
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Lilly crawls through the CONNECTING TUNNEL meeting up with
Kate in a large bay on the other side.
LILLY
Phew... It stinks in here.
Together with Neng and his parents, they all look up in
DISBELIEF--
A Giraffe, chewing her cud, smiles down at them. Caesar barks
at her.
TAMARA
Sssh...Caesar.
A second later, hundreds of different ANIMALS RESPOND. They
are in the zoological bay.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Gordon helps Noah up the small ladder leading to the
connecting tunnel.
Just as he goes to hand him Jackson's backpack, the HYDRAULIC
MOTORS begin to GROWL! Lin looks up in panic. He screams.
LIN
They're opening the gate! It will crush
us!
The whole ceiling begins to lower towards them. From down
below, Jackson sees his son about to be hit by it.
(CONTINUED)
108.
JACKSON
Noah! Watch out!
Gordon makes a split second decision. With all his strength,
he shoves the boy into the tunnel.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
From the other side of the tunnel, Kate watches as the metal
ceiling misses Noah by a hair, but catches Gordon, wiping him
off the ladder.
KATE
No!
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson watches helplessly as Gordon falls past him. He
survives his landing and desperately tries to grab on to the
sloping surface, but he can't. He slips.
Gordon is crushed between the gears, sharing his last look
with Jackson before he dies.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Kate helps a trembling Noah out of the tunnel.
NOAH
Something happened, mom.
Kate pulls him close and shuts her eyes tightly. She fights
back the tears.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson and Lin know they're running out of time, their
remaining space is shrinking every second.
JACKSON
We have to stop it!
Lin grabs the huge electrical power drill nearby and attempts
to jam it between the hydraulic arm and the wall.
As it digs deeper into the metal, the hydraulic starts to
slow down.
109.
EXT. ACCESS PLATFORM/CHO MING - DAY
Still on the ledge, Yuri and the boys watch as the huge
boarding gate lowers towards them. They are trapped.
Just then, the gates begin to slow, but surely they will be
crushed.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Back in the chamber, Lin still struggles with the drill.
Suddenly he slips.
Jackson manages to catch his fall. But in the process Lin's
foot gets caught between the gears, mangling it.
He screams in pain as the hydraulic slowly grinds towards a
halt.
JACKSON
You did it, man. You did it.
In great pain, Lin grins back at him.
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
The gates of the ships hit the access platform with a
thundering noise. People begin to rush on board.
INT. BRIDGE/AMERICAN SHIP - DAY
Alarm signals go off. The Captain turns to one of his
officers.
CAPTAIN MICHAELS
What's wrong with the gate?
OFFICER
I don't know. Maybe there's something
jamming it, sir.
The countdown on the monitor reads 2 min. 40 sec. Laura and
Adrian share a worried look.
We hear a HOLLOW BELL ring!
CUT TO:
EXT. YAK LA MONASTERY/TIBET - DAY
Lama Yak La rings the large bronze bell of his monastery.
(CONTINUED)
110.
The booming sound echoes through the Cho Ming valley. As a
gentle wind catches the Lama's clothes, he looks up--
A tidal wave of immeasurable proportion crests the mountains.
The Lama continues to strike the bell as the monastery is
wiped clean from the earth.
CUT TO:
INT. BRIDGE/AMERICAN SHIP - DAY
The technicians desperately try to figure out what's wrong.
An officer waves Adrian over.
SURVEILLANCE OFFICER
Sir, we have a breach in the zoological
bay.
ADRIAN
Can you zoom in?
The video camera moves in on Kate, Noah and Lilly. Adrian
can't believe his eyes. He turns to Laura.
ADRIAN (CONT'D)
I know those kids. Remember the book I
told you about? Their father wrote it.
Captain Michaels shouts across the room.
CAPTAIN MICHAELS
We're loaded. We can close the gates
sir.
ANHEUSER
Do it!
Anheuser looks nervously at the countdown. It reads 1:34
EXT. ACCESS PLATFORM/CHO MING SITE - DAY
Above Yuri and the boys, people are leaping from the access
platform onto the stern gate of the American ship.
Yuri looks for a hole in the flow of people before seizing
his chance and lifting the first of his boys up.
YURI
(in Russian)
Pull yourself up!
Oleg manages to reach up and hold onto the gate.
(CONTINUED)
111.
Inside the ship, officers yell.
DECK OFFICER (O.S.)
To the lower decks people!
The gates suddenly screech back into life and begin to close.
Yuri doubles his efforts lifting Alec higher, but Alec cannot
quite reach.
Yuri strains with all his effort before deciding.
YURI
Oleg! Catch your brother!
Yuri leaps forward holding Alec out in his arms.
Oleg manages to grab his brother's hands as Yuri lets go and
falls into the deep crevasse below. He makes no noise until
he hits the rocks beneath.
Oleg pulls his brother from above.
INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY
A SIREN blasts. Both of Yuri's sons are now on deck. A
loading officer pulls them back, away from the gate.
DECK OFFICER
Boys, you gotta move.
ALEC
We wait for our father! He's still down
there!
The loading officer attempts to comfort them.
DECK OFFICER
There's no one down there.
(GENTLE)
Come on boys, come...
The Officer and the boys look back as the stern gate slowly
closes. But with a SCREECHING sound it grinds to a halt.
The gate is jammed open leaving a twenty foot gap.
INT. BRIDGE/AMERICAN SHIP - DAY
ALARMS sound. Anheuser and the Captain stare at the monitors.
ANHEUSER
Why is the stern gate not closing?
(CONTINUED)
112.
CAPTAIN MICHAELS
Something's wrong with the hydraulics,
sir.
ADRIAN (O.S.)
Captain, over here.
They race over. Adrian points to a monitor.
ADRIAN (CONT'D)
I think we found the problem.
On the monitor, they see Sarah and the others desperately
waiting for Jackson and Lin.
ADRIAN (CONT'D)
How did they get in there?
SURVEILLANCE OFFICER
They must have come through the
hydraulic chamber. There...
Bobby, the Surveillance Officer, selects a different camera
and we now see inside the tunnel in which Jackson is pulling
along a wounded Lin.
LAURA
That guy is injured. Something must
have gone wrong.
ANHEUSER
You're damn right something went wrong!
Congratulations Helmsley, you may have
just killed us all but as long as your
conscience is clean...
Adrian tries to ignore this.
ADRIAN
Let's get an emergency crew there right
now. I'll meet them at the Hydraulic
Chamber.
Anheuser sneers him, shooting a look to Laura.
ANHEUSER
You think you're the main man now, just
because your fucking the President's
daughter?
Without thinking, Adrian turns and punches Anheuser hard in
the face. He drops to the floor, out cold.
Everyone stands in stunned silence. Laura smiles. Adrian
looks around.
(CONTINUED)
113.
ADRIAN
What are you all waiting for?
They speed off. The countdown reads 0 min. 53 sec.
CUT TO:
EXT. AIRFIELD/TIBET - DAY
Further down in the valley, the tidal wave has reached the
Cho Ming airfield, blasting away the planes with overwhelming
force.
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
The massive propellers of the ships begin to turn. However,
the props of the American ship don't move.
In the background, the huge tidal wave comes thundering
towards them.
INT. HALLWAY/AMERICAN SHIP - DAY
An IMPACT WARNING sounds as Adrian and Laura race through the
crammed hallways with members of the rescue crew. One of the
officers explains.
TECHNICAL OFFICER
If we can't close the stern gate, then
the engines won't start.
ADRIAN
There's no way to override it?
TECHNICAL OFFICER
No sir, it has to be done manually.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Kate, Noah and Lilly watch as Jackson nears the end of the
tunnel with Lin. Neng comforts his brother who's about to
pass out.
NENG
(in Chinese)
Almost there, Lin...
CUT TO:
114.
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
THE WAVE FINALLY HITS!
All three vessels are now engulfed in churning water.
They rock back and forth. Only the huge support towers
they're resting on, keep them anchored.
INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY
A new ALARM sounds as water begins to shoot through the open
stern gate of the American ship.
The people on the loading bay panic, among them we see Alec
and Oleg.
INT. HALLWAY/AMERICAN SHIP - DAY
The same ALARM rings out in the hallways of the ship. Laura,
Adrian and their party are all braced against the corridor,
as the vessel undulates back and forth.
SURVEILLANCE OFFICER
Water has penetrated the stern!
Laura looks unsure.
LAURA
What now?
SURVEILLANCE OFFICER
The rear of the ship will start sealing
itself up one compartment at a time.
Adrian looks at him.
ADRIAN
Then how will we get to the hydraulic
chamber?
SURVEILLANCE OFFICER
If we don't hurry, we won't be able to.
Despite the violent movement of the ship, Adrian pushes on
down the corridor towards the back of the boat. They follow.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Water is also now rushing into the Zoological Bay and only
the giraffe can manage to keep her head dry.
Jackson is not yet out of the tunnel with an unconscious Lin.
(CONTINUED)
115.
Kate shouts across to Tamara.
KATE
Tamara! Take Lilly and Noah.
Kate reaches in to help Jackson as Tamara begins to move with
Lilly. Noah remains back with his mother.
Jackson finally makes it through with Lin. Kate is almost
tearful with relief to see him.
KATE (CONT'D)
I was so worried about you.
Suddenly the Zoological bay begins to seal itself off.
Lilly, already in the next compartment with Tamara and her
dog, screams out as a chamber door quickly slides up, from
the floor to the ceiling. It separates Lilly from her family.
LILLY
Mummy!
Jackson and Kate turn but it's too late. They only catch a
glimpse of Lilly before they are sealed in. The water level
continues to rise.
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Panicked, Tamara turns and looks around. Down the corridor,
in the distance, she sees Adrian, Laura and the rescue crew
approaching.
But between them she spots the next chamber door rising
quickly.
TAMARA
Lilly run!
Lilly starts moving as Tamara turns and picks up Caesar.
Moving quickly, Lilly is able to climb up and over the fast
rising door. But as she dangles from the other side, she
looks down and is too scared to jump.
TAMARA (O.S) (CONT'D)
Lilly! Take him.
Lilly looks up and sees two hands straining to hold Caesar
above the quickly narrowing gap.
In a courageous move, Lilly grabs the little dog before he
gets crushed and together they fall to the ground.
(CONTINUED)
116.
Back on the other side of the chamber door, Tamara looks
around. She is trapped now as the water continues to rush in.
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
Laura picks Lilly up and comforts her. Adrian realizes they
are too late. He turns to the rescue crew.
ADRIAN
Is there any way to talk to them?
Lilly is close to tears.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
The water continues to flood in as Jackson helps Neng with
his unconscious brother.
JACKSON
We have to move him higher.
(looks around)
Over there!
Suddenly, a VIOLENT SHAKE throws them all off balance,
pitching them into the water.
EXT. LAUNCH PILLAR/UNDER WATER - DAY
In the debris-filled, murky waters we see that the fuselage
of Air Force One has slammed against the first of the ship's
launch towers.
Slowly it begins to bend, finally giving way. The other
launch towers follow like dominos.
The ship is ripped from its anchorage and sent drifting
sideways, rudderless.
INT. BRIDGE/AMERICAN SHIP - DAY
Chaos. Fear. Everybody holds on for dear life.
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
The vessel is swept away, over the mountain ridge.
INT. HALLWAY/AMERICAN SHIP - DAY
Alec and Oleg scream, desperately trying to hold on as the
whole ship capsizes.
117.
EXT. DARJEELING VALLEY/HIMALAYA - DAY
The giant ship drifts upside down and rudderless - smashed
around by the debris and raging waters.
But then, as it hits another ridge, it rolls right side up
and seems to steady itself.
However, the strong currents continue to force it through the
mountain ranges of the Himalayas.
INT. BRIDGE/AMERICAN SHIP - DAY
The officers try to regain some control.
NAVAL OFFICER
Moving at 34 knots, sir.
CAPTAIN MICHAELS
What is our position?
NAVIGATION OFFICER
Darjeeling valley, heading south east,
sir.
The Captain's face drops.
CAPTAIN MICHAELS
You must be kidding!
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
The water rises fast as Kate sees the severity of Lin's wound
for the first time.
KATE
We need something to stop the bleeding
or he'll die.
A split second later Noah holds out his belt.
NOAH
Mum, will this do?
Suddenly Jackson hears a voice over a speaker.
ADRIAN
(Over a speaker)
Mr. Curtis... I'm Adrian Helmsley. We
met once before. Your daughter is with
me.
Kate screams with relief.
(CONTINUED)
118.
KATE
Lilly!
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
Adrian is using an emergency wall intercom, with Laura next
to him, holding Lilly.
LILLY
I'm alright Mom!
Caesar barks.
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Tamara hears Caesar over the speaker in her compartment and
smiles with relief. She is struggling to stay afloat though,
and is running out of air.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Jackson discovers the wall speaker. He moves closer to it.
ADRIAN (O.S.)
We can't get to you. Whatever you did,
jammed the hydraulics. If you can't get
it out... None of us will make it.
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
All eyes are on Adrian as he speaks.
ADRIAN
You're our only hope.
Adrian looks at Laura.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
JACKSON
I'll go back. I'll try my best.
NOAH
I'll go with you.
JACKSON
You stay with Mommy.
Jackson looks at Kate.
(CONTINUED)
119.
JACKSON (CONT'D)
I'll be right back...
The water is up to their chest now. Jackson takes a breath
and disappears underwater.
INT. BRIDGE/AMERICAN SHIP - DAY
Back on the bridge, Anheuser regains consciousness and gets
to his feet. His nose is bleeding. He looks around him.
ANHEUSER
Captain, what's happening?
The Captain looks at him annoyed.
CAPTAIN MICHAELS
What's happening?...
(PAUSES)
We're heading straight for the north
face of Mount Everest, Mr. Anheuser.
Anheuser looks at him dumbfounded as he stumbles to the
window and sees the massive rock face of Mount Everest in the
distance.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson swims down into the dark chamber and reaches the
jammed power tool, pulling at it. But it doesn't budge.
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
The water level in Tamara's compartment is at its height now
and she goes under.
She struggles below the surface for a moment, looking around
desperately for a way out but there is none.
Tamara drowns.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson manages to find an air pocket. He fills up his lungs
with air and thinks hard.
As he strips off his jacket, he seems to have a plan. He
dives under again.
120.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Lin is being held up in the water by his brother and parents.
Kate has wrapped the belt around his lower leg and now pulls
it tight. Lin screams.
Noah uses this as the moment to dive underwater, unnoticed,
to go and help his father.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Back under water, Jackson is using the extension cord of the
power drill to pull himself down to the tool cabinet.
Jackson opens it, retrieving a giant crowbar. He begins to
use it to dislodge the tool but it's hard work.
INT. BRIDGE/AMERICAN SHIP - DAY
Anheuser and everybody on the bridge stares as the north face
of Mount Everest is almost upon them.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Kate and the Pangs are desperately close to running out of
air now, but despite this, Kate still tends to Lin.
After a moment she turns and is first confused then horrified
to see that Noah is nowhere to be found.
KATE
Noah!
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson pulls with all his might, but he can't quite shift
the drill.
To his surprise, a pair of young hands join his on the handle
of the crowbar. Noah is alongside him now, helping.
Working as father and son, they manage, little by little, to
loosen it before finally the drill comes free.
Adrian gives Noah the thumbs up and the boy heads back to the
surface. Jackson goes to follow but in the last moment he
spots the knapsack containing his laptop.
He dives back down for it.
121.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Noah emerges from the water.
NOAH
Mom, we did it!
Kate pulls him to her, relieved he is safe. Noah smiles and
calls out towards the nearly submerged speaker.
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
Lilly and Laura wait nervously. They hear a muffled voice.
NOAH (O.S.)
We got it free. Can you hear me? We did
it!
Adrian leaps up when he hears this. He flicks a button on the
intercom.
ADRIAN
Captain Michaels - close the gate!
INT. BRIDGE/AMERICAN SHIP - DAY
Hearing this, the Captain yells the eagerly awaited order.
CAPTAIN MICHAELS
That's affirmative. Close the gate!
TECHNICAL OFFICER
Ay, ay, Sir.
EXT. DARJEELING VALLEY/HIMALAYAS - DAY
We hear a BOOMING sound as the tail gate finally seals.
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
Jackson reaches his knapsack, but when sees Noah's cell phone
lying next to it, he makes a decision and reaches for that
instead.
He hears the muffled sound of the engines and smiles. But as
he turns to swim back, his face freezes--
He's looking into the lifeless eyes of Gordon, who floats
inches from his face.
122.
EXT. PROPELLERS/AMERICAN SHIP - DAY
The gigantic propellers fight against the current, hitting
rock at the base of the mountain.
INT. BRIDGE/AMERICAN SHIP - DAY
The battle seems hopeless. Captain Michaels yells at the top
of his lungs.
CAPTAIN MICHAELS
Engage starboard stabilizers!
OFFICERS
One is engaged... two is engaged...
number three is out, sir!
The vessel scrapes against the rocks, throwing Anheuser to
the floor.
EXT. DARJEELING VALLEY/HIMALAYA - DAY
The giant ship escapes the mountain with an inch to spare.
INT. BRIDGE/AMERICAN SHIP - DAY
Everyone on the bridge watches in awe as Mount Everest,
earth's highest peak, drifts slowly past.
After a long beat, they begin to holler and cheer.
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
Kate hears the CHEERING coming from the speakers. The water
level stops rising but she still looks around in panic.
KATE
Noah! Where is he?
Noah begins to cry.
NOAH
He was just behind me...
Finally! Jackson bursts out of the water and takes a lungfull
of wonderful air.
Kate and Noah are overjoyed. The Pangs smile to one another.
Jackson looks Kate squarely in the eyes.
(CONTINUED)
123.
JACKSON
If you would ever consider to give me
another chance... I promise, I'll
always be there when you need me.
Kate embraces him tightly.
KATE
Whatever you do... I will never let you
go again.
Noah is all smiles.
FADE TO BLACK
2013
We hear a voice.
ADRIAN (O.S.)
... Day 988. No one is waiting for
anything to happen...
FADE UP
The CAMERA moves over the last lines of Jackson's novel.
INT. SLEEPING QUARTERS/AMERICAN SHIP - DAY
Adrian sits in his cabin, his copy of `Farewell Atlantis' in
his lap.
ADRIAN
... and all we can hear is the sound of
our own breathing that reminds us we
are still sharing our memories, hopes
and ideas.
Opposite him, Laura sits listening to him read.
ADRIAN (CONT'D)
... And funny, just today we found out
that the entire crew of the Atlantis,
somehow or another, has relatives in
Wisconsin.
(PAUSE)
The end.
Adrian closes the book. There's a moment of silence.
LAURA
How many copies did you say that sold?
(CONTINUED)
124.
ADRIAN
Less than 500.
(with a smile)
It's what you might call a cult
classic.
Laura looks at him grinning.
LAURA
It seems we have very different tastes
Mr. Helmsley?
ADRIAN
(PLAYFUL)
Well that's healthy Dr. Wilson.
Something we could maybe explore...
unless you have other pressing
engagements.
LAURA
Actually my diary's pretty open.
The intimate moment is cut short.
OFFICER (O.S.)
(over loudspeaker)
Mr. Helmsley to the bridge please.
INT. HALLWAY/AMERICAN SHIP - DAY
Adrian and Laura make their way to the bridge.
CAPTAIN MICHAELS (O.S.)
Ladies and gentlemen, this is Captain
Michaels speaking. In a few minutes, I
will be giving the orders to unseal the
decks.
INT. FRONT DECK/AMERICAN SHIP - DAY
Jackson and his family stand amongst thousands of other
people who are gathering in anticipation.
CAPTAIN MICHAELS (O.S.)
Please be careful when you step out and
of course... enjoy the fresh air.
Jackson kneels down and zips up Lilly's jacket. She is
holding Caesar, whose still wearing his diamond collar.
LILLY
Daddy? When can we go back home?
(CONTINUED)
125.
JACKSON
There's nothing we can go back to
Lil'bee. Whatever's out there, that's
our home now. Don't be scared.
LILLY
I'm not Daddy. No more pull-ups.
JACKSON
(PROUDLY)
That's my big girl.
Jackson squeezes Lilly's shoulder.
OLEG (O.S.)
Can we pet him?
Lilly turns to see Yuri's boys standing next to her.
LILLY
Of course you can. He's your doggie.
The boys both smile at her.
INT. BRIDGE/AMERICAN SHIP - DAY
Adrian and Laura enter the bridge.
ADRIAN
You called for me, sir?
CAPTAIN MICHAELS
Prof. West has something to show you,
Mr. Helmsley.
The Captain directs him to a monitor.
CAPTAIN MICHAELS (CONT'D)
Looks like your scientific projections
are way off again.
The Captain grins at Prof. West.
PROF. WEST
The water is receding much faster than
we projected, Adrian...
A monitor reveals an image of the African continent, however
its shape changed dramatically. The image of the southern tip
is enlarged.
LAURA
What's that?
(CONTINUED)
126.
PROF. WEST
It's hard to believe, but the Himalayas
are no longer the roof of the world.
It's now the Drakensberg mountains of
Kwa-Zulu Natal. The whole African
continent has risen several thousand
feet and most likely, never even
flooded.
CAPTAIN MICHAELS
Our European colleagues have already
set course for it.
Captain Michaels hands Adrian a short wave radio.
CAPTAIN MICHAELS (CONT'D)
Here, somebody wants to talk to you.
Adrian curious, grabs the mic.
ADRIAN
This is Helmsley.
We hear a muffled, raspy voice through the speakers.
INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY
Harry Helmsley stands beside the cruise ship's Captain.
VOICE
No, this is Helmsley.
ADRIAN (O.S.)
Dad!... Is that you?
INT. COMMAND BRIDGE/AMERICAN SHIP - DAY
Adrian is ecstatic. Captain Michaels explains.
CAPTAIN MICHAELS
We should have a visual of the `Freedom
of the Seas' shortly.
ADRIAN
Dad. We're coming to pick you guys up.
How's Tony?
INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY
Harry looks over at Tony who's listening, smiling.
HARRY HELMSLEY
He's fine, son. We're all fine.
(CONTINUED)
127.
ADRIAN (O.S.)
See you guys soon. Bye dad.
Harry hangs up. He picks up Tony, embracing him wildly.
INT. COMMAND BRIDGE/AMERICAN SHIP - DAY
Adrian, still excited from speaking with his dad, grabs Laura
and kisses her on the lips. She squeals.
ANHEUSER (O.S.)
Put that woman down Helmsley.
Adrian looks at Anheuser, unsure of what he might say.
ANHEUSER (CONT'D)
Young guys like you with your
idealistic dreams, you think you can
change the world...
Adrian and Laura exchange a look.
ANHEUSER (CONT'D)
I just pray to God, that you keep on
making the right calls... in this new
world of ours.
Adrian nods and with a smile to Laura turns to leave.
ANHEUSER (CONT'D)
Mr. Helmsley, one more thing.
Adrian turns back.
ANHEUSER (CONT'D)
There was no one.
ADRIAN
Pardon me?
ANHEUSER
There was no white kid better than you.
I'm terribly sorry I said that.
Anheuser puts out his hand. Adrian takes it.
INT. FRONT DECK/AMERICAN SHIP - DAY
CAPTAIN MICHAELS (O.S.)
This is your Captain speaking. Standby
to open Deck 1.
OFFICER
Standing by Sir.
(CONTINUED)
128.
Neng pushes his brother Lin in a wheelchair onto the deck
next to his parents. Mrs. Pang turns to her husband.
MRS. PANG
(in Chinese)
I wonder will the clouds look the same
and the stars?
MR.PANG
Do not fear. Some things will never
change.
The old Chinese man forces a little smile. Closer to the
front of this crowd Jackson approaches Noah.
JACKSON
I thought you might want this.
He takes Noah's cell phone from his pocket and hands it to
him.
NOAH
Do you think I'll still get a signal
... Dad?
Jackson is touched to hear him use that word. He smiles and
hugs him. Adrian, Laura and Anheuser arrive alongside them.
ADRIAN
I finally finished your book Jackson.
KATE
Really? You may well be the first
person who ever got to the end.
Jackson looks at her, smiling playfully.
JACKSON
Excuse me, I believe he's addressing
the author. Well, what did you think?
Adrian smiles.
ADRIAN
I'd say... those astronauts of yours
would be shitting themselves, if they
knew all their relatives are now stuck
in the South Pole.
Suddenly a horn sounds and the sealed deck doors let off a
burst of pressurised air. A murmur goes through the crowd.
Everyone is silent as the huge deck doors slowly begin to
roll back and light streams in.
(CONTINUED)
129.
The Pang family try to see over people's heads, even Anheuser
looks hopeful. Jackson pulls his family close as the first
rays of daylight hit their faces.
EXT. AMERICAN SHIP/SOMEWHERE IN THE HIMALAYAS - DAY
Hatches unseal all around the ship. Sun streams through the
clouds. Everywhere people emerge outside, into the light of
day. A majestic moment.
EXT. FRONT DECK/AMERICAN SHIP - DAY
They all stare in awe at the waters receding against the ice-
covered mountain peaks. Caesar lets out a YELP of joy.
Almost as soon as the doors have opened, the ship's
HELICOPTERS take off, flying towards a stunning site--
The `Freedom of the Seas' is perched on a mountain peak,
surrounded by calm waters. Behind it, they see the most
beautiful rainbow. This is the new world.
And again we hear Mozart's Adagio...
THE END
12 - Script
CUT FROM BLACK
TITLE: FIN
EXTERIOR - LA - DAY
Fin of red 1957 Chevy Impala convertible driving
somewhere in the West. A car passes going the other
way.
TITLE: PLACE: Los Angeles
MUSIC: Shadowy Men On A Shadowy Planet "Good Cop,
Bad Cop."
EXTERIOR - LA - DAY
POV driving on freeway in rain.
EXTERIOR - LA - DAY
People with umbrellas standing on corner.
EXTERIOR - LA - DAY
People with umbrella walking over bridge.
EXTERIOR - LA - DAY
People walk across downtown intersection with
umbrellas, bus in background.
EXTERIOR - LA - DAY
Rain and shadow on pavement.
EXTERIOR - LA - DAY
LA river wide, medium, close. We see graffiti
swamped by high water.
EXTERIOR - LA - DAY
Large man walking with umbrella.
WE HEAR: THUNDER
MUSIC STOPS
FIRST WOMAN
I've been here one year and I've lived
through an earthquake, fires, floods...
SECOND WOMAN
The rains...it just keeps coming...the
floods...the hillsides are coming down...
you can't get to and from work and it's
just a mess.
EXTERIOR - LA - DAY
People walking against high winds, umbrella reversed.
EXTERIOR - LA - DAY
Family walking in the rain. Children protected by
plastic bags.
THIRD WOMAN
You survive by natural instincts, you
go with the flow.
SFX: THUNDER
EXTERIOR - LA - DAY
Woman's foot stepping across swollen gutter.
MUSIC RESTARTS
EXTERIOR - LA RIVER- DAY
Prow of buttress in rapids. The rains have stopped,
only the floods remain.
EXTERIOR - BEACH - EVENING
Waves breaking on beach.
EXTERIOR - OCEAN - NIGHT
Tanker at night.
EXTERIOR - AIRPORT - NIGHT
Airplane lights come on.
EXTERIOR - OCEAN - NIGHT
Landing lights over water.
EXTERIOR - AIRPORT - NIGHT
Airplane landing at night.
SFX jet passing overhead.
EXTERIOR - LA - NIGHT
Camera pans over the city and over the ocean.
EXTERIOR - LA - NIGHT
The panning city lights converge with a passing car.
EXTERIOR - LA - NIGHT
It is TONY, a handsome man in his 30's, driving on
Melrose. He approaches an intersection that is
blocked by a truck. He flashes his headlights
signaling to the truck to move and let him by but
the truck stops. TONY is stuck.
EXTERIOR - LA -DAY
ALLEN, a stout comedian, at a temp job, answering
phones.
TALK SHOW HOST (V.O.)
And we're back with "Interpreting
Your Dreams." And I believe we
have Allen in Hollywood on line...
12. Hello Allen...are you there?
Hello..?
ALLEN has the TALK SHOW HOST on hold so he doesn't
hear her.
ALLEN
Okay...hold on. Yeah I'll take care of
you in a second...I'm transferring
you over..
TALK SHOW HOST
We are live on the air....Hello...?
ALLEN
Hello.? Yeah okay I've got somebody else
on hold...I'm going to transfer you
over. It might be a second, just hold on.
TALK SHOW HOST
(aside) I'm on hold..
EXTERIOR - THE BIG ISLAND FROM ABOVE - DAY
The Big Island floats in sparkling light. WE HEAR a
radio show filtered through the small speaker of an
old radio.
TALK SHOW HOST
Okay, we're going to have to go...
ALLEN
Okay, oh doctor.
TALK SHOW HOST
Hello?
EXTERIOR - RANCH HOUSE FROM ABOVE - DAY
We see rooftops of ranch buildings from high above.
We HEAR the sound of a plane flying overhead. We
HEAR ALLEN'S voice.
ALLEN
Are you there?
EXTERIOR - RANCH HOUSE - DAY
The Ranch House stands isolated in a dry island
valley. The plane passes overhead.
TALK SHOW HOST
You're live on the air.
INSERT VIEW on RADIO. We HEAR
ALLEN
Can I use my real name on the radio?
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL is sitting in front of a mirror putting
on her makeup. She is listening to the broadcast.
She pays attention to ALLEN's dream when he says the
word "invisible".
The TALK SHOW HOST speaks flatly, angrily.
TALK SHOW HOST
What is your dream?
ALLEN
First of all I'm invisible. I see
myself looking in a mirror. I'm
having this dream almost every night.
MARIE-NOEL listens more carefully to the radio.
TALK SHOW HOST
Yes?
VIEW ON: A Sparkling lake.
VIEW ON: MARIE-NOEL throwing bouquet at her wedding.
ALLEN
And the next thing you know I'm
getting married. I don't know to
whom....
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL looks in the mirror again; the
conversation on the radio affirms something she
knows to be true.
TALK SHOW HOST
And how long have you been having
this dream?
ALLEN
Like an entire solid month.
TALK SHOW HOST
Uh huh...
EXTERIOR - LA HARBOR - DAY
A truck wipes the frame and we see MARIE-NOEL
walking along the highway at a leisurely pace.
ALLEN
Then all of a sudden I see myself
walking down a road by the harbor....
The TALK SHOW HOST interrupts. WE HEAR a telephone
ring.
TALK SHOW HOST
And how do you feel at this point
in the dream?
EXTERIOR - LA - NIGHT
TONY, having been stopped by the truck, cuts down a
side street to get around the gridlock. We HEAR
ALLEN's phone RING.
ALLEN
Can you hold on for one second...
Hello.
TALK SHOW HOST
No, actually we can't...Hello?
INTERIOR - OFFICE - DAY
ALLEN is trying to juggle too many things at once.
He tries to transfer incoming calls without losing
them. He has the TALK SHOW HOST on hold again.
ALLEN
Yeah, I've got two other lines.
Can you hold a second? Great....
TALK SHOW HOST
Hello! Allen from Hollywood!
ALLEN
Hello...yeah...hold on. I can
transfer you now.
EXTERIOR - HARBOR - DAY
A MAN fixes the tire of an old Mercedes as MARIE-
NOEL walks into frame. MARIE-NOEL stoops down and
looks at his face. The man has no awareness of her.
She is invisible.
TALK SHOW HOST
Are you there? Hello?
ALLEN
Hi. Hi. Sorry.
TALK SHOW HOST
Allen we don't have the time....
ALLEN
Sorry..
TALK SHOW HOST
Allen we're on the air and you
can not put me on hold.
ALLEN
I'm really sorry....
TALK SHOW HOST
Go on with your dream Allen.
ALLEN
Am I on?
TALK SHOW HOST
Yes.
ALLEN
Okay. I'm walking along the road down
by the harbor, and I'm invisible, and
I go around looking at people knowing
that they can't even see me and in
this dream.....
INTERIOR - CAR - DAY
MARIE-NOEL is now in the car with the driver who
fixed the flat. The driver cannot see her and MARIE-
NOEL flicks his ear to tease him and test her
invisibility.
ALLEN
... I ride around with people. I get
in their cars, I go all over town.
INTERIOR - OFFICE - DAY
ALLEN has risen to a peak in energy.
ALLEN
I mean here...this, this, this.
TALK SHOW HOST
And how does it feel to you?
VIEW on PHONE: WE HEAR a RING
ALLEN
Can you hold on a second?
NOTE: DISCONTINUITY - Glasses disappear from
ALLEN's Hand.
VIEW ON ALLEN
He turns to a colleague in the office while the TALK
SHOW HOST languishes on hold.
ALLEN
I've got two juice commercials. I'm
like the spokesman for the company now.
I got a Baske and Robbins, and I'm on
avail for a couple of beer things that
are going on..
WE HEAR another RING. A hand in the foreground
picks up a phone. ALLEN goes back to the line of
the TALK SHOW HOST.
COLLEAGUE
Hello...
ALLEN
Dr. Powell I'm back....
EXTERIOR - LA - NIGHT
TONY continues his shortcut around the gridlock. His
car passes camera in a suburban neighborhood.
TALK SHOW HOST
I think we're running out of time
here Allen.
ALLEN
Sorry to put you on hold....You
see then I get out of the car...
EXTERIOR - LA - EVENING
ALLEN walks from his job to his car.
ALLEN
...and I walk all day...
EXTERIOR - LA - NIGHT
MARIE-NOEL walks down Hollywood Blvd. Creatures of
the night surround her.
ALLEN
...and all night.
TALK SHOW HOST
Don't put me on hold...
EXTERIOR - LA - NIGHT
ALLEN walking on a back street.
ALLEN
No, no, no, no. I'm at work. I'm at work.
TALK SHOW HOST
Is this a real call?
ALLEN
What do you think? Do you think I'd
make a fake call in the middle of work?
EXTERIOR - SIDE STREET LA - NIGHT
TONY turns the corner and heads back to Melrose
toward a point beyond the gridlock.
TALK SHOW HOST
I'm feeling very left out here because
you're not telling me how you feel.
I'm telling you....
EXTERIOR - MELROSE BLVD.- NIGHT
MARIE-NOEL walks toward camera as ALLEN enters frame
on the left. ALLEN and MARIE-NOEL pass at the corner.
Neither notices the other. TONY pulls into the frame
at the intersection and MARIE-NOEL sees TONY who
does not notice either ALLEN or MARIE-NOEL. MARIE-
NOEL runs to TONY'S convertible car and jumps in the
back. She rides joyfully as TONY speeds off.
ALLEN
And then this really strange thing
happens.
TALK SHOW HOST
What do you do for a living?
ALLEN
While I'm walking...I'm an Actor...
TALK SHOW HOST
So in other words you are in limbo in
your daily life.
ALLEN
I'm walking, and I see myself walking,
but I don't stop, I just keep on walking.
TALK SHOW HOST
You must be feeling invisible in your
daily life and it's coming out in your
dreams.
ALLEN
I want to know what you think about the
dream, let me finish it! Can you hold on
a second please?
TALK SHOW HOST
You can not put me on hold....I'm sorry
but we're going to have to go to Mike
in Downey on line 13. Thank you very much
for calling.
TITLE: "START HERE"
EXTERIOR - LA - SUNRISE
We see a distant mountain silhouetted against the
morning light. We HEAR a plane in the distance. The
plane is visible as a speck in the frame and flies
close to the mountain. The sun rises to the opening
cadence of:
MUSIC: MOZART SYMPHONY 34 #1
The plane grows more faint as the sun continues to
rise.
EXTERIOR - PARK - SUNRISE
TONY and MARIE-NOEL walk across a playing field.
They look behind them fearfully.
MUSIC: Evan Lurie "Deception"
TONY
Come on...
MARIE-NOEL
This isn't the way we came.
TONY
Yes it is.
TITLE: "ACTOR CREDIT"
EXTERIOR - PARK - SUNRISE
TONY and MARIE-NOEL arrive at a park bench. They
sit on top of it, resting, waiting, then they
interrupt each other.
TONY
Let's not.
MARIE-NOEL
Let's not. Sorry.
TONY
We'll just go home and we'll wait it out.
MARIE-NOEL
This place stinks!
MARIE-NOEL stands up and moves to the other side of
the bench, her back towards TONY.
EXTERIOR - PALACE - NIGHT
BRENDA walks through the rain toward the doors of
the concert. Wawa guitar bursts from the inside
through the unopened doors. BRENDA looks murderous
in her wild hair and hot pants.
INTERIOR - HALLOWEEN PARTY
TONY and MARIE-NOEL wander separately around the
party as costumed hipsters sway with the music. TWO
WOMEN react in horror as something unseen occurs
which causes the crowd to panic. A SHEEP is left
standing in the empty hall.
TITLE: "ACTOR CREDIT"
EXTERIOR - BENCH IN SAME PARK - SUNRISE
TONY and MARIE-NOEL both scratch their ears at the
same time. A faint sound of thunder causes TONY to
look into the distance. They interrupt each other
again.
TONY
Let's not.
MARIE-NOEL
You know.....You know, at this point I'm
blaming it all on bad karma. This is how
we die, man. I wish they'd just get it
over with.
MUSIC STARTS
TONY
Don't give up. I mean nothing has happened
to us. She'll probably be at the boat waiting
for us when we get there.
EXTERIOR - ADJACENT STREET - SUNRISE
BRENDA fast walks on a street next to the park. As
she approaches, she suddenly stops. WE HEAR the
sound of rain. It is a clear morning. Perplexed,
she laughs.
EXTERIOR - PARK - SUNRISE
TONY and MARIE-NOEL walk urgently through a wooded
section of the park. The sound of thunder gets
louder and louder getting closer to them. TONY grabs
MARIE-NOEL'S arm as the fearful sound passes close
to them without incident.
EXTERIOR - ADJACENT STREET - SUNRISE
BRENDA walks past the camera, still perplexed by the
odd occurrence.
EXTERIOR - LA - SUNRISE
We see the mountain again and continue to HEAR the
airplane.
EXTERIOR - WEST LOS ANGELES - SUNRISE
The fog is coming in. Tops of buildings disappear.
TONY
Let's not be naive about the earthquake...
EXTERIOR - CENTURY CITY FROM THE AIR - SUNRISE
The fog gets thicker...
TONY
It's a good sign...
VIEW on WILSHIRE BLVD...Thick Fog.
TONY
That's what saved us.
EXTERIOR - LA - SUNRISE
We see the silhouette of buildings from a distance.
The sun rises above them.
EXTERIOR - PARK - SUNRISE
TONY and MARIE-NOEL continue to walk urgently
through a wooded section of the park.
MARIE-NOEL
Let me tell you, I had a premonition. I had
the worst feeling when she said she was going
to go up and see the band.
EXTERIOR - PARK - DAY
TONY and MARIE-NOEL walk along, totally engulfed in
fog.
MARIE-NOEL
What if we get it for not warning her?
THEIR POV
We see a sheep standing beside a tree in the fog.
EXTERIOR - PARK - MORNING
Through a fog we see a sheep standing next to a tree.
MARIE-NOEL and TONY arrive at the tree. They are
horrified.
INTERIOR - ALLEN'S BEDROOM - MORNING
ALLEN's phone rings. He wakes suddenly and sits up
in bed; his answering machine goes on.
We HEAR MUSIC: "Be My Baby"
coming from a source outside of the bedroom.
ALLEN'S VOICE
Hi this is ALLEN at 969-8895. I'm not
home right now but if you want to leave
me a message I'll get back to you as soon
as you can...
ALLEN listens for a minute. He is not quite awake.
TITLE: "Actor Credit"
ALLEN gets up and walks to the mirror waiting for
his long message to end. He looks melodramatically
at his face. We HEAR THUNDER. He pulls at his face.
He sits back down on his bed waiting to see if
someone is on the line.
ALLEN'S VOICE
If it's important and during the day you
can call me at Knapp Communications. The
number is (213) 932-1465. Uh, I should be
there all day. And if it's not important
and you don't want to call me there leave
a message on this machine but don't hang
up I really hate that and, uh,that's it, bye.
We HEAR a BEEP but no one is on the line. ALLEN's
head hits the pillow and he flashes to.
Clip of Scorcese's Mean Streets. Where Keitel's head
hits the pillow.
ALLEN walking satisfied.
SCENE FROM ALLEN's Pizza commercial, elbows out.
EXTERIOR - STREET IN FRONT OF ALAN'S APARTMENT
Camera dollies past a pickup truck. The back of the
truck is filled with shopping carts. A man is
loading shopping carts into the truck. As the camera
reaches the door of the truck we hear the source of
the loud music. We see EUGENE, a homeless man, who
has his hand out to the driver of the truck. The
truck pulls away and EUGENE looks around in
confusion. We HEAR THUNDER. EUGENE looks at ALLEN's
building.
SCENE FROM ALLEN's deodorant commercial, elbows in.
Back to ALLEN rubbing his eyes
TITLE: "Director Credit"
CUT TO BLACK
SILENCE
MUSIC: Bach: Well Tempered Clavier #10
Rack focus: MOON
INTERIOR - ISLAND - NIGHT
MARIE-NOEL is sitting in the dark, smoking a
cigarette.
MARIE-NOEL (V.O.)
My despair has a strange shape. It doesn't
hurt like something that hurts your body.
It's seeing the continuity.....
TITLE: MARIE-NOEL at about the time of the tragic
loss of her half-sister.
VIEW ON TONY, speaking to MARIE-NOEL.
MARIE-NOEL (V.O.)
.....of something hopeless going on and on
year after year.....
VIEW ON Los Angeles at night
MARIE-NOEL (V.O.)
....When I close my eyes I see the city....
EXTERIOR - 24HR GAS STATION - NIGHT
MARIE-NOEL walks aimlessly.
MARIE-NOEL (V.O.)
But when I go out all I see are clues and
patterns.....
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL writes at an old desk. Wind blows
through an open window.
MARIE-NOEL (V.O.)
...or the endless wait for coincidence.
EXTERIOR - 24HR GAS STATION - NIGHT
MARIE-NOEL is at a loss. She has exhausted her
options.
MARIE-NOEL
Events slowly unfold with the possibility
that my patience will become accidental waste.
VIEW on MARIE-NOEL speaking to TONY.
MARIE-NOEL
But at the same time I see that it's exactly
what put Mom in the position she was always in.
TONY
The first time you feel sexual you see fate
all around you? Is that what you want?
MARIE-NOEL
Yes, and I really deserve it.
TONY
I have the feeling that that's dad's only
motive.
VIEW of Eclipse of the Moon.
TONY
They think we are selfish...
TITLE: TONY in the city, FILMORE on the island.
TONY
They think we should procreate.
TONY breathes a sigh.
INTERVIEWER (V.O.)
So there were two guys and what were their
names?
EXTERIOR - FRONT YARD OF ALLEN'S HOUSE - NIGHT
ALLEN squints from the bright news camera lights.
ALLEN
Not two guys, a girl and a guy. They were
related. Marie-Noel that's her name, not very
Greek I know...
INTERVIEWER
And she was the one you were married to?
ALLEN
Yes.
INTERVIEWER
Who own this house?
ALLEN
I do, I mean we did.
MUSIC STARTS
EXTERIOR - LOS ANGELES - DAY
TONY across railroad tracks.
MARIE-NOEL (V.O.)
You stand to lose everything you worked
for in the last 60 years. The ranch,
our inheritance....
EXTERIOR - LOS ANGELES - DAY
TONY walks on the sidewalk next to a busy street
flipping a coin.
MARIE-NOEL (V.O.)
Why have you set out to prove everything is
here by chance?
EXTERIOR - ISLAND BACK COUNTRY - DAY
MARIE-NOEL walks across a grassy field and sees a
vortex of oak leaves swirling under a tree. We see
she is suddenly disturbed by her own feelings.
MARIE-NOEL (V.O.)
I wasn't too young to know what happened the
last time we were found out. You don't act
like I'm the next to die.
EXTERIOR - FRONT YARD OF ALLEN'S HOUSE - NIGHT
ALLEN continues his interview.
ALLEN
It started this way.
INTERVIEWER
So you're an actor?
ALLEN
Yes. I'm an actor. That's where I met
the guy.
INTERIOR - ELEVATOR - DAY
ALLEN stands inside elevator and TONY gets in.
ALLEN
I met him at a casting call for a commercial...
He said his name was Tony.
EXTERIOR - HOLLYWOOD - DAY
ALLEN walks along the sidewalk on his way to a
casting call.
ALLEN
I was late...
INTERIOR - ALLEN'S TEMP JOB - DAY
ALLEN talks on the phone wearing sunglasses.
ALLEN
So I had to make up an excuse for work..
WIDER view on ALLEN at work.
ALLEN
Some temp job I was working downtown.
VIEW on Rainy sky with jet and palm tree.
VIEW on LA river.
VIEW on PEOPLE at bus stop.
ALLEN
It was raining, and there was this flood and
everybody was jittery.
EXTERIOR - FRONT YARD OF ALLEN'S HOUSE - NIGHT
ALLEN continues his interview.
ALLEN
Because something that big in nature doesn't
usually happen around here except an earthquake,
or your occasional rare winter snowstorm every
ten or twenty years.
EXTERIOR - AGAINST BLACK - NIGHT
MARIE-NOEL speaks to TONY.
MARIE-NOEL (V.O.)
I know why you're so happy all the time.
This place is a free lunch.
VIEW of TONY flipping coin.
VIEW of cliffs on island.
MARIE-NOEL (V.O.)
Reality is a refraction from a physical
process. The sum of the stars is nothing.
MUSIC BUILDS, we hear WIND
VIEW of trees blowing.
VIEW of MARIE-NOEL writing.
EXTERIOR - LOS ANGELES - DAY
We PAN with an ambulance as it passes. Tony walks
along flipping coin. Walking across crosswalk, he
changes his direction. Comes to an intersection.
MUSIC STOPS
We HEAR: City street ambiance.
TONY flips again, sees "Heads" walks on.
EXTERIOR - Los Angeles - DAY
Comes to an impasse, gives up.
MUSIC: Wolfgang Amadeus Mozart: Concert for Piano &
Orchestra #20
EXTERIOR - FRONT YARD OF ALLEN'S HOUSE - NIGHT
ALLEN continues his interview.
TITLE: ALLEN'S tabloid interview, at the end, after
it was all over.
CAMERA MAN
Okay, ready to roll.
INTERVIEWER
What's your name?
ALLEN
Allen.
INTERVIEWER
And you were kidnapped by aliens, did you say?
ALLEN
No, no, no, no. I was involved with this woman
and this guy.
INTERVIEWER
Wait, wait, wait, let me understand this... you
were involved with a goddess? Like a Greek
goddess?
ALLEN
With a Greek, Zeus, Athena type goddess.
INTERVIEWER
Where is she now?
ALLEN
She's like hunting quail in the Sierras now.
INTERVIEWER
What?
ALLEN
She left me for dirt.
INTERVIEWER
And were you married?
ALLEN
Yeah, we were married right before....
TITLE: "Allen at about the time the disasters
started"
INTERIOR - ALLEN'S APARTMENT BUILDING - DAY
ALLEN waits in an empty apartment, tired of life.
EXTERIOR - ALLEN'S BUILDING - DAY
TONY walks past the building still flipping a coin.
INTERIOR - ALLEN'S BUILDING - DAY
WE HEAR a door slam. Off Screen: ALLEN and ARTEMIS
(as AUGUST) walk into living room. AUGUST leads the
way in, glances into the room on the left.
WE HEAR Door slam. Off Screen. ALLEN and AUGUST (as ARTEMIS) walk into living room. AUGUST leads the way in, glances into the bedroom on the left.
ALLEN
Look around. It's a 1 bedroom, 1/2 bath
in the hall and full vanity...laundry
downstairs.
AUGUST
Is it quiet?
ALLEN
Very quiet. Where you from?
August stops in left of frame, turns to ALLEN.
AUGUST
Nashville.
ALLEN
First time in LA?
AUGUST
Yeah, I just got a "Seventeen" cover and
everyone said I should come here.
ALLEN
Where are you staying?
AUGUST
With my Aunt.
ALLEN
Do you act?
August approaches the camera. She is wearing 1/2
moon earrings.
AUGUST
No, just modeling for now. But I've heard about
some really great workshops from my agent.
AUGUST feels satisfied with what she sees as she
gazes into the bedroom. ALLEN draws closer.
ALLEN
I'm an actor. TV commercials, some stage.
I know just about everybody in town, free
advice, comes with the rent.
AUGUST.
How much is it?
ALLEN
Well, the first month's free. You've got
to come up with some kind of security deposit,
figure one month and then the last month
and that comes to half the price published
in the ad.
AUGUST.
(No response)
ALLEN
Does that seem like a lot?
AUGUST
Well for Tennessee standards, but I don't know.
ALLEN
Do you know why the apartment's only half per
month of the going rate for this size apartment
in Hollywood?
AUGUST.
No.
ALLEN
Because I sleep here 1 night a week.
AUGUST looks at the bedroom, looks in, shocked by
what she has just heard. She seems confused for a
moment. She turns and faces ALLEN. ALLEN stares at
her while blocking the doorway. She hesitates and
makes him budge. ALLEN backs off and August slowly
walks out of the apartment. ALLEN is left standing
alone in the empty apartment.
MUSIC: Bach Concerto in D Minor
EXTERIOR - DISNEYLAND - DAY
TONY walks along the street and sees the Monorail
pass.
VIEW on TONY as he walks past the Big Donut.
VIEW on TONY as he walks past the theme restaurant
at LAX.
VIEW on TONY as he walks past the Chinese Theater in
Hollywood. TONY looks at people he passes.
INTERIOR - ALLEN'S APARTMENT - DAY
ALLEN in corridor. Allen exits and three people come
out of their apartments simultaneously.
WE HEAR a TELEPHONE
EXTERIOR - STREET IN LOS ANGELES - DAY
EUGENE walks along the street. He hears a pay phone
ring. Eugene picks it up and HEARS a voice.
VOICE
TONY, are you there? Come on!
Pick up the phone!
EUGENE panics and runs off.
MUSIC: Guy Klucevsek's "Reprieve."
INTERIOR - BLACK BARBERSHOP - DAY
We PAN from the pay phone in the barber shop where a
man is on the phone...
VOICE
TONY, are you there, Tony! Tony! Tony!
...and find TONY at the door looking at the coin. It
indicates he should go into a Barber shop. TONY
looks inside the Barber shop and sees threatening
faces. He enters anyway. Goes up to GUY SELLING SODA
who takes the coin out of TONY's hand and gives him
a soda. TONY is puzzled.
DISSOLVE:
Tony is siting in a chair with a cloth wrapped up to
his neck. The barber looks at TONY'S hair. TONY is
trying to open the can but can't figure it out.
TONY
Do you have a church key?
Everybody in the barbershop laughs. The barber opens
the soda for him.
BARBER
What will it be?
TONY
I'll......
Thugs slowly get up from their chairs, dropping
their magazines, surrounding TONY.
GUYS
Yeah, what'll it be man?
TONY looks around at the 8 mean faces around him.
TONY
I want to cure my passive aggressive
personality. From now on when I want
something I'm going to ask for it.
I'm going to learn how to be more
observant of signs and consider how
other people might need clearer signals
from me.
GUY 1
Why don't you get a job. That's what
the man says....
GUY 2
...You look good, you'd do great in
an interview.
GUY 1
Join a group. Do something for other
people.
GUY 3
Go up and talk to people. See if you
have someone in common...
GUY 4
Do some charity work...
ALL
Mingle..Be creative. Take chances.
Take ownership.
GUY 3
Ride the bus....
MUSIC: Rachmaninoff Prelude in G minor Op 23, No.5
INTERIOR - OFFICE - DAY
A woman sits in the shadows of a government welfare
office.
BRENDA
This case is a mess. We don't know what is
going on with the child. No, no, no, no,
no no, the couple is stonewalling. Nobody has
seen the child, in what, 15 years.
Every visit is marked "guardian unavailable".
Nobody bothers because it's the island. And
get this, the couple, they're not married. No.
They're the step-children of the owner of
the island who is now deceased...
EXTERIOR - CATALINA EXPRESS TERMINAL - EARLY MORNING
BRENDA walks into the terminal.
BRENDA (continuing)
...I have a sniff writ and I'm going out
there next week.
EXTERIOR - OFF AVALON - DAY
The Catalina Express pulls into the harbor. BRENDA
steps onto the prow of the boat letting off steam.
MUSIC: Beethoven Violin Sonata #4 D Major
VIEW of Parasail in AVALON HARBOR
EXTERIOR - AVALON HARBOR - DAY
The CATALINA EXPRESS pulls up to the DOCK.
VIEW on The Casino, a Catalina Landmark.
We HEAR the sound of coffee cups.
INTERIOR - ISLAND OFFICE - DAY
DAVE, an opposing Attorney, and TOSHI, his assistant,
meet across the table with TONY and his attorney
DOOLITTLE.
DOOLITTLE
The is your meeting so why don't we get down
to business.
DAVE
Sounds fine.
DOOLITTLE
Call Boston if you want. I don't think the
time change will make any difference
Nervous looks among lawyers. TONY is oblivious.
DAVE
Your name is Filmore West, correct?
TONY does not answer.
DOOLITTLE
We're requesting an environmental impact study
on the employment angle in Avalon.
DAVE
Are you kidding? Any loss in jobs will be
absorbed in the Federal tourism franchise.
Employment will double, property and leases
will increase in value. The overall benefit
will be stunning to the average citizen of
Avalon.
DOOLITTLE
What if we tell everybody about the national
resources here. If you'll remember your history
gentlemen, the civil war was won by the
collateral in the Treasury created by the
California gold rush. We think the government
needs a big hit of cash right now to cure the
deficit. Remember what Churchill said, a great
government never has to face the truth nor pay
cash.
DAVE
Could we have a moment?
DOOLITTLE and TOSHI stand and walk from the table.
EXTERIOR - AVALON DOCK - DAYBRENDA storms off the
boat.
MUSIC: Mendolshon: Symphony #4 in A, Op. 90
(Italian)
DOOLITTLE
We're looking very good here. Just don't give
them anything they can use. Do not say anything.
INTERIOR - ISLAND OFFICE - DAY
DAVE and TOSHI stand and walk to the corner of the
room.
DAVE
What if we bring up the legality of him
impersonating his grandfather.
TOSHI
I think we need something stronger. Any
sexual harassment suits or child abuse.
He's a guardian.
EXTERIOR - AVALON INFORMATION BOOTH - DAY
BRENDA enters frame and speaks with an OFFICER.
BRENDA
Hello, I'm from the department of Human
Services in LA. I'm looking for a missing
child who may be somewhere on the island.
SHERIDAN
Name?
BRENDA
A Marie-Christine West? Her guardian is a
Mr. Filmore West.
INTERIOR - INN ON MT. ADA - DAY
TONY and DOOLITTLE as they confer.
TONY
I think I know what's going on here.
DOOLITTLE
Good, good, good, good, just don't say anything.
EXTERIOR - AVALON INFORMATION BOOTH - DAY
BRENDA continues to speak with the OFFICER.
BRENDA
Did they have a child with them? Or did they
take this child with them?
The OFFICER interrupts BRENDA.
OFFICER
They're brats. They're very unpopular
around here. They're keeping the property
values from tripling.
BRENDA
Great, where can I find them?
SHERIDAN
Probably France. What would you do if you
owned all of Catalina and Anacapa..?
MUSIC: Beethoven String Quartet #8 in E minor Op.59
#2 Trk #1
EXTERIOR - AVALON - DAY
BRENDA walks, somewhat dazed, past the store fronts
of AVALON.
OFFICER
...all the way to San Miguel including
the Big Island which has gold deposits
and the IRS are looking for them?
BRENDA's expression changes. She becomes maniacal.
INTERIOR - INN ON MT. ADA - DAY
DAVE and TOSHI sit down again, ready with a response.
DOOLITTLE
Don't say anything.
OPPOSING ATTORNEY hands TONY the documents.
DAVE
I'd like to direct your attention to the
signatures on these documents.
DOOLITTLE rips the document out of DAVE'S hand.
DOOLITTLE
This is intolerable!
DAVE
One is a reconveyence of a second deed of
trust, and the other is your recent letter
to us. You would have been 4 years old at
the time of the first document.
WE HEAR the sound of a small earthquake. ALL PARTIES
loo up and around and it stops.
EXTERIOR - AVALON - DAY
BRENDA is alarmed at the earthquake. She spins,
disoriented.
INTERIOR - INN ON MT. ADA - DAY
TONY has a knowing look on his face. The earthquake
is a good sign.
TONY
You guys believe in fairy tales don't you?
DAVE
We want to know who you are.
TONY
This reminds me of the Tempest where the
rightful Duke is robbed of his kingdom by
his evil brother...
TOSHI
Were you born in this country?
TONY
...and the evil brother puts the good Duke
and his daughter out to sea in a small boat
to die. And at the end of the story....
DOOLITTLE
My client is using a figure of speech.
DAVE
Then where are we going with this, guys?
TONY
You two are going to jail.
DOOLITTLE
We're saying....you don't have enough money.
TONY turns to TOSHI.
TONY
What do you say next?
TOSHI
We're just representing the United States
Government in an attempt to take what the
people have a right to.
TONY
Big Brother. Orwell! No, no, That's too recent.
DOOLITTLE
The situation is irreversible.
DOOLITTLE tries to keep TONY from standing up.
DAVE
What are you going to do? Act it out for us.
TONY heats up.
TONY
...And it's raining and hailing and lightning's
striking and you guys think that I'm dead, but
I'm not. I'm really back in the big island with
my daughter.
DOOLITTLE puts his hand on TONY'S shoulder to
restrain him.
TONY
And you know what we're doing. Playing chess,
and having a picnic!
TONY stands up to leave and crashes into a waiter
who trips and spills dishes on the floor.
MUSIC: BACH Concerto in D minor
EXTERIOR - AVALON HARBOR - DAY
Tourist boats come and go.
INTERIOR - AVALON CLOTHING SHIP - DAY
BRENDA looks at a map of the Channel Islands. She
sees the Big Island. A woman behind the counter
comes up to her.
COUNTER PERSON
Hi. Can I help you?
BRENDA
Which way to the Big Island?
The camera tilts up to a map of the Channel islands.
EXTERIOR - THE BIG ISLAND - DAY
We pan up to reveal the Big Island in the middle of
the Channel.
EXTERIOR - THE BIG ISLAND - DAY
TONY's boat enters the harbor.
EXTERIOR - THE BIG ISLAND - DAY
TONY's boat docks old fishing pier.
INSERT: Water lapping over rocks.
WE HEAR: SEAGULLS, then a HELICOPTER approaching
overhead.
EXTERIOR - THE BIG ISLAND DOCK - DAY
The RANCH HAND runs to TONY'S boat to help him
unload supplies.
VIEW of HELICOPTER passing overhead.
TIGHTER VIEW ON TONY and RANCH HAND
RANCH HAND
You must have slept a long time.
TONY
I've been sleeping a lot lately.
RANCH HAND
Yeah about 2 years.
The RANCH HAND helps TONY unload supplies from the
boat. TONY starts walking down the dock with an
outboard motor.
RANCH HAND
A woman named Reggie Swan confirmed she'll
arrive March 4th. She'll be staying until
September. I got the bunk house all ready
for her.
The RANCH HAND goes back for a second box as TONY
continues down the dock.
RANCH HAND
There have been quite a few fly-overs by
the park service. The last 6 months
there has been surf on the North point.
Anyone who can afford a boat has been
streaming up here like freeway commuters.
TONY
Yeah.
RANCH HAND
This thing with the surfers has become
some sort of a cult. There have been a
few entries on the South shore, young men
looking for Marie-Noel...I vacated them
immediately.
TONY
Uh huh.
RANCH HAND
The park service has been on the island
almost full time, as expected, and the
monk from the monastery arrived for
another year.
EXTERIOR - ISLAND SHORELINE FROM MOUNTAIN TOP - DAY
The sun kicks off the water.
EXTERIOR - BIRD'S EYE VIEW OF MARIE-NOEL'S HIDEOUT -
DAY
The hideout is nestled under eucalyptus trees in an
island canyon.
MUSIC: SCHUBERT'S WINTERREISE
EXTERIOR - HIDEOUT - DAY
It is a hot sunny day. MARIE-NOEL sits in a hammock
reading.
VIEW ON BOOK: She is reading War and Peace.
INTERIOR - HOUSE - DAY
BRENDA stands inside the house by the window. She
holds MARIE-NOEL'S bow and arrow. She raises it
slowly, aiming at MARIE-NOEL. BRENDA looks angry and
possessed.
BRENDA'S POV
The lethal arrowhead is pointed at MARIE-NOEL'S
head.
CLOSER VIEW ON BRENDA
BRENDA is about to release the arrow when she HEARS
a PUPPY.
BRENDA'S POV on PUPPY
A cute Dalmatian looks up at her, longing to be
picked up.
VIEW ON BRENDA
BRENDA puts down the bow and arrow to pick up the
PUPPY. As soon as she reaches for the PUPPY...
EXTERIOR - ISLAND HOUSE - DAY
MARIE-NOEL puts down her reading and goes into the
house.
VIEW ON BRENDA
...The PUPPY skitters away. BRENDA follows it.
EXTERIOR - RANCH HOUSE - DAY
EUGENE stands outside the ranch house. He stares
with a blank expression on his face, as if he does
not know what he is doing there.
INTERIOR - RANCH HOUSE KITCHEN - DAY
She enters and starts looking for something missing.
The house has become a reading library, opened books
everywhere. There is a gas cooking stove in a rustic
kitchen.
INTERIOR - ELSEWHERE IN RANCH HOUSE - DAY
The PUPPY runs through the house.
INTERIOR - RANCH HOUSE KITCHEN - DAY
MARIE-NOEL continues her search, we see a crude
sleeping area, an office, a couch and a fireplace.
She is a visitor. She lives out of suitcases.
VIEW on DOOR
The PUPPY runs out the door and BRENDA follows.
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL continues her search in the dining room.
She looks under the table, on the mantle.
EXTERIOR - RANCH HOUSE - DOORSTEP
EUGENE enters the house with a heavy step.
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL continues her search in TONY's office.
She sits down a desk and rummages through it.
INTERIOR - RANCH HOUSE - DAY
EUGENE walks through the house.
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL can't find what she is looking for on the
messy writing desk, or in the drawers. She HEARS a
CAR HORN and bolts out of frame.
INTERIOR - KITCHEN - DAY
MARIE-NOEL runs into the kitchen and sees the sheep.
MARIE-NOEL
Where have you been. He's here.
MARIE-NOEL opens the door for TONY who is still
wearing his suit and carries food in a cardboard box.
The sheep looks up at him. He turns to MARIE-NOEL
and hands her a dress box.
MARIE-NOEL
Dresses?
TONY
More in the boat.
MARIE-NOEL
Books?
TONY
Likewise.
MARIE-NOEL
How was LA?
TONY
A dry hole.
EXTERIOR - RANCH HOUSE - DAY
EUGENE runs away from the house.
INTERIOR - KITCHEN - DAY
Tony sits down and stacks packages of Pop Tarts in
front of him. He opens a package and starts eating
voraciously. The sheep is standing next to him and
he strokes it. MARIE-NOEL sits down and starts
reading the LA TIMES. She looks up.
MARIE-NOEL
Why did you let the animals go? Here's
a story about animals that caused erosion
on the Channel Islands. We don't need any
more attention right now.
TONY
I scattered them for their own
protection. And it doesn't bother me
because any animal, no matter where it
starts, turns out the same.
TONY eats pop tarts.
MARIE-NOEL
Do you remember seeing my moon earrings
anywhere have you?
TONY
The ones you were wearing the night .....
MARIE-NOEL
The night of the great unpleasantness?
MARIE-NOEL gets up and starts looking for something
in the kitchen drawer. TONY sees War and Peace on
the kitchen table.
TONY
Is there anything about Halloween in
Edgar Allen Poe?
MARIE-NOEL sits up and stops the conversation.
MUSIC Starts: Heavy Rock
FLASH BACK: Halloween Concert. VIEW on audience
Dancing..The show on stage..Image of death..View on
Sheep in fog.
MUSIC Stops
MARIE-NOEL
OK, let's just stop talking about it....
TONY
I guess it's about time. It was starting
to bug me.
VIEW ON MARIE-NOEL
She thinks about the night they lost MARIE-CHRISTINE.
MUSIC: Bach Unaccompanied Cello Suites - Suite #2
Prelude S 1008
MARIE-NOEL (V.O.)
20 November, the mirror never reflects my
despair, just water running in the sink.
MUSIC STOPS
VIEW on TONY'S hands opening up pop tarts. TONY
looks at her.
TONY
You can stop living out of suitcases and
fix the place up?
MARIE-NOEL
Oh, and you can go and enjoy your life in
LA.
TONY
What's that supposed to mean?
MARIE-NOEL
You get to come and go as you please and
I'm stuck here in this dirty hideout.
TONY
I'm in the same situation you are.
Moving or sitting still is the same
thing, they're everywhere.
MARIE-NOEL
What about the government?
TONY
I think we can stall the government
until the next gubernatorial election.
MARIE-NOEL
Forget it.
She thinks about herself and her own dilemma.
MUSIC: Bach Unaccompanied Cello Suites - Suite #2
Prelude S 1008
MARIE-NOEL (V.O.)
If my dilemma is the dilemma of art, what
would the art character do?
MUSIC STOPS
MARIE-NOEL starts looking under books.
TONY
If anything happens to me you
should take the train East...
TONY points East.
TONY
...We both came from the West. I think
we'll be heading that way.
MARIE-NOEL
Well, you'll be all set up in LA if
anything happens to me.
He pauses and doesn't answer right away.
TONY
We've had a good life. We've been lucky.
All these extra years are for stories.
There's nothing left to do except to see
how we fit into them.
MARIE-NOEL becomes silent and distracted, digging in
a drawer.
MARIE-NOEL
You know, I've looked everywhere. There
are no references to two people leaving a
Halloween party anywhere in Western, Eastern,
Sumerian, or comic book literature.
TONY
I thought we were going to drop that.
MARIE-NOEL
What was your mother's favorite book?
TONY
How should I know?
MARIE-NOEL
We both should have written these things
down. That's why I have a diary now.
MARIE-NOEL looks at TONY in the eye.
TONY
You'll know what to do when the time
comes.
MARIE-NOEL
I protest in advance any role where I
am resolved as ineffective, irrelevant,
marginal, unable to influence, yet always
influenced and, in short, any role where I
am victimized by circumstance. These are
my politics and someone's going to have
to deal with them.
TONY
Good.
EXTERIOR - RANCH HOUSE - DAY
The house stands in the afternoon light.
MUSIC: Ravel String Quartet in F
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL sits at the writing desk. Light and a
warm breeze comes in the window.
MARIE-NOEL (V.O.)
16, November. You asked me to remember the
time before I came here. I remember a
shipwreck and a storm that washed out all
the roads.
INTERIOR - RANCH HOUSE - DAY
MARIE-NOEL stands at the doorway in a beautiful
dress, eyes closed.
MARIE-NOEL (V.O.)
I remember a dream from my childhood. In
the dream a prince comes from the sea...
EXTERIOR - PIER - DAY
TONY walk toward his boat.
MARIE-NOEL (V.O.)
...and lives with me and my old father.
There was England,..
INTERIOR - OLD MINING CAMP - DAY
MARIE-NOEL writes in her diary on an old sink.
MARIE-NOEL (V.O.)
...back stage with my mother all those
years while I grew so slowly. France,
India...
EXTERIOR - ISLAND - DAY
TONY'S boat steams out to sea.
MARIE-NOEL (V.O)
French Indochina...
VIEW of OCEAN with Cacti.
MARIE-NOEL (V.O)
then here...beside the arbitrary sea.
MUSIC: Vierne: Finale from Symphony #1
EXTERIOR - MOUNTAINSIDE - DAY
BRENDA tries to catch the puppy but it gets away
from her. She realizes she has been tricked and
stands up, angry at ZEUS. We start to PAN and cut
to..
INTERIOR - RESTROOM IN AVALON - DAY
BRENDA has same expression looking in a mirror. She
realizes that something is wrong. She sees that her
fingernails are painted dark red, her hair is puffed out
and frightful, she has dark makeup on lips and eyes.
She tries to remove the makeup and nail polish and
pull herself together. She realizes that she is in
the Men's room.
EXTERIOR - AVALON - DAY
BRENDA, having corrected herself, walks toward the
boat going back to the mainland.
EXTERIOR - ANOTHER PART OF THE HARBOR - DAY
REGGIE stands forgotten at the end of the dock,
surrounded by a very floral luggage.
MUSIC: BACH Toccata in D major
TITLE: "2 Years later"
MUSIC: Bach Toccata in D Major
TITLE: "2 Years later"
EXTERIOR - ALLEN'S BUILDING - DAY
Morning light.
INTERIOR - ALLEN'S BUILDING - DAY
ALLEN asleep on couch. He has gained 50 pounds.
There are empty beer cans and empty pizza boxes on
the floor. A WOMAN unlocks the door and we follow
her into the apartment. She is tired from a business
trip. She sees ALLEN.
WOMAN
What are you doing in my apartment? What
are you doing here?
ALLEN wakes up, startled, rubbing his eyes.
WOMAN
And who's pizza is this? Excuse me!
ALLEN
Calm down. We weren't expecting you for
a while, we had the exterminator come in
like you requested...
WOMAN
Oh you did?
H. TOM appears from the next room, groggy.
WOMAN
And who the hell is this?
ALLEN (aside to H. TOM)
Take this stuff out for her.
H. TOM starts frantically collecting the garbage.
WOMAN
You've got pizza in my place...you're
lying here. Who's clothes are these?
ALLEN picks up his bag of things. H. TOM finishes
his cleanup.
ALLEN
There's no pizza here; there's no clothes
here.
WOMAN
You had no permission to come into my
place. A guy sleeping in my bedroom,
sleeping on my couch.
ALLEN
I'm going to request to the board that
you perhaps should be kicked out for your
bad sculpture.
ALLEN and H. TOM exit.
WOMAN
Oh you are? Get the hell out of here.
What kind of manager are you anyway?
The WOMAN slams the door and shakes her head in
amazement.
MUSIC: Arne Mellnas Transparence
EXTERIOR - AUNT DEBBIE'S HOUSE - DAY
A green cab pulls up in front of a garish Encino
home. JULIENNE gets out, dressed plainly, with one
suitcase. The cab leaves and she gives a skeptical
once over to the house. She is about to begin her
new life. Is this it? She walks up the pathway to
the door and notices a great quantity of mushrooms
growing on the front lawn. She steps over the
flowers, kneels down and picks up one of the
mushrooms. She looks at it and wonders.
VIEW of SUN
A partial eclipse is in progress.
EXTERIOR - HOLLYWOOD - DAY
We see AUNT DEBBIE taking her daily constitutional
on Hollywood Blvd. She is wearing a blue and white
terry cloth jump suit and tennis shoes. She is fast
walking through obstacles before her on the sidewalk.
She is a determined and physically fit 65 year old.
MUSIC: Dvorzak Cello Concerto in B minor op 104
EXTERIOR - LA - DAY
The camera pans from AUNT DEBBIE to ALLEN to H. TOM
who all converge at the same street corner.
ALLEN
Hi, Aunt Debbie?
AUNT DEBBIE
What's that on your face?
ALLEN fingers his unshaven face.
AUNT DEBBIE
Did you move that refrigerator to my new
building?
ALLEN
Yes.
AUNT DEBBIE
Liar. Your car doesn't work.
FLASHBACK:
ALLEN and H. TOM stand next to ALLEN'S broken down
car.
AUNT DEBBIE
Who's this?
H. TOM
I'm his assistant ma'am.
ALLEN
Shut up!
FLASHBACK:
H. TOM shaves in a park fountain surrounded by
homeless people.
AUNT DEBBIE
Does he pay rent?
H. TOM
No ma'am. When I find a job I'm going to
pay rent.
ALLEN
He picks up my residual checks and he's a
really good plumber.
AUNT DEBBIE
Did you steal another car from a tourist?
FLASHBACK:
Two JAPANESE tourists admire a star on Hollywood
Blvd. as ALLEN and H. TOM make off with their car.
H. TOM
No ma'am.
ALLEN
Shut up!
(to AUNT DEBBIE)
No we didn't.
AUNT DEBBIE
That refrigerator, did you strap it on
top of the car?
FLASHBACK:
The stolen car rolls through and intersection with
the refrigerator strapped to the top.
ALLEN
No!
AUNT DEBBIE
And then did you ditch their car?
FLASHBACK:
From above, ALLEN and H. TOM remove the refrigerator
from the top of the rental car.
H. TOM
No ma'am. The car was towed...
ALLEN
Shut up!
ALLEN pushes H. TOM.
AUNT DEBBIE
So you faked homelessness and begged for
free chicken.
FLASHBACK:
ALLEN and H. TOM stand at the window of a fast food
stand faking homelessness. ALLEN has Will Work For
Food written on his stomach.
ALLEN
What are you saying Aunt Debbie?
AUNT DEBBIE
The refrigerator is all scraped up and has
no freon. And you smell rancid. And why
are you so fat!
AUNT DEBBIE exits, ALLEN knows she is not finished
and counts..
ALLEN
One, two, three..
AUNT DEBBIE
Your cousin just arrived. When you see
her, be sociable!
DEBBIE finally exits.
ALLEN
You know I've been having these dreams
lately where my mother finds me floating
down the river in a little wicker basket
and it turns out that (shouts in the
direction of AUNT DEBBIE) I am not
related to you!
MUSIC: JOHN ADAMS "Fearful Symmetries"
EXTERIOR - LA - DAY
TONY continues his search, flipping a coin to
indicate the direction he should search. He tires of
this and turns around, walking aimless around LA.
EXTERIOR - BUS BENCH - DAY
TONY sits on a bench talking to several people. They
are annoyed and walk away. A weird man with an odd
head dress sits next to TONY. Tony gets up and
leaves.
EXTERIOR - LA - DAY
TONY walks off and walks into a line of workers
carrying 2x4s. He ducks and almost gets decapitated, takes
refuge at a bus bench. A MUSICIAN is sitting on the
far end of the bus bench reading.
TONY
Do you have the time?
MUSICIAN
2:30.
TONY
Do you mind if I ask you a question?
MUSICIAN
Yes.
TONY
Why are you her right now?
MUSICIAN
What?
TONY
Why did you come up just this minute?
MUSICIAN
I'm going to work, man.
TONY
Is this the bus you always take?
MUSICIAN
No, I'm late.
TONY
You're late! Why are you late?
MUSICIAN
I overslept, man.
TONY
Nothing caused you to be late?
MUSICIAN
I'm just sitting here waiting for
the bus. What's the big deal? Do you
have to talk to me?
THE MUSICIAN gets up in frustration and leaves. Tony
exits frame in foreground. A runaway car careens
into the bench going backwards and destroys the
bench where they just sat.
VIEW
A Tire rolls up the hill propelled by the crash.
TONY and the man re-enter frame.
EXTERIOR - BUS BENCH - AS BEFORE
The car has a roof rack with a bike on it. A man
runs up the car holding a bicycle tire. TONY and
the man look at the damage. The man despairs.
CAR MAN
Oh my god! I can't fucking believe this!
My car must have popped out of park! It
could have hit you. Oh my god, I can't
believe this...800 bucks...Oh my god!
TONY runs in Panic.
MUSIC: Guy Klucevsek "Reprieve"
VIEW ON TONY
The tire does not fall from its own weight, it
starts rolling back down the hill.
CAR MAN
Call 911!
EXTERIOR - STREET - DAY
TONY runs down the street and notices that the wheel
starts chasing him.
TONY runs down the hill trying to escape from the
runaway tire.
VIEW ON TONY
Looking inside the Truck. Camera follows TONY in.
He looks back in terror.
TONY'S POV the tire gains on the truck..
SEQUENCE:
The Truck stops for a cat.
The doors shut.
The light crosses Tony's face and goes black.
SFX Doors lock
THE Rolling tire innocently hits the truck and gets
stuck.
A purring cat walks away from the truck.
MUSIC: Guy Klucevsek "Loosening up the Queen"
EXTERIOR - DOWNTOWN LA - DAY
TRUCK moves along freeway headed across town.
EXTERIOR - PARK - DAY
ALLEN and H. TOM sit eating their "begged for"
chicken.
ALLEN
I have a genius IQ. My parents would
have killed if I went into business.
They'd love it.
MUSIC: Bach Suite #2 S. 1008
ALLEN
If they were alive, you know what I'd tell
them? I'd tell them I'm a temp in an
insurance company.
H. TOM
If you assign everything to infantile
motives, life becomes boring. Your
religion only explains your sex life.
ALLEN
You're not listening. I don't want to be
poor. But it's not like I'm doing some I
gotta starve thing here. If I had enough
money I'd be happy.
H. TOM
And then again you may be right, for all
the wrong reasons. Twenty years in the
mind is unfortunately not twenty years in
the body and it get worse and worse as
you go.
ALLEN
Not me. I keep my nut real low. Basically
I live off my relatives. You know? Free
rent. All the chicks I can pluck from my
aunt's building. All I need is one national
commercial a year and I can live like a
king.
H. TOM
Things are stranger in other places.
ALLEN
Where do you get these things you say,
man. Are you still on acid?
H. TOM
I just say things that come into my head,
because they're more enjoyable than my
own thoughts.
We pull back to reveal ALLEN and H. TOM eating lunch
under a monument to the F-104.
EXTERIOR - AUNT DEBBIE'S BACKYARD - DAY
JULIENNE is sitting at a table in the sun, balancing
her check book. She notices that the amount of one
check, #1527, is the same as the number of the check.
MUSIC: Tahitian choir
Segue to:
MUSIC: A. Corelli Concerto VII
Segue to:
MUSIC: Prokofiev Romeo and Juliette
JULIENNE looks up and Aunt DEBBIE passes in front of
her.
JULIENNE
There's two choices for me right now.
I'm either pregnant or feeling a false
pregnancy. The first one is impossible.
AUNT DEBBIE
Are you trying to tell your mother that
you're knocked up?
JULIENNE
Incredible weather we're having.
AUNT DEBBIE
I hate it because it makes my skin dry,
especially my private parts.
JULIENNE
In Maine, it's been frozen for two months.
AUNT DEBBIE
Why are you here anyway?
JULIENNE
To take care of you. I thought that giving
it all up and taking care of my old
mother would be the simplest life
possible. What you're telling me about my
cousin Allen is upsetting.
AUNT DEBBIE
Criminy....You sure feel sorry for
yourself.
JULIENNE
Damn right! I didn't come here to get
drawn into slum-lording. What did you
get into mom?
AUNT DEBBIE likes to change the subject mid sentence,
and wander freely the world of denigration.
AUNT DEBBIE
My dear husband, bless his soul THE
BASTARD.(with a twinkle in her eye) He
was very good to me..
JULIENNE
You always said that.....
AUNT DEBBIE
It was my idea, not his! Now you're
cousin Allen is the bastard.
JULIENNE
Look mom, I came out here because I
needed to. I've went through a time with
so many regrets. I got ostentatious and
solemn and I hated myself, and anyone who
behaved the same way. Independence works
better alone. I'm a girl Shane, you know
the gunfighter who hung up his guns.
AUNT DEBBIE
You didn't give them enough sex, that's
your own fault.
JULIENNE
Too many people in my past have been
hurt, and all of them named Tony.
AUNT DEBBIE
Have you seen all these mushrooms around
the house?
JULIENNE
Fato Profungus... I believe they're called.
AUNT DEBBIE
You would know that. But don't eat them.
Mrs. Johnson up the street says they
make you horny. And when are you going to
learn to drive?
JULIENNE
Probably never. I like walking.
EXTERIOR - THE VALLEY - DAY
JULIENNE walks along Ventura Blvd. looking at
store fronts.
EXTERIOR - LA - DAY
TONY walks in garment district.
EXTERIOR - THE VALLEY- DAY
JULIENNE walks along the street in front of a home
with a motor home parked in front of it.
EXTERIOR - ANOTHER PART OF LA
TONY walks on Hollywood Blvd., looking for clues in
people's faces.
MUSIC: Guy Klucevsek "Blue Window"
EXTERIOR - FOREST LAWN - DAY
We pull back from a "help wanted" sign as the truck
pulls into the driveway of the cemetery.
EXTERIOR - MORTUARY - DAY
Two guys open the back of the truck and we see TONY
standing in a trance in the back of the truck.
INTERIOR - MORTUARY OFFICE - DAY
The MORTICIAN sits down at his desk to interview
TONY.
MORTICIAN
And what qualifies you for this job?
TONY
Well, what is the job?
MORTICIAN
State privacy laws require that we watch over
our guests day and night from the minute they
arrive to the day of the funeral.
TONY
You mean the bodies?
MORTICIAN
Yes. You're the body watcher.
TONY
Oh. The body watcher.
MORTICIAN
Well, do you have any questions?
TONY
Oh, no.
MORTICIAN
I have a few questions, if you don't mind.
TONY
Okay.
MORTICIAN
For example, why do you want this job?
TONY
I want to meet people.
MORTICIAN
Dead people?
TONY
No, no. If I work at night I'll meet people
during the day. See, I don't sleep much at
night.
MORTICIAN
You have two lives? I have two lives. I've
always wanted to be a stand up comic. Do
you mind if I show you some of my material?
TONY
Go ahead.
MORTICIAN
A man says to his doctor he can't remember
things from one minute to the next the
doctor says, "How long has this been going
on?" The man says, "How long has what been
going on?"
TONY laughs.
TONY
That's good.
INTERIOR - MORGUE - NIGHT
TONY reads.
MUSIC: "Frascilita" from Lisa Germano "Geek the
Girl"
Several angles. TIME PASSES.
VIEW ON CLOCK 12 Midnight. 2 AM. 4 AM.
TONY puts down the book and opens a refrigerator
door and slides out a body. The body is in a bag.
He lifts the body onto a cart and rolls it under a
light. He zips open the bag and looks inside. He
raises a pale arm of the dead person and the arm
slowly falls out of frame. TONY looks for a knife on
the work table and looks at the first knife, it is
too small. The picks up a second knife, it is too
large. He reaches for a third knife, just right. He
takes a deep breath and starts sawing open the dead
body.
EXTERIOR - MORTUARY - NIGHT
The MORTICIAN hurries to the door of the MORTUARY
having forgotten something at work.
INTERIOR - MORGUE - NIGHT
When he has the stomach open he puts down the knife
and scoops up the entrails of the dead body with
two hands and holds them up in front of the camera.
He saws the entrails loose and throws them on to the
floor.
The entrails splatter on the cold tiles. TONY kneels
over to examine them.
VIEW on door.
The Mortician comes through the door, sees what TONY
is doing and is shocked.
MUSIC STOPS
MORTICIAN
What are you doing? You depraved person!
Is that a client? Get out of here!
TONY
Number 12.
MORTICIAN
Mr. Peterson?
TONY
I dunno...Not yet. I see something here!
MORTICIAN
I don't care what you see. Get out.
TONY Leaves. The MORTICIAN looks at the mess,
horrified.
EXTERIOR - THE VALLEY - NIGHT
JULIENNE walks past a drug store and decides to go
in.
SOURCE MUSIC: "Green Tambourine" the Lemon Pipers
INTERIOR - PHARMACY - NIGHT
PAN is reading a pornographic magazine. He is tapped
on the shoulder by HERMES, a young man with a light
beard.
PAN
Oh hi.
HERMES
We need to talk.
PAN
OK.
JULIENNE enters the frame and starts up an aisle.
IN ANOTHER PART OF THE STORE:
PAN
I've been living quietly by myself,
except for the moon-light orgies and me
scoring twice a day.
HERMES
Dad wants to talk to you...because you're
family.
PAN
Hermes, I'll pay you if you get me back
into the organization. I've got this new
pornography you have to see...
HERMES directs PAN'S attention toward TONY, who
appears behind them. TONY heads down the same aisle
as JULIENNE. HERMES smiles.
VIEW ON TONY
PAN
His mother was Jefferson's mistress.
HERMES
We should help him.
PAN
No.
EROS, a small child with a toy bow and arrow, shoots
an arrow at JULIENNE. It hits her and she picks it
up. She looks around and does not see where it came
from.
PAN
He lives on my island. There will always
be as many demigods as there are minor
poets. There are too many of them. They
have good lives. They don't need any
help.
TONY approaches JULIENNE. JULIENNE approaches TONY. She sees TONY and smiles.
JULIENNE
God I have a headache. Do you know the
best thing for headaches?
TONY
Is that why you came here just now?
JULIENNE
...most people go to the vegetable section,
I come here because I believe in
headaches....Men who are worth anything
always have headaches..
JULIENNE pauses, a little embarrassed. A WOMAN comes
up behind them but does not pay any attention to
them.
TONY
I walk to get rid of my headaches....
JULIENNE
I thought so. Everything's OK here as
long as you're name isn't Tony.
TONY
OK.
VIEW on PAN and HERMES
PAN
Should we screw things up?
VIEW on TONY and JULIENNE
JULIENNE
It's a challenge life put before me
overcoming my Tony Karma.
Men want blonds and good breasts. Women
with breasts always do well. They also
like tomboys. They trust tomboys. They
consider them honorable and would never
have sex with them unless the tomboy asked?
VIEW on PAN and HERMES
HERMES
No, don't.
PAN yells at the top of his lungs. HERMES is thrown
backward into a closet.
VIEW on Gas coming from a broken pipe.
INTERIOR VIEW ON TONY AND JULIENNE
WE HEAR an alarm. A WOMAN comes up to TONY in a
state of fright.
WOMAN
There's gas leaking. Get out.
TONY starts to run out of the store pulling JULIENNE
by the hand. He looks back and sees a FRAIL OLD
WOMAN who does not understand the danger. TONY wants
to go back.
TONY
(to JULIENNE)
I'll meet you outside.
TONY goes back to help the old WOMAN.
TONY
Come on. there's a gas leak.
TONY tries to pull her.
OLD WOMAN
Don't touch me...Manager!
EXTERIOR - STORE - NIGHT
The store explodes and burns.
EXTERIOR - STORE - NIGHT
JULIENNE interviewed in front of the STORE by a
camera crew. Flaming store behind.
JULIENNE
A nice young man pulled me out and then
went back in to save someone..and then
there was this explosion
INTERIOR - DEBBIE'S HOUSE - NIGHT
ALLEN and H. TOM are listening to the broadcast.
AUNT DEBBIE
Why don't you get a temp job. I can't
pay you any more money.
The Phone RINGS. ALLEN answers the phone.
ALLEN
Hello (to AUNT DEBBIE) Do you know a
Tony.
AUNT DEBBIE
Wrong number. They keep asking for TONY.
Look it's your cousin!
VIEW ON TELEVISION
JULIENNE
Then the store blew up.
DEBBIE
She could have died.
ALLEN
Holy shit, that's my cousin?
EXTERIOR - DOWNTOWN - DAY
TONY walks down a street shaking an aerosol can.
MUSIC: Johann Sebastian Bach - Double Concerto for
2 Violins BWV 1043, Largo Ma Non Tanto
He stops at a corner, shakes the can, and starts
spraying silly string into the street. As he does
this, WE HEAR: a car alarm go off across the street.
WE SEE a black range rover. TONY raises the can to
spray again and sprays. The can emits a squiggly
spray and the sound from the car across the street
matches the silly string's oscillations. TONY puts
the can down in astonishment.
MUSIC: Wolfgang Amadeus Mozart - Concerto for Piano
& Orchestra #20 KV 466
EUGENE stops and watches TONY. TONY looks at EUGENE
and slides away from his dangerous gaze.
EXTERIOR - ALLEN'S BUILDING - DAY
Two men walk up to a black Range Rover then turn and
walk toward ALLEN'S building.
EXTERIOR - LA - DAY
The wind blows. A tree falls. As it falls its
branches brush on a street sign for GREENTREE ST.
The sign become GRAINTREE.
INTERIOR - ALLEN'S APARTMENT - DAY
ALLEN paces. ALLEN HEARS a knock at the door. ALLEN
goes to the door. Two THUGS burst in, push ALLEN to
the floor, gun to his head.
SON
Where's the money Greg?
ALLEN
My name isn't Greg, My name is Allen.
FATHER
Maybe he isn't Greg. They said he was a
big guy.
SON
Where's the money Greg?
ALLEN
I don't know what you're talking about.
SON
Are you allergic to pain?
SON Pulls out a gun.
SON
Where is the money Greg?
FATHER
What's with the gun? I said no guns?
ALLEN
Take my wallet on the coffee table.
There's $1200 in rent receipts in the
kitchen drawer!
SON
Is that your black Range Rover parked
outside?
ALLEN
I don't have any black Range Rover.
FATHER
Is this 6600 Graintree?
ALLEN
Greentree!
SON
What?
ALLEN
Greentree!
SON
Let's pop him. He knows a lot now.
FATHER
Come on. He doesn't know anything.
SON
(Aims gun)
FATHER
Come on. We're sorry. Have a good day.
FATHER pulls SON away and they leave, ALLEN gets up.
ALLEN
You guys do sloppy work.
A desk lamp and the light bulb pops. It startles him.
EXTERIOR - THE BIG ISLAND - DAY
Ominous clouds cast shadow on roily sea.
MUSIC: Brian Eno - ANOTHER GREEN WORLD "Spirits
Drifting"
EXTERIOR - SKY - DAY
Clouds part and light shines through.
RADIO
The New York Daily news says.. 1200 people
INTERIOR PATIO - RANCH HOUSE - DAY
MARIE-NØEL listens to the radio. She is wearing a
black wig. She applies lipstick.
RADIO
Will be returned.. tomorrow..because you
blew it...You're absolutely right..
ANGLE ON RADIO
MARIE-NØEL is turning the dial randomly.
RADIO
And what's going to happen?..to the
personality of your dog...and don't
forget..our children's future..please..
because forces will gather... to take
you away...
CLOSE UP ON MARIE-NØEL
She hears something she thinks is interesting.
RADIO
...from the island.
Then the radio becomes unintelligible. She turns the
dial and only hears static.
WE HEAR Phone ringing.
INTERIOR - ALLEN'S ROOM - DAY
ALLEN sits in his easy chair and answers the phone.
ALLEN
Hello? Wouldn't you know it, the phone
doesn't ring all day and it's you.
EXTERIOR - LA - DAY
VIEW on Rain clouds above sunny houses on Highland
Blvd.
RADIO
Matrix lactating....
ALLEN
You notice something on the way home..
EXTERIOR - DOWNTOWN LA - DAY
TONY walks along the street flipping a coin.
RADIO
...Etched droplets.
ALLEN
Convertible with young bleach blond,
mom in back...
EXTERIOR - THE VALLEY - DAY
Julienne walks on Ventura Blvd.
ALLEN
..mom in back...
ANGLE ON MARIE-NØEL
She dabs he finger into the color purple on her
color palette.
RADIO
Heroic mall facing darlings..
Hasty Scotch preceding flick...
ANGLE ON ALLEN
ALLEN
Young dad with ponytail driving, baby
shotgun, back from beach...
VIEW on SUN going behind clouds.
RADIO
Normal cantilever...
VIEW on OCEAN.
RADIO
...short of awe...
VIEW on ALLEN sitting in a curb at night, headlights
blind him.
ALLEN (V.O.)
Give style to Sunset Blvd.
VIEW on MARIE NOEL. She dabs makeup and makes a
mess.
l'art sans past...
VIEW on old man walking his cat in the Wilshire
district.
ALLEN (V.O.)
At sunset the cars move home one by one..
RADIO
...finding freckles...
VIEW on JULIENNE walking on Ventura Blvd.
ALLEN (V.O.)
And the stages float to meet the warm light
VIEW on TONY walking on Downtown.
RADIO
talented...heady slap...
ALLEN (V.O.)
My time is mine again.
VIEW on ALLEN drinking glass of water on his balcony.
RADIO
slap, talented, heady...
MUSIC: Ludwig van Beethoven - Piano Concerto #8 in
C minor, Op. 13 "Pathetique"
VIEW on ALLEN rapidly wiggling his eyebrows.
HIGH shot of San Miguel Island.
MUSIC: Brian Eno - ANOTHER GREEN WORLD "Spirits
Drifting"
RADIO
...breaks on not finding form...
VIEW on MARIE-NØEL applying color to her eyes from
color palette.
RADIO
ditched glue...laughter pulling Orion...Wrist
on loan...
TONY walking by tall poplars in the Valley on
Mulholland drive.
RADIO
...bowed to & clean...
VIEW on mountain field of flowers.
VIEW on Plane in landing pattern.
VIEW on TONY's POV walking on Melrose.
VIEW on ALLEN hanging up the phone.
VIEW on MARIE-NØEL putting on her makeup faster.
VIEW on earthquake damaged buildings.
VIEW on 3 people coming out of doors simultaneously.
RADIO
secret cycled from...the obvious...lodged
style hawked from home...searing material
lush as trash...
VIEW of the THIELE twins
MUSIC: Ludwig van Beethoven - Piano Concerto #8 in
C minor, Op. 13 "Pathetique"
VIEW on MN putting on her makeup faster, and faster
till it is an even bigger mess.
VIEW of Downtown LA in a windstorm.
VIEW of the Santa Monica Bay at sunrise.
RADIO
feet lifting heavy ball...to shoulder in
backward world...lovely cart...lucky...
faucet of distant lakes...bad swath forever
poor...
MARIE-NØEL pulls off her black wig. She looks off
camera as if she hears something.
EXTERIOR - LA - MORNING
Close on pre-sunrise LA.
Earthquake shakes the buildings as sun rises.
WE HEAR the sound of a HELICOPTER.
VIEW on LA. A moon rises in eclipse.
MUSIC: Haydn String Quartet Op 76, Allegro con
Spirito
EXTERIOR - LA STREET - NIGHT
Two cars pass in the night going opposite directions.
MUSIC: Haydn - String Quartet: "Sunrise"
EXTERIOR - LA GOOGIE RESTAURANT - NIGHT
TONY sits in an all night restaurant late at night.
He eats like a horse, 10 entrees in front of him.
WE HEAR: A jet landing
MUSIC: Identify
TONY looks out the window and sees a total eclipse
of the moon.
VIEW ON JET LANDING
VIEW ON LANDING LIGHTS ON WATER
EXTERIOR - HOLLYWOOD STREET - NIGHT
TONY walk along the sidewalk in the middle of the
night. EUGENE stops TONY. TONY avoids him, but
EUGENE heads him off.
MUSIC:?
EUGENE
Have a light?
TONY
I don't smoke.
Eugene, standing in front of TONY, searches in his
pockets and finds a lighter, then a book and then
some string. TONY looks at the EUGENE 's face and
eyes. EUGENE hands TONY the book.
TONY looks at the book then EUGENE finds a cigarette.
The lighter won't light. The man realizes he is
imposing on TONY and tries to get the book back
while holding the cigarette in his hand. EUGENE
gives TONY the lighter and takes back the book.
The priority is his smoking triumphs and TONY ends
up lighting him up. The lighter shoots up in a big
flame to TONY'S surprise. TONY can't turn off the
lighter. There is a power outage.....
EXTERIOR - HOLLYWOOD - NIGHT
A power outage darkens a large rectangle in the
middle of a grid of city lights.
SOUND: Car alarms, house alarms
EXTERIOR - HOLLYWOOD STREET - NIGHT
CAMERA drifts to TONY'S face.
EUGENE grabs the LIGHTER from TONY and walks off
into the dark.
MUSIC: Johann Sebastian Bach - Suite #25 in A minor
EXTERIOR - SAME POSITION - DAY
Rain streaks from TONY'S face. TONY is same standing
position as night before. Men wearing suits like
TONY'S are standing at the door. It is raining. The
camera pushes in and TONY comes to. The door opens
and the actors go in after applauding for TONY,
thinking that he is a living statue. TONY follows
them in the door. We see a sign that says "Casting."
EXTERIOR - HOLLYWOOD - DAY
ALLEN walks in a hurry down a Hollywood street.
BARRY, ALLEN'S AGENT, gets out of his car and
approaches ALLEN.
ALLEN
Hey Barry, what are you doing here?
BARRY
I'm going to see my daughter's dance class.
Aren't I allowed to have a life?
ALLEN
That's fine You never see your agent anywhere.
It's kind of weird.
BARRY
I've heard that before.
ALLEN gives AGENT a thirsty look.
BARRY
Do you want this?
BARRY hands ALLEN a Coke.
BARRY
16 table spoons of sugar.
Fat is funny. Better you than me.
ALLEN
Did you wipe it?
ALLEN burps.
BARRY
I always knew you were a very talented man.
ALLEN
You know Barry, when I was growing up in Maine
my neighbors would say: Oh you're going to
Hollywood to be a star, Huh, That was pretty
embarrassing, wouldn't you say? You're just
like them.
BARRY
What? Moi?
ALLEN
It wasn't very nice.
BARRY
What haven't I done for you lately
ALLEN
You're always so fucking condescending.
BARRY
What are you talking condescending,
what are you saying?
ALLEN leaves frame, BARRY follows.
EXTERIOR - CASTING BUILDING - DAY
There is a thunder clap and TONY and BARRY run for
cover. BARRY starts going in the door.
BARRY
See you Allen. Aren't you going in the actor's
entrance?
ALLEN
They always bring us in the back door here
but I'm going in the front today.
INTERIOR - LOBBY - DAY
ALLEN and BARRY enter the lobby of the building.
ALLEN
You know I've added up all the time my
commercials have run on television and I'm
already way done with my 15 minutes of fame.
ALLEN starts to get into the elevator.
BARRY
Should I take that personally?
ALLEN
Take it how ever you'd like.
BARRY
You know what? I'm going to take the steps.
I don't feel comfortable in this elevator.
ALLEN
Is this about me?
BARRY
No. I just don't like elevators. You know
what and elevator is. It's a coffin. If it
ever stops. Did you know that? The cables
are weak, and it stops, there's no air.
ALLEN
Barry!
BARRY
If there was an earthquake you know what would
happen?
ALLEN
Barry!
BARRY
...you'd be dead.
ALLEN
Barry!
BARRY
I'd rather walk and have thighs.
ALLEN
Barry!
ALLEN finally interrupts him and hands him back the
Pepsi.
ALLEN
I'll call you at the office later. Oh oh oh!
I'm scared.
THE ELEVATOR DOOR closes.
INTERIOR - ELEVATOR - DAY
ALLEN teases BARRY one more time. ALLEN opens the
elevator door...
ALLEN
Oh Barry, I almost forgot...
...and TONY standing at the door waiting to get in.
TONY enters and settles in for the ride.
ALLEN
You're a pussy Barry.
(to TONY)
Casting?
TONY
Sure.
ALLEN reacts to TONY'S lack of determination. The
elevator starts to rise.
EFFECT: EARTHQUAKE
ALLEN
Oh my god it's a earthquake.
TONY
It's all right.
ALLEN
BARRY!!!!
TONY
It'll be over soon.
ALLEN
Are we under anything structural? Get in a
door jam.
ALLEN huddles next to TONY in the elevator door and
the shaking increases.
ALLEN
Do you smell gas?
The lights go on and off in the middle of the tumult.
TONY
What?
ALLEN
We're going to die. Barrrrrrry!
EXTERIOR - STREET - DAY
Heavy chunks of plaster and brick hit the pavement.
ALLEN and TONY
AAhhhhhhhh!
VIEW OF LOS ANGELES NEWS COVERAGE OF EARTHQUAKE:
Damaged cars, freeways, collapsed apartments and
parking structures, buckled freeways....
MUSIC: Bocherini - Concerto in G Major
ANNOUNCER MONTAGE (v.o.)
6.6 officially if you have been sleeping all
morning. 6.6 it was felt from San Diego to Las
Vegas to Modesto. It was centered exactly under
in Northridge and it is a unnamed fault...We
are in Granada Hills and the power is still
out...Sadly there were three deaths reported
in the Santa Clarita Valley area. The force
blew out storefront windows, there were
landslides in Pacific Palisades left cars
caked in mud. Ruptured gas lines buckled
the roads. The Santa Monica freeway collapsed
near La Cieniega. An apartment complex on
14th and Idaho exploded. One house toppled
down a hill.
We tilt up from a collapsed storefront and see a
partial eclipse of the sun.
EXTERIOR - HOLLYWOOD - DAY
A HOMELESS WOMAN and her daughter stand in front of
a boarded up storefront.
HOMELESS WOMAN
After the earthquake was all over we went
down to the lobby and sad down in the
lobby of the building...
EXTERIOR - LA - DAY
We see a building where a wall has fallen off
exposing the contents of a hotel room...broken
windows...fallen brick...cracks in walls...more
fallen facades.
HOMELESS WOMAN
...until the sun came up. And then we went off
to our room to see if there was any damage, it
was pretty bad. It was quiet, there wasn't
anybody driving, there were people just
wandering around, you know we walked out and
we looked and we saw the cracks..... and you
know down the street over here beside the
building was off, a big bell tower up the
street was tilted halfway down, it was sort of
scary......
EXTERIOR - STREET - DAY
The camera DOLLIES past a damaged car in an alley.
We reach a door blocked by rubble. TONY and ALLEN
emerge.
HOMELESS WOMAN
...and you know down the street over here
beside the building was off, a big bell
tower up the street was tilted halfway down,
it was sort of scary......
TONY
What a beautiful day for an earthquake.
ALLEN
I've go to check my building. I've got to
turn the gas off. We don't have any
earthquake kits. Where's your car?
TONY
I don't own a car. I walk.
ALLEN
You walk?
TONY
Yeah I walk.
ALLEN
Where do you live?
TONY
Out of town.
ALLEN
Where out of town....like New York out of town, Texas out of town?
TONY
A couple of hours out of town.
ALLEN
Like Palm Springs out of town?
TONY
Yeah, like Palm Springs out of town.
TONY walks away.
ALLEN
And you don't have a car?
MUSIC:
EXTERIOR - VINE STREET from above - DAY
TONY and ALLEN their way across the road.
EXTERIOR - EARTHQUAKE DAMAGED STREET - DAY
TONY and ALLEN walk along together and meet a
DERANGED WOMAN. She is very big and sexy. But she is.
DERANGED WOMAN
There's no love in the world! I miss my friend
more than any thing that's ever happened to me.
She had favorites of course.
She appraoches ALLEN. The woman has become sexier
talking to ALLEN. TONY interrupts.
TONY
This makes me happy to know. We I have to go
now.
DERANGED WOMAN
You your self may know someone she liked.
She works ALLEN up.
TONY
Loser. You're such a loser. You have
terrible taste in clothes! All your taste
is in your friggin' mouth!
The woman flees. ALLEN is amazed.
ALLEN
What are you doing?
TONY
You don't want to have anything to do with
her.
ALLEN
I beg to differ. Is that tricycle listed.
This never happens to me during the day.
EXTERIOR- ALLEN'S BUILDING - DAY
People holding household items pass them. People
are moving out.
EXTERIOR - ALLEN'S BUILDING
WE HEAR Panic, chaos.
INTERIOR- ALLEN'S BUILDING - DAY
We pick up JULIENNE with a group of people moving
things out. One of them holds a ZEBRA HEAD. JULIENNE
comes from a storage room. She is holding a nice
lamp and a box of pictures. JULIENNE forgets
something and goes back. A picture drops on the
floor. It is a picture of ALLEN and JULIENNE and
AUNT DEBBIE
INTERIOR - ALLEN'S BUILDING - DAY
ALLEN and TONY enter the building. They work their
way through the crowd in the hall toward ALLEN'S
APARTMENT. The tenants hold personal items. They are
angry at ALLEN.
ALLEN
Why are you moving out?
FLEEING TENANT
This place is condemned. No use of paying
you any more rent.
ALLEN
Don't think you're going to get your security
deposit back.
ALLEN stops at his door and tries to open it. It
won't budge. TONY hears something upstairs and
starts up the stairs. The group with the ZEBRA HEAD
passes him coming down the stairs.
VOICE
Watch out for the floor up there, it's weak.
TONY
OK.
TONY and JULIENNE meet at the top of the stairs.
JULIENNE is visibly prettier.
JULIENNE
I thought you were dead?
TONY
I survived.
JULIENNE
We have to start meeting like this.
Charming look form TONY. His eyes lock with
JULIENNE's. She leans over for a kiss. THE CAMERA
moves toward him. Tony steps forward to kiss and
SUDDENLY.... TONY falls straight down out of frame.
INTERIOR - STORAGE ROOM
TONY turns and falls into a room. He ends up in a
dusty room. He looks up, unable to get out, he
slowly drifts into a trance.
VIEW ON ALLEN'S APARTMENT
ALLEN forces open the door to his apartment and sees
that everything is on the floor and broken. He picks
up his COAT and a few valuables and leaves. ALLEN
comes back out looking for TONY. ALLEN sees JULIENNE.
ALLEN
What are you doing here?
JULIENNE
Someone's fallen in the floor upstairs.
ALLEN
Don't worry about it..Just a dead beat.
We have to get out of here there's going
be an aftershock.
ALLEN hurries her out of the building. There is an
aftershock. We hear SCREAMS.
TENANT'S VOICE
Who checked the gas main, asshole!
MUSIC: Dvorak - Cello Concerto #14 in B minor
Op 104 Adagio
INTERIOR - STORAGE TONY stands in the room in a
trance
EXTERIOR - ALLAN'S APARTMENT - DAY
The camera tilts down and we see that the building
is condemned. A chain link fence prevents squatters
from moving in.
INTERIOR - WRECKED BUILDING - DAY
TONY wanders in Abandoned building.
He picks up a picture from the floor. He sees ALLEN
and JULIENNE standing together.
INTERIOR - AVALON OFFICE - DAY
TONY and TONY'S LAWYER stand in front of an open
window.
JIM
The government has flip-flopped in maybe two or three years the problem will come up again but it least it gives us some breathing room.
TONY
I'm thinking about starting over in LA. I like it there, I've met some people I like. I'm happy for the the first time in years.
JIM
I knew you would be in spite of all the damage.
TONY
How much?
JIM
All interior roads are out. Raymond's barn fell down. There's no power except from generators on the big island
TONY
Have you heard from Marie-Nøel?
JIM
No. We flew over and there's no damage to any
structures, but her radio is out.
TONY
I think I should get up there.
EXTERIOR - ISLAND -DAY
We see the big island floating in a sea of reflected
light.
EXTERIOR - ISLAND - DAY
TONY walks from his boat on the pier toward the
ranch house.
MUSIC: Dvorzak - Cello Concerto #17 in B minor
Op 104 Adagio
EXTERIOR - ZODIAC - NEAR ISLAND - DAY
Guys on boat hear thunder. They stop and look around,
hear it and are perplexed as it diminishes.
ANTHONY
Stop the engine. Listen.
They all HEAR thunder.
ANTONY plunges overboard with his board and pack and
starts Paddling. The zodiac pulls next to him.
ANTHONY
I'll be all right. Pick me up on Sunday.
The zodiac speeds off.
FIRST SURFER
What's with Anthony? He really did
it. He's crazy.
SECOND SURFER
We'll pick him up on the way back.
FIRST SURFER
Does he really think some chick lives on that
island?
FIRST SURFER
I guess so.
EXTERIOR - ISLAND PLATEAU
MARIE-NØEL walking up hill next to water, hunting
with a bow. MARIE-NØEL hears thunder
MUSIC: Rene du pere "Saltimbanco"
EXTERIOR - ISLAND PLATEAU
MARIE-NØEL climbs a hill,hearing thunder. She stalks
through grass. We see boar's eye. She appears from
behind a bush
Slow Mo of wide shot MARIE-NØEL picking up note and
reading it.(flash forward) Just a clip of the paper
falling.
RETURN TO MAIN ACTION
She takes her stance.
FLASH FORWARD
MARIE-NØEL reads the note, tearfully.
MARIE-CHRISTINE (V.O.)
Happy 18th. You're not aging well, but I
shouldn't mention that on your birthday
should I? I could not think of a better
way to surprise you than to hide this in
plain sight. Here's a treasure map to your
birthday present, Some things that may help
you when you want to leave home. If I'm
gone when you read this, then I'm right,
and I'm not going with you. Good luck. Love
you. Your sister. Marie Christine.
MUSIC: BACH Harpsichord
SEQUENCE
ANTHONY paddles toward shore.
MARIE-NØEL Cries.
ANTHONY paddles toward shore gets turned away by
cliff.
MARIE-NØEL sitting with letter overlooking sea.
EXTERIOR - ISLAND PLATEAU - SUNSET
MARIE-NØEL reading letter.
VIEW on ISLAND SHORELINE
ANTHONY paddles toward rocks.
MARIE-NØEL crying.
ANTHONY pulls himself out of the water and stand in
the sun.
MARIE-NØEL swatting away precursor to the gad fly
Arrow out of quiver. EYE of BOAR. She releases.
