OBLIVION
Written by
William Monahan
Current Revisions by
Karl Gajdusek
Based on the story by
Joseph Kosinski
DRAFT: March 27, 2011
1.
FADE IN:
EXT. THE PLANET - MORNING
Huge mountains, destroyed STRUCTURES. Buildings
enveloped by flows of earth. Awe-inspiring beauty.
JACK (V.O.)
They arrived almost half a century
ago. Aliens, Scavs, whatever you
want to call them. Their idea of
how-do-you-do was to blow up our
moon.
Giant waterfalls crash where lava cooled through iron and
concrete. Telephone polls half-buried in sand.
JACK (V.O.)
Without her moon, the earth went
insane. Most were killed in the
floods, as the cities came down,
as everything caught fire. A year
later their ground troops landed,
to exterminate whoever was left.
A station wagon half protrudes from a lava flow. A
child's plastic flip-flops on the dash.
JACK (V.0.)
They were probably surprised, what
we were willing to do, to survive.
We used the nukes.
(BEAT)
We won the war, but lost the
planet.
Low on the HORIZON, the TET rises with the sun. It's a
WHITE TETRAHEDRON (SIX-SIDED) SPACE STATION that circles
the earth once a day, like an artificial moon.
JACK (V.0.)
Humanity had to flee the Earth.
We had to unlearn what it meant,
to call something our home. Now
we live on the Tet, our man-made
moon. A temporary home before the
next step. Everyone's there now.
(BEAT)
Well, almost everyone.
2.
INT. BEDROOOM - MORNING
An ALARM chirps. A man's hand reaches out of bed,
silences it. The MAN swings his feet onto the floor. He
sits with his face in his hands, waking up. We hear a
SHOWER RUNNING. He looks up.
A WOMAN showers near him, only steamed glass walls
between them. She sees him, smiles at him, without
modesty. He looks back at her.
OVER TITLES. We watch a familiar morning routine:
INT. A HOME - MORNING
BATHROOM. The man flicks on a light, stares at himself
in the mirror. This is JACK. Early 40's, a good face
that enjoys rugged living. Tan and weathered skin. His
eyes are curious, kind, almost child-like.
The woman squeezes in next to him, VICTORIA. 30s, a tom-
boy shock of red hair, towel around her neck. She
brushes her teeth.
KITCHEN. Victoria watches the coffee drip, bites toast.
SHOWER. Jack lets warm water blast him in the face.
READY ROOM. Jack pulls a worn high-tech workman's suit
from a locker, revealing a photo taped to the door: It's
of him and Victoria, younger, in a white-walled high-tech
corridor, smiling eager at the camera. He stares at it
for a moment, closes the locker door.
KITCHEN. Victoria hands Jack his coffee. He kisses the
top of her head, heads out to work.
EXT. SKY TOWER - CONTINUOUS
He walks out onto the deck of a futuristic home perched
1,200 feet in the air, literally above the clouds. As
our minds are blown, Jack moves away from the glass-
walled home towards his BUBBLESHIP, a futuristic-cross
between a Bell 47 Helicopter and a jet fighter, and we
CRANE UP UP UP... INCREDIBLE VERTIGO until we're looking
down at this impossible structure. Jack, climbing into
his ship.
TITLE CARD: "OBLIVION"
3.
EXT. THE SKY - DAY
The SKY stretches to infinity above roiling planetary
cloud-cover. The BUBBLESHIP streaks through our frame,
dropping faster than free fall.
INT. BUBBLESHIP - CONTINUOUS
Through the canopy of the Bubbleship: The cloud cover
below seems to FALL UPWARDS at us, that's how fast we're
diving. There's a small worn BOBBLE-HEAD on the dash
which vibrates with the ship.
Jack is un-phased by the drop, touches a few controls.
VICTORIA (V.O.)
Good morning, Jack. I'll be your
flight attendant for the day.
This is day... three thousand two
hundred and twenty five, in case
you were wondering.
JACK is running instruments. A day at work..
VICTORIA
Today we will be running support
on five Resource Gatherers working
the seaboard. Coordinates coming
to you... now. Please do confirm.
On Jack's heads-up display, five icons glow to life.
JACK
Yeah, I got 'em. You got 'em,
Bob?
The Bobblehead bobs.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
VICTORIA watches the Bubbleship's icon on a screen.
She's now wearing a work jumpsuit open over a man's
undershirt. She has a natural ease with tech and stress.
She sips her coffee, punches up a feed, multi-tasking
with cool.
VICTORIA
Drone perimeter defense is intact,
although one went offline last
night. How's the drop?
(CONTINUED)
4.
CONTINUED:
JACK
Oh, you know. Same ole' same.
In front of Victoria, almost a hundred years of
technological advances. Most prominent a MAP overlaid
with environmental, meteorological, radiation levels...
Other screens stream cam-footage from the Bubbleship.
VICTORIA
Alright, you're blind in five,
four, three...
INTERCUT WITH JACK IN THE BUBBLESHIP. JACK watches the
cloud wall RUSH UP at him.
VICTORIA (CONT'D)
Two... one...
JACK
You should come with me sometime.
VICTORIA
No, thank you. Have a nice ride.
The Bubbleship HITS CLOUDS, goes completely blind. Just
vapor and water HAMMERING the canopy like bullets.
On the heads-up display, GPS numbers roll. The readouts
deal with climate, terrain below... Even in this hell,
Jack takes the controls, starts to pilot on instruments.
One of Victoria's boards flashes. She squints as a large
MASS forms near Jack's ship.
VICTORIA (CONT'D)
Jack, you got some weather on your
five, closing.
The Bubbleship is VIBRATING, buffeted.
JACK
What do you call this?
What does a storm look like inside a storm? Like this.
The WALL OF WEATHER comes out of the wind and rain from
behind Jack's ship, simply eats it up.
Suddenly Jack's going end over end, helpless. Warning
lights flash. Jack punches controls that won't respond.
JACK (CONT'D)
(humming to himself)
"I've got sunshine...
(MORE)
(CONTINUED)
5.
CONTINUED: ( 2)
JACK (CONT'D)
on a cloudy day. When it's cold
outside I've got the month of
May..."
Victoria watches the readouts, helpless.
JACK (CONT'D)
(STILL SINGING)
"I guess you'd say... What can
make me feel this way?"
(a little tense)
Okay, Bob. Need you to work with
me here.
In the Bubbleship, Jack works the display, literally
SMACKS a panel with his fist. Suddenly, the Bubbleship
SURGES with power. Jack regains control as:
INT/EXT. BUBBLESHIP - CONTINUOUS
The Bubbleship BURSTS through low clouds, hurtling down
past turbulence into...
THE SKY ABOVE A BEAUTIFUL DESOLATE PLANET. Mysterious
black sand dunes, active volcanoes, swirling orange and
gold sediment, steaming bright blue hot springs and rich
brown craters.
Jack takes a moment to marvel at it all.
JACK
(under his breath)
"Talkin' 'bout my girl..."
Jack shifts the Bubbleship, in the distance a series of
RESOURCE-GATHERERS on the horizon. Essentially titanic
vacuums, sucking up the oceans.
In front of her console, VICTORIA charts the Gatherers,
and the patrol arcs of their defensive Drones. One
blinks, stalled.
VICTORIA
Okay, we've got another Drone
downed last night.
JACK
Send it.
NUMBERS FIRE across the heads-up. Jack touches a button.
A BAR GAUGE begins to fill, like a street racer turning
on the NOX before dragging...
(CONTINUED)
6.
CONTINUED:
VICTORIA
Would you like to set a course to
reserve fuel?
JACK
(SMALL SMILE)
Absolutely not.
Bar gaucre hits top. Jack punches it.
JACK vibrates in his seat, pinned back. The ship SCREAMS
over the surface, following the signal.
Now A HUGE CRATER opens up in front of him which he DROPS
INTO, barely missing an edge... which seems to have
architecture to it.
The ship skims close along the walls which are revealed
to be rows and rows of stadium seats, half buried in
sand. We're in Giants Stadium, New Jersey.
Old news to Jack. He surveys below...
JACK (CONT'D)
I see it, looks like full mid-
flight impact. What was its last
destination?
BELOW, through blowing dust, we see a DRONE, a spherical
mechanical weapon, plunged into the sand.
VICTORIA
Yo no se. No data. It's not
transmitting.
(checking the map)
Tet coverage will go live in 11
minutes.
Jack stares forward at a huge broken sign: "Home of the
2015 World Champions..."
JACK
You know, I actually read about
this game. Giants are literally
on their own seven with 25 seconds
on the clock...
VICTORIA
Please do not reminisce on my
Comm, thank you very much.
He puts the Bubbleship into a soft descent. Victoria
observes it on her console.
(CONTINUED)
7.
CONTINUED: ( 2)
VICTORIA (CONT'D)
Negative, technician. I have no
eyes in the sky for another ten
minutes. Do not land.
SEEN FROM INSIDE A STADIUM TUNNEL: The bubbleship lands
thirty yards from the Drone, moors itself by setting
spikes from its skids. Blowing sand whips around both.
INT. BUBBLESHIP - CONTINUOUS
JACK grabs an old YANKEES CAP from between the seats and
slides it on backwards. He hoists a WEAPON, a carbine-
sized gun on a sling, and checks its charge as he slides
the door open. He's BLASTED with sand and wind which now
suddenly still, like a freight train that's passed.
JACK
Anyway... QB lets off this mile-
high bomb...
The weather's fast and erratic like this. As Jack starts
moving towards the Drone, a heavy mist forms, shrouding
it in grey. There's almost no sound, just Jack's feet on
earth...
JACK (CONT'D)
The thing just sails the length of
the field.
Victoria anxiously checks a screen, the arc of the Tet's
"vision" still not covering Jack's location.
VICTORIA
Jack I have no scope. The Tet is
still offline.
He pauses. A faint sound on the wind... like a whine.
JACK
And at the one yard line...
interception. Devastation. It's
all over.
EXT. STADIUM - CONTINUOUS
LIGHTS connected to the ship's two AUTOMATIC GUNS reach
from the hull of the BUBBLESHIP, backlighting JACK as he
reaches the downed drone.
(CONTINUED)
8.
CONTINUED:
THE DRONE, a spectacular piece of technology, has landed
hard, half-buried in the sand. The basic electronics are
still humming, cycling.
JACK
But the guy's too eager. He
starts running it back.
Everyone's yelling "Fall down,
just fall down!"
Jack goes to his knees, examining it, his hands expertly
locate an empty tube-like space on the side of the Drone.
JACK (CONT'D)
Huh... The fuel-cell has been
taken.
VICTORIA
What do you mean taken? Was it a
malfunction?
Jack looks at the casing... beaten, pried open? He
glances at the ground around him, the dark tunnels.
REVERSE ANGLE. From inside a caved-in tunnel entrance,
Jack looks small, vulnerable. Something watches Jack...
JACK
No... It's a master drone, too.
166. Looks like it was hit mid
flight, managed to limp its way
here. Watch my back, I'm starting
field repair.
INTERCUT: VICTORIA AT SKY TOWER. Glances at the arc of
the Tet's vision - still six minutes away.
JACK (CONT'D)
Bob, I'm going to need a cell.
AT THE BUBBLESHIP. An exterior compartment opens
revealing spare parts, etc... At the same time, a small
ROVER, an ball-shaped independent gopher, rolls free from
the ship, sprouting wheels...
VICTORIA
Jack, you need to get out of
there. Bring it home to the shop.
Jack has a panel open. He pulls a lead from the sleeve
of his suit, connects it to a board. We see FLIGHT DATA
transfer to the Bubbleship.
(CONTINUED)
9
CONTINUED: ( 2)
JACK
So the guy keeps running. 30, 40,
50 yards and BAM! He gets pasted.
Ball goes loose...
VICTORIA
Jack, you know they can weaponize
a fuel cell.
Now a DRIVER shoots out of the tool cuff of his suit.
JACK
(STARTING WORK)
And wouldn't you know it, Giants
recover, start running it back.
Total insanity.
VICTORIA
I'm reading the whole central core
off alignment, you don't have the
necessary tools.
Jack's got an arm and half his chest inside. He takes
his CHEWING GUM, presses it in next to a board...
Systems go green on Victoria's console.
VICTORIA (CONT'D)
Hold on, what did you just do?
JACK
(calling to the ship)
Bob, I said I needed...
He turns to find that the ROVER is already there, a
DEUTERIUM FUEL CELL sitting in its payload bay.
A SOUND now reaches Jack. Distant, an animal in pain?
Jack listens, but it's gone. He slots the cell. A
HUMMMM as the Drone powers up, systems coming online.
Jack looks around at the stadium.
JACK (CONT'D)
Can you imagine it? 80,000 people
on their feet. Everyone yelling
"Go! Go! Go!..." Touchdown...
He sets his gun against the Drone, raises his arms,
running in a circle, making the crowd roar sound...
JACK (CONT'D)
"Yahhhhhhhhhhhhhh... ."
(CONTINUED)
10.
CONTINUED: (3)
INTERCUT VICTORIA: Listening to his stadium cheer sound
over the Comm. She rests her head in her hands.
WITH JACK. The empty ruined structure stares back.
Reality returns, sadly...
He reaches for the open Fuel Cell door... hesitates,
hating what comes next... and that SOUND comes again.
Distinctive. An animal's whimper...
INT. STADIUM TUNNEL - MOMENTS LATER
Jack stands at the tunnel entrance, shining a light into
the depths. The sound is clear now, a low WHIMPERING.
Jack makes his way down the tunnel, carefully. Ahead,
the tunnel meets the circular tunnel that rings the
stadium. His light plays over the silty floor, finds:
A DOG. Starving, shivering. It COWERS in a corner.
JACK
Hey there, boy. Easy...
Jack moves forward, hand out.
JACK (CONT'D)
You got nothing to be scared of,
buddy...
The dog suddenly SCURRIES away into the dark
BEHIND JACK, a HUGE FORM RISES. We see GREY SKIN,
TEETH... and Jack hears ITS HEAVY LABORED BREATH...
JACK (CONT'D)
Ah, shi...
JACK SPRINTS, full speed! The animal, A GIANT EMACIATED
HAIRLESS BEAR, comes SURGING out of the darkness,
lumbering after him.
Jack TEARS back down the tunnel, the bear's form almost
FILLING the tunnel behind him.
EXT. STADIUM - CONTINUOUS
We HEAR JACK before we see him. A loud "AHHHHHHHH'.!!!!"
as Jack comes STREAKING out of the tunnel, the bear on
his heels.
(CONTINUED)
11.
CONTINUED:
VIEW FROM ABOVE: Jack streaks down the field, 50, 40,
30.. The giant bear closing...
WITH JACK. He can see the drone in front of him, the
Fuel Cell Door still hanging open. He puts on a burst of
speed but STUMBLES, sliding on his chest, arm
outstretched towards the Drone as the bear LEAPS!
He REACHES, flips the Drone's fuel cell door shut.
Drone 166 REACTIVATES. It SURGES UP, weapons POWERING UP
and RRRRRRRRRRRRip!! It opens up with white plasma fire
on the bear which seems to go nova in mid air,
disintegrating to BLACK ASH which covers Jack.
Jack stumbles to his feet. Drone 166 NOW WHEELS ON HIM.
Its smoking red-hot cannons inches from his face.
JACK averts his gaze as the Drone SCANS Jack. Breathing
hard, hating this moment. With its ganglia still hanging
out, it doesn't seem to be processing... And then just as
quickly, the Drone rockets up into the sky and is gone.
Jack falls to his knees in the sand, exhausted. Only now
realizing that Victoria has been calling his name.
VICTORIA
Jesus, Jack. What the hell was
that?
INTERCUT VICTORIA. The Tet's scanners finally giving her
a high-rez thermal view of Jack. Her display burning red
from the residual plasma fire.
JACK
(SPITTING ASH)
Call in number 166 for service up
top. It's practically got its
motherboard and half its
hydraulics hanging out.
(under his breath)
But it still wants to kill
everybody...
VICTORIA
Jack, what happened?
Nowtrudging to the ship:
JACK
I'll see you at the house later.
You want anything? Milk? Bread?
Anything else that doesn't exist?
(CONTINUED)
12.
CONTINUED: (2)
VICTORIA
You.
He leans against the ship. Smiles tired. It's a nice
thing to hear.
JACK
Well if you want anybody else,
you're out of luck.
He boards the BUBBLESHIP.
VICTORIA
We only have two more months,
Jack. Please try to resist the
urge to do something stupid.
(BEAT)
There's no other service signals.
Come home.
ON VICTORIA. A relationship off balance. She wants him
home. He wants...
JACK
No...
ON JACK. The captured Drone data right there in front of
him on the heads-up. He's too curious.
JACK (CONT'D)
That Master Drone was hit right
over mid-town. Same area as the
one we lost last night.
EXT. HILLSIDE -- LATER
JACK'S BUBBLESHIP, locked and armed, sits atop a ridge,
against the bruised and lightning-fractured sky.
Jack SCANS the horizon with his BINOCS, past deserted
landscape, an early iron-framed skyscraper that came down
semi-intact on its side. Nothing.
He lowers the Binocs, glances upwards to where one of the
HUGE RESOURCE GATHERERS blots out half the sky, breath-
taking. It's hovering over what is left of a subsided
harbor, a few blasted and rusted hulks of ships. The
water level has dropped by a kilometer.
(CONTINUED)
13.
CONTINUED:
The Gatherer is sucking up salt water, harvesting the
elements essential to create DEUTERIUM, "Heavy Hydrogen."
At the top of the giant machine, Drones work tirelessly,
ferrying containers of Deuterium energy up into the sky.
Jack raises the Binocs, snaps a few photographs...
VICTORIA
There's no Drone signal there.
(BEAT)
What are you doing, Jack?
JACK
One day when we get to Mars,
someone will want to know about
this. From someone who was here.
He stares at the HUGE columns of water draining upwards.
JACK (CONT'D)
Do we have to take it all?
VICTORIA
It's not doing anyone any good
here.
JACK nods, starts to turn away when something GLINTS on
the horizon. He raises the Binocs, PANS to a gallows-
like structure. He ZOOMS, but it is still unclear.
VICTORIA (CONT'D)
Jack, without a signal, you're
looking for a needle in a
haystack. I think we've had
enough excitement for one day.
JACK is at the back of the Bubbleship, throwing levers.
JACK
Actually I've got a bit of a
problem with a gyro here, call you
when I've fixed it.
He releases a catch, pulls a WHITE RECTANGULAR CASE from
a slot in the Bubbleship. He kneels down, hands working
expertly, producing a full UNFOLDING MOTORCYCLE.
As Jack locks the rear wheel in place, the bike HUMMS to
life. He gets on and opens up the throttle, rooster-
tailing off. The bike's electric, but it MOVES.
(CONTINUED)
14.
CONTINUED: ( 2)
JACK rides over what used to be the sea-bed, soaking up
the thrill of catching top speed air over embankments of
black sand. Completely carefree, enjoying himself like a
man who is utterly and completely alone.
EXT. SINK HOLE - DAY
Something was here. A large metal beam has been propped
onto rocks, stretching over... a COLLAPSED SECTION OF
EARTH. This was the source of the light reflection.
Jack stares down into the hole... black. He POPS a
flare, drops it in. It comes to rest far below, next to
the unmistakable form of a DRONE.
JACK
.There you are.
An instant of BLACK...
And we're suddenly looking at Jack THROUGH ALIEN
BINOCULARS. High tech, symbol readouts changing.
Something is watching him.
INT. SINK HOLE - DAY
Inside the hole, looking up. A CLIMBING ROPE spills
towards camera.
We descend with Jack, all the way down into the hole, the
light receding above. He touches his suit and a light
array blazes on, illuminating the walls passing by.
INT. LIBRARY -- DAY
Jack drops down through what used to be a roof... into
the READING ROOM OF THE NEW YORK PUBLIC LIBRARY. Vast,
ruined, the far end totally collapsed, like a sky-scraper
fell on it. He reaches the silty floor, the flare's
burning light illuminating the room.
He STARES at the expanse of SHELVES that line the walls,
stripped and empty. Wonder... and disappointment.
He turns to his task, kneels by the Drone. The thing's a
wreck. A METAL SHAFT protrudes from a crease. Jack
marvels at the accuracy of the shot...
He carefully reaches out, slides the fuel cell door open.
Again, the FUEL CELL is missing.
(CONTINUED)
15
CONTINUED:
JACK
Vika, you're not going to
believe...
WHITE NOISE on the comm. There's no signal down here.
EXT. HILLSIDE -- CONTINUOUS
The static BUBBLESHIP sits inert.
VICTORIA ON THE COMM
Jack? Jack... ?
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria, worried. Finally, she turns to the TET COMM.
A station reserved for high-tech, long-range
communication with the home base. A STATUS indicator,
and a screen for text communication.
TET COMM STATUS: "COMMUNICATION ENABLED."
VICTORIA
Mission, this is Lieutenant
Victoria Kohl, requesting Drone
intercept at coordinates sending
now.
Her AUDIO goes through a SCRAMBLING PROCESS, then is
uploaded where a few seconds later its receipt is
acknowledged: STATUS: "APPROVED."
She stares up at the map, sees one of the Drones turn
towards Jack's location. She settles back, watching.
INT. LIBRARY - DAY
JACK looks up and sees how the Drone was brought down:
above it is a twisted tangle of chain-mesh and cables
strung between two structures, a DRONE TRAP.
MOVEMENT FROM THE DARKNESS. Jack spins, his gun coming
off his back in a fluid motion. Just the empty cavern,
the wreckage at the end.
Jack squints at... a wall of books on the shelves beyond
the wreckage.
JACK
.Jackpot.
(CONTINUED)
16.
CONTINUED:
He steps forward... ALMOST FALLS INTO A GIANT HOLE!
He raises the flare off the ground, illuminating a void
where the entire floor has imploded down seven more
stories. What's left is a PIT, with a building-sized ton
of twisted metal hanging over it...
A single bent GIRDER still spans the hole. Jack tracks
the possibilities... steps out onto the girder. He
reaches up to the suspended wreckage to balance...
IT SHIFTS! A hundred tons of twisted metal just moved an
inch above him. Best leave that alone...
He balances, inching across this metal tightrope.
Finally reaching the other side...
AT THE FAR SHELVES
Jack approaches the wall of books, hundred of them. He
kneels, lifts one, blows dust off the cover: "THE
EDUCATION OF HENRY ADAMS."
He steps back, admiring it... SNAP! A BEAR TRAP hidden
in the debris closes around his leg, piercing armor and
flesh. Jack has a second to process and a cable rises
from the debris, goes taught!
JACK is dragged through the dust inhumanly FAST, headed
towards a darkened alcove. He activates a LASER CUTTER
on his cuff, slices through the cable which WHIPS AWAY as
he brings his rifle up, FIRES rounds into the darkness.
INHUMAN SCREAMS. Half animal, half electronic.
Something's in pain, but not retreating, CLOSING ON HIM.
Jack SLICES DOWN, cutting loose the claw, and RUNS FOR IT
back towards the HOLE as his girder is yanked away in
front of him, pulled into the void below.
Jack doesn't slow, reaches the edge, LEAPS!
A moment, Jack hanging in space, gravity clawing at him,
falling... SLAMMING into the far side. For a moment
dangling over the fall, then Jack hauls himself over the
far side.
ALIEN FORMS emerge from recesses. We get glimpses of
feathers, oily flesh, metal... They CLOSE as he reaches
his line, clips in and RISES automatically, the suit
riding the line up at neck-snapping speed...
(CONTINUED)
17.
CONTINUED: ( 2)
ABOVE. The line trembles under his weight and stress...
A KNIFE, improvised from bone and sheet metal, enters the
frame and CUTS THE LINE.
Jack has a second to feel the slack hit. And then he's
FALLING... IMPACTS the ground. Can't get his air.
Staggering wildly to his feet, FORMS CLOSING...
Suddenly a DRONE blasts down through the ceiling hole.
Its lights turning night to day, its cannons FIRING.
In the STROBING FLASH of canon fire, we see SCAVS
INCINERATED. Metal and hair fry to ASH as the insect-
like creatures SCREAM!! Other shots IMPACT WALLS. Fire
and plaster dust fills the space.
Jack shields himself from the debris as the Drone ceases
firing, WHIRLS on Jack. The same awful moment as it
SCANS him.
Then it lifts away, is gone as quickly as it arrived.
And with its departure, the darkness comes again.
Silence, whatever was here is now gone.
Jack takes in the destruction for a hard beat: The ash
of an alien, burning paper twisting in the air. He looks
up towards the light above. A long ways above.
EXT. SINK HOLE - LATER
Jack appears, dirty-faced, filthy and frustrated,
crawling, lugging his own weight up through the sink
hole. Finally back to the surface.
He shakes himself off... notices his bike has been taken.
JACK
(AD-LIBBING
EXPLETIVES)
That was my bike!!
He kicks at the dust, the rocks, curses at the pain as
he's reminded of his injured leg. He stares at the long
walk ahead, the wall of wind and rain that now hits him,
soaking him. He starts walking.
18.
EXT. BUBBLESHIP - DUSK
The debris in the air makes for spectacular sunsets.
Jack's Bubbleship bursts from the low clouds, carrying
Jack home after the long day. We see the "PLANETARY
RING" formed by the rubble from the destroyed moon.
INT. BUBBLESHIP - CONTINUOUS
Jack marvels at the ring, thoughtful. But then checks
his read-outs. Victoria knows what he's looking for.
VICTORIA
Check your seven.
Jack touches his controls and the Bubbleship Canopy
REVOLVES so Jack's facing away from the direction he's
traveling in.
Low on the HORIZON, the TET floats in the sky. It's
setting, glows a dull orange, like a Harvest Moon.
INTERCUT VICTORIA. She's leaning back in her command
chair, her feet propped on the console, also staring out
at the Tet. Strangely quiet.
In Jack's face a curious mixture of nostalgia, and
confusion... This small metal planet is his home.
JACK
Goodnight, folks... See you back
here tomorrow. Same time, same
channel...
He punches the throttle, and screams across the tops of
the clouds through the beautiful light, arriving at...
EXT. SKY TOWER, LANDING PAD - CONTINUOUS
The GLASS walls of the SKY TOWER reflect the Bubbleship
as it lands. HOOKS catch the landing rockers of the
BUBBLESHIP and lock it down against the buffeting wind.
INT. SHOWER - DUSK
Jack drops the last piece of his environment suit. He
touches a button and warm water sprays down. Through the
glass, he can see Victoria inside the Sky Tower. She
nods at him, a tense welcome home. He nods back. There
is no privacy in the Sky Tower.
(CONTINUED)
19.
CONTINUED:
As the glass walls go opaque with steam, he closes his
eyes, the water running over his face. POPS OF MEMORIES
go through his imagination:
SKY TOWER. Early in their tour, Victoria girlishly jumps
on the sofa with a pint of ice cream, laughing.
BEDROOM. Also early. Jack watches Victoria sleep,
brushes hair from her face, affectionate...
And the memory... SEEMS TO DISTORT. Suddenly becoming:
THE NEW YORK SKYLINE, seen through a cheap telescope.
Jack, pulling away from the telescope, happy, turning
to... A BRUNETTE WOMAN, staring back at him.
Jack STARTS, snapping out of the memory.
INT. SKY TOWER, STORAGE AREA - DUSK
Rows and rows of shelves, mainly empty now. Jack and
Victoria have gone through almost all of what they needed
for a 5-year tour. Jack grabs a container of water.
INT. SKY TOWER, READY ROOM - MOMENTS LATER
Jack starts to hang up his workman's suit, pauses to
stare at the photo of a younger him and Victoria on the
Tet. They look so eager, so innocent.
He shifts slightly to where he can see out to the Tet
itself, sinking below the horizon.
INT. SKY TOWER 2, WORK AREA - DUSK
The area is devoted to DRONE REPAIR. Lifts, parts,
shelves, odds and ends of gear and weaponry, tables of
tools, a written-off DRONE at the back.
Jack comes in, glances at his newest arrival, the self-
beached DRONE 166. Even deactivated, it looks like
trouble, like pure evil.
He opens a drawer, slips THE EDUCATION OF HENRY ADAMS
into the drawer, shuts it.
20.
INT. SKY TOWER, LIVING AREA - DUSK
We finally see the whole thing. It couldn't be more
comfortable, although it continually vibrates in the
wind: VICTORIA is sitting, reading her own work notes.
In the background, Chaplin's "Modern Times" plays
silently on a large screen.
JACK goes up behind her and kisses her on the head.
VICTORIA
(not looking at him)
You're not supposed to bring up
surface items.
JACK sips water, then waits even longer before...
JACK
No. I'm not supposed to bring
them in the house.
He's right. He exchanges his water for a glass of
something stronger, and goes and sits down.
VICTORIA
I tried to reach you earlier...
If we're going to be an effective
TEAM --
JACK
You're right.
VICTORIA
Then you can't just --
Jack leaps up, only to return a second later with a small
bundle held together by an old rag. He hands it to her,
pleased, watching her reaction.
She opens it to reveal a small GREEN SEEDLING in a pocket
of fresh, rich soil. Her eyes play over it...
VICTORIA (CONT'D)
Where did you find this?
JACK
Ah-ha. So it's okay when I bring
you something. But if I --
She MOVES suddenly, opening one of the glass doors of the
Sky Tower and heading outside where she holds the
seedling away from her body, off the edge, lets it drop.
(CONTINUED)
21.
CONTINUED:
She comes back in, washes her hands in the sink, upset.
JACK (CONT'D)
Was that really necessary?
VICTORIA
I know you think I'm a stickler
for the rules, but you have no
idea what sort of toxins could be
in something like that.
He chuckles...
VICTORIA (CONT'D)
I'm sorry, I don't think it's
funny.
JACK
It was just a plant, Victoria.
VICTORIA
That's not the point. We have two
more months and the last thing we
need is you putting it all at
risk.
He shakes his head, grimaces as he limps away.
VICTORIA (CONT'D)
(CONCERNED)
You're hurt. What happened?
He admits it with a glance, offers no explanation. She
comes over to him, examines the wound professionally.
VICTORIA (CONT'D)
Come on.
TNT. INFIRMARY BAY - DUSK
It is tiny, but state of the art. VICTORIA seriously
examines his wound, cleaning it out. It's no small wound
but they're less concerned than we would be.
Victoria pulls on gloves, opens cabinet and removes a
watery substance as well as a small electronic wand. She
smears the substance onto his wound, a HEALANT.
VICTORIA
This is gonna pinch a little...
(CONTINUED)
22.
CONTINUED:
JACK
Hit me.
She activates the wand, shines ultra violet light onto
the substance. A beat, then he BENDS OVER in pain.
Through the healant we see the FLESH begin to knit and
repair. Skin and sinew literally regenerating... to new.
VICTORIA
(AFFECTIONATE)
Serves you right.
She kisses him on the forehead, turns away.
INT. SKY TOWER, DINING ROOM - LATER
Wine is involved, candles. Victoria is mellower, much.
This is a couple who knows each other's differences and
admires them. This isn't an argument.
VICTORIA
.I'm not saying you can't go
into your caverns, I'm saying we
have a job and if I'm trying to
reach you and you're off on one of
your adventures --
JACK
Look, they trained me to fix
drones. That's my job, I get
that. But it's not what I am. I
can't simply do the same thing
over and over again, every day,
with that... world down there.
(toasts the sky)
And if mission has a better Drone
tech, they can get him to baby-
sit.
He gets up, tries out his leg. Stiff, but healed.
VICTORIA
It's only a little while longer.
The Gatherer's have collected most
of the resources we need for Mars.
Pretty soon --
JACK
Pretty soon, there won't be
anything left down there. No more
plant life, no more water.
(MORE)
(CONTINUED)
23.
CONTINUED:
JACK (CONT'D)
So forgive me if I want to enjoy
it a little before the end.
VICTORIA
You act like there's not a war
going on down there but there is
and we can't leave even two of
those things alive...
(NO RESPONSE)
Dammit, Jack. They nearly killed
you today.
They eat in silence for a moment, then:
JACK
Actually, it was like they were
trying to... catch me.
(trying to joke)
Guess I look tasty.
He goes over to her, puts his arms around her.
VICTORIA
Please be careful. If they get to
you, what happens to me?
JACK puts a finger to her lips, then kisses her.
VICTORIA (CONT'D)
Answer the question.
Jack considers this. Then he pulls his shirt off over
his head. For sex?
VICTORIA (CONT'D)
(PLEADING)
Jack.
JACK
Come on.
EXT. SWIMMING POOL - NIGHT
Talk about an infinity pool. The pool is miles in the
sky, with a glass bottom. The cold wind is constant
overhead but heaters flare with the changes in
temperature, compensating.
Jack glides graceful underwater, his nude form
silhouetted against the roiling dark clouds below. He
surfaces near Victoria, who's stayed dressed on the edge
with a glass of wine.
(CONTINUED)
24.
CONTINUED:
He kisses her, steals a sip of her wine, then pushes back
into the water, looking up at the stars, the streaming
moon-rubble above.
VICTORIA
Can you imagine when we go back
up? Having a face to face
conversation again? I can't
believe it's finally ending.
(TOASTING HIM)
We made it.
Jack looks away...
JACK
It's not so bad down here. They
certainly don't have anything like
this.
VICTORIA
I wonder what duty I would have
pulled. Probably programming the
Mars boats.
JACK
I'd have been overhauling the zero-
G toilets.
(SHE LAUGHS)
I'm serious, it's dangerous work.
I mean, you think you have control
of the situation.
He swims closer. She smiles, he presses on.
JACK (CONT'D)
But then you realize, there are
some things that were never
supposed to happen in zero G.
VICTORIA
Stop!
JACK
It's awful. Just thinking about
it, I get afraid...
She LAUGHS, reaches for her wine, accidentally knocks the
glass which tips over, and rolls right off the Sky Tower.
They watch it disappear into the darkness below.
JACK (CONT'D)
Ocops.
(CONTINUED)
25.
CONTINUED: ( 2)
VICTORIA
(SUDDENLY)
I've been happy here. With you.
(watches water fall
from her hand)
I can't remember zero gravity.
Physically. Can you?
JACK
Here, let me show you...
He reaches up PULLS her into the pool. She screams,
laughing as she goes in. She surfaces, pulling her
soaking shirt over her head and tossing it to the side.
VICTORIA
I should have seen that coming.
Jack smiles, then takes a breath and goes under. He
floats face-down, staring through the bottom of the pool
into the lightening-stung clouds below...
.and then Victoria's form glides underneath him,
looking up at him, smiling. She stops moving and her
body rises towards his. He opens his arms, and she
floats up and against him. They embrace, kiss...
Two bodies, intertwined underwater, a thousand feet above
a roiling thunderstorm.
Their lips part, he pulls back to look at her ...
But it's the BRUNETTE WOMAN who stares back at him!!
INT. SKY TOWER, BEDROOM -- LATE NIGHT
Jack wakes, breathless, troubled. He doesn't know this
woman who invades his dreams...
Next to him, Victoria lies asleep, curled in the sheets.
Shaken, he quietly gets up, grabs clothes... and goes
where he goes when Victoria is asleep...
INT. SKY TOWER, WORKSHOP AREA - NIGHT
Jack moves to a BENCH where he keeps his finds... a few
coins, a watch, a pistol, a snow globe showing the
Nativity. A book: THE LAYS OF ANCIENT ROME.
JACK produces his newest find from the library: THE
EDUCATION OF HENRY ADAMS. He opens it.
(CONTINUED)
26.
CONTINUED:
. He was three years old when he took
this earliest step in education; a lesson
of color. The second followed soon; a
lesson of taste...
ON HIS EYES as he reads:
. he remembered quite clearly his aunt
entering the sick room bearing in her hand
a saucer with a baked apple.
He puts the book down, strangely troubled.
TNT. SKY TOWER, COMAND CENTER - LATE NIGHT
The console sits inert, unattended. Suddenly, a BLIP
radiates on the MAP, its origin elsewhere. A signal.
EXT. DEEP SPACE - NO TIME
A NASA SHUTTLE floats in deep space, a recognizable
design from our time.
INT. SPACE SHUTTLE - NO TIME
Empty, dark. Frozen crystalline dust hangs in the air.
The ship is dead.
Suddenly a panel "blips" on. Other systems go active.
The ship is waking up. There's a VISIBLE RUMBLE as the
engines prime...
FURTHER BACK, in the hold. ROWS OF DELTA SLEEP PODS. We
close on one...
AND THE SHUTTLE'S GIANT ENGINES ERUPT IN FIRE.
INT. SKY TOWER, BEDROOM - MORNING
Jack's eyes blink open, waking from another dream. He
sits up, troubled.
EXT. SKY TOWER - DAWN
Victoria works in her GARDEN. She grows perfect,
blemishless ROSES. The roof is open to the sky.
Victoria makes a small depression in the earth, taps
three seeds out of a labeled envelope.
(CONTINUED)
27
CONTINUED:
JACK comes through, kisses her. Then moves off towards
his work.
VICTORIA
Don't go out today until we get a
signal.
Jack looks back. She's never said this before. She's
genuinely worried.
JACK
.Then what would you say in your
report?
Victoria looks away, stuck.
JACK (CONT'D)
I can't get to a site fast enough
unless I'm already out there. You
know that.
He turns, disappears through the glass mechanical doors.
EXT. SKY TOWER - MOMENTS LATER
JACK suits up and gets into the bubbleship and for the
first time we see the startup procedure.
JACK
One, Two, Three. Jack Harper.
Lights sparkle across the board. Activation sounds.
Jack hits switches. Outside, protective barriers lower.
The stratospheric wind VIBRATES the bubbleship.
JACK (CONT'D)
What say we have a little fun
today, Bob?
The Bobblehead vibrates along with the engines.
INTERCUT VICTORIA putting on her headset.
VICTORIA (ON COMM)
What's that, Jack?
JACK
Just thinking I'd take Bob manual
for the dust-off. Feeling the
need.
(CONTINUED)
28
CONTINUED:
VICTORIA
A hundred terraformed acres on
Mars is all you have to think
about.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
VICTORIA stares out from her windows above the clouds.
VICTORIA
(TO HERSELF)
I love you.
He waves, blows the chocks. The WIND whipping off the
tops of the clouds instantly grabs the ship, HURTLES it
into the void.
WITH JACK, just letting the wind twist him and the ship
in freefall. Loving this feeling.
Victoria. turns professionally to her console. THE TET
SYMBOL ON THE SCREEN, the COUNT DOWN TO TET-RISE. She
opens video streams, loses herself in her work.
VICTORIA (CONT'D)
Time as indicated. Technical
officer away on autonomous patrol
as of this transmission. Border
Beacons surrounding the radiation
sector are 100% operative...
STATUS: "LOG RECEIVED."
VICTORIA (CONT'D)
You're welcome...
Victoria takes a sip of coffee, turns to another task,
when again a BLIP on her map pulls Victoria's attention
back. That signal, radiating near Jack's position.
She swipes up a grid, intensifies her sensors...
VICTORIA (CONT'D)
Jack... I've got a rogue signal.
Might just be interference, but
there shouldn't be anything there.
JACK
Drone?
Already she's got the signal analyzed on six different
screens. No matches...
(CONTINUED)
29.
CONTINUED:
VICTORIA
(TROUBLED)
No... It's.. I'm not sure what
it is.
INTERCUT Jack listening to her in the Bubbleship.
JACK
Don't be embarrassed, there's
always a first time.
(BEAT)
Send it over. I'll check it out.
Victoria hesitates... hits a key.
VICTORIA
On its way. Be careful, okay?
EXT. WATERFALL - DAY
Jack's ship skims over the surface of a deep pool of
water. Up ahead, a waterfall explodes its force into the
pool, spray and mist already reaching the Bubbleship.
JACK
All right, I'm coming up to the
location.
Jack begins flying slowly up the twelve hundred foot wall
of falling water which almost seems to conceal a Petra
behind its veil. Jack reaches the top...
JACK'S POV - THE SPIRE AND OBSERVATIONAL DECK of the
EMPIRE STATE BUILDING, now part of a cliff, set in
shifted sea-bed, a gushing river pouring past.
EXT. OBSERVATION DECK - MOMENTS LATER
Jack lands and gets out of the craft, grabbing his weapon
and Yankees cap as he does. He looks around, half
nervous, half in awe that the old girl is still standing.
JACK
(under his breath)
New York, New York... It's a
wonderful town. The Bronx is up,
and the Battery's down...
He can hear nothing over the wind and the water. He
moves to the balcony edge, looks "downtown" at the sunken
city. A Venice set in a matrice of rubble and sea-bed.
(CONTINUED)
30.
CONTINUED:
He notices an old PAY TELESCOPE next to him, bent and
rusted. He puts his eyes to the lenses. Nothing.
Black.
He STARES at the 25-cent slot on top, lost in a deep
sense of Deja-Vu...
VICTORIA
Jack, you're right on top of it.
What do you see?
Jack starts a circuit of the deck. A pile of old deck
chairs in his way, he pushes at them with his foot...
finds a WIRE, running below them, linked to two CAR
BATTERIES, hidden under the rubbish.
He traces the path of the wire... up.
EXT. TOP OF THE ESB ANTENAE - LATER
JACK has made an arduous climb to discover a TRANSMITTER,
hooked to an old MILITARY REPEATER, and both hooked to...
we look up as Jack does... the RUSTED, DAMAGED, ESB
Antenna atop the building.
JACK
Bob, give me audible on this
signal.
Almost immediately from the Bubbleship comes the
intermittent electronic SQUACK of the signal.
EXT. OBSERVATION DECK - MOMENTS LATER
At the bubbleship, Jack watches the frequency analysis of
the signal play on his heads-up. He touches the screen
and the signal goes quiet.
VICTORIA
What did you find?
JACK
It's an old radio system. It's
been reactivated.
VICTORIA
Define reactivated.
Jack looks at the batteries, the wire...
(CONTINUED)
31.
CONTINUED:
VICTORIA (CONT'D)
Jack, that signal's going out over
the whole territory. You need to
blow the structure.
JACK
It's the Empire State --
VICTORIA
It's ancient history, Jack. You
know the procedure. Blow it.
He pulls several CHARGES from the Bubbleship's storage,
starts to set them...
He pauses, staring at the railing, the old telescope.
Change of plans. He walks towards the batteries, a blade
sliding out of the cuff of his suit. He reaches them and
SEVERS the lines. The signal dies.
EXT. OBSERVATION DECK - MOMENTS LATER
The Bubbleship lifts off. Jack can't help staring down
at the Observation Deck as the ship lifts into the air.
TNT. BUBBLESHIP - DAY
Jack is in the air, troubled. Up ahead in the distance
we see a LARGE NATURAL RIDGE. Some instruments light up.
VICTORIA
Check your course, you're headed
right at the border.
JACK
Yeah, I may have seen another
drone trap...
INTERCUT VICTORIA
She checks her map. Jack's Bubbleship is headed straight
at a large red swath of territory marked out, toxic
radiation levels constantly monitored.
A small ALARM goes off in the Bubbleship cabin.
VICTORIA
You're at the edge of range, Jack.
You're starting to break up.
(CONTINUED)
32.
CONTINUED:
JACK
It's okay --
VICTORIA
(SERIOUS)
No, it's not okay. You get in too
close that radiation --
JACK
-- will cook me from the inside
before I know it. Don't worry,
I'm still more than five clicks
from the beacons...
IN THE BUBBLESHIP. A BIGGER ALARM goes off, Red skull-
and-crossbones flash across the heads-up. Jack DIVES the
ship, down over huge rocky outcroppings.
Jack, intent on piloting. Static. Some GARBLED SOUNDS.
Victoria's voice barely coming through.
VICTORIA
What are -- you ---- out there
Jack?
The signal goes to pure static as Jack steers into a
steep canyon, rock on all sides. Barely room to squeeze,
but Jack's not worried. This is all familiar.
JACK
That's right, Bob. You know where
we're going.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria stares at the screen, static hiss low and empty.
It's not the first time he's done this, but she hates it
every time.
VICTORIA
Jack...?
Victoria works the panel, upping signal, boosting
reception. The static is again MIXED WITH GARBLED
SOUNDS. She listens, confused, ups the volume...
BLIP! That signal from the Empire State starts again.
This time it LOCKS ON, a loud and continuous electronic
pattern.
33.
EXT. CRATER LAKE - DAY
JACK's ship emerges from a canyon into a beautiful
landscape we have never seen before. This is Jack's
SECRET PLACE. TREES exist on an island surrounded by
clean water.
And near the shore, a GROTTO, a carved-out portion of the
hillside, supported with scavenged timbers, protected by
plastic tarps. A ton of gear is piled inside. JACK has
been scavenging for a long time.
The BUBBLESHIP lands. JACK walks into the structure,
slapping on a relay from a SOLAR GENERATOR. All around
are young growing plants, including small yellow flowers
and their GREEN SEEDLINGS -- the same Jack gave to Vika.
Jack kneels down by an old military JAMMER. He checks a
screen: the Crater Lake location is being jammed.
INT_SKY TOWER, CONTROL STATION - DAY
Victoria sits, the repetitive audio of the signal playing
from her console. She stares at the empty map, the
notable absence of the Bubbleship's icon on it. She keys
the Comm, one last time.
VICTORIA
Jack? Jack, I really need you
online...
EXT. CRATER LAKE - DAY
A RECORD PLAYER is taped into his solar power system. An
EARLY METAL POWER-BALLAD floats out of the speakers.
Jack has a basketball hoop lashed to a pole. He shoots
hoops by himself, the ROVER retrieves the ball.
LATER. Jack brings a single CHAIR out in front of the
water. He sits, and with care produces the books he's
brought with him. He opens one with burnt edges:
TREASURE ISLAND.
.I remember him as if it were yesterday,
as he came plodding to the inn door, his
sea-chest following behind him in a hand-
barrow...
JACK is in an obscure state of frustration. He lifts
another book, THE LAYS OF ANCIENT ROME:
(CONTINUED)
34
CONTINUED:
How can man die better
Than facing fearful odds,
For the ashes of his fathers,
And the temples of his gods...
Jack closes the books, strangely unsatisfied...
INT. SKY TOWER, CONTROL STATION - DAY
ON VICTORIA, stuck with the audio signal playing. She
moves the Tet Comm, hesitates. Then keys the control.
VICTORIA
Mission, this is Lieutenant
Victoria Kohl, requesting a link.
I may have a situation...
A beat while the connection is made, then...
THE TET (TEXT ON SCREEN)
Lt. Kohl, standby.
(BEAT)
What is your situation?
VICTORIA
I have a rogue signal of unknown
origin. I'm sending you a relay.
THE TET (TEXT ON SCREEN)
Have your Technician locate and
report.
VICTORIA
(loathe to admit)
Technician is... experiencing
technical difficulties...
She winces, that wasn't the greatest lie. Waits...
THE TET (TEXT ON SCREEN)
Are you still an effective team?
VICTORIA
Yes, we're an effective team.
THE TET (TEXT ON SCREEN)
Understood. Have your Technician
locate and report.
VICTORIA
(SUDDENLY)
We're happy, to be coming home.
(CONTINUED)
35.
CONTINUED:
A long beat. Then:
THE TET (TEXT ON SCREEN)
(beat, then)
It'll be good to have you back,
Vika. Two more months. : )
Victoria SMILES despite herself. Nods, emotional.
VICTORIA
Will communicate findings on next
Tet cycle. Understood.
Victoria clocks off. Stares at the border area on the
map where she last saw Jack.
A KLAXON goes off in her workspace. Victoria STARTS. For
the first time she seems confused as she works the
console. She can't immediately figure it out...
Suddenly she brings up a WIDE SCAN for tracking the Tet,
The whole Eastern Coast of the continent. And something
is closing, coming over the poles, FAST.
ON VICTORIA...
EXT. CRATER LAKE - DAY
Jack folds the page of his book, stuffs it in his cargo
pocket and walks down to the water sparkling over stones.
Motion catches his attention. It's the ROVER,
approaching with the basketball.
JACK
So, um... Victoria.
The ROVER shifts, confused.
JACK (CONT'D)
I was thinking, when our tour is
up, maybe we'd stay. We could put
in for another -- Wait, wait.
Stop yelling. Hear me out. No,
don't throw that, that's a...
The ROVER turns around. Jack smiles at the poor
machine's confusion. The smile dying... this is serious.
JACK (CONT'D)
Maybe you should go, and I should
stay...
(CONTINUED)
36.
CONTINUED:
The ROVER leaves, obedient. Jack watches it go, sad.
He's spoken the words. He lies back on the bank, looks
at the clouds rolling overhead.
JACK (CONT'D)
I should stay...
His eyes... close.
INT. JACK'S DREAMS - VARIOUS
---- AN ELEVATOR. It climbs a gantry towards a SHUTTLE.
POV looks over, sees a YOUNGER VICTORIA, who smiles back,
nervous...
-- A GLASS CARAPACE. A WOMAN'S FACE inside. The same
Brunette woman. Her eyes open, she SMILES WITH LOVE...
.then SCREAMING! JACK'S POV SPINS as A SCAV looms
through ORANGE LIGHT and DUST, snarling with its
electronic squeal...
WOMAN'S VOICE
JACK!!!
JACK's eyes snap open. It is much later in the day. He
scrambles to his feet, breathing hard, remembering
SOMETHING... something desperate...
BOOM!
What appears to be A METEOR streaks across the sky,
leaving a trail of flame and white smoke.
Jack grabs his binocs and traces the meteor path...
resolves it just barely as the shuttle, crashing down.
It disappears over a rise, a beat, then a FIERY
EXPLOSION.
JACK
Bob! Let's get going!
The Bubbleship is already powering up by the time Jack
piles in. He touches a control and the ship shoots up
into the air.
INT. BUBBLESHIP - MOMENTS LATER
Jack sets a course towards the smoke on the horizon.
(CONTINUED)
37
CONTINUED:
JACK
Vika? Vika, did you get that? An
object hit near here. A ship.
VICTORIA
Where the hell have you been?
Jack's silent, not wanting to lie.
INTERCUT VICTORIA, looking at streaming info from TET.
VICTORIA (CONT'D)
(tense, professional)
It's an external. An alien ship.
It's a God damn Scav vessel in the
Western Valley.
JACK
I saw it through optics in the
last minute. I'm not sure it was
alien.
VICTORIA
Turn around, Jack. The Drones
will handle the situation.
JACK
The Drones'll kill anything that
moves.
VICTORIA
Just for once wait for your
orders on this one, Jack. This is
serious.
Jack is silent, unsure. The crash site growing closer...
VICTORIA (CONT'D)
Technician. This is your Control.
Turn around.
JACK
Vika...
VICTORIA
You heard me.
Another hard beat. Jack hating this but...
JACK
Negative. I'll report when I get
to the site.
(CONTINUED)
38.
CONTINUED: ( 2)
IN THE BUBBLESHTP. Bob seems to shake his head.
JACK (CONT'D)
(sotto, to Bob:)
What are you looking at?
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria STARES at her Comm. This has never happened.
EXT. CRASH SITE -- DAY
A MOUNTAINOUS AREA of what was once sea-bed. Smoky
orange fire blows across the ruined landscape. A fire in
a dust storm. A GUST now reveals...
The crashed NASA space shuttle, with the name ODYSSEY on
its fractured hull.
INT. BUBBLESHIP - CONTINUOUS
JACK is circling the wreckage, looking down.
JACK
I'm here, and it's definitely one
of ours.
VICTORIA
I'm not confirming this from the
Tet.
JACK
I'm confirming it. I'm right
here.
Vika works her displays, scanning, wanting to keep him
safe. The wreckage has strewn out thousands of flaming
pieces of debris, all which register heat signatures.
JACK (CONT'D)
This thing is ancient, one of the
old pre-war shuttles.
JACK'S POV - THE WRECKAGE. The ship's guts are strewn
across the earth. Several pod-like canisters strewn
around, more fixed into the burning wreckage.
39.
EXT. CRASH SITE -- CONTINUOUS
JACK TOUCHES DOWN, rolling out of his Bubbleship even
before it's settled. He heads straight into the burning
wreckage, into hell. Heat SEARING his eyes, disorienting
him. All around metal POPS and GROANS as it distends.
He moves through metal panels, dodging flames and burning
debris -- searching wildly.
Jack sees what looks like a SURVIVOR! HAULS it over to
discover it's only an empty NASA jumpsuit. But beyond
that... A DELTA-SLEEP POD, split wide open. Its
interior EMPTY. Jack moves on, finds another POD,
presses his face against the glass...
A HUMAN FACE on the other side. A MAN, sleeping...
A FUEL EXPLOSION plumes into the dark sky. Jack STUMBLES
ON, tracks another pod literally ON FIRE. Beyond that, a
whole portion of the ship is semi-intact, the hull ripped
lengthwise. Jack tracks a burnished STEEL CYLINDER with
radioactive markings, locked in strong moorings...
And near that, another POD, still locked in the ship's
wall. Jack moves to it, wiping away soot and grime,
pressing his face close and sees her...
.THE BRUNETTE WOMAN FROM HIS DREAMS.
She's asleep, her face lit by moving firelight. JACK is
stunned. Eyes dart to readouts: She's alive.
ON JACK. Confused, amazed, moved. He puts a hand out,
towards the glass of the pod...
JACK
OKAY
SVUNK! SVUNK! Behind Jack, plasma rounds impact the Pod
with the man in it, the metal going nova, collapsing...
JACK (CONT'D)
NO! 1!
Cannon fire erupts all around him! TWO DRONES settle on
the site, their weapons kicking out energy, locking on
and destroying Pods...
JACK (CONT'D)
NO! NO! They're firing on the
ship. Vika, it's one of ours.
40.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria stares at her screens, perhaps for the first
time in her life, frozen. Jack's voice blares over
speakers.
JACK
There are people here, and they're
killing them!
Victoria opens her mouth to respond. She can't.
EXT. CRASH SITE - CONTINUOUS
A Drone passes right over Jack, locks into position,
lining its cannons on the Pod with the WOMAN in it...
Jack moves between the Drone and the Pod. The Drone
hesitates...
SCANS him. Weapons literally red hot from
repeated fire.
The Drone SHIFTS AGAIN, FAST, looking for its shot. Jack
counters, keeping his body between the Drone and the Pod.
JACK
Get out of here! Go away! Get!
A moment of insane bravado, Jack un-shoulders his weapon,
strafes the Drone with gunfire which knocks it back.
It re-centers, weapons chugging with energy.
INTERCUT VICTORIA. Staring at the feeds. A screen
catching a half-image of Jack firing at the Drone. She's
absolutely still, holding her breath...
Jack stares at the Drone, at certain death.
JACK (CONT'D)
Well, what the hell are you
waiting for? GO ON!
And suddenly, the Drone moves on, Canons live, searching
on into the wreckage, annihilating other Pods.
ON JACK, chest heaving...
An instant of BLACK, shuttering back to:
CROSS-HAIR POV: We suddenly see Jack through CROSS-
HAIRS, tracking him as he shields the Delta Pod with his
body, dragging it towards the Bubbleship...
(CONTINUED)
41.
CONTINUED:
A high-tech, high-powered RIFLE rests in two alien-
armored hands. Like a metal-coated insect tarsus (barbed
feet of a fly). The alien begins to depress the
trigger... Then another tarsus presses the barrel down.
Don't. Don't fire.
SHIFTING OVER: Close on an ALIEN. Our first real look,
still too close to truly comprehend. Thick stubbled hair
armored with metal, bones; A head-dress of authority.
Behind layers of dusted cracked goggles, the older alien
eye... blinks.
EXT. CRASH SITE - CONTINUOUS
JACK reaches the Bubbleship, heaves the Delta Pod onto
the carrier which immediately secures it with armatures
designed to carry damaged drones.
JACK steals another look at the sleeping face of the
WOMAN. He touches the glass, wiping away soot and dust.
JACK
It's you...
SEEN FROM FAR AWAY
The Bubbleship flies up and up, The DELTA SLEEP POD
securely hanging from its belly, carrying Jack and this
mysterious woman away into the evening sky.
EXT. SKY TOWER, BUBBLESHIP PAD - SUNSET
The WIND is wild and brutal. As the Bubbleship touches
down, CLAMPS snap on the landing skids.
Jack is in motion, bursting out of the ship. He glances
up. Victoria stands behind the glass of the Sky Tower
living room, staring at him.
THUNK. He releases the armature. HAULS the Pod with him
towards the house. HAMMERS ON THE GLASS.
JACK
Open it!
Victoria obeys, opens the glass doors. WIND fills the
living room as Jack hauls the Pod in. Then Victoria
touches a control and the walls SEAL.
(CONTINUED)
42.
CONTINUED:
JACK (CONT'D)
The drones tried to kill her.
They destroyed the other
survivors.
VICTORIA
(RATIONALIZING)
Well it didn't recognize her.
It's machinery. It's programmed
MACHINERY --
JACK
She came off a NASA shuttle. The
drones were specifically targeting
the pods --
VICTORIA
I don't know what the machinery
did or didn't do. There's
protocol...
JACK
Protocol? Protocol?! Who's the
machinery now, Victoria?
VICTORIA stares at him. Then retreats from the question
into the task at hand. She kneels by the Pod.
VICTORIA
Go get the cutter, and a breather,
and my big bag. Now. The Pod's
been damaged, she's not doing
well, let's get her out of there.
Jack moves. Victoria, almost holds back, but...
VICTORIA (CONT'D)
.This has to be reported.
HE SPINS. Stares at her. Really angry.
JACK
I know it does. And when we
report it, we'll also report that
drones slaughtered the other human
survivors from one of our ships.
See what they make of that.
He goes for the equipment. Victoria stares at the
woman's face, deeply unsettled...
Jack returns with Victoria's bag, and firing up a CUTTER.
(CONTINUED)
43.
CONTINUED: ( 2)
VICTORIA
Right there, be careful...
Jack directs the blue arc towards a seal. The Pod
depressurizes with a sudden exhale of dead air. Jack
pulls back the pod door.
Inside, the woman lies in a gauzy sleep suit. Her hair
is matted. Her body looks frail, her skin translucent,
veins dark, lips blue, like a drowning victim.
Vika pulls her feeding tube, takes her pulse, checks her
eyes, lifting the lids.
VICTORIA (CONT'D)
Lift her up, we have to get some
air into her.
JACK gets his arms around the woman, pulling her upwards.
FLUID seeps from her mouth...
And suddenly she's ALIVE, COUGHING, spewing fluid across
Jack and the floor. He sets her down as she painfully
wretches, then SUCKS IN AIR. Her eyes flutter open.
She's suddenly violently ill again. Instinctively, Jack
goes to hold her --
VICTORIA (CONT'D)
(PROFESSIONAL)
No. Don't. Let her get the fluid
out.
The woman stops heaving. Looks up at both of them...
She tries to stand, disoriented by the glass walls, the
infinite vertigo that surrounds them. She falls to her
knees and stares with amazement down into the clouds.
Jack kneels beside her, puts a hand on her shoulder.
JACK
You're safe. You're in a
skytower, on Earth.
WOMAN
.Jack.
Victoria gives a sharp look at Jack. He's stunned.
Now completely exhausted, the woman SLUMPS into
unconsciousness. Jack catches her. Victoria comes
close, slides an oxygen breather mask over her face.
(CONTINUED)
44.
CONTINUED: (3)
VICTORIA
We need to get her cleaned up.
INT. SHOWER - MOMENTS LATER
A bizarre and almost beautiful tableau: ALL THREE
together under the water, Jack holding the unconscious
Woman like a child. The warm water spraying over their
three forms, soaking the woman's gauzy suit which clings
to her body. Water running across Jack and Victoria's
faces, their open eyes, locked on each other.
The water finally stops.
VICTORIA
We have to get her up to the Tet.
JACK
I know.
VICTORIA
I don't have the facilities here.
Once she's stable...
JACK
I know.
The glass door slides open behind them. Neither move.
VICTORIA
What's going on?
He shakes his head. He has no idea.
INT. INFIRMARY BAY - LATER
The WOMAN lies in a bed. VICTORIA checks her readouts,
adjusts her UV drip. She glances over her and realizes
that the woman's eyes are open, staring at her.
Beat. Victoria turns, offers the woman some water.
VICTORIA
Here. Drink this. You're
dehydrated... You've been in a
very bad crash. Your ship came
down.
This DISTURBS the woman. She tries to sit up.
(CONTINUED)
45.
CONTINUED:
WOMAN
What about the others? How did
you get out?
VICTORIA
What's your name?
WOMAN
.Julia. Julia.
The woman, JULIA, sinks back down, exhausted.
VICTORIA
You need to rest quietly. You've
been in delta sleep for a long
time.
JULIA
How long...?
VICTORIA
Best guess? About 65 years.
Julia takes that in...
JULIA
Where's Jack...?
Julia STARTS. Looks down at her arm where Victoria has
just slid a needle under her skin. She stares at her,
almost afraid. Victoria depresses the plunger.
VICTORIA
Shhhhhh...
EXT. SKY TOWER - NIGHT
SEEN FROM AFAR. The Sky Tower a lonely refuge in a
roiling storm, turning on its axis, like a weather-vane
And we PLUNGE DOWN. Down and down, to the base of the
SKYTOWER, to see...
EXT. SKY TOWER BASE - NIGHT
AN ALIEN, battered by wind, rags blowing, raises its mask
to the sky. Looking up towards the tower. It wears the
DISTINCTIVE HEAD-DRESS that we have seen before.
46 ,
INT. SKY TOWER, DINING AREA - NIGHT
Victoria is very subdued, poking at food. Both very
aware of the woman sleeping in the infirmary.
VICTORIA
Tomorrow, I'll report that we have
her.
Jack nods, but won't look at her. Deep in thought.
VICTORIA (CONT'D)
Jack...
(BEAT)
What do you want from me, Jack?
This isn't just a Shakespeare
Sonnet, a buffalo nickel, some
vase...
JACK
It's a Greek funeral vase. Which
I want my ashes in, incidentally.
Victoria collects the dishes, heads for the kitchen.
JACK (CONT'D)
I just think we need to know why.
VICTORIA
Jack, please. This isn't why
we're here. This is just what we
have to do before our real lives
begin. We've given them five
years and now we get to go home.
(BEAT)
So just leave this alone. It's
not our job.
JACK
And what if I can't?
They stare at each other, each obscurely frightened.
EXT. INFIRMARY - NIGHT
Julia sleeps, a mask taped to her face, oxygen hissing.
Jack watches her. Now cleaned and dry, there's a
natural, earthy, freckled beauty to her. Air passing
peacefully through her lips, now returned to color.
(CONTINUED)
47.
CONTINUED:
Jack reaches out to brushes hair from her face. He
notices the outline of a necklace with a pendant under
her nightgown.
INT. SKY TOWER, KITCHEN - NIGHT
Victoria sets dishes in a dishwasher. She stops. She
can see Jack in the Infirmary, staring at Julia.
INT. WORKSHOP AREA - NIGHT
DRONE 166 sits in its hub, repaired. Jack replaces a
panel, moves to a laptop and activates the drone.
It POWERS UP, rising fast, bringing its canons around.
We should be afraid, very afraid, that something is wrong
with it. It SCANS Jack, as menacing as ever. But
something's changed in Jack. He just stares back at it.
Beat. Then the DRONE FIRES itself off into the black
clouds, disappearing towards the earth below.
Jack stares after it; then he turns, looks across empty
space to the underside of the glass pool. Victoria has
just dived in. She swims laps, kicking hard,
bubblestreams peeling across her body. Exercise, not
pleasure.
EXT. SKY TOWER, POOLSIDE - NIGHT
Jack stands at the end of the pool, watches Victoria
stoke powerfully towards him. She sees him as she
reaches the edge, stops, looking up at him.
This is important, something Jack's been wanting to say
for a long time:
JACK
I read these books, of what it was
like down here, before...
He sits, his legs dangling into the water. She pulls up
close, her arms on the side.
JACK (CONT'D)
In this one book I was reading, a
man describes being a child. He
remembers a yellow kitchen, a
baked apple.
(CONTINUED)
48.
CONTINUED:
VICTORIA
I know. That was the world
before. Your little obsession...
JACK
What was so wonderful about life
on the Tet?
She looks away...
JACK (CONT'D)
When our time is up next month. I
want to put in for one more tour.
Victoria pushes off from the side, drifts back...
JACK (CONT'D)
It's almost all gone, Victoria. I
want to be here for the end.
She turns, resumes swimming laps. Hard, driving through
the water. He watches her for a moment, then turns away.
INT. SKY TOWER - NIGHT
Victoria comes in from the pool. She can see Jack in the
bedroom, sitting on the bed, his back to her.
She moves into the Infirmary, moves to Julia and checks
her IV drip. She starts to adjust it, stops.
She stares down at Julia.
INT. SKY TOWER, BEDROOM - MOMENTS LATER
Victoria comes in from the infirmary. She opens a
closet, changes into a night shirt.
JACK
VIKA --
She turns and grabs him, desperate.
VICTORIA
Please. Please. Don't you
understand? We have a chance to
be on the first boats out, to be
the first to settle Mars, raise a
family. Five years. Proof that
we are an effective team.
(CONTINUED)
49.
CONTINUED:
She holds his face, kisses him, willing him to want her
as desperately.
VICTORIA (CONT'D)
Everything we've wanted is waiting
for us up there. Please, Jack.
JACK
I don't know if it is or not,
Victoria. I can't remember.
She starts to reply... has nothing. Shakes her head.
She grabs blankets and pulls them around herself, her
back to him, her eyes open, scared. Jack also lies down,
staring upwards. And then Jack asks the 64,000 dollar
QUESTION:
JACK (CONT'D)
Do you remember her?
Victoria doesn't move. Stares straight out.
EXT. THE SKYTOWER - NIGHT
WIND shakes the SKYTOWER, and the clouds boil beneath it.
Jack and Victoria sleep next to each other.
In the infirmary, Julia sleeps alone. A machine "beeps."
EXT. OBSERVATION DECK - DAY (DREAM)
We're in the deep saturation of Jack's dream. Images fly
by, then SLOW. People, enjoying the view. New York
City. Jack, looking through the pay telescope. Then
turning, seeing...
Julia right next to him, smiling up, happy.
INT. THE SKY TOWER, BEDROOM - NIGHT
Jack's eyes open. That dream again. Victoria's still
asleep next to him. He rises out of bed...
INT. SKY TOWER - VERY EARLY MORNING
Jack pads out into the main room. STOPS when he sees
Julia, risen from the infirmary, standing at one of the
glass walls of the Sky Tower, staring out.
(CONTINUED)
50.
CONTINUED:
It's early early morning. Probably 3:00 am. While it's
dark below, the first signs of dark blue and orange
sunrise are visible on the horizon. THE PLANETARY RING
glows with soft golden light.
JULIA'S POV: In the distance, the Tet is rising, faint
light on its surface as it crests the planet's curve.
VERY CLOSE on Julia. The image of Tet reflected in the
corneas of her eyes. She's been crying, silently, and
alone. One hand at her chest.
JACK
It's beautiful, isn't it? It's
your home now.
(NO RESPONSE)
How do you feel?
She wipes her eyes.
JULIA
A bit more... located.
JACK
What was your shuttle's mission?
She turns to him, watches him carefully in the dim light.
And then, lying:
JULIA
I don't remember. I should get
back to the ship. I might be able
to find the flight recorder.
JACK
Your ship... it's pre-war.
JULIA
(again, careful)
Have you ever seen a ship like
that?
JACK
No. No, of course not.
This answers something important for Julia.
JULIA
I wonder what brought us back?
JACK
.There was a transmission. I
don't know who sent it.
(CONTINUED)
51.
CONTINUED: (2)
JULIA
We'll never really know without
the flight recorder.
(almost casually...)
She says we can't go down there,
that it's too dangerous.
He laughs a little, shakes his head.
JULIA (CONT'D)
What?
JACK
Funnily enough, you've found your
man.
JULIA
(SMILING)
Have I?
An awkward beat, then:
JACK
How did you know my name?
JULIA
.You look like someone I once
knew.
(extending her hand)
I understand I owe you my life.
Thank you, Jack.
They shake. A weird moment. She breaks away, looks back
at the Tet which now glows a pale orange on the horizon.
JULIA (CONT'D)
What happens now?
JACK
In a few hours, the Tet will come
online. Victoria will report your
rescue and I imagine they'll send
someone down for you.
JULIA
From... the `Pet?
JACK
Yes.
She gestures out to the Bubbleship on its pad.
(CONTINUED)
52.
CONTINUED: ( 3)
JULIA
You fly that thing?
JACK
.You could say that.
She SMILES, pleased. A twinkle in her eye...
JULIA
Alright then. Don't you want to
know?
EXT. SKY TOWER, BUBBLESHIP PAD - EARLY MORNING
JACK and JULIA are suited up, ready to go. The Tetis
still low and far on the dark horizon, silhouetted bythe
first signs of sunlight growing in the East...
The Bubbleship's ENGINES start up with their distinctive
whine. As they head towards the ship, Victoria comes out
from the house, a robe pulled on...
VICTORIA
Jack! What are you doing?
JACK
I'll bring her back before Tet-
Rise. We just want to try to find
the flight recorder. You can't
know everything watching from a
mile up.
VICTORIA
She shouldn't be --
Julia turns on Victoria, quickly.
JULIA
Thank you. I feel very well.
Then, coldly, she boards the ship.
JACK
She's the flight officer, she
wants. to see the wreck of her ship
and secure items there. You'd
want to do the same thing.
VICTORIA
Jack, please.
(CONTINUED)
53.
CONTINUED:
JACK
Don't worry, we'll be back before
you have to make your report.
VICTORIA
That's not it. I can't protect
you with the Tet offline and I
just have a very bad...
JACK
I'll be fine.
He turns and boards. Julia is staring at her through the
bubble-canopy.
The bubbleship rises and then falls off to the side,
plummeting towards earth.
INT. BUBBLE SHIP - EARLY DAWN
Jack pulls the ship out of its dive, sets course across
the altered earth. Julia is STARING down, a little
afraid, but darkly fascinated...
Victoria's voice cuts through on the Comm.
VICTORIA
Jack... This isn't just about
protocol. I'm trying to
understand.
JACK
(BEAT)
I'll be home for breakfast.
And he SWITCHES OFF the Comm.
INT. SKY TOWER, COMAND CENTER - CONTINUOUS
Victoria STARES at the dead Comm. A moment, then she
SLAMS the panel with her fists. She backs off, staring
at the panel.
INT. BUBBLESHIP - CONTINUOUS
They fly in silence. Julia gazes down at sights we're by
now familiar with, becoming visible as the first light
hits. The craters, emaciated seascape.
(CONTINUED)
54.
CONTINUED:
JULIA
So I guess I'm around... a hundred
years old.
(BEAT)
What happened next?
He gestures towards the moon ring in the sky.
JACK
The Scavs assumed taking out the
moon would wipe us out, and it
almost did. But we re-grouped,
fought back. We beat them in the
end.
She glances at him.
JACK (CONT'D)
That's if you call nuking half the
planet beating anybody.
He looks at her, shrugs. They fly past a RESOURCE
GATHER, its column of water lifting from the seas.
JACK (CONT'D)
We harvest seawater to supply the
Mars colony with the energy we
need to live there. We're almost
done. Pretty soon, there'll be no
more water down here.
JULIA
A dry planet...
He nods at the Tet, rising in the distance.
JACK
Yeah. What's left of us are up
there now, ready to go where you
were headed, Mars. 40 acres and a
mule. What we've got left. What
you've got.
Julia stares out at the Tet.
JULIA
What about you?
JACK
We were born and raised up there.
Vika's the A-student. I'm just a
tech... I fix things. I...
(CONTINUED)
55.
CONTINUED; ( 2)
JULIA looks at him. Something out of the groove.
JACK (CONT'D)
Why are you looking at me like
that?
JULIA
Sorry.
She stares back down at the landscape.
JULIA (CONT'D)
It's so beautiful.
He looks at her, surprised. He thought he was the only
one...
EXT. CRASH SITE - EARLY MORNING
THE BUBBLESHIP sits landed amidst the wreckage. A low
still fog has condensed, leaving visibility low, moisture
everywhere. While there was light up high, they've
descended back into the pre-dawn darkness.
The ROVER has detached, shining its small light in their
direction to help.
Julia searches fruitlessly. Everything from the wreck
small enough to carry away has been taken by Scavs. Every
piece of fabric and metal.
Jack half watches her, half tracks the periphery, his
weapon slung low.
INT. SKY TOWER, COMAND CENTER - CONTINUOUS
Victoria sits at her workstation, upset.
She's got the Bubbleship up on the map, its cam feed on
display.
EXT. CRASH SITE - CONTINUOUS
Julia, still weakened from Delta Sleep, hauls aside
debris, revealing a metal floor-plate, unscrewed and
discarded. The slot within is empty.
JULIA
No! NO! It's been taken. DAMN
IT!
(CONTINUED)
56.
CONTINUED:
She backs off, upset, breathing hard.
JACK
Look, it doesn't matter --
JULIA
It matters, okay!? You don't...
you can't understand... I need
that flight recorder. I need to
know what happened.
(BEAT)
You need to know what happened.
JACK
We should stay close to...
She ignores him, moves on. Deeper in the wreckage, she
locates the empty moorings that held the Steel Cylinder
Jack saw. It's also gone.
JACK (CONT'D)
What was it?
She STARES at him, wanting to say something. Deciding
not to. She leans back against a wall of the shuttle.
INT. SKY TOWER, COMAND CENTER - CONTINUOUS
Victoria has tried to ignore the cam feeds, working on
other things. She glances over, then away just as a FORM
passes by one of the cam feeds!
Victoria checks another readout, glances back as TWO MORE
FORMS pass by the camera. Glimpses of metal and fur...
VICTORIA
(hitting the Comm)
Jack! Jack! There's something
coming your way. JACK!!"
TNT. CRASH SITE - CONTINUOUS
Jack's Bubbleship sits silent. The COMM still switched
off. Suddenly ANOTHER FORM moves through our line of
sight, something's there, and CLOSE.
WITH JACK and JULIA.
The air still, damp. Almost no sound. She picks through
the remains of the ship. He's staring at her.
(CONTINUED)
57.
CONTINUED:
JULIA
(without looking up)
You're staring at me.
JACK
I'm sorry.
INTERCUT: Victoria watches as MORE AND MORE Alien
figures pass the camera feed. Moving towards Jack and
Julia's position. Victoria, HELPLESS.
Julia looks up at Jack, directly for the first time.
He stares at her...
JACK (CONT'D)
How do I know you...
ON JULIA'S FACE. Suddenly her vision racks...
JACK SPINS, sees emerging out of the mist, SCAVS. A
dozen of them. Alien tribesmen, bristling with weapons,
war-like high-tech headdresses. Mandibles and claws.
Terrifying and close.
Jack reaches for his weapon, bringing it around and --
SLAM! He's hit from the side by a SCAV. Its armored
body bringing him to the ground. He tries to CRAWL AWAY,
sees Julia grabbed. He twists, sees Scavs crawling over
the Bubbleship.
JACK (CONT'D)
Bob! HOME!
In the background, the Bubbleship BLASTS OFF, Scavs
falling off as Jack KICKS BACKWARDS, breaking the Scavs
hold. He rolls away towards his weapon-
- straight into the legs of a GIANT SCAV holding an
improvised club which now comes down, IMPACTING JACK...
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
VICTORIA stares at image of the wreck growing SMALLER as
the Bubbleship rises.
VICTORIA
JACK! JACK...!
58.
EXT. OPEN LAND - DAWN
Darkness. LOUD SOUNDS. ANIMAL PANTING. Small, glimpses
of earth moving by, then darkness again.
Jack and Julia are tied to a huge SCAV SLED pulled by
twelve FERAL DOGS. A combination of old scavenged
military hardware and new innovation to adapt to a world
without engine-power. Giant treads roll forward as the
dogs STRAIN against metallic harnesses.
Jack's head lolls to the side. He blinks, looks over to
see Julia next to him, unconscious. He tracks up. At
the top of the sled, a massive Alien Scav pilots the
sled, sand whipping through a head-dress we recognize:
The LEADER. He holds a long whip, cracks it over the
dogs who haul the sled forward.
We slow, letting the sled pull away from us into the dark
as we travel BACK, towards where we came from, reveal...
The Bubbleship's ROVER has been following. A machine
meant for small journeys, it rolls inside the tread path
left by the sled, but it can barely handle the terrain.
INT. SKY TOWER - MORNING
Victoria hears the SOUND OF THE BUBBLESHIP, arriving.
She rushes to the glass of the Sky Tower, sees the
Bubbleship, docking itself. Auto pilot. No one inside.
EXT. MOUNTAIN CANYONS - MORNING
From far away, we see the sled wind up this rocky canyon
which opens onto a massive wall of old concrete and
steel. Something giant and industrial in its time.
The sled approaches, seems to disappear as it moves under
a shadowy outcropping of rock. In the dark underneath,
huge metal doors... close.
INT. A DARK SPACE -- NO TIME
Almost complete blackness, just the SOUND of a slow drip
of water. In the far distance, the howls and chatter of
Scavs.
Jack's blood-encrusted eyes blink open. Irises dilate
trying to orient. He raises his head, can barely see.
(CONTINUED)
59.
CONTINUED:
He and Julia lie in the only pool of light in the room,
filtering in from a high ventilation shaft. She's
unconscious. Around him, in the dark, the sense of
movement.
His eyes adjusting, he squints into the dark. There's a
FORM on the edges of the light, watching him. Jack
tenses as the figure...
.strikes a match on the floor, brings the flame to its
face, revealing... An Old Man: BEECH. He sucks in on
the end of a cigar. For a moment, their eyes meet.
Then the match goes out. Dark silhouette again. Only
the feint orange glow from the cigar.
BEECH
MonteCristo, #2. Do you have any
idea how long I've waited, for
this?
He EXHALES a stream of smoke into the beam, then moves
closer, into the light. Beech's face is lined with age
and exposure, his skin scarred from battle. His teeth
yellowed and crooked, but his arms and body are strong.
Jack TENSES. Beech's voice is calm, with a barely held-
back malice lurking just under the surface.
BEECH (CONT'D)
Well, let me tell you, Jack. It's
been a long time...
JACK
Who are you? Where is this?
BEECH inhales again. There's a piercing curiosity to
Beech's gaze, studying him.
BEECH
We're deep underground. Very deep
underground.
JACK
We were taken by the Scavs...
BEECH
Oh... The "Scavs".
(BEAT)
Tell me, Jack. Have you ever met
a Scav, up close?
(CONTINUED)
60.
CONTINUED: (2)
Jack is suddenly aware of other FORMS in this room.
Motion, on the periphery. Hair... Feathers. Scavs?
BEECH (CONT'D)
No, of course not. You just
repair the damage, keep the Drones
up and killing. Don't ask many
questions, do you, Jack? No part
of the...
(BITTER TASTE)
.job description.
Beech pulls off the cigar...
BEECH (CONT'D)
Brutal, if you think about it.
The way your Drones -
JACK
The Scavs took everything from us.
And if you're working with them --
BEECH
Interesting, Jack. Interesting.
You're worried I might be some
kind of... Collaborator.
Jack doesn't respond.
BEECH (CONT'D)
(ASIDE)
Lllllllights!
A beat, then a BANK of lights flickers on, revealing
HUMANS, all around them, heavily armed.
Julia GROANS, the light bringing her to. Jack moves to
protect her, tracks ten, TWENTY people... He looks UP
where ROWS AND ROWS of men and women stare down from
above with undisguised animosity. Forty, fifty more...
At the front, a strong battle-scared Scav, SYKES, hovers
on the edge of violence. He's been recently WOUNDED.
BEECH (CONT'D)
You see...? We're not Aliens,
Jack. We're very much human.
Jack can't process. Human face after human face.
(CONTINUED)
61.
CONTINUED: ( 3)
BEECH (CONT'D)
Of course that's a problem. Your
drones go for human shapes, human
voices. So... we change our
shapes, change our voices.
(INHALING SMOKE)
The Drones still kill us, but
they're not nearly so aggressive
as when they smell a human target.
Did you ever ask yourself why that
is?
JACK
No, they're programmed to
BEECH
To what, Jack?
(OFF JULIA)
You saw it yourself. You almost
got yourself blown to bits
protecting her. I've been meaning
to ask you, why did you do that?
JACK
Anyone would have...
BEECH
Anyone. Would have. Interesting.
Julia comes around, her eyes flickering open, She
SCREAMS, looking frantically for an escape. Jack GRABS
her, protecting her, calming her.
Beech gets CLOSE, studies Jack, what he's doing. Nods.
BEECH (CONT'D)
Very interesting.
Beech moves away. Jack moves after him and suddenly
forty or more weapons lock onto him. Sykes closer than
any other.
BEECH (CONT'D)
Careful, Jack. I'm afraid you're
not very popular here.
Beech switches his gaze to Julia.
BEECH (CONT'D)
Welcome back to earth, commander.
Hope you like what we've done with
the place.
(CONTINUED)
62.
CONTINUED: ( 4)
Beech moves on. Jack and Julia follow, cautiously...
INT. GROW-HALL, RAVEN ROCK - CONTINUOUS
They pass into a giant area devoted to agriculture. ROWS
of wide, two-story glass tubes hold PLANTS bearing fruit.
Their roots are held bare, bathed only in moist air...
BEECH
We grow what we can, under the
lights. It isn't much; Wheat-
grass, some vegetables, what beans
and soy we can. The general state
of our health proves that human
beings are not herbivores, but the
alternative is not appetizing to
anybody.
(SARDONIC WINK)
Not yet, anyway.
JACK
When we get you up to the Tet,
there's plenty -
BEECH
There is? Plenty. Plenty of
what?
JACK
Food.Foreveryone.
(BEAT)
Look,it'samazing you've lasted
thislong.But the radiation
zonesare growing. All of this,
willbe gone soon.
BEECH
The zones... the area you don't
patrol...
JACK
No one does. You go there ---
BEECH
-- Your organs boil from the
inside. I've heard.
Beech moves on, turning down another corridor.
There are PAINTINGS, stacked against the walls. Picasso,
Monet, Kandinsky, Warhol. SCULPTURES in piles.
(CONTINUED)
63.
CONTINUED:
A Grand Piano is pushed in a corner, other instruments
propped against it. They pass a room filled with BOOKS,
another with a SCREEN mounted in front of a projector.
For a moment, Jack forgets everything else. It's like
his private collection at Crater Lake, but a hundred
times bigger, richer...
Julia stops in front of a painting of a young girl in a
field of golden grass, staring towards a farmhouse on the
horizon. She turns to Jack.
JULIA
It reminds me of home...
INT. SKY TOWER, COMMAND STATION - DAY
VICTORIA is communicating with the Tet. She has been
crying, sick with worry.
VICTORIA
He's disappeared.
(CORRECTING HERSELF)
My Technical Officer, Jack Harper.
He's gone.
THE TET (TEXT ON SCREEN)
Time since last contact?
VICTORIA
.Six hours.
THE TET (TEXT ON SCREEN)
Protocol states 24 hours before
reporting a loss of contact.
VICTORIA
The Scavs took him. I witnessed
it. He has a...
A beat. Victoria experiencing jealousy she didn't fully
understand before...
VICTORIA (CONT'D)
There's a woman with him. The
survivor of the crashed shuttle,
Julia Sommerville.
Silence.
(CONTINUED)
64.
CONTINUED:
THE TET (TEXT ON SCREEN)
Prep the survivor for immediate
evac.
VICTORIA
I told you, she's with the
Technical Officer. I'm requesting
permission to re-task the Drones
for search and rescue.
THE TET (TEXT ON SCREEN)
Permission granted.
Victoria gets to work on the console, re-tasking Drones.
Another TONE makes her look over.
THE TET (TEXT ON SCREEN) (CONT'D)
You doing okay, Vika?
VICTORIA
(FRUSTRATED)
Yes, I mean. I don't know.
Tet Comm Status: "COMMUNICATION ENDED."
INT. RAVEN ROCK - NO TIME
Jack and Julia are held back by Scavs as up ahead Beech's
second-in-command, the battle-hardened SYKES, whispers
heatedly in his ear, glancing back. Not everyone thinks
having Jack and Julia here is a good idea.
Jack peers over the edge of the gantry they are on. FAR
BELOW, ancient GEOTHERMAL TURBINES churn.
JULIA
Jack, what he said about the
Tet...
JACK
(not looking at her)
It took three decades to build the
Tet. And when it was finally
ready and it was time to go up,
there were people who refused.
Leaders, who told their people to
stay.
Staring at Beech, the glint in the man's eyes...
(CONTINUED)
65.
CONTINUED:
JACK (CONT'D)
And so they stayed. And they were
slaughtered.
Whatever the conversation is, it doesn't go well. Sykes
storms off, angry. Other Scavs go with him.
EXT. CANYON - DAY
The ROVER has reached the Canyon, starts to make its way
in towards Raven Rock.
INT. SKY TOWER, COMAND CENTER - DAY
Vika is on a tear, working hard. Unable to reach Jack,
she's looking for any clue, anything to help find him.
To that end she's replaying the recordings of her last
transmission from the Bubbleship. We hear her last
PLEADING:
VICTORIA'S VOICE
Jack! Jack! There's something
coming your way. JACK!!!!
Victoria LISTENS, chilled. She hits REWIND, then PLAY:
JACK'S VOICE
.It'll be fine. Trust me.
VICTORIA'S VOICE
I'm trying to.
JACK'S VOICE
I'll be home for breakfast.
Alone in the Sky Tower, this hits Victoria hard.
REWIND. Victoria STARES at the counter, letting it go
further back. Then, PLAY.
Just STATIC. Then we hear Victoria's end of a
conversation we already witnessed:
JACK'S VOICE (BREAKING UP)
(CONT'D)
I'm near the... .border
territory. .still more than
five clicks from the... beacons...
(CONTINUED)
66.
CONTINUED:
VICTORIA'S VOICE
What are you doing out there so
far, Jack?
Then the static for a moment filled with GARBLED SOUNDS.
Victoria hits STOP. She stares. Makes an adjustment,
plays the SOUNDS again. Something drawing her in...
INT. WORK HANGAR, RAVEN ROCK - CONTINUOUS
A Large bay, filled with machinery, computers. Other
things scavenged from the wreck of the Odyssey including
several Delta Sleep Pods. Scav Soldiers work in the
center of the bay on a DOWNED DRONE. It's been opened
up, taken apart. All of its circuit boards and wiring
spread out, hooked to computers.
To the side, other soldiers are grouped around something.
Jack tracks the object they're working on: The scarred
STEEL CYLINDER Jack saw on the Odyssey. Its been opened
up and some ten scavenged Deuterium fuel cells have been
fitted inside the casing.
JULIA
The bomb...
She REALIZES something, wheels on Beech, angry.
JULIA (CONT'D)
You brought down the Odyssey. You
sonofabitch you crashed our ship.
There were people on board, all so
you could get --
BEECH
I know what I did. But tell us,
Commander, why did you have a bomb
on board, what was it for? Tell
him.
She looks at Jack, reluctant to say it, but...
JULIA
The Tet... is an alien ship, Jack.
The odyssey's mission --- Our
mission, was to investigate it.
Jack shakes his head no. Angry...
(CONTINUED)
67.
CONTINUED:
BEECH
It attacked us. First it
destroyed our moon. Then it
unleashed its primary weapon, a
brilliant weapon...
JACK
I was born there!
BEECH
I was born in Chicago, Jack. I
used to go to baseball games with
my father. I used to get two big
hot dogs, fill 'em up with relish,
and mustard. Just go to town. Me
and my pops, watching the sox.
(quick, pressing)
You have any memories like that
Jack?
JACK
No, my father was a --
BEECH
Was what? Tall? Fat? He yell at
your mom? Ever go to a baseball
game, Jack?
JACK
(GETTING ANGRY)
I already told you --
BEECH
Right, sorry. Tell me how your
mother smelled.
JACK
What?
BEECH
My mother, smelled like warm
fruit. Like oranges, sitting in
the sun.
Jack starts to speak... Stops. Beech moves to one of
the scavenged DELTA SLEEP PODS, runs his hand over the
embossed name-plate...
(CONTINUED)
68
CONTINUED: ( 2)
BEECH (CONT'D)
If you had looked more carefully
at the wreckage of the odyssey,
you would have noticed there were
two empty sleep pods. The Pilot,
and the Co-pilot...
Jack stares at the name plate on the POD: "J. Harper."
JULIA
It was you, Jack.
JACK
What?
JULIA
You and Victoria. We were all on
the Odyssey. We were supposed to
make contact...
JACK
No.
BEECH
The Tet is an alien vessel,
Commander Jack Harper. It came
and destroyed our moon and most of
humanity when it did. And ever
since, with your help, it's been
trying to finish the job.
(BEAT)
I'm sorry, Jack. It's not good
news, I know. You've been turned
to the wrong side.
Beech goes to the BOMB, stares down at it
BEECH (CONT'D)
But now, with your help, we can
finally destroy it.
JACK
You're insane. This is insane.
He turns to Julia, but she won't help him.
JACK (CONT'D)
(to both of them)
There are people up there -
BEECH
What? People like you? We are
the last real people.
(MORE)
(CONTINUED)
69.
CONTINUED: ( 3)
BEECH (CONT'D)
Pockets like this one, hiding out,
dying. Probably all over the
planet.
Beech raises his gaze to Jack. Deadly serious.
BEECH (CONT'D)
We didn't win the war, Jack. We
lost.
These words hit Jack. He starts to reply, finds he
can't. Beech approaches, fatherly, gentle.
BEECH (CONT'D)
It has taken us ten years to get
here, but we finally have a
weapon, and a working Drone to
carry it. Except we can't
successfully program the Drone.
It's not our technology.
(CLASPING HIS
SHOULDERS)
But you can, repairman. That is
the beautiful irony. It gave you
the skills.
ON JACK...
EXT. RAVEN ROCK - CONTINUOUS
The ROVER crawls up the Canyon finally arrive at the
entrance to Raven Rock. It stops, scanning the face of
Raven Rock...
BLAMI!! A SHOT hits it, it tumbles back, utterly
destroyed.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria is working hard, intent on deciphering the
sound. She doesn't notice the image of Raven Rock appear
on a side monitor, transmitted from the ROVER.
INT. WORK HANGER - CONTINUOUS
Suddenly, SYKES and several other Scavs burst into the
area. All eyes go to Jack and Julia as the ruined ROVER
is brought in.
(CONTINUED)
70.
CONTINUED:
SYKES
It followed him here. I told you
this was a mistake!
Beech, processing. All around the periphery, REACTION.
This is a disaster.
BEECH
Well well, we may be out of time.
Set the Drone to return to the Tet
upon reactivation. It needs to go
right to the center --
JACK
No! It will kill -
BEECH
(RAGING)
It will kill that ugly stain on
the sky. That's all! Now program
the Drone!
Soldiers push Jack towards the opened Drone. Jack stares
at the read-outs, the electronics. Sykes GRABS a weapon
from a female Scav soldier, lines it on Jack.
JACK
No. I won't do it.
SYKES
He won't help us. We bury them
both, make our run as soon as we
can load up.
JULIA
NO!!
Jack stares Sykes down.
JACK
You know I stare into weapons
every day, so you can put that
away. Because here's what I can
tell you...
(back to Beech)
If the Rover found us, the Drones
will too. Unless you want them to
find you, let me get somewhere
where I can send a signal.
Somewhere far from here.
Beech... caught.
(CONTINUED)
71
CONTINUED: ( 2)
BEECH
(IGNORING SYKES)
What's your plan, Jack? Tell the
Tet where we are, so they can send
a nice big welcome --
JACK
The Drones would kill you. Let me
try to stop that.
SYKES
You can't trust him!
JACK
(staying on Beech)
You're wasting time.
On Beech, Sykes...
TNT. RAVEN ROCK - MOMENTS LATER
Jack and Julia stand near the entrance to Raven Rock.
Sykes appears with the white rectangular box, tosses it
down in the dirt at Jack's feet.
Beech watches as Jack unfolds his motorcycle. Behind
them, other Scavs are packing up, readying an exodus.
JACK
I can fix this.
BEECH
Well, you're the repairman.
Jack powers up the bike and gets on. He looks at Julia
who hesitates, then she climbs on the back of the bike.
JACK
I'll get to the antenna, send a
signal with my location. The Tet
will call off the search. .You
should be safe, for now.
Jack starts to go.
BEECH
Jack... What if I told you that I
had been to your radiation zones.
And what I found there... Would
change everything you think you
know about the world.
(CONTINUED)
72.
CONTINUED:
Jack looks at him, hearing this. Then GUNS the bike.
Beech stares after them, the rooster-tail of Jack's bike
racing away across the ruined landscape.
SYKES
What makes you think he's any
different from the others?
Beech stares at him a moment, then back out.
BEECH
She does.
Beech turns away.
EXT. THE RUINED EARTH - DAY
Jack pilots the electric bike across STAGGERING
BEAUTIFUL VISTAS... LANDSCAPES OF THE IMAGINATION. On
the back of the bike, Julia takes in the incredible
beauty around her.
Finally, in the shadow of a jagged mountain, the BIKE
slows and STOPS. Jack checks the charge: it's dead.
They climb off and Jack leaves the bike where it lies,
headed off on foot.
JULIA
What happened...?
She's staring into the distance where an old WRECK of a
RESOURCE GATHERER lies shattered against a cliff-face.
JACK
The Scavs brought it down ten
years ago. All. this time, I
thought we were at war with the
Scavs... but it turns out we were
just killing each other.
He turns, heads off on foot. After a moment, she
follows.
EXT. CLIFF TOP - DAY
Jack and Julia reach the top of a high cliff, with what
looks like a METAL SPIRE protruding upwards at its edge.
(CONTINUED)
73.
CONTINUED:
We PASS OVER them, staring down a familiar 1,200-foot
waterfall. Jack has returned to the top of the Empire
State, this time approaching from above.
Together, they climb DOWN the craggy rock face. Two tiny
figures against a massive backdrop, a mortal fall below.
EXT. OBSERVATION DECK - DAY
Jack is the first to drop onto the cracked cement of the
deck. He moves forward, pulling the plastic and
camouflage off the transmitter and repeater. He gets to
work on the repeater. It's old tech, hard to make it
talk to the Bubbleship.
Julia stands a ways off. For a moment, their gazes meet,
then he continues working.
INT. SKY TOWER, COMAND CENTER - DAY
Victoria is hard at work, processing the sound that
caught her attention. She has it playing through the
whole sky tower: The SOUNDS are broken, static-like,
almost ALIEN. Strange and guttural.
Fingers fly over controls, making adjustments. This time
the sounds parse into WORDS. A male and a female voice.
Almost apprehensive, she pulls an electronic filter,
overlays it on the signal, which suddenly drops into
perfect clarit : A recording of Jack and Victoria, from
a different patrol.
VICTORIA'S VOICE
(LAUGHING)
.And I want a dishwasher, the
kind that you can put --
JACK'S VOICE
I don't think they'll have those
on Mars, Honey.
VICTORIA'S VOICE
Okay, fine. No dishwasher. How
about just you. All the time.
JACK'S VOICE
Yes. When we get there.
ON VICTORIA. Her face totally still. Strangely frozen
in the face of this sweet little exchange...
(CONTINUED)
74.
CONTINUED:
And then a SOB breaks from her lips. The kind you can't
control. Her fingers SHAKING, BADLY, she plays the
recording, puts it on a loop.
TNT. SKY TOWER - CONTINUOUS
The voices BOOM through the Sky Tower, over and over.
Frightening that their simplicity contrasts so much with
the effect they are having on Victoria who moves into the
main room, white as a sheet. She looks up as..
The Bubbleship lifts off from its platform and sails
into the sky. She watches it go, then rushes back
towards her station.
EXT. OBSERVATION DECK - DAY
Jack stares at the ESB Antenna, down at the repeater and
the line of code he hopes he's transmitting.
JULIA
What will you do now?
Jack doesn't answer. He moves to the edge of the deck,
stares out, unwilling to meet her eyes.
JACK
That old man is smart. Those fuel
cells, the way he's got them tied
in with your device... He could
blow the whole station.
JULIA
Jack, you can't turn them in.
He glances at her, shakes his head.
JACK
What do you want from me? I'm
just a repairman.
(BEAT)
This is bigger than me.
Jack moves off to a corner of the deck by the old
telescope. She follows him, steeling herself.
JULIA
(CAREFULLY)
You and I started the same year at
NASA.
(MORE)
(CONTINUED)
75.
CONTINUED:
JULIA (CONT'D)
It wasn't really about space for
me, it was about... what could be
out there. Life...
JACK
Look, stop, okay? Just --
JULIA
But for you, it was always the
stars. You wanted to fly further
and faster than any one else.
JACK
I don't know who you're talking
ABOUT --
JULIA
I'm talking about a man I knew,
who was fearless. A man who
wouldn't bow out of a fight, ever.
JACK
STOP! You and that old man have
this story... Except I know who I
am, okay? I know who I am!
JULIA
No, you don't. That thing
brainwashed you, it erased your
MEMORIES
He turns, starts to lean on the old telescope, draws
back, staring at the thing like it bit him.
JULIA (CONT'D)
That's right... What do you
remember?
INTERCUT: The auto-piloted Bubbleship skims over the
surface of downtown, headed towards the Empire State...
Jack is staring at the telescope, agitated, confused.
JACK
Why do I... what is it about this
place?
JULIA
Ten days before we got our go-
ahead, you asked me to meet you
here.
(CONTINUED)
76.
CONTINUED: ( 2)
INTERCUT: VICTORIA. Eager to find out where the
Bubbleship is headed, she punches up the live feed.
Julia comes close, puts a hand out, rests it on his
chest. She moves closer to him, searching his eyes.
JULIA (CONT'D)
Don't you remember what happened
here?
INTERCUT: The Bubbleship now moving UP the waterfall.
Victoria, leaning forward, watching the feeds...
Julia takes one of his hands, places it around her waist.
Moves closer still...
JACK
When I sleep. You're always
there.
She kisses him.
EXT. OBERVATION DECK - DAY (FLASHBACK)
A YOUNGER JULIA is staring out over glorious intact New
York City. Next to her, a YOUNGER JACK peers through the
telescope. Now he pulls away, turns to her...
YOUNGER JACK
There, right there. Take a look.
She smiles, puts her eye to the telescope.
YOUNGER JACK (CONT'D)
The tall billboard, with the girl
on it.
YOUNGER JULIA
Oh, okay. I don't understand.
YOUNGER JACK nervously produces an ENGAGEMENT RING from
his pocket.
YOUNGER JACK
Now, pan to the right, slowly...
YOUNGER JULIA'S POV - THROUGH THE TELESCOPE
PANNING over as he directed, to a billboard, half-covered
by a large canvas. The words "JULIA, WILL YOU MARRY ME?"
clear on the canvas.
(CONTINUED)
77.
CONTINUED:
YOUNGER JACK (CONT'D)
Julia...
She GASPS, looks over. There he is, holding the ring --
VRROOOOOM! THE SOUND OF A BUBBLE SHIP...
EXT. OBSERVATION DECK - DAY (PRESENT)
VROOOOMMMM! The Bubbleship RISES INTO VIEW directly in
front of them. Jack, kissing Julia, tries to break away,
confused, guilty. Julia holds on.
She reaches to her collar, pulls free a necklace, a
familiar ring dangles from it...
JULIA
There are a few pages missing, but
it's the same book.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria stares at the screen, the image of Jack kissing
Julia, then breaking away. She's strangely cold, like
there's simply nothing left to feel...
INT. BUBBLESHIP - MOMENTS LATER
Jack pilots the ship, a tense silence between he and
Julia. He checks a few readouts, then hits the Comm.
JACK
Vika, it's me. I'm... all right.
I'm coming in. Don't report in to
Mission, not until I get back.
No response. Dead air. Julia is pressed far back in her
seat, watching Jack.
INT. SKY TOWER, CONTROL STATION - CONTINUOUS
Victoria is still motionless. She hears Jack's calls on
the Comm, does nothing.
JACK'S VOICE
.I'm 20 minutes out.
A TONE makes Victoria look over. The Tet, checking in.
(CONTINUED)
78.
CONTINUED:
THE TET (TEXT ON SCREEN)
Mission requests status of
survivor.
VICTORIA
Go to hell.
Beat. Beat.
THE TET (TEXT ON SCREEN)
Did not copy.
(LONG BEAT)
Have you located your partner?
Vika is silent. The Tet waits for a response. It
doesn't get one. Finally:
THE TET (TEXT ON SCREEN) (CONT'D)
Are you still an effective team?
VICTORIA
(LIPS TREMBLING)
No.
A long painful silence. Tears flow without sobs.
Tet Comm Status: "COMMUNICATION ENDED."
Victoria. pushes away from the console, numb. As she
leaves the room, we STAY on the console...
which suddenly comes alive. Readouts go active, data
history starts to play. The Tet is accessing everything.
Visual and Voice recordings blaze by. Images, everything
the Bubbleship has seen. We see the image of Raven Rock
sent from the ROVER.
INT. SKY TOWER - CONTINUOUS
Victoria enters the Sky Tower, staring at it as if it was
all alien to her. As she moves through, she unzips her
jumpsuit, steps out of it, moves on. Her shirt, then
bra, land on the floor. She moves on...
EXT. SKY TOWER - TWILIGHT
JULIA and JACK step out of the Bubbleship, head towards
the interior of the Sky Tower. The whole thing has been
opened up. Wind blows freely through papers, magazines.
Vases have been blown over, water spilled.
(CONTINUED)
79.
CONTINUED:
There are petals, Rose petals, swirling everywhere.
EXT. SKY TOWER, GARDEN - CONTINUOUS
Jack comes out near the garden. It's been ripped to
shreds. What plants are left lie uprooted and broken.
Flowers strewn about. PETALS float off the side of the
sky tower and down into the clouds.
VICTORIA stands near the far edge, looking out. She's no
longer in her jumpsuit. She wears a beautiful flowing
dress which waves in the wind. Her hair is free.
JACK
Vika... the Scavs. They're
humans, like us. The war has
become some giant... mistake.
She turns. The heartbreak in her face clear.
VICTORIA
I saw you. I saw you two.
JACK
SHE'S --
VICTORIA
(shaking her head)
Stay away from me with the truth!
I don't want the truth. I
preferred oblivion.
Victoria looks up, sees Julia in the distance...
VICTORIA (CONT'D)
You never really loved me, did
you, Jack?
His silence is LOUD. She LAUGHS, tears flowing...
JACK
(broken for her)
Vika, she was my wife.
She looks at the infinite sky, the clouds, and as the TET
appears... He steps towards her and she backs towards
the edge.
VICTORIA
I told them. The drones will be
here. For her. For you.
(CONTINUED)
80.
CONTINUED:
Jack feels the sting of this betrayal, but quickly
accepts it.
JACK
Then come with me.
(she shakes no)
Don't you see what it means?
There are still people, living on
Earth. Surviving on earth.
People like us.
Victoria hears that and laughs, bitter.
JACK (CONT'D)
Vika?
Her laughter dies. She looks at him, strangely calm,
beautiful in this moment.
VICTORIA
Oh, Jack. I think they made us.
Victoria steps backwards. Jack LUNGES forward.
JACK
NOOO1
PETALS are falling towards us from the skytower, and
then, so is VICTORIA.
EXT. SKY TOWER CONTINUOUS
Jack stares after Victoria for one terrible beat, then
falls to his knees. Not yet feeling, in shock. Julia
approaches, slowly...
He turns at her so fast she's afraid and steps back but
he blows right by her, into
INT. SKY TOWER, CONTROL STATION - MOMENTS LATER
Jack enters Victoria's station. Trespassing in a space
that doesn't belong to him. His eyes play over the room:
A cup of coffee, now cold. A jacket on the back of her
chair. On a monitor, a wavelength plays silently. The
signal she descrambled.
He looks at the Tet Communication Device. We realize
he's never spoken directly to the Tet before.
(CONTINUED)
81
CONTINUED:
JACK
This is Technician Jack Harper.
The signal goes out. Beat. Beat...
THE TET (TEXT ON SCREEN)
Where is your Control Officer?
JACK
She's dead.
THE TET (TEXT ON SCREEN)
Prep the survivor for immediate
evac.
JACK
Did you hear what I said? She's
dead!
THE TET (TEXT ON SCREEN)
Prep the survivor for immediate
evac. You will be reassigned.
JACK
I want to talk to somebody.
Beat.
THE TET (TEXT ON SCREEN)
It'll be good to have you back.
JACK
DAMN YOU! I want to hear your
voice!
Beat. Beat. Tet Comm Status: "Communication Ended."
He stares at this last transmission. Then looks up to
the big map. From all over the sector, DRONES are
closing on the Sky Tower. Closing on him.
EXT. SKY TOWER, BUBBLESHIP PAD - MOMENTS LATER
Jack comes back out, heading towards the ship. Julia
puts out a hand to him.
JACK
We have to go.
82.
TNT/EXT. BUBBLESHIP - CONTINUOUS
Jack and Julia streak across the sky in the Bubbleship.
On the heads-up display, they can clearly see the
radiation border marked RED in front of them, and the two
DRONES closing behind them.
JULIA
Where are we going?
JACK
Beech said to look in the
radiation zones. I have to go
there.
JULIA
And if he's just a crazy old man?
Jack looks at her. It'd be a funny moment, but it's not.
JACK
I've been wrong about everything
else.
He dives the ship towards the clouds below.
EXT. CANYON - MORNING
Drones shoot down a canyon towards RAVEN ROCK.
INT. BUBBLESHIP - CONTINUOUS
The Bubbleship BURSTS through clouds. Up ahead, the
familiar RIDGELINE is approaching...
AND THREE DRONES WATTTNG.
Jack HAULS the ship over as the Drones bear down on them
OPENING UP. We recognize one: Drone 166.
Canon fire ROCKS the Bubbleship, pieces blowing off.
Jack REVOLVES THE CANOPY to return fire. A Drone
EXPLODES but Drone 166 and another blast through the
smoke, firing.
83.
INT. RAVEN ROCK - CONTINUOUS
Everything has been packed, loaded, ready to leave.
Beech watches Sykes supervise the final lashing of the
BOMB onto a sled. Beech gives a command and the great
steel door groans OPEN, revealing...
SIX DRONES, waiting. Their weapons POWERING UP.
ON BEECH, a final realization washing over him.
EXT. OPEN SKY - CONTINUOUS
Jack SPINS the ship, evading pursuit, even as he checks
his heads-up, tracks the two Sky Tower Drones closing
from behind. He hauls over, pursuing Drones turning with
him, firing as the two Drones burst out of cloud cover
FAST, MID-AIR COLLISION, two more Drones go down!
Jack hits the brakes. Another Drone overshoots him,
pulls up. Jack sites the Drone, starts to fire...
The Bubbleship is raked with fire! Drone 166 is right on
them and firing. The canopy is hit! CRACKS spider-web
across it. A canon is blown clean off.
Jack tries his remaining weapon. It's dead.
WITH DRONE 166
It pulls out of an arc, ACCELERATES, closing on the
Bubbleship as the Bubbleship tears away into a cloud
bank, goes in. Drone 166 follows, seconds behind.
Drone 166 EMERGES from the cloud bank into open air, its
cannon lining on... nothing. Empty sky. It REVOLVES
quickly, sensing for ...
SMASH! Jack's Bubbleship IMPACTS the Drone from above,
the ship's manacles designed for transporting broken
Drones CLAMPING ON. Suddenly the two vessels are LOCKED.
And the Drone goes wild. It's engines THRUSTING,
fighting against the counter-force of the Bubbleship's
engines. The Drones GUNS BLASTING in every direction,
but unable to elevate to hit the Bubbleship.
INSIDE THE BUBBLESHIP. Julia screams as the ship tumbles
end over end. Jack stays on the controls, tracking the
last Drone closing from above.
(CONTINUED)
84.
CONTINUED:
Jack FORCES Drone and ship to turn, turning Drone 166's
canon on the last Drone which EXPLODES.
JACK
There...
He punches the throttle. The Bubbleship with Drone 166
attached blasts in the direction of A CLIFF FACE.
DRONE 166 gets free of one restraint, rotates so its
cannon come to bear on part of the undercarriage. OPENS
UP, blasting the storage to bits...
And Jack PULLS UP, just clearing the ridge, Drone 166
IMPACTING ROCK. The Drone blasts clear through, CRASHES
ONTO VOLCANIC ROCK.
INT. THE BUBBLESHIPP - CONTINUOUS
Jack and Julia in the damaged, smoking, now-shaking ship.
JACK
You okay?
JULIA
No.
Jack nods, turns the ship north again. The Bubbleship
shaking and smoking. Up ahead, the RIDGELINE
approaching.
WARNING ALARMS trigger on the Bubbleship's display
Claxon-like.
JULIA (CONT'D)
What is that?
JACK
Radiation warning. We're five
clicks from the border.
Jack makes an adjustment, the Bubbleship SURGES with more
speed. It sounds like it's going to tear itself apart.
EXT. ROCKS NEAR CRATER LAKE - CONTINUOUS
The smashed Drone 166 POWERS BACK UP. A moment as it
runs its systems, then BLASTS OFF in pursuit.
85.
INT. BUBBLESHIP - CONTINUOUS
On the heads-up, they can see Drone 166 coming up behind
them, closing FAST. Jack touches a familiar button. The
Bar-guage for his extra boost starts to fill...
FROM BEHIND THEM, blasts go wide. Drone 166 is firing,
missing.
The bar gauge FALTERS, something broken. Jack SLAMS the
dash. Gauge keeps rising. The Bubbleship starts to buck
as RED WARNING TEXT STREAMS ACROSS THE CANOPY: "LETHAL
RADIATION LEVELS APPROACHING. DO NOT ENTER."
JULIA
Jack...
JACK
I got this.
Jack hits it. They're both propelled back into their
seats. The radiation zone coming up fast... They CROSS
INTO THE ZONE!!
.and the Bubbleship goes completely DEAD.
Jack works controls, punches at the display. But there's
nothing. Just the whistling sound of wind...
JACK (CONT'D)
Bob! BOB! What are you doing
Bob!!!!!
Bob just bobbles... BLAM! BLAM BLAM!! The blasts from
Drone 166 impact them, helpless.
JACK (CONT'D)
Hold on!!
Jack grabs a level, a mechanical lever, and HAULS IT UP.
THE COCKPIT OF THE SHIP SEPARATES FROM THE BODY. The
dead body of the ship tumbles backwards as Drone 166
BLASTS IT, tries to pull up but the Bubbleship IMPACTS
Drone 166 which SPINS OUT OF CONTROL towards the ground.
THE BUBBLESHIP COCKPIT skims the surface, IMPACTS a
ridge, blasting through it. It hits another ridge, the
canopy shattering, earth piling in on them as they
finally grid to a stop.
Jack groans, leans to checks that Julia is okay. She's
coughing, dazed, but alive.
86.
EXT. RADIATION ZONE - CONTINUOUS
Jack opens the canopy door. It falls off. He stumbles
out, himself still dazed. Wind and sand blow around him.
CLOSE ON JACK. He breathes in. Breathes again. Waiting
for a painful death, that doesn't arrive.
JACK
Son of a bitch, old man...
Words die on his lips as he tracks the plume of smoke
from the downed Drone 166, lifting over a nearby ridge.
He turns back to the ruined ship, grabs his carbine.
JACK (CONT'D)
Stay here.
Jack runs towards the smoke which is already being blown
clear by a rising sand storm. He flops down in the dirt
at the top of the rise, bringing his weapon up.
JACK'S POV - DRONE 166. It lies smashed and smoking at
the bottom of an incline. Finally dead. The wind and
sand are beginning to whistle now, growing intensity...
Jack starts to stand... when a FAMILIAR SOUND makes him
turn.
THAT OF A BUBBLESHIP.
Jack hits the dirt as A BUBBLESHIP, just like Jack's,
screams overhead and lands next to the DRONE, in a moment
eerily reminiscent of the first scene of the film.
Below, a MAN gets out of the second Bubbleship. He wears
the same kind of suit as Jack. ANOTHER REPAIR MAN. He's
got a bandana wrapped around his lower face to shield him
from the sandstorm.
Jack reaches for his BINOCS, bring them to his face only
to find the lenses shattered.
Reaching the downed Drone, the MAN kneels next to it and
in a familiar fashion begins utilizing his tools to fix
Drone 166. He locks a damaged cannon back into place,
tightens it...
Jack suddenly realizes what the man's doing. He stands,
the wind now blasting in his direction, he starts running
down the hill towards the man.
(CONTINUED)
87.
CONTINUED:
JACK (CONT'D)
Hey! Hey, wait! Stop! Don't
touch that Drone!
His words are eaten up by the wind and sand. He rushes
forward.
WITH THE REPAIRMAN. We only see his hands as he works on
Drone 166. He's very good. Even in the growing
sandstorm he clips out a ruined board, slots a new one
in. Runs a by-pass around a wire-bundle.
The Repairman's fingers go to a familiar switch to
activate the Drone...
JACK'S VOICE
No! Wait!
The Repairman hears the voice, even as he flips the
switch. He LEAPS BACK, spinning around, his carbine
coming off his back, lined on Jack fifteen feet away who
STARES BACK AT HIM IN UTTER ASTONISHMENT.
JACK'S POV -- THE REPAIRMAN. Holding the weapon on him.
The man is Jack. A cleaner, newer, but identical version
of Jack... A CLONE.
Jack stares, transfixed. Now it all makes sense: The
Garbled transmissions, Victoria's last words, who or what
he really is, and is not.
Not so for Jack 2. He takes a step back, confused,
horrified. A tense moment.
JULIA'S VOICE
Jack!?
Julia has just crested the rise, sees the two Jack's.
Also understanding...
JACK
Julia! Stay back!
Jack 2 senses her movement, SPINS and AIMS his rifle as
Jack rushes forward --
JACK (CONT'D)
No!
-- He HITS JACK 2 and they both go down, the weapon
FIRING! They fight over the weapon.
(CONTINUED)
88.
CONTINUED: ( 2)
Blow for blow combat, their physical strength and
training identical, the only exception being that JACK 2
is fresh, his suit immaculate, a man who has just arrived
at work, maybe just arrived on the planet.
WITH JULIA. Standing, watching the two clones fight...
she suddenly drops to her knees, her hand on her side.
Blood seeps between her fingers. She's been shot, badly.
WITH JACK AND JACK 2. Jack grapples with Jack 2, trying
to control him...
JACK (CONT'D)
STOP! You have to understand! You
have to understand...
Jack 2 throws Jack, leaps on top of him, trying to
throttle him, in a full panic. Jack drives up into his
gut, rolls away.
JACK (CONT'D)
We're just Drones! We're just
Drones, man! You and me! Don't
you get it? Don't you know?
Jack 2 comes at Jack wildly, emotion over-amping
technique. Jack DUCKS the blow, wraps Jack 2 up in a
choke-hold. SQUEEZING...
JACK (CONT'D)
It's okay. It's going to be
okay...
Jack 2 goes limp, unconscious. Jack lets him go,
staggers back. Everything finally processing. Then:
JACK (CONT'D)
Julia...
He turns towards Julia, sees her kneeling there, holding
her side. The blood seeping between her fingers...
JACK runs to her as she begins to fall. She is conscious,
but just barely. But still, she PULLS BACK from him.
JULIA
(HORRIFIED)
Don't touch me. Don't
She lurches away from him, body running on fear and
adrenaline. Jack nods, accepting her terror of him.
(CONTINUED)
89.
CONTINUED: ( 3)
He moves forward, lifts her up against her willand
carries her to shelter among the rocky terrain closeby.
EXT. SMALL ROCKY ENCLAVE - CONTINUOUS
Jack sets her down. There's blood frosting her lips and
her skin has gone pale. He looks back, sees the
Bubbleship and Jack 2's form lying next to it. He
realizes something.
JACK
I'll be back for you.
INT. BUBBLE SHIP 2 - MOMENTS LATER
Jack climbs in, looks around at the interior of the ship,
at the similarities. He stares out at the unconscious
Jack 2 in front of the ship.
JACK
(EMPTY WORDS)
One, Two, Three. Jack Harper.
A moment... then lights sparkle across the board.
JACK (CONT'D)
Okay... Let's go home.
The Bubbleship 2 lifts off.
INT/EXT. BUBBLESHIP 2 - DAY (LATER)
ON JACK. Making the approach. And then he sees it:
Another Sky Tower, just like his. It had to be there.
The Bubbleship closes on this new Sky Tower.
EXT. SKY TOWER 2, GARDEN - DAY
A woman we know but do not know is starting her new
garden. VICTORIA 2. She looks happier, a little younger
and more radiant than the Victoria we knew. It's earlier
in their tour.
Victoria 2 looks up as the Bubbleship lands. SMILES as
Jack gets out and crosses the bridge towards her.
VICTORIA 2
You're early...
(CONTINUED)
90
CONTINUED:
As he approaches she notices his damaged environmental
suit.
VICTORIA 2 (CONT'D)
What happened out there? I lost
contact.
JACK stares at her, heartbroken.
JACK
.Just a bit of a dust up.
VICTORIA 2
Are you all right?
He nods. She comes over to him. He marvels at her
beauty, the simplicity of life here...
VICTORIA 2 (CONT'D)
(SELF-CONSCIOUS)
.What?
She comes close, brushes his hair away from his forehead.
VICTORIA 2 (CONT'D)
You dreamed a lot last night. I
was thinking, you have to start
writing them down.
JACK
I cut myself, I just came by
for...
VICTORIA 2
I'll get it.
JACK
No, I'll get it.
He kisses her. Gentle, loving...
JACK (CONT'D)
I'll get it. You stay here.
And as JACK goes into the sky tower, she returns to
happily planting her roses. Oblivious.
INT. SKY TOWER 2, WORK AREA - MOMENTS LATER
As Jack heads through his work area he sees A COLLECTION.
Just started, but not much different from his own.
(CONTINUED)
91
CONTINUED:
Some coins, a book, THE COLLECTED POEMS OF T.S. ELLIOT,
left open to a page, a passage underlined. He reads:
We shall not ceasefromexploration
And the end of allourexploring
will be to arrivewherewe first started
and know the placeforthe first time.
He nods, strangely moved, moves on.
INT. SKY TOWER 2, INFIRMARY - CONTINUOUS
He grabs the healant and wand. He shuts the cabinet,
stares at his reflection in the burnished steel.
INT. SKY TOWER 2, READY ROOM - CONTINUOUS
He opens the door to the locker. Stares at the brand-
new, unworn picture of he and Victoria, taped to the
inside of the door.
INT. SKY TOWER 2 - MOMENTS LATER
Jack comes out into the living area of Sky Tower 2,
noticing everything: The furniture, the big things are
exactly the same, but the little personal touches, the
smaller details are different.
He sees it all in a different light now. Things that he
never looked twice at before. The items used to keep
them from the truth.
Victoria 2 comes in from outside, washes her hands.
VICTORIA 2
We should watch a movie tonight.
He sits, looking around himself. He belongs here. He
fits here. Victoria munches on something.
VICTORIA 2 (CONT'D)
I was going over the catalog and
there's still a bunch of your
favorites I haven't seen...
She glances over, smiles. Who wouldn't forget everything
for that smile?
92.
INT. BUBBLESHIP 2 - MOMENTS LATER
Jack stares down as the Bubbleship LIFTS OFF from Sky
Tower 2. He sees Victoria 2 come out, looking at him
puzzled. Then she moves towards her Control Station.
After a moment, her voice comes over the Comm.
VICTORIA 2
Hey, you didn't say goodbye.
JACK
(BEAT)
Good bye...
He turns the Bubbleship, towards
EXT. RADIATION ZONE - DAY
Jack touches down in the second Bubbleship. Drone 166
still lies there, but Jack 2 is GONE.
EXT. SMALL ROCKY ENCLAVE - DAY
Jack clambers into the enclave to where he left Julia.
She's passed out, she looks dead. There's blood on the
ground around her.
He pulls her into his lap, pulling away the clothing
around the wound. As he does, her eyes flutter open.
She's delirious, eyes fixing on him.
JACK
This is gonna pinch a little.
JULIA
(NOT PROCESSING)
Okay...
He spreads the HEALANT over her wound, activates it. For
a moment, nothing. Then the skin starts to knit.
And Julia starts to SCREAM...
INT. BUBBLESHIP 2 - LATER
Julia is unconscious, propped in the passenger seat of
the ship. Jack climbs in, jams Bob the Bobblehead onto
the dash. It bobbles at him, ready.
Jack hits the gas and the Bubbleship lifts into the air.
93.
INT. BUBBLESHIP 2 - DAY
The Bubbleship soars through the sky. There's something
particularly calm, picturesque, exquisitely beautiful
about the earth below.
Jack pilots. In the seat next to him, Julia is pale,
propped against the canopy, recovering. She watches him.
He's aware of her gaze, but he doesn't look over.
INT. CRATER LAKE, GROTTO - SUNSET
Julia weakly stands amidst the tarped supplies, aware
she's trespassing somewhere utterly private. Outside,
the sound of Jack splitting wood. She takes in the
books, the records, the mementos of the past. Sees the
Jammer up and working...
Jack comes in, gets to work piling wood in the fireplace.
He won't meet her eyes. Scared of himself, ashamed in
front of her...
JACK
I always thought that plateau up
there could be for a house
someday. I thought about
remaining here, letting the rest
of humanity run off to Mars. And
we'd just stay here.
Jack stops himself, realizing how easily he said "we."
JULIA
I'm sorry. Jack...
JACK
No.
He moves away from her, lights the fire, it starts to
crackle. He gets up and goes, walking down to the lake.
She stands near the fire, glad for its warmth, watching
him out there, silhouetted in front of the lake.
WITH JACK. He stares out over the water. Letting the
truth wash over him.
And then MUSIC from the grotto... the opening bars to the
Temptation's "My Girl."
94.
INT. GROTTO, CRATER LAKE -- NIGHT
Julia stands by the record player, watching the disc
revolve. She looks up when Jack's form appears in the
doorway. He's been out there too long, cold.
JULIA
He loved this song.
Jack sits, shivering, looking out at the lake. She moves
to him, wraps a blanket around him.
JACK
What was he like?
JULIA
He was arrogant, and annoying, and
the best man I'd ever known.
Some distant part of Jack smiles at that.
JULIA (CONT'D)
.And I loved him.
JACK
I'm not that man.
JULIA
Shhhhh. Yes you are.
She rests her head against on his shoulder, holds him.
Simple, caring. His eyes... close.
INT. MISSION CONTROL, NASA - EVENING (FLASHBACK)
A group of ASTRONAUTS and NASA CONTROLLERS are
celebrating. A television screen reads: "Odyssey Mission
a GO!"
A YOUNGER JACK and JULIA are among the people
celebrating. As an ASTRONAUT pops champagne, Jack and
Julia find a private alcove, he lifts out the engagement
ring that she wears on the necklace around her neck...
YOUNGER JACK
We should just tell everybody.
YOUNGER JULIA
No, when we come home...
They KISS...
95.
TNT. A DARK ROOM - NIGHT
Their bodies entwined. Kissing, touching. Clothing
pulled away. Staring into each other's eyes.
INT. NASA CREW APARTMENT - EARLY DAWN
Younger Jack stares out the window at the Odyssey on its
launchpad in the distance. Steam rolls off its engines.
It's being readied to launch.
YOUNGER JULIA
Hey...
He looks over, smiles. She's naked under the sheets,
happy, smiling back at him.
EXT. CRATER LAKE - MORNING (PRESENT)
Jack's eyes blink open. Julia is asleep near him,
peaceful. He turns, stares into the lightening morning
sky. The Tet rising with the sun.
EXT. CRATER LAKE -- MORNING
Jack walks to the water's edge. He stares at the
reflection of the Tet in the glassy surface of the lake.
And under that, a fish, nibbling algae...
He smiles at the fish.
JULIA (O.S. )
Good morning.
He turns. She's there, arms held around herself against
the chill of morning. They look at each other, so much
to be said.
JACK
We can't stay here.
She smiles, nods.
INT. BUBBLESHIP 2 - DAY
Jack and Julia fly low over terrain. As the Bubbleship
crests a rise and drops down into a steep canyon, she
takes his hand. He glances at her, lets his hand stay in
hers. The entrance to Raven Rock looms ahead...
(CONTINUED)
96.
CONTINUED:
His eyes narrow. There's SMOKE, drifting from inside
Raven Rock.
EXT. RAVEN ROCK - DAY
As the Bubbleship touches down, the carnage becomes
clear. A few shattered DRONES lie here and there, but
there are bodies and smoking blast points everywhere.
JACK grabs his carbine, heading inside.
JACK
Stay here...
INT. RAVEN ROCK - DAY
As Jack moves into the darkness of the ruined Raven Rock,
his suit's lights blaze on. He moves in, weapon ready.
Bodies are everywhere, blasted to pieces.
FIRES still burn here and there. Paint bubbles on
burning canvas. Records melt and drip in the heat...
Jack turns a corner, finds Sykes STARING AT HIM! But his
eyes are dead. Sykes still holds a spear implanted in a
Drone's wrecked body.
A FLICKERING LIGHT draws Jack's attention.
INT. RAVEN ROCK, CHAMBER - CONTINUOUS
BEECH is slumped in a chair, blastburnt, clutching a
charred black box in his arms. His eyes half-lidded, he
STARES AT:
Newsreel footage, from when the Tet arrived. On the
screen crowds stare, the UN meets, Cults form.
THE MOON in the sky, its surface VIBRATES, then starts to
come apart. People SCREAM... Cutting to War Footage.
Alien Troop-ships touching down, their design distinctly
Tet-like. They discharge waves of warriors...
CLOSE ON: Hand held, war-journalism. We see the alien
soldiers pushing back resistance. All of them are
versions of Jack. One sights the cameraman, BLAM! Blows
him away. Camera hits dirt..
SMASH! Jack is there next to Beech. He's just pushed
the projector over.
(CONTINUED)
97.
CONTINUED:
BEECH
(not looking up)
The first ones were soldiers,
programmed only to kill.
Beech slowly, painfully, looks at him. Little emotion in
Beech, just resigned recognition.
BEECH (CONT'D)
Later, there were new versions.
More... creative. The Tet needed
something different. And finally
there was... you.
JACK
I'm the weapon of this war.
BEECH smiles sardonic, nods.
BEECH
The Tet. The clockmaker God.
Such brilliant, complex
machinery... For such a simple
task. To steal our water, our
life... all for fuel.
(BEAT)
It doesn't even care about us.
It's just... effective.
JACK
Why didn't you tell me?
BEECH
Not the kind of news that.
(coughing up blood)
.motivates a man.
Beat,then low, defeated.
BEECH (CONT'D)
We lost, Jack. It won.
JACK
The device...?
BEECH
(shaking his head)
No Drone. It will go on,
devouring world, after world...
(BEAT)
You like books, Jack.
Beech closes his eyes, recalling from memory...
(CONTINUED)
98.
CONTINUED: ( 2)
BEECH (CONT'D)
"Cowards die many times before
their deaths; The valient never
taste of death but once."
Beech's voice trails off...
Jack kneels in front of Beech. The old man's eyes are
open, fixed on the artwork, the remnants of humanity...
But they don't blink any longer. Beech is dead.
Jack reaches up, closes Beech's eyes. He removes the box
from Beech's arms: The flight recorder from the odyssey.
JULIA'S VOICE
There is a way.
Julia stands in the doorway to the library.
JULIA
It wants me. Bring me to it.
(off his silence)
I'm right. You know I am. It's
the only way.
INT. WORK HANGER, RAVEN ROCK - MOMENTS LATER
The room destroyed. The disassembled Drone a smoking
hulk. Jack works in front of an open Delta Sleep Pod
from the Odyssey. He HAULS the cylindrical BOMB to the
Pod, slots it into the space for personal effects...
JULIA
Is it ready?
Julia is standing at the entrance to the room. He nods
and she approaches, STARES at what will be her coffin.
JACK
Julia...
JULIA
Let's just do it.
She moves to climb in, then turns to Jack and kisses him.
It's a kiss filled with a lifetime of kisses missed.
Finally, it breaks. She backs away, into the Pod, next
to the BOMB. Trembling as the door starts to CLOSE.
Suddenly, she's very scared. Fighting back panic.
(CONTINUED)
99.
CONTINUED:
JULIA (CONT'D)
Jack... Jack!!
The door closes, SEALS. Jack stares down at her through
the carapace. He puts a hand on the glass. She puts
hers on the other side.
JULIA (CONT'D)
.I got this.
He touches a button and a pale gas starts to fill the
chamber. Julia realizes that this will be her last
moment of consciousness. Trembling, crying, afraid...
JULIA (CONT'D)
Jack...
And she falls asleep. Jack stares at her sleeping form.
JACK
Dream about us.
EXT. RAVEN ROCK - LATER
Wind tearing at him, JACK loads the sleep pod onto the
drone-carrier of the Bubbleship.
TNT/EXT. BUBBLESHIP, OUTTER ATMOSPHERE - LATER
The Bubbleship hovers high above the clouds, the Delta
Pod attached beneath it. Jack STARES down at the earth.
He hits a control and the ship rotates, so it's facing
upwards towards the Tet which fills the sky above. Jack
touches the throttle and the Bubbleship begins to CLIMB.
Jack has the odyssey flight recorder on the seat next to
him. He touches a control and THE AUDIO fills the
canopy. It's distant, fuzzy, recorded from deep space.
Jack listens as the Tet grows in size in front of him.
ORIGINAL JACK'S VOICE
Good morning folks, this is
captain Jack Harper here in the
cockpit. We're settling in at a
cool one hundred and fifty clicks
from the unidentified flying
object...
100.
INT. SPACE SHUTTLE ODYSSEY - NO TIME ( FLASHBACK)
The ORIGINAL JACK in the Pilot's seat, ORIGINAL VICTORIA
next to him, co-piloting. Jack GRINS as he peers out at
the Tet, just a small geometry among the stars...
ORIGINAL JACK
(to Mission Control)
So far, from this distance, we're
still reading zero heat
signatures, no sign of organic
life. Did I mention we're still
really far away?
ORIGINAL VICTORIA
Mission plan has us approaching to
one hundred kilometers, doing our
initial readouts...
ORIGINAL JACK
Yes, because everyone knows, if
you want to really know something,
one hundred kilometers is the best
DISTANCE --
ORIGINAL VICTORIA
Stop. We don't know what it is,
if it has intentions.
ORIGINAL JACK
(to Mission Control)
I think she just made my point --
INT. BUBBLESHIP 2 - CONTINUOUS (PRESENT)
Jack touches a control, the sound from the recorder FAST
FORWARDS. Hours and hours of time on the odyssey fly by.
The Bubbleship has reached the stratosphere where the
blue sky gives way to black space. We see the small ship
detach from the blue curve of earth, the blackness of
space in front of it.
JACK
Bob, let's prep for outer
atmosphere.
OUTSIDE, the Bubbleship starts to transform for outer
space as it RISES higher and higher...
(CONTINUED)
101.
CONTINUED:
THE TET
(a metallic voice)
Technician Harper.
JACK
Finally. There you are.
THE TET
Your ship has converted to space
mode. This is not authorized.
JACK
I am delivering the survivor from
the crash of the NASA ship.
ON JACK. The Tet reflected in his eyes.
JACK (CONT'D)
We are... a more effective team.
THE TET
.Proceed.
Jack... exhales. The TINY BUBBLESHIP climbs towards the
massive artificial moon as the audio from the flight
recorder surrounds him again...
ORIGINAL JACK'S VOICE
-- We don't know if we're dealing
with E.T. or the Klingons here,
and we're not going to from this
distance.
INT. SPACE SHUTTLE ODYSSEY NO TIME (FLASHBACK)
The ORIGINAL JACK and ORIGINAL VICTORIA, in a friendly
argument.
ORIGINAL VICTORIA
It could be inert. Anything on it
could be long gone by now.
ORIGINAL JACK
Which is why we need to make
contact, before it just blows on
by like some...
ORIGINAL VICTORIA
Which is why we need to make
contact.
(CONTINUED)
102.
CONTINUED:
He double-takes, relieved that she finally agrees with
him, smiles.
ORIGINAL VICTORIA (CONT'D)
(to Mission Control)
I agree with Commander Harper. It
crossed whatever light years of
space and time to come this close
to us. We're not going to really
know anything about it from this
far away.
INT. BUBBLESHIP 2 - CONTINUOUS PRESENT
Jack sits in the Bubbleship, the Tet looming above, the
voices surrounding him.., remembering.
INT. ODYSSEY SPACE SHUTTLE - NO TIME (FLASHBACK)
They must have been given clearance to approach, because
the Tet now FILLS the view in front of them.
ORIGINAL VICTORIA
Mission control says maintain one
thousand meters.
Original Jack touches a control. The Shuttle pushes
forward, a little.
ORIGINAL VICTORIA (CONT'D)
What are you doing?
ORIGINAL JACK
This is a once in a lifetime
opportunity.
ORIGINAL VICTORIA
We have our orders, Jack. We're
to let it proceed without --
ORIGINAL JACK
We are. We're going to let it
proceed whereever it's going...
He lifts out of his seat, floats back towards the mid-
section of the Shuttle.
ORIGINAL VICTORIA
Jack...
(CONTINUED)
103.
CONTINUED:
He's already pulling on a spacesuit. Near him is the row
of Delta Sleep Pods. In the nearest one, he can see
Julia, asleep. He puts his hand on the glass...
ORIGINAL JACK
I'll be right back...
ORIGINAL, VICTORIA
Are we really going to do this?
He looks over. original Victoria is already pulling on
her spacesuit...
A last glance back at Julia, then he turns away. He
smiles at Victoria, drifts next to her, pulling out a
small camera and pointing it back at the two of them...
JACK
Let's make history.
FLASH. The birth of the picture of the two of them, eyes
filled with anticipation. The photo in Jack's locker.
EXT. THE ODYSSEY IN SPACE - NO TIME
The shuttle airlock cracks. Two figures in Space Suits
emerge. Small puffs of gas, they head towards...
REVERSE ANGLE. The Tet MASSIVE in front of them. Their
small forms shrinking at they approach it.
CLOSE ON JACK. His face seen through his visor as they
approach. Filled with wonder. The dark shadow of the
Tet crossing over him, blacking out everything.
INT. BUBBLE SHIP 2 --- CONTINUOUS PRESENT
Our Jack sits at the controls, the Tet now similarly
massive in front of him, blotting out all other sight.
He glances at the Bobblehead, which trembles from the
ship's engines.
JACK
It's okay Bob, I'm scared too.
In front of him, a SLOT opens in the Tet wall.
THE TET
Enter at headway speed only.
(CONTINUED)
104.
CONTINUED:
JACK
Entering at headway speed.
He flies into the Tet, carrying the POD.
INT. THE TET, OUTTER CHAMBERS - CONTINUOUS
The TET is obviously of alien manufacture. In this huge
bay, other BUBBLESHIPS are being constructed, welded
together, by Drones. JACK drifts above all of this.
THE TET
Leave the survivor and return to
your duties. Breathable
atmosphere has been provided.
A PAD is illuminated for Jack to land.
JACK
(SMALL SMILE)
Understood.
Jack continues on, towards a huge DOOR.
THE TET
Leave the survivor and return to
your duties.
JACK
(touching a control)
You know, you made a mistake, Tet.
You left me curious.
THE TET
Reverse course. Leave the --
JACK
And right now, I want to see what
you're made of...
Jack GUNS his ship at the large doors, OPENING UP with
canons as he does.
In front of him, the door IMPLODES just as Jack's ship
reaches it, passing into...
INT. THE TET, INTERNAL CHAMBER - CONTINUOUS
A VAST space, miles in every direction. Jack's ships
STREAKS along walls that pulse with energy...
(CONTINUED)
105.
CONTINUED:
JACK
Do you like books, Tet!? I like
books. Can I tell you something
that I read?
BEHIND THE BUBBLESHIP. DRONES detach from the walls of
the Tet, beginning pursuit.
JACK (CONT'D)
It's a story from Rome, a very
great city, that you destroyed.
The Bubbleship hauls over, headed deeper into the Tet.
EXT. RADIATION ZONE - CONTINUOUS
Drone 166 sits inert in the sand where we last saw it.
Now it RISES UP with a familiar and evil sound. It moves
off, searching...
INT. THE TET, INTERNAL CHAMBER - CONTINUOUS
JACK's flies as never before. Drone fire reaching him!
Blasts IMPACT the Bubbleship.
JACK
There was a guy named Horatius...
and he held a bridge, alone. And
when they told him to run, to give
up, he said --
BOOM! A drone blast EXPLODES A whole engine of the ship.
The Bubbleship goes into an uncontrollable SPIN, headed
straight at a WALL...
JACK (CONT'D)
He said everybody dies. The thing
is, to die well...
SMASH! Jack's ship IMPACTS the wall, goes halfway
through. The Canopy SHATTERS. Glass and debris tear at
him.
INT. THE TET, INCUBATION CHAMBER - CONTINUOUS
Jack STUMBLES OUT, badly wounded. He drags the pod off
the carrier. He looks around himself, sees:
(CONTINUED)
106.
CONTINUED:
ROW UPON ROW of EMPTY GLASS PODS. He tracks the walls,
until near him... there are a dozen with Jack and
Victoria clones still inside.
BEHIND HIM Drones BLAST away from behind the Bubbleship.
Jack stares at the clones, LAUGHS morbidly.
JACK
.What Horatius said, what his
argument was, was this...
He opens the pod, revealing...
-- BEECH'S BODY, and on his chest the raw BOMB. The
nuclear warhead from the odyssey surrounded by ten
Deuterium fuel cells.
THE TET
That is not the Survivor.
JACK
No.
BEHIND HIM. The Drones blast away the last bit of the
Bubbleship, push through...
EXT. CRATER LAKE - DAY
A Delta Sleep Pod rests in front of Jack's ruined Grotto,
near the lake's edge. A TIMER now reaches ZERO.
The Delta Pod unseals with a HISSS, its door opening.
Soft daylight falls on Julia's face. Her eyes move under
their lids, then flicker open..
INT. THE TET, INCUBATION CHAMBER - CONTINUOUS
Jack sees the DRONES swarming towards him. He starts to
recite, but falters. He's really scared.
JACK
How can a man die...
TNT. CRATER LAKE - CONTINUOUS
Julia emerges from the Pod, confused, looking around.
JULIA
Jack?
(CONTINUED)
107.
CONTINUED:
She sees the metal cylinder, releases it and it tumbles
to the ground.
She crouches by it, opens it. Whatever she sees moves
her to tears as IN FRONT OF HER, the form of Drone 166
rises into view. Its weapons trained on her.
She looks up, right at it, resigned...
INT. THE TET, INCUBATION CHAMBER - CONTINUOUS
As the Drones swarm down, Jack closes his eyes, recites
without embellishment. The way these words were meant to
BE SPOKEN:
JACK
How can man die better
Than facing fearful odds,
For the ashes of his fathers,
And the temples of his gods...
The DRONES are on him, weapons lining!
JACK (CONT'D)
(YELLING)
Do you hear me!!!
Jack pounds the trigger with his fist. As ALL THE CLONES
open their eyes.
.and everything is bathed in WHITE LIGHT.
EXT. THE TET - CONTINUOUS
The Tet explodes in a MASSIVE DEUTERIUM FISSION
EXPLOSION, the entire artificial moon killed from within.
EXT. CRATER LAKE - CONTINUOUS
DRONE 166
falls inert in front of Julia as the Tet
Explodes in the sky above her. She stares up, tears
already running down her face.
EXT. VARIOUS LANDSCAPES - CONTINUOUS
DRONES fall from the sky, powerless...
A RESOURCE GATHERER YAWS, losing power, and falls
ponderously into what remains of the sea...
108
EXT. CRATER LAKE. CONTINUOUS
The explosion is like St Elmo's fire, refracted across
the sky, all over the face of the earth.
Julia looks down at her hands which hold: A rolled
canvas, the only object inside the metal cylinder. She
unrolls it now. We glimpse a girl lying in golden
fields, a farmhouse in the distance. The painting from
Ravens Rock that reminded her of home.
ON JULIA, weeping, staring at the fire ball in the sky.
BLACK
FADE UP ON:
EXT. A GARDEN - DAY
Well-tended. Thick ripe fruit hang on vines.
JULIA (V.0.)
The Tet arrived almost half a
century ago. And it changed our
world forever...
We're at CRATER LAKE, three years in the future.
The Grotto has been turned into a house, the ground has
been cultivated. Roses and yellow flowers grow near the
house. A SOLAR ARRAY powers the spot. All Jack's
scavenging has gone to very good use. There's a small
make-shift boat moored at the Lake's edge.
JULIA (V.0.)
It was probably surprised, what we
were willing to do, to survive.
Jack's basketball sits alone near the hoop.
JULIA (V.0.)
We had to unlearn what it meant,
to call something our home.
There's a familiar painting, hanging on the wall. The
girl in the field of wheat, yearning towards home.
JULIA (V.0.)
But we did. We started over. And
so here we are now, everyone
that's left...
(CONTINUED)
109.
CONTINUED:
JULIA is turning over a patch of ground for next year.
Next to her, A CHILD is digging her fingers through loam.
The CHILD looks up, stares across the water.
JULIA
Well, almost everyone.
A MAN stands at the edge of the water, on the opposite
side. He wears the wrecked remains of a worksuit, and
carries a pack. It is Jack 2. He's aged three years,
his hair has grown, his boots are scavenged. He has
travelled a long way, and we know that as he stares
across the water, he knows exactly what he is looking at.
CHILD
Who is that?
ON JULIA. It's been a long journey to this moment for
her as well. She smiles.
JULIA
It's your father. Come on, let's
go pick him up.
END.
"LIVING IN OBLIVION"
Screenplay by
Tom DiCillo
SHOOTING DRAFT
1995
A battered 35mm movie camera stands alone on a wooden tripod
surrounded by blackness. Opening credits begin. An almost
imperceptible DOLLY in toward the movie camera. The dolly
forward continues throughout the credits ending in an EXTREME
CU of the camera's lens, filling the frame like a giant,
glass full moon. Fade to BLACK.
Suddenly a door opens directly in front of the camera, wiping
the lens and revealing the following scene in Black and White.
EXT. STREET. NYC. NIGHT
A quiet, deserted industrial street. It is over an hour before
dawn and the street is still cloaked in the heavy stillness
of night.
In the weak light filtering out of their battered van, BERT
and CYBIL -- the Craft Service Managers, finish setting out
breakfast supplies on a 6' table. They work in almost complete
silence, both nearly paralyzed with sleep. A cheap walkie-
talkie, lying beside a paper plate of soggy Oreos, sputters
and buzzes occasionally. Other items on the table include a
mangled banana, seven grapes, and a box of chocolate covered
donuts.
BERT
What time is it?
CYBIL
Four. Why?
BERT
This milk is bad.
CYBIL
(sniffs)
When did you buy it?
BERT
Tuesday? I don't know. What's today?
CYBIL
Monday.
(pause)
There's a deli on Broadway.
BERT
Nothing closer?
CYBIL
Nothing that's open.
BERT
(sniffs the milk)
Is it that bad?
CYBIL
I don't know. You're the one who
said it was bad.
At that moment a large truck grinds around the corner and
shudders to a stop in front of the building. Bert replaces
the carton of milk neatly beside the orange juice.
EXT. STREET. NYC. NIGHT. B/W
Amid low, one-word greetings, the CREW tumbles out of the
trucks and stands in a groggy cluster around the Craft Service
table. WOLF -- the Cameraman, assumes a place of prominence.
He wears a black leather coat, a black beret, and black
leather half-fingered gloves.
WOLF
This is the worst fucking coffee
I've had in my life.
CYBIL
Then don't drink it.
GAFFER
What're we doing today?
WOLF
(pulls out a wrinkled
callsheet)
"Interior. Living Room. Ellen talks
to Mom."
AC
Any nudity?
CYBIL
Yeah, you have to take your fucking
pants off.
AC
I'll do it. I like Ellen.
GAFFER
Yeah, she's a babe. She was the nurse
in that Richard Gere movie.
BERT
I worked on that.
AC
The shower scene.
WOLF
Start with the 5K in the window. Run
feeders for three blonds into the
living room.
GAFFER
Two people. Sitting? Standing?
WOLF
Who fuckin' knows?
GAFFER
(walks off)
"Ellen talks to Mom."
INT. CAR. NIGHT. B/W
NICOLE sits quietly in the back seat of a beat-up station
wagon. She glances out at the empty city moving past her
window and lets out a deep sigh.
JEFF, the young intern assigned as her driver, glances into
the rearview mirror.
JEFF
Tired?
NICOLE
No, I've been up since four. I've
got a big scene today and I'm kind
of nervous.
JEFF
"Ellen talks to Mom."
NICOLE
Have you read the script?
JEFF
No. It's on the callsheet.
NICOLE
Oh. Well, it's pretty emotional. I
tell my mother I never felt she really
loved me.
JEFF
You're going to yell at each other?
NICOLE
I don't know. I'm just going to go
with how I feel. Which is the scary
part. I'm very close to this
character.
JEFF
Problems with your own mom?
NICOLE
Yes. But she died before I, well
before we could reconcile...
JEFF
You were great in that Richard Gere
movie.
NICOLE
Thanks.
EXT. RESIDENTIAL HOTEL. NIGHT. B/W
CU sidewalk. A pair of women's orthopedic shoes enter the
frame and begin pacing.
Camera pans up to reveal CORA, a small woman in her early
60s, pacing beneath the awning of her residential hotel. She
appears to be rehearsing dialogue with herself.
CORA
Ellen, I have no memory of this
whatsoever. Ellen... Ellen I have NO
memory of this whatsoever.
Jeff pulls the car up to the curb and Cora gets into the
back seat.
INT. CAR. NIGHT. B/W
NICOLE
Good morning, "Mom."
CORA
(gruff)
Morning.
NICOLE
Sleep well?
CORA
Not a wink.
Cora immediately lights a cigarette. Nicole instinctively
wrinkles her nose and turns away. Cora notices this and makes
an exaggerated effort to keep the smoke away from Nicole by
blowing it hard out the side of her mouth. Jeff glances back
at the two women in the rearview mirror. No one speaks.
INT. SET. DAWN. B/W
NICK -- the Director, WOLF -- the Cameraman and WANDA -- the
AD, stand in a loose triangle on the darkened set. All are
holding coffee cups. The Gaffer can be seen in the background
fumbling with a light.
NICK
Look, I'm not blaming anybody, Wanda.
I'm just saying we left last night
and I knew we didn't get that scene.
WANDA
I'm sorry, I thought it was a great
scene, Nick.
NICK
It was OK; and it's going to be
alright. But I'm not settling for OK
today. This is a big scene and I'm
not leaving till we get it.
WANDA
Whatever it takes, Nick. We're here
for you.
NICK
Alright, here's what I'm thinking.
Wolf, I want to do the whole scene
in one shot.
WOLF
It's been done.
NICK
I know that but I'd like to try it
anyway.
WOLF
Handheld.
NICK
No, dolly. We go from Close-up to
Wide-shot and back to Close-up in
the same shot.
WOLF
I'll use the 35, minimize distortion;
I'll light it all from the ceiling.
It could be kind of great.
WANDA
Sounds incredible. How long, Wolf?
WOLF
I'll need to see a couple run-
throughs.
NICK
Not too many. It's a tough scene for
the actors. I want them to feel
relaxed, fresh...
WANDA
We've got all day, Nick. Whatever it
takes. What do you think, Wolf -- an
hour, 45?
WOLF
I don't know how you drink that shit
black, Nick. I got to dump in the
milk. It's the only way I can cut
the taste.
Suddenly the Gaffer turns on the 5K, flooding the room with
harsh, blinding light.
NICK
Jesus!
WOLF
What the fuck?!
WANDA
Flame on, asshole!!
The screen goes completely WHITE.
INT. SET APT. DAY. B/W
Screen is still white. Gradually it shifts back to proper
exposure revealing NICOLE in Medium CU. Her eyes are riveting;
it is obvious she is emotionally primed for the scene. A
light meter is thrust in front of her face. She barely
registers it.
WS, the entire Living Room set. Nicole sits on a sofa facing
Cora seated opposite in an overstuffed chair. Two flats have
been joined at right angles to create the Living Room corner.
A table lamp and assorted framed photographs complete the
rather scrawny looking set.
Most of the movie crew is seen, including Wolf looking through
the camera.
WANDA
OK, picture's up. Quiet. Stop the
work. Lock it up. Going for picture.
Nick approaches Nicole and Cora.
NICK
OK, nice and easy. Cora you're doing
fine. Remember, really listen and
really answer.
(smiles at Nicole)
I've got nothing to say to you. Just
let it happen. It's all there.
WANDA
Ready, Nick?
WOLF
Look at this a second, Nick.
Nick moves behind the camera and looks through the eyepiece.
Another CU of Nicole fills the frame. The image is visually
and emotionally breathtaking.
WOLF
I pushed in a foot. She's incredible.
It's coming right through the lens.
Nick grips Wolf's shoulder in gratitude.
NICK
That's great, man. Beautiful.
WANDA
Ready, Nick?
NICK
Let's go. Right away.
WANDA
And, roll sound.
SOUND
Speed!
WANDA
And, roll camera!
AC
Rolling!
CLAPPER
Scene six, take one.
(hits the sticks)
NICK
Action.
INT. APT. THE SCENE: TAKE 1. COLOR
From the moment Nick calls "action" the film will cut directly
to the shot the set camera is filming. The shot is fluid,
graceful and in richly, beautiful COLOR. Nicole's performance
is very strong; flawed only slightly by her nervousness.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I have no memory of this
whatsoever.
NICOLE
You were just standing there looking
at me. Then you pulled me up and
said, "You're not hurt." Like I was
disgusting for faking, for doing the
only thing I could think of to keep
him from hitting me again.
CORA
I was worried about Danny.
NICOLE
You do remember.
CORA
He was smaller than you.
Nicole turns to Cora with the heartbreaking gaze of an
abandoned child. Nick and the rest of the crew watch in awe.
NICOLE
You were so worried about Danny --
Suddenly the BOOM dips all the way into the shot.
INT. SET APT. DAY. B/W
WOLF
Cut! Boom in. Sorry, I had to cut.
Les, your boom was all the way in
the shot.
BOOM
Well, where's the frame line?
All the crew move around, all talking at once.
WANDA
OK, can we get a frame line? Hold it
down. We're going again right away.
Nobody moves. Les, you got the frame
line?
BOOM
I guess so.
WANDA
OK, here we go. Right away. Picture's
up.
Nick approaches Nicole and Cora.
NICK
Beautiful; both of you. Stay focused.
Stay with it. No big deal. Let's go,
Wanda. Right away.
WANDA
Roll sound!
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take two.
(hits the sticks)
NICK
And, action.
INT. APT. THE SCENE: TAKE 2. COLOR
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I --
The image suddenly goes out of focus.
INT. SET APT. DAY. B/W
AC
I'm sorry, I have to cut. I was
completely off on the focus. It's my
fault, I'm sorry.
WANDA
Thanks for the apology but you'll
never work in this town again.
(laughter)
AC
I've got it now.
WANDA
Here we go, right away. Lock it up.
And roll sound...
SOUND
Speed!
WANDA
Roll Camera!
AC
Rolling!
CLAPPER
Scene six, take three.
(hits the sticks)
NICK
And, action.
INT. APT. THE SCENE: TAKE 3. COLOR
The scene begins once again. Remarkably, Nicole's enormous
commitment is just as full and sharp. Nick is in ecstasy.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I have no memory of this
whatsoever.
Suddenly a car stops right outside, a heavy, bass-driven rap
song blasting out of its trunk-mounted speakers.
INT. SET APT. DAY. B/W
SOUND
Street noise!
WANDA
That's a cut!
(into her walkie)
What the fuck's going on down there!?
You call that a lock-up!? Get that
car out of there!
NICK
Jesus Christ. Why doesn't the guy
just get a flatbed trailer with about
600 speakers on it and tow it behind
his car.
Everyone nods in annoyed agreement; everyone except the Boom
man who appears to be following the music with the mike,
bopping to it through the headphones. Slowly, interminably,
the music fades off into the distance.
SOUND
And... it's clear.
WANDA
(into her walkie)
Do I have a lock-up?
WALKIE (V.O.)
kkkkkssst... sttttss yes.
WANDA
Is that a real lock-up?
WALKIE (V.O.)
ssssssssssssppppkkss.
WANDA
OK, right away. Picture's up. Roll
sound.
SOUND
Speed!
WANDA
And, roll camera!
AC
Rolling!
CLAPPER
Scene six, take four.
(hits the sticks)
NICK
Action.
INT. SET APT. THE SCENE: TAKE 4. COLOR
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I have no memory of this
whatsoever.
NICOLE
You were just standing there looking
at me. Then you pulled --
Suddenly the BOOM drops into frame again.
INT. SET APT. DAY. B/W
WOLF
Boom's in.
NICK
Jesus Christ.
BOOM
Where?
WOLF
The whole left side of frame, Les.
WANDA
Alright, can we please get a
motherfucking frame line please?!
BOOM
The frame keeps changing.
WOLF
That's the idea, Les.
SOUND
May I make a suggestion? Is it
possible to maybe break the shot
down? Maybe two shots instead? Might
make it easier for Les.
NICK
No.
SOUND
Then I need ten minutes to switch to
radio mikes.
WANDA
Your call, Nick.
NICK
There won't be any other sound
problems?
SOUND
No more boom problems.
NICK
Switch to radios.
WANDA
That's a ten-minute break. Release
the lock-up. Stand by.
WOLF
(to the AC)
Get me a coffee. Half milk.
INT. SET APT. DAY. B/W
Nick looks for Nicole but sees only Cora standing by the
couch. Les has both arms up the back of her dress, running
the wire to her radio mike. She's wearing stockings rolled
down to just above her knees.
Nick turns and spots Nicole by herself in a dark corner of
the set and walks over to her.
INT. SET APT. A CORNER. DAY. B/W
NICK
I'm sorry about all this, Nicole.
NICOLE
It's not your fault, Nick. Is there
a way to use some of the earlier
takes?
NICK
Not unless I change the shot; do a
cutaway of Cora or something and
intercut the takes. I don't want to
do that. It's a really nice shot and
what you're doing is incredible.
NICOLE
Thanks, Nick.
NICK
The radio mikes are going to make
everything easier. So, look. Take a
moment. Let all this shit go. We
don't roll till you're ready.
NICOLE
OK.
Nick moves back to the set, leaving Nicole in the shadows.
Camera stays on her as she begins emotionally preparing
herself once again.
SCRIPT (V.O.)
How was she in that Richard Gere
movie?
CYBIL (V.O.)
So-so.
Camera slips halfway through an open bedroom door, holding
Nicole on one side of the frame while revealing PAM the Script
Supervisor and CYBIL sitting on the floor smoking. Though
separated by the wall, Nicole hears everything the two women
say.
SCRIPT
Her career really took off, didn't
it?
CYBIL
I saw her in a Michael Bolton video.
SCRIPT
She is nice; but I could do a better
job.
Camera slips into a CU of Nicole. She closes her eyes as the
two women continue talking about her. Screen goes BLACK.
INT. SET APT. DAY. B/W
A BLACK scrim, held by the Gaffer, passes in front of the
camera, revealing the set with Nicole and Cora settling in
for a take.
WANDA
Where's that flag going?
GAFFER
It's a scrim.
WANDA
Wolf!
WOLF
Two seconds, Wanda.
WANDA
No. No more tweaking. Picture's up.
(into her walkie)
Lock it up!
Wolf quickly motions Gaffer to hand-hold the scrim in front
of the 5K.
WANDA
And, roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take five.
(hits the sticks)
NICK
Action.
INT. SET APT. THE SCENE: TAKE 5. COLOR
Once again the scene begins. Nicole shows the first signs of
losing her concentration.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I have no memory --
Suddenly there is a tremendous EXPLOSION sending bits of
glass flying through the frame. Cora jumps, clutching her
chest.
CORA
Oh, God!
INT. SET APT. DAY. B/W
CU the light the Gaffer had been holding the scrim before.
It is smoking and shattered.
NICK
Jesus fucking Christ!
WOLF
(to the Gaffer)
Kill it. Kill it. Pull the plug.
Right there by your foot.
WANDA
That's a cut. Anybody hurt? Cora,
are you alright?
Cora nods wordlessly, gasping for breath.
WANDA
Props. Props! Let's get a broom up
here right away. Clear the set!
INT. APT. HALLWAY. DAY. B/W
Nick, Cora, and Nicole stand in a corner of the landing.
Nick is making obvious attempts to lighten the mood.
NICK
Well, let's see. What do you think
is going to happen next, Cora?
CORA
I'm going to have a heart attack!
NICK
No, you're not. You're going in there
in two minutes and we are really
going to nail this scene. I know it.
I have no doubt about it. Nicole...
Nick turns to Nicole and stops in midsentence. He looks at
her for a long moment. Nicole returns his gaze then suddenly
looks away.
WANDA (V.O.)
Nick! Nick!
NICK
One second!
Nick hesitates a moment then rushes back to the set.
CORA
I'll tell you this much right now; I
am never, ever doing another fucking
low-budget movie.
INT. SET APT. DAY. B/W
Nick joins Wanda and Wolf on the set couch and chair.
NICK
What's up?
WANDA
Wolf and I were talking... Ellen's
losing it a little bit. You got three
quarters of the scene really, really
incredible in the first take. Do a
quick cut-away and all you need is a
pickup of the last part of the scene.
NICK
Wolf?
WOLF
You know how I feel; I love this
shot. Hell, I designed it.
NICK
Then let's just stick with the game
plan, OK? It's a simple shot. We're
going to get it this time, I feel
it.
WANDA
We're here for you, Nick. Whatever
it takes.
Nick moves off. Wanda stares at Wolf who studiously inspects
his light meter.
WANDA
Thanks.
INT. SET APT. DAY. B/W
Camera is close on the black-and-white clapboard. Nicole's
face can be partially seen behind it.
WANDA
And, roll sound.
SOUND
Speed!
WANDA
And, roll camera!
AC
Rolling!
CLAPPER
Scene six, take six.
(hits the sticks)
NICK
Action.
INT. SET APT. THE SCENE: TAKE 6. COLOR
As the scene begins again, it is obvious that both actresses
are completely distracted. Nick's face betrays a rapidly
increasing anxiety.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
I...
There is a long awkward pause as Cora realizes she can't
remember her line.
INT. SET APT. DAY. B/W
NICK
Cut. That's OK, Cora. What's the
line? Just say it to me; no acting.
CORA
I...
(pause)
AC
"Ellen, I have no memory of this
line whatsoever."
Amid general tittering from the crew, Wanda yells out.
WANDA
OK, could we get the line please?!
Script!
SCRIPT
(Pam)
"Ellen, I have no memory of this
whatsoever."
WANDA
Thank you. And, roll sound.
SOUND
Speed!
WANDA
And, roll camera!
AC
Rolling!
CLAPPER
Scene six, take seven.
(hits the sticks)
NICK
Action.
INT. SET APT. THE SCENE: TAKE 7. COLOR
The scene begins again. Nicole is lifeless; she's merely
saying the lines.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway --
CORA
I was worried about Danny!
Nicole stops cold, completely thrown by Cora jumping her
line.
NICOLE
I'm sorry, I'm lost...
INT. SET APT. DAY. B/W
NICK
Cut. It's OK. No big deal.
Nick's voice has the rigid tremble of someone barely able to
keep from screaming.
NICK
Everyone relax. We're just going to
run the lines. That's all. No acting.
Just run the lines. Then we're going
to shoot this fucking scene.
INT. SET APT. THE COUCH. DAY. B/W
Nicole gets up quietly and sits next to Cora on the couch,
wordlessly taking her hand in hers.
CORA
(whispers)
I'm so sorry. I'm fucking this up
for you.
NICOLE
(whispers)
Cora, don't even think that. You're
doing great. I'm the one who's fucking
it up. If I get through this I swear
I'm never acting again.
She means it. Cora glances up at her, seeing for the first
time how pain and defeat have drawn the life from Nicole's
face. On an impulse Cora reaches out and gently lifts a strand
of Nicole's hair from her eyes.
A sudden amazed alarm fills Nicole. The living room grows
strangely quiet.
NICK
(faintly, from a
distance)
And, action on the run-through.
CU Nicole. She looks quickly toward Nick in confusion.
INT. HOSPITAL ROOM. DAY. COLOR
DISSOLVE to a nurse moving quickly past the camera and out
the open door of the hospital room.
CU Nicole, seated on the edge of the hospital bed. Still
confused, she looks down at the old woman lying in the bed.
The woman's face is pale and drawn. As Nicole leans closer
her mother reaches out and gently brushes a strand of hair
away from her face. The gesture is one of love, acceptance,
and farewell. It is identical to the one we have just seen
Cora make to her.
NICK (V.O.)
And action on the run-through.
INT. SET APT. DAY. B/W
WS, the Living Room Set. Nick, Wanda, the rest of the crew
standing quietly. Nicole glances over at Cora and instantly
something unspoken and unexplained passes between them. The
run-through begins.
From the moment Nicole opens her mouth it is obvious there
has been a remarkable change in her. Every word now has the
stunning clarity of truth. Cora is completely engulfed in
the moment.
NICOLE
Dad hit me first and knocked me down.
It didn't hurt that much but I started
crying anyway, hoping he would leave
me alone. He went over and started
hitting Danny.
CORA
Ellen, I have no memory of this
whatsoever.
NICOLE
You were just standing there looking
at me.
As Nicole continues, one by one the crew turn and watch this
exquisite moment happening before them. Nick's face is lit
with rapture.
NICK
(whispering)
Roll camera... roll camera.
He glances over and to his horror sees that no one is behind
the camera. He whispers frantically to the AC.
NICK
Where's Wolf?
AC
(whispers)
In the bathroom... he doesn't feel
good.
NICK
(whispers)
Get him! Get him!
Nick turns back to the scene, watching its beauty now in
agony.
NICOLE
Then you pulled me up and said,
"You're not hurt." Like I was
disgusting for faking, for doing the
only thing I could think of to keep
him from hitting me again.
CORA
I was worried about Danny.
NICOLE
You do remember.
CORA
He was smaller than you.
NICOLE
You were so worried about Danny.
What about me, Mom? Why weren't you
worried about me?
There is a heavy, stunned silence as the scene ends. Nicole
and Cora are in each other's arms. Pam and Cybil share a
piece of tissue. CUT TO: an extreme CU of Nick.
NICK
Where the fuck is Wolf?!!!
INT. BATHROOM. DAY. B/W
In the cramped confines of the dingy basement bathroom, Wolf
pukes violently into the toilet. His face is pale and slick
with perspiration. His eyes look upward toward the sound of
Nick yelling.
WOLF
One second!
Wolf tries to continue but another spasm of nausea wrenches
him back toward the toilet bowl.
INT. SET APT. THE COUCH. DAY. B/W
The set is quiet, subdued. Nick sits on the couch with Nicole
and Cora. Wolf sits groggily behind the camera wiping the
sweat from his face. Wanda addresses the crew.
WANDA
OK, listen up. Nobody drinks the
milk downstairs. OK? It appears to
be bad.
Nick speaks uneasily to Nicole and Cora. He is a wreck and
his insistent smile of encouragement looks absolutely
demented.
NICK
I've had to, well I've changed the
shot; we're just a little pressed
for time. It'll just be a CU of Ellen
for the last part of the scene,
starting with Cora's "I was worried
about Danny." OK? I'll find a way to
cut this into the fourth take. We
almost had it. That was unbelievable,
both of you. But let's not think
about it. That moment is gone, and...
we'll, we'll get another one. I have
no doubt about it. OK? Here we go.
Nick walks over and stands beside the camera.
INT. SET APT. BY THE CAMERA. DAY. B/W
WOLF
I'm ready, Nick.
Nick is so angry he can't even look at Wolf.
NICK
Call it, Wanda.
WANDA
And, roll sound.
SOUND
Speed!
WANDA
And, roll camera!
AC
Rolling!
CLAPPER
Scene six, Pickup, take one.
(hits the sticks)
NICK
Action.
INT. SET APT. THE SCENE: PICKUP 1. COLOR
The scene begins at the pickup point. Miraculously, both
Cora and Nicole are just as concentrated and engaged as they
were in the run-through.
CORA
I was worried about Danny.
NICOLE
You do remember.
CORA
He was smaller than you.
NICOLE
You were so worried about Danny.
What about me, Mom? Why weren't --
In the middle of this final, delicate moment an insistent
electronic beeping is heard.
INT. SET APT. DAY. B/W
NICK
CUT!!!!
WANDA
What the fuck is that?! Sound?
SOUND
(frantically checking
his equipment)
It's not me.
BOOM
It's the camera.
WOLF
The fuck it is. It's off; it's not
even running.
The beep continues, growing louder.
WANDA
(into her walkie)
What's going on down there?! Do I
have a lock-up?! Nothing? You don't
hear a beeping sound?
(to Nick)
The street's quiet.
NICK
Then what the fuck is it!!?
AC
It's somebody's watch!
Everybody holds their watches up to their ears.
WOLF
Not mine.
WANDA
Not mine.
SOUND
Not mine.
BOOM
Not mine.
And so on, until all watches have been checked with negative
results. The beeping continues, growing louder and louder.
Suddenly Nick loses it. He starts running around the set,
ripping things apart, knocking over tables, lamps, chairs.
He shoves Cora off the couch and whips off the cushions,
heaving them against the wall with a startling violence.
NICK
Where is it!! You motherfucker! You
cock-sucking motherfucking bastard!
Where the fuck are you!? Where!!
Where!!
Everyone watches Nick demolish the set in stunned, open-
mouthed amazement. Nick turns to the crew in rage.
NICK
Can someone help me please?! Do I
have to do everything myself here?!
Nick loses it completely.
NICK
Hey, Cora. Why don't you go learn
your lines! Hey Scriptgirl, are you
finally going to pay attention here?!
Hey, focus puller, you want to make
a movie or get stoned?! Huh, I got
some great fuckin' Thai Stick here!
Hey Wolf, you pretentious, beret-
wearing motherfucker! I saw your
reel, man; it sucked! Who the hell
would hire you anyway! Hey Wanda,
next time can you wear a shirt that's
a little more distracting to my
actors!
(to the Gaffer)
Hey Bob! Hi Bob! Can you please make
a little more noise on the dolly you
creaky motherfucker!
(to Cybil)
What is your name!? What do you
fucking do around here?!
(to the Soundman)
Hey Speedo, what's the matter? Can't
even find a teeny fucking beep?!
CU of Nicole. She turns away, unable to watch anymore. The
beeping continues.
NICK
See what I have to put up with,
Nicole!? Maybe next time you'll do
some of that magic on camera!? But
no, no -- wait till Wolf is puking
his guts out, "Oh now I'll be good!!"
WS, the entire room. Nick's last word echoes throughout the
silent set. Suddenly he stops in the center of the demolished
set and lets out a long, wrenching scream.
INT. BEDROOM. NIGHT. COLOR
QUICK CUT TO extreme CU Nick's face, just as his eyes open.
The film is in COLOR now. The room is in heavy darkness except
for the light on Nick's face. Nick reaches over and shuts
off his clock radio. The digital dial shows 4:00 A.M. The
beeping finally stops.
Nick turns on a light and sits up in bed, drenched in sweat
and still breathing heavily.
NICK
God...
(this is not a sigh
of relief)
The camera DOLLIES swiftly back away from Nick. He stares at
it in stunned amazement. Just then a DOOR closes right into
the lens turning the frame into complete BLACKNESS.
Out of the BLACKNESS a door opens away from the camera
revealing WANDA looking into her closet (the camera is inside
the closet). From this point on, the rest of the film is in
COLOR except where specifically indicated to be Black and
White.
INT. WANDA'S APT. DAWN
She is wearing only a bra, black stretch pants, and cowboy
boots. She rummages quickly through some blouses, selects
the same garish one she wore in Part One, then walks away
revealing WOLF sitting on the edge of the rumpled bed. He is
dressed exactly the same as when we last saw him, complete
with beret. He struggles groggily into his socks and boots.
The entire apartment is in disarray. A bedside clock reads
4:13 A.M.
WOLF
Well, when did he ask you?
WANDA
Yesterday, when I was helping him
check into his hotel.
WOLF
What, the guy can't even check into
a hotel by himself?
WANDA
Listen, Wolf, having Chad Palomino
in this movie will benefit us all.
If being there when he checks into
his hotel makes him feel better,
then I'm happy to do it.
WOLF
Well, how did it come up?
WANDA
He asked me if I liked jazz, I said
yes, and he suggested we meet tonight
at a jazz club.
WOLF
I like jazz.
WANDA
He did not invite you.
(applies perfume)
WOLF
Why are you wearing perfume to work?
WANDA
Because I feel like it.
WOLF
You didn't wear it yesterday.
WANDA
Oh, stop it. You're acting like a
child.
Wanda playfully swipes at Wolf's face with a negligee she is
returning to the closet. It misses him completely.
WOLF
My eye!
WANDA
Oh, God. Sweetheart, are you alright?
WOLF
Do I look alright?!
WANDA
Let me see. Christ, we're going to
be late.
Wanda sits and perfunctorily examines Wolf's eye.
INT. CAR. DAWN
The car is parked outside a rather seedy hotel. JEFF, the
Intern and NICK, the Director, sit quietly in the motionless
car.
NICK
Should we call up to the room again?
JEFF
He said he'd be right down.
Nick lets out a huge yawn.
JEFF
Tired?
NICK
I'm exhausted. I dreamt I was on the
set all night. I was just trying to
do one shot and everything kept going
wrong.
JEFF
That's an anxiety dream. Are you
anxious about something?
NICK
I don't know. Sometimes I wonder
what the hell I'm doing in this
business. It's all just one compromise
and disappointment after another. I
don't know if I have the personality
for it.
JEFF
Sounds kind of like an identity
crisis.
NICK
Maybe you're right. Who am I? What
am I really capable of? Maybe I should
just get a job teaching at a women's
college somewhere.
JEFF
How'd you get into cinematography?
NICK
I'm not a cinematographer.
JEFF
You're not?
NICK
No. I'm directing this movie.
JEFF
(pause)
How'd you get into directing?
INT. HOTEL ROOM. DAWN
In the dim light of the hotel room, CHAD PALOMINO dresses
quickly. He is young, handsome, with long blond hair. A WOMAN
sits nude on the bed, her back to the camera. The faint sound
of a shower comes from the adjacent bathroom.
PALOMINO
They're waiting downstairs.
WOMAN
Go ahead, I'll take a taxi.
PALOMINO
Oh, OK. Listen, I've got to tell
you, I had a lot of fun last night,
really, but for me, where I'm at
right now in my life, a relationship
is...
WOMAN
Chad; hold it. This was a one-time
deal. You know it, I know it. There
is no need for melodrama.
PALOMINO
I just thought you might...
WOMAN
Look, all I ask is that you don't
mention this to anyone.
PALOMINO
Hey, that's not my style.
WOMAN
Good.
PALOMINO
So, I'll see you on the set.
Palomino slips out the door. The woman falls back onto the
bed, turning her face toward the camera. We see it is NICOLE.
NICOLE
God damn it.
She lies for a moment, listening to the sound of the shower.
The bedside clock reads 4:30 A.M.
INT. CAR. DAWN
The car pulls up outside a NYC apt building. Jeff, Nick, and
Palomino sit inside.
PALOMINO
I got two films coming up right after
yours, Nick. One I play a rapist
that Michelle Pfeiffer falls in love
with. The other I'm kind of a sexy
serial killer who shacks up with
Winona Ryder.
NICK
That's great, man.
PALOMINO
Yeah, but I'm not into that hostess
twinkie shit, Nick.
NICK
Hostess twinkie?
PALOMINO
That Hollywood shit. It's all fluff,
man. These are the kind of movies I
want to do, right here.
NICK
I'm glad you feel that way, Chad.
And I just want to tell you, I'm
really happy we can work together.
PALOMINO
Hey, me too! You're a great director,
man. Your films are wacked! And I'm
gonna be watching you, buddy. Like a
hawk. I want to learn from you, Nick.
I'm gonna pick your brain.
NICK
Good. Then you can pick my nose.
PALOMINO
(big laugh)
See what I mean? You're wacked. Hey,
what are we sitting here for?
NICK
We're waiting for Nicole.
PALOMINO
Nicole? She's takin' a tax --
(he stops)
NICK
What?
PALOMINO
Probably taking a shower or something.
Hey, how was her shower scene in
that Richard Gere movie?
NICK
Good.
JEFF
Really great.
The three men sit in silence. WS, showing the car parked
outside Nicole's apt, the men inside waiting.
INT. THE SET. MORNING
A small, elegant bedroom set has been constructed in the
middle of the huge empty space. One wall has a fake window.
The GAFFER lies on the bed staring absently at the AC sitting
motionless beside the camera a few feet away. Neither speaks
for a long moment.
GAFFER
I think we got nudity today.
AC
(reads from his
callsheet)
It just says "Scene Six: Ellen and
Damian kiss."
GAFFER
Could be a kiss with nudity.
AC
I like Ellen. She's my type.
GAFFER
Why is that?
AC
She's pretty. Smart. Kind of kooky.
GAFFER
Maybe I'll give her a part. That's
right; I'm makin' my own movie pretty
soon.
AC
Oh yeah?
GAFFER
Yup. Feature. I brought my script.
The Gaffer tugs a thin, tattered SCRIPT, folded lengthwise,
out of his back pocket.
GAFFER
Palomino's perfect for the lead. I'm
going to give it to him right during
lunch. Maybe right after.
AC
Alright.
GAFFER
Got to be aggressive. You want to
shoot it?
AC
Sure.
GAFFER
You ever shot anything?
AC
No.
GAFFER
That's alright; got to start
somewhere.
Suddenly the Gaffer reaches out and warmly shakes the AC's
hand.
INT. MAKEUP CORNER. DAY
Nicole sits before the makeup mirror. LORDE, the male Makeup
artist picks up a tube of Preparation H and begins applying
it under Nicole's eyes just as Nick walks up.
NICK
Jesus, what are you doing?
LORDE
Shrinking tissue. That's what this
stuff is for. Let that sit for two
minutes, pumpkin; I'll be right back.
NICK
How'd you get here?
NICOLE
Took a taxi.
NICK
Oh. We've been waiting in front of
your apartment for half an hour.
NICOLE
God, I'm sorry, Nick. Something came
up. I forgot to call. I'm sorry, I
feel like such an asshole.
NICK
You're just saying that because you
have Preparation H on your face.
NICOLE
I never should have gone out last
night. I hate jazz. God, I look
terrible.
NICK
No you don't.
NICOLE
Don't bullshit me, Nick.
NICK
I'm not. You really look beautiful.
Something in Nick's voice makes Nicole glance up at him. He
looks away quickly. The moment is awkward, as if they both
realize he has inadvertently revealed something. Just then
Palomino approaches.
PALOMINO
Hey! How'd you get here, Nicole?
NICOLE
I took a cab.
PALOMINO
Oh, cause we were wondering how you
got here.
Nick looks at both of them in a moment of silence.
NICK
Alright, good; everybody's here.
We'll do a run-through as soon as
you guys are ready.
PALOMINO
You got it, Chief.
Lorde reenters as Nick leaves. Palomino sits in the chair
beside Nicole and Lorde immediately begins his makeup. No
one speaks.
INT. THE SET. DAY
The crew is assembled behind the camera. Wolf is now wearing
a black eyepatch over one eye. Nick is on the set, talking
with Nicole and Palomino. Palomino wears a tuxedo and Nicole
is in an elaborate low-cut gown.
WANDA
Hold it down, hold it down, people.
Actors working.
PALOMINO
Great shirt, Wanda.
WANDA
(big smile)
Why, thank you, Chad.
NICK
OK, let's work out the rest of this
blocking. Wolf --
(notices Wolf's
eyepatch)
What happened to your eye?
WOLF
A little accident.
NICK
You going to be alright?
WOLF
I think so.
PALOMINO
It looks good on you, man.
NICK
Nicole is standing here, Chad, you're
there by the chair. Camera is close
on Ellen: her first line.
NICOLE
I've always admired you from afar.
PALOMINO
Admired? That sounds rather
professional.
NICK
Good! "Professional," that's the
cue; Damian steps up to the bed.
Camera pulls back. The scene
continues.
NICOLE
Well, then: loved. How does that
sound?
PALOMINO
It sounds like the champagne talking.
NICOLE
I've loved you from the moment we
met.
PALOMINO
Why didn't you tell me?
NICOLE
We were working together. I didn't
want anything to interfere.
PALOMINO
God. And all this time I thought...
NICK
Then the kiss. How's that feel?
PALOMINO
Great.
NICK
Nicole?
NICOLE
Good.
NICK
Wolf, any thoughts?
WOLF
Nope.
PALOMINO
I've got a thought. What about Damian
having an eyepatch like Wolf's?
NICK
Let me think about that one, Chad.
PALOMINO
OK, you're the genius. Nick Reve,
Living in Oblivion, Scene Six, Take
One. Let's shoot it!
NICK
One second, Chad. You ready for one,
Wolf?
WOLF
Hell, I been ready.
PALOMINO
Alright, Wolfman.
NICK
Good. Call it, Wanda.
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take one!
NICK
And, action.
INT. THE SET. TAKE ONE
Instantly the film cuts from color to B/W. Chad and Nicole
begin their Love Scene.
NICOLE
I've always admired you from afar.
PALOMINO
Admired? That sounds rather
professional.
The camera starts to dolly, however Chad does not move. He
goes out of frame forcing Wolf to pan abruptly to Nicole.
NICOLE
Well, then: loved. How does that
sound?
PALOMINO
It sounds like the champagne talking.
NICOLE
I've loved you from the moment we
met.
PALOMINO
(finally moves to his
mark)
Why didn't you tell me?
NICOLE
We were working together. I didn't
want anything to interfere.
PALOMINO
God. And all this time I thought...
Palomino and Nicole embrace. Their kiss, like the entire
scene, is flat, lifeless, and awful.
INT. THE SET
NICK
Cut. Very good.
WOLF
Not for camera. Chad was completely
out of frame.
NICK
Yeah, Chad; what happened, buddy?
Forget your cue?
PALOMINO
Oh no, man. I held back. It really
felt like something Damian would do;
holding back to the last moment.
NICK
Oh, I see. How's that for you, Wolf?
WOLF
I don't care when he moves. Just
give me a fucking cue.
PALOMINO
The Lone Wolf!
NICK
What line did he move on?
SCRIPT
"Why didn't you tell me?"
NICK
Alright, "me" is the new cue. Nicole,
how does that feel to you?
NICOLE
Fine, if that's what Chad wants to
do.
PALOMINO
"Me, me, me," that's the cue. Let's
shoot; I'm stoked!
NICK
One second, Chad.
Nick approaches the bed and speaks quietly to Chad and Nicole.
NICK
Chad, how would you describe this
scene, in one word?
PALOMINO
Great. It's a great scene, man.
NICK
No, I mean it's a love scene. Right?
PALOMINO
Definitely.
NICK
These two people really love each
other. And we want to see that,
especially in the kiss.
PALOMINO
Hey, say no more, Chief.
NICK
Nicole?
NICOLE
I understand, Chief.
NICK
Good. Here we go. Call it, Wanda.
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take two!
NICK
And, action.
INT. THE SCENE. TAKE TWO. DAY
NICOLE
I've always admired you from afar.
Palomino moves immediately to the bed, changing his blocking
and causing the camera crew and Nicole considerable confusion.
PALOMINO
Admired? That sounds rather
professional.
NICOLE
Well, then: loved. How does that
sound?
PALOMINO
It sounds like the champagne talking.
NICOLE
I've loved you from the moment we
met.
PALOMINO
Why didn't you tell me?
NICOLE
We were working together. I didn't
want anything to interfere.
PALOMINO
God. And all this time I thought...
The scene once again is awful. Nick gives their listless
kiss a few moments then calls CUT.
INT. THE SET. DAY
NICK
And, cut. Very good. Wolf?
WOLF
Chad missed his cue again; the whole
dolly is unusable.
NICK
Yeah, Chad. What happened; I thought
you were going to hold back till
"me"?
PALOMINO
The more I thought about it the more
it didn't seem right. And I'm
thinking, watch me here, instead of
coming around the bed, what if I
just slip here like this and do the
whole scene lying down?
NICK
I don't know, that seems a little...
PALOMINO
Hey, I'm just throwing out ideas
here. Trying to get the juices
flowing.
NICK
Nicole, how does that feel to you?
NICOLE
Well, I can turn to look at him. But
won't you be shooting the back of my
head?
WOLF
Plus Chad is completely out of the
light down there.
PALOMINO
Hey, Wolf; I'm not worried about my
face, man. It's about the acting;
that's all I care about.
WOLF
It's your call, Nick. His acting or
his face.
NICK
For some reason I was hoping we could
get both.
(laughs)
I thought that's what we were trying
to do here.
WOLF
I'll have to set another light.
WANDA
We're ahead of schedule, Nick. I
think we can afford a few minutes to
set a light for Mr. Palomino.
NICK
Good, let's do it. Ellen, Damian;
let's talk for a second.
As Nick, Nicole, and Palomino step off the set Wanda speaks
to the crew in general.
WANDA
We'll pause to set this light and go
again right away. How long, Wolf?
Wolf doesn't answer, though he stands a mere foot away,
watching the Gaffer set up a light.
WANDA
Wolf?
Wolf walks away from Wanda without a word. The entire crew
watches this.
INT. A CORNER. DAY
Nick, Palomino, and Nicole confer, all three smoking.
NICK
OK, let's make sure we know what's
going on here. These two people have
loved each other for years, each of
them not knowing the other was in
love with them. And tonight, in this
little room it all comes out. It's
like a dam bursting. Does that make
sense? Nicole?
NICOLE
It makes perfect sense. I just haven't
found it yet. I'll get it though.
NICK
What about you, Chad?
PALOMINO
I'm there, man. I got the dam going,
the river, everything. You watch,
that little change in the blocking
is going to open the whole scene up
for me.
WANDA (V.O.)
We're ready, Nick!
NICK
Good. Let's go.
INT. THE SET. DAY
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take three!
NICK
And, action.
INT. THE SCENE. TAKE THREE. DAY
NICOLE
I've always admired you from afar.
Palomino saunters over and sprawls on the bed, forcing Nicole
to turn her head completely away from the camera.
PALOMINO
Admired? That sounds rather
professional.
NICOLE
Well, then: loved. How does that
sound?
PALOMINO
It sounds like the champagne talking.
NICOLE
I've loved you from the moment we
met.
PALOMINO
Why didn't you tell me?
NICOLE
We were working together -- I'm sorry,
can we cut, Nick?
INT. THE SET. DAY
NICK
Cut!
WANDA
That's a cut!
PALOMINO
Dammit! That was a good one!
NICOLE
I know, I'm sorry. But this feels
really awkward; turning all the way
around like this.
NICK
Yeah, I think the lying on the bed
is not quite working, Chad. Let's
try one with the original blocking.
PALOMINO
Which one was that? There's been so
many damn changes. Could somebody
help me out please?
SCRIPT
The cue for the original blocking is
"professional."
PALOMINO
(intimate)
Thank you. Thank you very much.
NICK
OK, right away. Call it, Wanda.
NICOLE
Nick? Could I just have a moment? Is
that alright?
NICK
Of course, Nicole; are you kidding?
Hold the roll, Wanda.
WANDA
Holding the roll!
Nicole remains seated on the bed, lowering her head and
closing her eyes as she attempts to generate some emotion
for the scene. Everyone watches her in complete silence.
INT. NEAR THE CAMERA. DAY
Palomino tiptoes over to the camera where Wanda and the
Scriptgirl are standing side by side. As he leans between
them, checking his lines on the Scriptgirl's script, he
inhales deeply then exhales with a barely audible sigh.
PALOMINO
(whispers)
Someone over here smells very, very
nice.
Thinking he means her, Wanda's lips flutter in a brief,
involuntary smile. Meanwhile, the Scriptgirl turns away,
blushing furiously.
INT. THE SET. DAY
Palomino tiptoes again back to his spot. Nicole raises her
head and nods once to Nick. She seems to have aroused some
real emotion in herself.
NICK
(with quiet intensity)
Call it, Wanda.
WANDA
And roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take four!
PALOMINO
(suddenly)
Nick, I just had a great idea!
WANDA
Hold the roll!
NICK
What is it, Chad?
PALOMINO
Just stop me if I'm out of line here,
but she says "admired from afar,"
right? Doesn't it make sense to see
Damian up close and her "afar?" You
start on a Close-up of Damian, watch
me here; as she declares her love,
the camera moves with me into this
primo two-shot that you and the
Wolfmeister have set up here.
NICK
What do you think, Wolf?
WOLF
I don't like it. This is Ellen's
scene.
NICK
I don't know; it sort of makes sense.
PALOMINO
Hey, you did it, man. It's all there
in the writing.
WOLF
I'd have to relight.
Nick pauses, thinking hard.
WANDA
We're still ahead of schedule, Nick;
if that means anything to you.
NICK
Let's do it.
WOLF
(to the Gaffer)
Get me a tweenie right here, with
diffusion.
WANDA
OK, everyone stand by. We're pausing
briefly to set one little light,
then we're going again, right away.
Stand-in please for Mr. Palomino.
GAFFER
I'll do it.
WOLF
Get the fucking light!
INT. CRAFT SERVICE TABLE. DAY
Several members of the crew loiter around the table. The
Scriptgirl approaches carrying a donut in one hand and a cup
of coffee in the other. Palomino notices her and moves quietly
to her side. Without a word he picks up the milk and pours
some in her coffee. Nicole stands nearby and watches the
following exchange.
SCRIPT
Thanks.
PALOMINO
My pleasure. Sugar?
SCRIPT
Just a bit.
Palomino puts sugar in her coffee with extreme care.
PALOMINO
You like jazz?
SCRIPT
Very much.
PALOMINO
Maybe we could go hear some tonight.
Palomino smiles and moves away just as Wanda comes up for a
coffee refill.
WANDA
It's going well I think. Don't you
think?
SCRIPT
Very well. What time do you think
we'll finish?
WANDA
Early I hope. I'm going to a jazz
club tonight.
SCRIPT
Really? So am I. He's wonderful,
isn't he?
WANDA
Chad?
SCRIPT
He's so natural, like... air.
Nicole approaches.
SCRIPT
I wonder what his sign is. Do you
know, Nicole?
NICOLE
I don't know his sign, but I think
his moon is in Uranus.
Wanda chokes hard on her coffee as Nicole walks off with a
bitter smile.
SCRIPT
You don't have to be nasty.
INT. THE SET. DAY
Palomino saunters onto the set as Wolf and his crew finish
relighting.
PALOMINO
Yo, Wolfman. Is this my new mark?
WOLF
Until you change it. Where's my
fucking eyepatch?!
Wolf walks off. The Gaffer slips the AC a shrewd wink then
walks over and stands next to Palomino, giving him a big,
friendly grin.
GAFFER
Hey, Chad.
PALOMINO
Hey, whatya say.
GAFFER
I'm Bob. I'm lighting this show.
PALOMINO
Chad Palomino; Actor.
GAFFER
(big smile)
I know.
PALOMINO
(to the ac)
Hey, what's your name?
AC
Maurice.
PALOMINO
Maurice! Hey, Maurice Chevalier! Any
relation? Probably not. Hey, smoking
crew guys, really.
The Gaffer slips his own script out of his back pocket and
begins leafing through it.
GAFFER
Hey thanks, Chad. Actually I wrote a
script.
PALOMINO
Oh, yeah?
Palomino takes the Gaffer's script and holds it up to his
eyes, shading them from a light he's looking at across the
room. He points to the light.
PALOMINO
Hey, Bill. See that light over there?
GAFFER
Uh, yeah.
PALOMINO
Lower it about three feet.
Palomino hands the Gaffer back his script and walks off. The
Gaffer and AC stand in silence for a long awkward moment.
INT. BATHROOM. DAY
Nick intently scrutinizes himself in the mirror. Leaning
closer he makes a careful adjustment to the way his hair
falls over his ear, then steps back to examine himself.
NICK
Would you care to have a drink
tonight? Hey, Nicole, what do you
say you and I have a drink tonight?
Suddenly the door opens behind him and Nicole walks in.
NICOLE
Oh, Nick! I'm sorry!
NICK
That's OK, no problem. I'm just
slapping a little water on my face.
The two stand in embarrassed silence for a moment. Nick looks
like he's gathering the nerve to ask her out.
NICK
So, it's going pretty good, huh?
NICOLE
Is it? Something feels off.
NICK
Yeah, you seem a little tense.
NICOLE
Do I?
NICK
But don't worry about it. Just take
your attention off yourself and put
it on Chad. Work off him a little
more.
NICOLE
OK, I'll try that.
NICK
And listen, I know he's no Olivier.
But he's got something, don't you
think? Kind of a natural presence.
NICOLE
Oh yes, he's very natural.
Nick hesitates, again gathering his nerves to pop the
question.
NICK
So Nicole... anything else I can
help you with?
NICOLE
Actually there is. Could you maybe
ask him to brush his teeth?
NICK
Oh, sure.
INT. THE SET. DAY
Wanda crosses the set and assumes her position beside the
camera. Wolf sits behind it, barely a foot away.
WOLF
My eye is killing me.
WANDA
Put your eyepatch on.
WOLF
I lost it.
WANDA
Is that little light set yet?
WOLF
That little light was set ten minutes
ago.
WANDA
(into her walkie)
Get me the A Team in here right away.
Nick, Nicole, and Mr. Palomino.
(to Wolf)
Why didn't you tell me?
WOLF
Hey, you're not worried about the
time, I'm not worried about the time.
WANDA
Oh, I am very worried about the time!
WOLF
I know you are.
WANDA
What is that supposed to mean?
WOLF
What do you think it means?!
WANDA
I don't know what it means!
WOLF
Oh yes you do, you know exactly what
it means.
WANDA
I have no idea what you're talking
about! Why are you --
WOLF
You don't understand me, Wanda! You
have no idea --
WANDA
I don't understand you?!! All I do
is take care of you!!!
Nick suddenly runs up just as Wolf and Wanda are on the verge
of blows.
NICK
Hey, hey, hey! What the hell's going
on here?! Jesus, Wanda. This is a
very intimate scene and a lot of
tension on the set doesn't help. OK?
Now, Wolf, let's just go through the
first part of the move. Damian, on
your new mark. Good. Close-up, Damian;
Ellen in the background.
Nick suddenly sees Palomino is wearing a black eyepatch.
NICK
Chad, what are you doing?
WOLF
Hey, that's my fucking eyepatch.
PALOMINO
Wolf, could I borrow it? Cause I'm
telling you, Nick; it really feels
right. I feel like this guy now,
man.
NICK
I don't know, Chad. I don't think it
works.
PALOMINO
You're wrong, man. I'm going to fight
you on this one.
WOLF
Hey, it's my fucking eyepatch and I
don't want anyone wearing it. It's
insanitary.
Palomino removes the eyepatch and tosses it back to Wolf.
PALOMINO
Fine. I'll get my own. Nick, send
someone out for an eyepatch. I'll
fucking pay for it myself.
Nick pulls Palomino aside and whispers to him confidentially.
NICK
Listen, Chad. I didn't want to say
this in front of Wolf but it makes
you look a little... gay.
PALOMINO
Really?
NICK
Yeah, a little bit.
PALOMINO
Jesus.
Palomino sneaks a glance back at Wolf then whispers to Nick.
PALOMINO
You're right. Thanks, buddy. Good
call.
WANDA
Are you ready, Nick?
NICK
One second. You need a rehearsal,
Wolf?
WOLF
Let's just fucking shoot it!!
PALOMINO
El Lobo!
Palomino winks at Nick and walks back to his new mark, making
a barely audible howling sound behind his hand.
NICK
Call it, Wanda.
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take four!
NICK
And, action.
INT. THE SCENE. TAKE FOUR
The scene begins again. Palomino milks his Close-up for all
it's worth.
NICOLE
I've always admired you from afar.
PALOMINO
Admired? That sounds rather
professional.
NICOLE
Well, then: loved. How does that
sound?
Right on his cue, Palomino walks to the bed. As the camera
moves into the 2-shot he begins stroking Nicole's hair with
extreme care and concentration.
PALOMINO
It sounds like the champagne talking.
NICOLE
I've loved you from the moment we
met.
PALOMINO
Why didn't you tell me?
NICOLE
We were working together. I didn't
want anything to interfere -- God!
Under the onslaught of escalating hair-stroking, Nicole
suddenly jerks her head away hard. Palomino jumps up and
begins pacing at the rear of the set.
INT. THE SET. DAY
NICK
Cut!
WANDA
That's a cut. Hold the work, going
again, right away.
NICOLE
I'm sorry, Nick. I don't know why I
did that. I'm sorry.
Palomino suddenly stops pacing and addresses Nick with a
curtness that is a little startling.
PALOMINO
Nick, could I talk to you a second?
Palomino disappears behind the set, a jerk of his head
indicating his wish for Nick to follow him.
WANDA
A momentary delay. Everyone stand
by. We're going again, right away.
SOUND
Excuse me, Ellen? You were a tad low
on that take.
NICOLE
Oh, OK. I'll bring it up. Actually
could I listen to the take before?
The Sound man gives Nicole his headphones and rewinds the
tape recorder for her. The first several lines of the last
take are heard through the headphones.
INT. OFF THE SET. DAY
Nick follows Palomino behind the set, stopping just beside
the fake set window. Palomino whirls on Nick and whispers
fiercely.
PALOMINO
I'm out of here, man!
NICK
What's the matter?!
PALOMINO
I like you, but I made a big mistake
taking this part. Have someone call
me a cab.
NICK
Wait a second, Chad. Just talk to
me. What's going on!?
PALOMINO
I can't act with this woman. I know
she's a friend of yours but I got to
tell you: she cannot act worth a
shit! I'm giving her everything! The
whole thing I just did with the hair;
did you see that? I came up with
that on my own because I thought it
would help her. But no, she's giving
me nothing! I'm out of here.
INT. THE SET. DAY
Nicole listens to the last line of the previous take.
PALOMINO
God, and all this time I thought...
(the muted rustle of
the kiss)
The Sound man stops the recorder at the end of the take,
sets the machine in standby mode, and picks up his crossword
puzzle. Nicole is just about to take off the headphones when
she realizes she can hear Nick and Palomino talking quite
clearly. Glancing up, she sees the Boom man has left his
boom leaning against the wall, the mike pointing out the
open set window.
PALOMINO (V.O.)
Why did you cast her? She sucked in
that Richard Gere movie!
NICK (V.O.)
You're right. She is not the best
actress in the world. I see that now
but you've got to help me, Chad. I'm
asking you to please help me here.
We've got to get through this somehow.
The camera begins a slow DOLLY in to Nicole's astonished
face. This will be intercut with a similar DOLLY in to the
microphone leaning against the wall, ending in an ECU of the
mike.
INT. OFF THE SET. DAY
Camera is close on Nick and Palomino.
PALOMINO
I'll tell you what this is about,
man. You know why she took a cab
this morning?
NICK
Something came up.
PALOMINO
No. She was in my hotel room and she
didn't want you to know it. OK? I'm
sorry it had to come out like this
but I told her this morning "thanks
a lot, it was a lot of fun last night
but let's get something straight --
it was just a one-time deal," and
she didn't want to hear that. She
wanted more, you see what I'm saying?
It's rejection.
INT. THE SET. DAY
The camera reveals Nicole now seated in her spot on the bed.
She rises as Nick and Palomino reappear and approach her
from behind the set.
NICK
Nicole, listen...
NICOLE
Nick, it's my fault the scene isn't
working. I apologize. Chad, I
apologize to you too. I'm completely
unfocused here and I think you're
absolutely right; what we need to do
is loosen the scene up somehow.
Nick and Palomino stare at Nicole for a moment.
NICK
What would you like to do?
NICOLE
I was wondering if we could try
improvising the scene. More along
the lines of what Chad has been doing.
Maybe that would help me find
something.
Nick's smile of gratitude to Nicole looks almost drug-induced.
NICK
That's a fantastic idea. What do you
think, Chad?
PALOMINO
Hey, that's the only way I can work.
Let's take it apart, let's cut loose.
NICK
Good! And we'll shoot it! Hell, why
not?!
PALOMINO
Roll that motherfucking camera,
Wolfie!
WOLF
Kiss my ass!
Although Wolf says this quite loud, Palomino doesn't hear
him because he suddenly yells:
PALOMINO
Yeah! Let's go!
NICK
Alright, now we're making a fucking
movie! Call it, Wanda!
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take five!
NICK
And, action.
INT. THE SCENE. TAKE FIVE. THE IMPROV
Nicole stays seated, though Palomino moves around making a
great show of loosening up.
NICOLE
I've always admired you from afar.
PALOMINO
Have you? That's, wow; that's
incredible. But that sounds kind of
professional doesn't it? Admired?
NICOLE
You're right. How does despised sound?
PALOMINO
Great!
(laughs)
What's it mean?
NICOLE
(laughs)
It's sort of like I think you're a
piece of shit.
Palomino is somewhat startled by this. He looks to Nick in
confusion. Nick silently encourages him to keep going.
PALOMINO
(another laugh)
That sounds like the champagne
talking.
NICOLE
It's not. I really do think you are
a piece of shit.
PALOMINO
No, you don't. You love me.
NICOLE
The fuck I do. I can't stand looking
at you!
PALOMINO
Then I guess I have nothing else to
say.
NICOLE
No, I think you have a lot more to
say, Damian.
PALOMINO
Well, I am surprised you feel this
way, Ellen. I always thought you
admired --
NICOLE
That's not what I meant. You should
tell everyone what you just told
Nick behind the set.
PALOMINO
Hey, this isn't part of the scene.
NICOLE
Say it anyway: The reason this scene
isn't working is because you and I
slept together last night. Did
everyone hear that?! I fucked Chad
last night!
Nick and the rest of the crew stand in stunned amazement.
PALOMINO
See, Nick! I told you this was about
rejection!
NICOLE
You fucking scumbag! You think I
give a rat's ass about you?! I was
there to get laid and even that was
a joke!
PALOMINO
You know, you are really starting to
piss me off!
NICOLE
Oh, does that mean you're not going
to come wiggle on the bed anymore,
or stroke my hair real soft and
concerned, or kiss me like a soap
opera acting piece of shit!
Palomino snaps, and lunges for Nicole. She leaps to the other
side of the bed.
NICOLE
Come on! I'll kick your ass! Come
on!
Nick steps between Nicole and Palomino.
NICK
OK, guys, I think we can stop there.
PALOMINO
You bet your ass we can stop! Wanda,
call me a cab!
NICK
Hold on, Chad. Let's just try to
calm down.
PALOMINO
Fuck you. I'm out of here, man. This
movie is bullshit.
NICK
Now wait a second, Chad. There's no
reason for hostility.
PALOMINO
Shut up, you fucking loser. The only
reason I took this part was because
someone said you knew Quentin
Tarantino! You're nowhere, man.
NICK
Hey, you want to go? Go! I'm sick of
your shit, you hostess twinkie
motherfucker!
PALOMINO
What'd you call me?
NICK
You heard me.
PALOMINO
Say it again.
NICK
You hostess twinkie motherfucker!
Palomino suddenly punches Nick in the stomach, leaving him
bent over and gasping for breath. Nicole instantly leaps on
Palomino's back and begins pounding her fist on the top of
his head. Palomino spins wildly trying to dislodge her as
Wanda rushes forward.
WANDA
Alright, everyone just stop. Stop!
Stop this right now!
As she tries to separate Nicole and Palomino, Palomino shoves
her hard, knocking her down. Instantly Wolf leaps off the
camera and runs up to Palomino.
WOLF
Alright, you've asked for it, Chad!
Palomino suddenly punches Wolf in the teeth, dropping him
like a stone.
WANDA
(shrieks)
Wolf!
Suddenly Nick staggers to his feet and rushes at Palomino.
His momentum knocks all three backwards onto the bed,
Palomino's head cracking Nicole in the teeth.
NICOLE
Oh, God!
Nicole rolls free as Nick and Palomino wrestle on the bed.
Nick gets Palomino in a vicious headlock and starts pounding
his head against the mattress.
NICK
You want to pick my brain?! This is
the way I direct hostess twinkie
scumbags like you!
As Nick continues to pound Palomino's head the Gaffer notices
Palomino's eyes are starting to bug out from the pressure of
Nick's forearm around his neck. He and the Boom man rush
forward and finally manage to pry Palomino free.
NICK
Get him out of here! Someone take
him back to his hotel!
As the Gaffer and Boom man drag off the almost unconscious
Palomino, the Scriptgirl takes one faltering step after him.
SCRIPT
(sniffling)
Chad...
Suddenly, everything becomes quiet except for Nick's labored
breathing and the Scriptgirl's sniffles. Nick leans over and
touches Nicole's shoulder.
NICK
Are you alright?
NICOLE
Don't touch me.
EXT. DAY. THE STREET OUTSIDE THE SET
The Gaffer and AC help the still-groggy Palomino into the
back of the production van. JEFF, the driver, watches them
in sleepy curiosity.
With Palomino safely propped in a seat, the AC goes back to
the set. The Gaffer waits a moment then slips his script out
of his back pocket and slaps it into Palomino's motionless
hand.
GAFFER
It's called "Tsunami." A Japanese
tidal wave hits New York. You've an
ex-Navy S.E.A L. frogman, working
undercover. You save the city. You'd
be perfect for the lead. That's my
number; call me, or I'll call you.
Either way it's been great working
with you, man.
As Palomino stares at him blankly, the Gaffer slams the door.
The car pulls out.
INT. THE SET. DAY
Nick and Nicole are sitting up on the bed, alone on the now
empty set.
NICK
Nicole, I'm sorry. I didn't mean it.
You were great in that Richard Gere
movie.
NICOLE
Shut up. You're no different than he
is. You lie, you're deceitful...
NICK
I'm not lying. Christ, I tell everyone
how great you are. I've got nothing
but respect and admiration for you.
NICOLE
Oh God, now you're doing your own
fucking script.
NICK
Well, why do you think I wrote it?!
NICOLE
I have no idea!
NICK
It's about you. It's about how I
feel about you.
NICOLE
Christ, did you get a bump on your
head, Nicky. 'Cause you're talking
like an idiot.
NICK
Nicole. I've loved you since the day
we met.
Nicole sits for a long moment in stunned silence.
NICOLE
Why didn't you tell me?
NICK
I didn't want anything to get in the
way of us working together.
NICOLE
God, and all this time I thought...
Nick and Nicole move into a shy, trembling, heartfelt kiss.
INT. HOTEL ROOM. DAWN
Nicole snaps awake with a jolt. She glances quickly at the
clock which reads 4:35. The sound of the shower still running
in the bathroom.
NICOLE
Oh, God.
Nicole leaps out of bed and races into the bathroom. As the
camera follows her, she closes the bathroom door, right
against the lens, turning the image to total BLACKNESS.
The frame is BLACK. The recognizable clatter and clunk of
the FILM CREW is heard. Wanda's voice is prominent.
WANDA
Don't go out that door!
Suddenly a DOOR opens away from camera and the AC stops, a
foot away from the lens. Behind him, Wanda and the rest of
the crew can be seen through the door, preparing for filming.
We see now the door and the plywood walls around it are FAKE.
INT. THE SET. DAY
AC
Why not?
WANDA
It's part of the set, goddamnit. Now
go around.
AC
Next time. This is an emergency.
The AC rushes past and a moment later the camera DOLLIES
slowly through the fake door toward Wanda pacing near the
set camera.
WANDA
(into her walkie)
Has Ellen showed up yet?
WALKIE
ssss... kkkkkrrk.
WANDA
Get her into wardrobe right away.
WALKIE
ssskk... ssssrrrk?
WANDA
No! Scene six; Scene five has been
postponed. I'm not going to say it
again; Mr. Palomino is not working
today. Now where is that smoke
machine!
INT. SET BUILDING, HALLWAY. DAY
The AC bursts through a door at the end of the hallway and
walks quickly toward the camera. Without knocking he pushes
open the bathroom door and suddenly stops short.
AC
Oh. Sorry.
Standing on his tiptoes at the sink, straining to turn off
the running faucet is, TITO a DWARF. He is dressed in a sky
blue tuxedo with tails. A top hat and white gloves rest on
the closed toilet seat. Tito appears extremely annoyed.
TITO
What do you want?!
AC
I need to use the bathroom. Kind of
an emergency.
TITO
Well, fucking knock!!
Tito grabs his hat and gloves and marches down the hall, the
AC staring after him in astonishment.
TITO
(muttering)
I swear to Christ, one of these days
I'm going to punch somebody in the
balls!
INT. WARDROBE ROOM. DAY
Camera is close on Nicole, her eyes clenched shut as a thin
white veil is placed on her head. Camera pulls back to reveal
SACHIKO, the Costume Designer putting the finishing touches
to Nicole's costume, which appears to be an elaborate white
wedding gown. Nick stands nearby, smoking.
NICK
Just as we pull up to your apartment
Palomino suddenly says he feels so
sick he can't work today.
NICOLE
God. Was it something he ate?
SACHIKO
Stand up, please.
NICK
I don't know.
NICOLE
Can he work tomorrow?
SACHIKO
Turn around, please.
NICK
Don't know that either. But I'm not
worrying about it. I had this dream
last night where I was on the set.
You were in it, and another woman,
someone older. Anyway, everything
was going wrong. The harder I tried
to hold things together the more
they fell apart. And you know what
that dream was telling me, Nicole?
You just got to roll with it. And
that's what I'm doing, I'm rolling
with it. So, we'll just shoot the
Dream Sequence today.
Just then Tito walks in.
NICK
Hey, Tito. You look great, man.
TITO
I feel like shit.
NICK
No, you look good. Thanks for coming
in on such short notice. This is
Nicole; she's playing Ellen.
NICOLE
Hello. Toto, is it?
TITO
Tito.
NICOLE
Oh, I'm sorry.
NICK
Listen, if there's anything I can do
to make you... if you need... uh,
just let me know.
TITO
Put a stool in the bathroom.
Tito walks out, followed immediately by Sachiko, leaving
Nicole alone with Nick.
NICK
Did I just offend him?
NICOLE
What did you say?
NICK
"Short notice?"
NICOLE
Come on; that was nothing. I'm the
one who called him "Toto." Jesus,
I'm out of it. I dreamt I was on the
set last night too.
NICK
Oh yeah?
NICOLE
Yeah. You were in the dream.
NICK
Was I freaking out?
NICOLE
Actually, you were.
NICK
That's great: I freak out in my dream;
I freak out in your dream. No wonder
I'm fucking exhausted.
NICOLE
Nick...
NICK
Yeah?
Nicole stares at Nick for a long moment then smiles briefly
and turns away.
INT. A CORNER OF THE SET. DAY
A dented, ancient smoke machine squats forlornly in the middle
of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN,
and the SOUND MAN stand around it, scrutinizing it intently.
Wolf seems in an unusually good mood.
WOLF
Alright, guys; special effects today.
Could be fun. Who knows how to work
this baby?
GAFFER
It's the old T-160. I used it once
in '85.
AC
Damn. '85.
WOLF
What's this?
GAFFER
That's where the gas goes.
BOOM
No, that's where the oil goes.
GAFFER
Is it?
BOOM
I think so.
GAFFER
You're right. It's coming back now.
WOLF
I'm going to let you handle this
one, Bob. This is your baby. And
Les, if he needs help you give him a
hand. OK, guys? We're all working
together today.
Wolf walks off. The Gaffer kneels to inspect the smoke machine
closer.
GAFFER
Yup, all coming back now. Like riding
a bike. T-160, 1985. 1985, T-160.
AC
Way to go, Bob.
INT. THE SET. NEAR THE CAMERA
Wanda stands alone by the camera, looking around at the
bustling crew like a battalion commander watching her troops
in battle. Nick approaches her.
NICK
How are we doing, Wanda?
WANDA
Not good, Nick. Not bad, but not
good. We need to finish this scene
and do Scene thirty-one today.
NICK
Scene thirty-one?! I left my notes
for Scene thirty-one at home! I didn't
know we were --
WANDA
Nick, Nick. I'll send someone to
your apartment to pick them up. Now,
relax.
NICK
Oh, OK. Send somebody to my apartment
to pick them up; it's the red
notebook, under the bed.
WANDA
It's taken care of, Nick.
NICK
Good. Great. Good.
Nick walks off quickly, muttering to himself. A moment later
Wolf strolls up to Wanda.
WOLF
We're all lit, the smoke machine is
under control; we're ready to go.
WANDA
(hard)
What about the dolly?
WOLF
Just need to see a run-through and
we're all set. I'm going to make
your job easy today, Wanda. Wandaful.
(he slips his arm
around her)
Mmm, I'm glad you wore that perfume.
And don't worry about Palomino; I'll
take you to a jazz club tonight.
WANDA
Oh, I can't make it. I have to go
see Chad; he's extremely ill.
WOLF
Oh, by the way my eye's much better.
WANDA
Listen, Wolf, this may not be the
best time to say this but our
relationship is going nowhere.
WOLF
What do you mean?
WANDA
Please, don't take it personally.
Because I care for you, Wolf, I really
do. But I've had this feeling for
quite a while and I think it's time
we ended it. OK?
WOLF
(pause)
OK.
WANDA
I think it's better.
WOLF
So do I.
WANDA
Well, good. Still friends?
WOLF
Sure.
WANDA
Great, cause we still have to work
together and there's no reason it
has to be unpleasant. Give me a hug.
Wanda and Wolf move into an extremely wooden embrace.
WANDA
You're a real special guy, Wolf.
WOLF
Thanks.
Wanda slips Wolf a tender smile then walks away.
WANDA
(into her walkie)
OK, let's get the A Team in please!
Nick, Ellen, Mr. Tito!
INT. THE SET. DAY
Nick is working with the crew and the actors. The set consists
of two flats (one with the fake door) joined to make a corner.
The flats are painted fire-engine red.
NICK
OK, here's the shot. We start wide
with Ellen standing absolutely still
right in the middle of the frame.
You got that, Wolf?
WOLF
Yeah.
NICK
(notices eyepatch)
What happened to your eye?
WOLF
Nothing. It's a little sensitive
today.
NICK
Can you see?
WOLF
(snaps)
Of course I can see!
For a moment Nick looks like he might snap back at Wolf but
he draws a deep breath and continues.
NICK
OK, Ellen is standing there. The
smoke is flowing in and: Ellen's
line.
NICOLE
I am so hungry.
NICK
Good, Tito, that's your cue.
The fake door opens and Tito enters wearing his top hat and
carrying a golden apple in his gloved hands.
NICK
You walk around her once, hold the
apple out, that's right; just beyond
her reach. You're staring at her
hard. Harder, good. Then stop right
here. Can we get a mark, please?
The AC moves up to Nick and places a piece of yellow tape on
the floor. CU the yellow tape.
NICK
Then we dolly in to Tito's Close-up.
Alright, Wolf?
WANDA
It should be hand-held.
NICK
No, I think it's better on the dolly.
WOLF
Whatever.
NICOLE
Nick, do I see him?
NICK
No, just the apple. And Tito, right
after we dolly in give me a little
laugh there.
TITO
A little laugh?
NICK
Big, little; anything you feel like
doing. OK? Good. Let's shoot one.
Call it, Wanda.
WANDA
OK, here we go. Camera back to One.
Action on the smoke.
The Gaffer turns on the smoke machine which emits a pathetic
wisp of smoke that immediately dissipates.
WANDA
And roll sound.
NICK
Hold it, Wanda. Can we get a little
more smoke? Is that possible?
GAFFER
Oh, sure.
The Gaffer adjusts a knob and another thin puff of smoke
wheezes out.
NICK
Good. Call it, Wanda.
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take one!
NICK
And, action.
INT. THE DREAM. TAKE ONE. DAY
Nicole stands motionless in the middle of the empty set. Her
white wedding gown stands out sharply against the deep red
walls. A sad shred of smoke drifts by her head.
NICOLE
I am so hungry.
Tito opens the door and walks in, staring hard at Nicole.
His sky-blue tuxedo gleams in the rich light. He walks around
her in a circle holding the golden apple just beyond her
reach. He stops on his mark and the camera dollies into a CU
of him. He doesn't laugh. Nick watches this for a moment in
intense concentration.
INT. THE SET. DAY
NICK
And... cut.
WANDA
That's a cut. Nick; comments?
NICK
Yeah, just a couple. I thought that
was uh... good. Tito, that was very
good, man, really. You didn't feel
like laughing?
TITO
I laughed.
NICK
Oh, OK; I guess I missed it. You
could make it bigger if you want.
And Ellen, maybe just a little more
tension when you see him.
NICOLE
I thought I didn't see him.
NICK
Right, maybe you see him a little
bit.
NICOLE
Alright, I'm confused. Do I see him
or not?
NICK
You see him.
NICOLE
OK, what is the tension? Who is Toto?
TITO
(hard)
It's Tito.
NICOLE
(alarmed)
What did I say?
TITO
Toto.
NICOLE
Oh, God. I'm sorry, Tito. I don't
know why I'm doing that. I'm really
sorry.
NICK
Ellen, come on now; concentrate.
Remember; you're marrying Damian
tomorrow. You're a little anxious.
You have this dream. Let's call it
an Anxiety Dream, and Tito represents
the anxiety.
CU Tito looking none too happy about this representation.
NICK
OK? It seems pretty simple.
NICOLE
Let's just try it.
NICK
Good. And Bob, let's really have
some smoke on this one.
GAFFER
OK, more smoke.
WOLF
I still think it should be hand-held.
NICK
Yeah, well, I don't want it hand-
held. I want it on the dolly. Where's
my notebook, Wanda?
WANDA
On it's way, Nick.
NICK
Good. Call it, Wanda.
WANDA
Lock it up. Going for picture. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take two!
NICK
And, action.
INT. THE DREAM. TAKE TWO
Nicole stands motionless as a few more emaciated puffs of
smoke hang in the air.
NICOLE
I am so hungry.
Tito enters, walks around her holding the apple just beyond
her reach then moves to his mark. The camera dollies into a
CU. He does not laugh.
INT. THE SET. DAY
NICK
Cut.
WANDA
That's a cut. Going again, Nick?
NICK
Yes.
WANDA
Going again, please stand by.
NICK
OK, Ellen, good. You're on to
something there.
NICOLE
No, something's not right. It all
feels fake to me.
Nick's tone with Nicole suddenly takes on an almost
imperceptible edge, tinged with annoyance.
NICK
Well, it's not fake; it's real. Just
remember, you really want the apple.
Tito, I still think we could see
more of a laugh at the end.
TITO
What kind of laugh?
NICK
Just a laugh.
TITO
Show me.
NICK
Oh, OK. A laugh. I'm thinking maybe
like this. Ha ha ha ha ha ha ha.
Everyone watches Nick demonstrate the laugh. He seems unaware
he resembles a drunken, slightly annoyed idiot.
NICK
Something like that. OK? And remember,
Tito, this is a dream. Not everything
has to make sense. A laugh right
there heightens our sense of... of...
TITO
Anxiety.
NICK
Exactly. Wolf, how was that for you?
WOLF
I still think it should be hand-held.
NICK
(snaps)
Well, God damn it! It's not going to
be! It's on the dolly so just forget
about it!
There is a strained moment of silence on the set as everyone
witnesses this rebuke.
NICK
And Bob, what the fuck is that smoke?
Might as well get a couple hamsters
in here blowing smoke rings for
Christ's sake.
GAFFER
The septic valve wasn't open. I got
it now. We're going to see some smoke
now.
NICK
Alright, let's try another take.
WANDA
And, lock it up.
WOLF
Nick, could I talk to you for a
minute?
NICK
What?!
WOLF
In private.
NICK
(sighs in exasperation)
Alright.
Nick follows Wolf off the set.
WANDA
Release the lock-up. Everyone stand
by.
GAFFER
We'll see some smoke now.
AC
Way to go, Bob.
INT. A CORNER. DAY
As soon as Wolf and Nick reach the darkened corner, Wolf
whirls to face Nick.
WOLF
I really don't like being spoken to
like that, Nick!
NICK
Yeah, well I don't like your attitude!
WOLF
I don't have an attitude!
NICK
The hell you don't! Every time I ask
you to do something all I get is No,
No, No and I'm sick of it! I hired
you to do a job; if you're not going
to do it you better let me know right
now!
Wolf is about to yell back at Nick when suddenly he stops
and lets out a deep, painful sigh.
WOLF
I'm sorry, Nick. I'm going through
some heavy shit.
NICK
What do you mean?
WOLF
I can't really go into it. It's pretty
heavy.
NICK
Personal?
Wolf makes a slight motion with his head toward Wanda who is
standing some distance away watching them. Seeing the two
men looking at her Wanda shoots them a hard glare which
prompts Wolf and Nick to turn away quickly.
WOLF
Personal, professional, emotional.
It's doing a number on me. And now
you're telling me you're going to
fire me.
NICK
I didn't say that, Wolf. Come on,
I'm not going to fire you. You're
doing a great job here.
WOLF
Am I?
NICK
Yeah, I don't know what I'd do without
you, man. You've got a great eye. I
just hope it's not the one under
that eyepatch.
Nick lets out a tense, strained laugh but Wolf's only response
is to stare back at him sadly.
NICK
Listen, Wolf. Let me tell you one
thing I've learned; sometimes you
just have to roll with things. You
know?
WOLF
You're right.
NICK
Roll with it, man. You'll be OK.
Wolf lets out another deep sigh.
WOLF
Thanks, bro.
INT. A CORNER OF THE SET. DAY
The Gaffer, Boom man, and AC kneel around the smoke machine.
A can of gas and a quart of oil stand beside them.
BOOM
That's where the oil goes.
GAFFER
No, that's where the gas goes.
BOOM
I'm tellin' you, Bob. That's where
the oil goes.
SOUND
Lester, don't you think Bob knows
where the oil goes?!
GAFFER
I don't remember using oil in '85.
AC
Maybe both the oil and gas go in
there?
The Gaffer and Boom man turn and look at the AC for a long
moment.
BOOM
I think he's right.
GAFFER
I think he is too. OK, three parts
gas, one part oil.
The Gaffer and Boom man pour liberal amounts of gas and oil
into the T-160.
INT. THE SET. DAY
Nick rushes up to his position by the camera.
NICK
Is my notebook here yet, Wanda?
WANDA
Any minute, Nick.
NICK
Good. Call it, Wanda.
WANDA
Going for picture. Lock it up. And
roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take three!
NICK
And, action.
INT. THE DREAM. TAKE THREE
Nicole stands motionless in her white wedding dress, looking
genuinely alarmed, possibly because of the huge clouds of
smoke now spewing out of the panting smoke machine.
NICOLE
I am so hungry.
Tito enters, stares at her hard and walks around her in a
circle holding the apple just beyond her reach. The smoke is
so thick both of them are barely visible. Just as Tito gets
to his mark the smoke machine backfires with a tremendous
explosion and begins filling the room with dense, blinding
smoke.
INT. THE SET. DAY
The smoke blanks out the entire frame. Frantic shouts are
heard from unseen bodies.
NICK
Cut! Cut! Cut!
WANDA
Turn it off! Turn it off!
GAFFER
I can't find the switch!
WOLF
Pull the plug! Bob! Pull the plug!
WANDA
Open the door! Get some water!
GAFFER
I got it! I got it!
The smoke machine emits a loud hiss and dies, filling the
room with sudden silence. Slowly the smoke begins to clear
as the crew moves around muttering and coughing.
WANDA
Clear the set! Ellen! Tito! Please
step off the set!
TITO (V.O.)
I'm off the set!
NICOLE (V.O.)
So am I.
WANDA
Then who is that? Who is that? Please
step off the set!
A pair of fuzzy-slippered feet enter the smoky frame. The
camera BOOMS up, passing over a woman's bare shins, a
flowered, blue silk housecoat until finally coming to rest
on the pleasantly smiling face of CORA. This is the same
woman who played Ellen's Mother in Part One; she is dressed
exactly the same as she was in their scene. The camera pulls
back to reveal JEFF the Intern standing nervously beside her
with a red notebook in his hands.
CORA
Hi, Nicky.
Nick gapes in utter astonishment.
NICK
Mom!
INT. THE SET PRODUCTION OFFICE. DAY
Wanda speaks urgently into the phone while Nicole stands
beside her. Jeff (still wearing his hat) waits at a distance
clutching Nick's red notebook.
WANDA
Cora Reve, R-E-V-E. Blue housecoat,
blue slippers. How do I know? Because
she's sitting ten feet away from me.
Well sweetheart, that's going to be
a real fucking problem.
Nicole turns away and walks past Jeff to the Craft Service
table.
JEFF
She was waiting outside Nick's
apartment when I went to pick up his
notebook. She said she was looking
for him so I figured I should just
bring her up here. You look really
pretty in that dress.
Nicole nods politely then looks to the Makeup corner where
Nick sits talking earnestly to his mother.
INT. MAKEUP CORNER
NICK
How did you get here?
CORA
I took a bus in; went right to your
apartment.
NICK
How did you get out of your room?
CORA
Oh, I just went right through the
door.
NICK
It was unlocked!?
CORA
No, it was locked. I just went through
it. It's something I've learned to
do, Nicky. I can walk through just
about anything; like air.
NICK
Mom, you've got to stop doing this.
I'm serious. I'm a little upset with
you. You could have gotten lost, or
hurt.
CORA
I wanted to see you. I've missed
you.
NICK
I know, Mom; I've missed you too.
But it's not really a good time.
Nicole approaches, holding up the hem of her wedding gown.
There is a subtle tension smoldering between her and Nick.
NICOLE
They're sending a car. It should be
here in a couple of hours. They didn't
even know she was gone.
NICK
Jesus, I don't believe this.
CORA
I'm sorry, Nick. If I knew there was
going to be a wedding I would have
worn my fucking hat.
INT. THE SET. DAY
The camera holds on Tito pacing slowly, alone on the set. He
is smoking fiercely, holding his top hat with one hand.
Suddenly he begins laughing in a loud, stage bellow.
INT. A CORNER OF THE SET. DAY
Nick sets a chair for his mother and helps her sit down.
Nicole joins Tito on the set and talks quietly to him.
NICK
There. How's that, Mom? Can you see?
CORA
Is the little fellow going to do
gymnastics?
Tito glances up at her quickly.
NICK
Shhhh! No. Now come on, Mom. You've
got to be quiet. Absolutely quiet.
OK?
CORA
(whispers)
OK.
INT. THE SET. NEAR THE CAMERA. DAY
Wanda and Wolf stand beside each other in tense, awkward
silence for a long moment.
WANDA
How are you doing?
WOLF
Good; real good.
Wolf looks as if he's about to burst into tears as Nick walks
up.
NICK
How's the smoke machine?
WANDA
It's dead, Nick. I've got calls out
to every Effects house in the city
but I just can't seem to locate --
NICK
Forget it. We'll shoot without it.
WANDA
But Nick, it's a Dream Sequence.
NICK
That's the way it goes, Wanda. We're
just going to have to roll with it.
Nothing else we can do. We've got to
roll with it, right, Wolf?
Wolf meets Nick's eyes and gives an extremely melancholy
nod. Nick turns to address Nicole and Tito and the edge
immediately slips back into his voice.
NICK
OK, here we go. Ellen, you've got to
keep reaching for that apple. I don't
feel that you really want it. I mean,
Christ, how many times do I have to
tell you!
Nicole glares at Nick for a moment then abruptly turns and
walks off the set. Nick stares after her in confusion then
quickly follows her.
WANDA
Everyone stand by. Nobody move. Going
again, right away.
EXT. STREET. NYC. DAY
Nicole stands with her back to the camera as Nick strides up
to her with impatience.
NICK
Alright, Nicole. What's the matter?
NICOLE
You tell me! You're the one with the
bug up your ass!
NICK
Now wait just a second!
NICOLE
You've been picking on me all day! I
can't do anything right!
NICK
I'm sorry if I was short with you,
Nicole, but I think you can see I'm
under a little pressure here. I'm
shooting a Dream Sequence without a
smoke machine, my mother's out there
thinking she's at a circus wedding
and you tell me the whole movie seems
fake!
NICOLE
I never said that!
NICK
You did too. You said, "Everything
feels fake."
NICOLE
I meant me! I feel fake! Everything
I'm doing feels fake. I can't act. I
should just do shower scenes in
Richard Gere movies for the rest of
my life!
NICK
Nicole, that's ridiculous. You're a
fantastic actress. All you have to
do is show me you want that apple
more than anything else in the world;
don't give up. Understand? You cannot
give up.
NICOLE
OK.
Suddenly Wanda yells out.
WANDA
Ready, Nick?!
NICK
Ready!
INT. THE SET. DAY
Nick rushes back onto the set.
NICK
OK, here we go. Everybody focus,
concentrate. And Tito, we're still
looking for that little laugh, pal.
OK? Call it, Wanda!
WANDA
Picture's up. There will be no smoke
in this scene. No smoke. No smoke in
the Dream Sequence. And roll sound.
SOUND
Speed!
WANDA
Roll camera!
AC
Rolling!
CLAPPER
Scene six, take four!
NICK
And, action.
INT. THE DREAM. TAKE FOUR. DAY
Nicole stands motionless in her wedding gown.
NICOLE
I am so hungry.
Tito walks in, stares at her hard, then walks around her
once with the golden apple just beyond her outstretched hands.
He stops and the camera dollies into his CLOSE-UP. Nick
watches in hopeful expectation. He waits and waits but Tito
does not laugh.
Just then the door in the rear set wall opens and Cora steps
in, looking oddly puzzled.
CORA
Oh, I thought this was the TV room.
INT. THE SET. DAY
NICK
Cut!
WANDA
That's a cut. Going again, right
away.
INT. OFF THE SET. DAY
Nick escorts his mother back to her chair.
NICK
Mom, listen to me. I don't want you
to move from this chair. Do you
understand?
CORA
Oh Jesus, you sound just like your
father...
NICK
Mom, I'm serious.
CORA
OK, OK. I won't move.
NICK
Thank you.
INT. THE SET. DAY
Nick walks back on the set and addresses Nicole and Tito.
NICK
OK, good. Very good.
(laughs)
Tito, I think we're having a little
communication problem here. All I
want you to do is laugh. OK?
TITO
Why?
NICK
I told you why.
TITO
Tell me again.
INT. OFF THE SET. DAY
Wolf (still wearing his eyepatch) walks over and sits quietly
in a chair beside Cora. He does not speak to her and gazes
blankly out at Nick, Tito, and Nicole on the set some distance
away. Cora however stares at the side of his head with such
intensity Wolf can't help but turn to her.
Cora still doesn't take her eyes off him and in fact stares
even more intently into his eye.
Wolf glances away for a moment then looks back. Cora continues
to stare at him. Suddenly, his eye is full of tears. Cora
watches in rapt silence. Wolf is crying openly now. Cora
reveals no hint of emotion as she reaches out and gently
lifts the eyepatch off of his eye. A tight smile of
satisfaction creases her lips as a tiny pool of tears is
released, streaming quickly down Wolf's cheek. No one sees
this.
INT. THE SET. DAY
Nick paces tensely in front of Nicole and Tito.
NICK
Look, Tito. It's not that big a deal.
It's a dream, alright. Strange things
happen in a dream. All you have to
do is laugh. Why is that such a
problem?
TITO
Why does it have to be a dwarf?
NICK
What?
TITO
Why does my character have to be a
dwarf?
NICK
He doesn't have to be a dwarf.
TITO
Then why is he?! Is that the only
way you can make this a dream; put a
dwarf in it?
NICK
No, Tito; that's not --
TITO
Have you ever had a dream with a
dwarf in it?! Do you know anyone
who's had a dream with a dwarf in
it? NO! I don't even have dreams
with dwarves in them! The only place
I've seen dwarves in dreams is in
stupid movies like this! Make it
weird; put a dwarf in it. Everyone
will go "whoa whoa whoa, must be a
dream, there's a fucking dwarf in
it!" Well, I'm sick of it. You can
take this Dream Sequence and shove
it up your ass!
Tito hurls his top hat and gloves to the floor and walks
out. Everyone stares at Nick who is frozen in stunned silence.
Finally Wanda approaches him hesitantly.
WANDA
Nick?
(no response)
I can get right on the phone. We'll
try to get another... small person
here as soon as possible.
NICK
No. He's absolutely right.
Nick sighs heavily and sinks to sit on the dolly in silence.
Wolf appears behind him, still wiping his eyes.
WOLF
You want to just shoot Ellen, Nick?
She could be in the dream by herself.
NICK
No. We're not going to shoot anything.
I'm sorry. Thanks for all your help,
but it's over. I can't take it
anymore. I tried to roll with it but
it's time to face the music; I can't
do this. I am not a director. The
shoot is over. I give up.
Nick's speech has the simple eloquence of truth; he is not
bitter or self-pitying. He seems unaware of how disturbing
this is to the crew. They all stand around him in shock,
afraid to move or speak. Finally Wolf turns to the AC and
puts his hand on his shoulder, like a father to his young
son.
WOLF
Take the camera off the dolly. Start
putting it away.
Everyone watches the AC unfasten the camera in silence. Nicole
stands alone on the set in her wedding dress, still holding
the golden apple. Her face is frozen in dismay. Suddenly
CORA comes through the set door and marches up to Nicole.
CORA
Give me that apple!
At the sound of his mother's voice, Nick looks up. He sees
her snatch the apple from Nicole's hand and march back out
the door, closing it behind her.
CORA
(behind the door)
I'm ready, Nick!
INT. BY THE CAMERA. DAY
Nick gets up slowly and whispers intensely to Wanda, Wolf,
and the rest of the crew.
NICK
Roll camera. Roll sound. Let's go.
Right away.
Wolf grabs the camera and puts it on his shoulder (hand-held)
as the rest of the crew moves quickly and silently into
position. On a terse signal from Nick the camera starts
rolling.
INT. THE SET. THE DREAM. DAY
Nicole takes the silent "action" cue from Nick.
NICOLE
I am so hungry.
Right on cue Cora walks through the door, holding the golden
apple out in front of her. She circles Nicole with
determination, seemingly oblivious to Nick and the rest of
the crew hovering behind Wolf as he begins following her
with the hand-held camera. Wolf is now in his element; gliding
like Nureyev with the camera. When he pans suddenly with
Cora the whole crew ducks wildly and dives out of camera
range.
Cora finally stops circling Nicole and stops abruptly.
Suddenly she raises the apple right out in front of Nicole.
Wolf glides forward with the camera, framing an amazing CU
of the apple with Nicole seen behind it. Nicole reaches out,
grabs the apple and takes a huge, resounding bite out of it.
CU Nick's face, eyes wide in anxious delight.
Cora takes one step forward. CU her fuzzy slippers stopping
right on the yellow tape mark. Cora waits momentarily until
Wolf has reframed both her and Nicole, then lets out a huge
laugh.
INT. THE SET. DAY
NICK
And cut!!
General mayhem erupts on the set.
NICK
Wolf, talk to me, man! Did you get
it?
WOLF
Got it, Nick! Everything!
NICK
The Close-up?
WOLF
Perfect. See? That's what I meant
about going hand-held!
NICK
You're a genius, man! What about the
focus?!
AC
Nailed it.
WOLF
Fuckin' A!
Wolf slaps the AC's palm, then the Gaffer's standing right
beside him. He turns gleefully to the next person but seeing
it is Wanda he rigidly turns away.
WANDA
Going again, Nick?
NICK
How was the sound?
SOUND
I could use another but definitely
acceptable.
Nick runs up to his mother and throws his arms around her.
Nicole stands beside him.
NICK
Mom, you kook! That was incredible!
Did you know we were filming?
CORA
(testily)
Of course I knew you were filming.
NICK
You were great, you're a natural.
And Nicole, that was beautiful. Don't
you dare tell me that felt fake.
Suddenly, on an impulse surprising both of them, Nick and
Nicole embrace. Just then Wanda steps up.
WANDA
Going again, Nick?
NICK
Oh, hold on. Let me think a second.
The set grows suddenly quiet as Nick begins pacing rapidly,
muttering to himself.
NICK
Can I use it for the Dream Sequence,
that's the question. Does it work
for the Dream Sequence?
Nick suddenly looks up and sees everybody staring at him;
Nicole in her wedding gown, Wolf with his eyepatch, his mother
still eating the apple, Wanda, the crew.
NICK
We're going with it, Wanda!
WANDA
Alright everyone, listen up. That is
a wrap on Scene Six.
The set erupts in applause.
SOUND
Hold it! Hold it! Hold it!
WANDA
What?!
SOUND
I need to record room tone. I'll
need thirty seconds of silence.
WANDA
Oh, alright! Quiet. Quiet! Shut up!!
Thirty seconds of room tone. The
sooner you're quiet the sooner we're
done.
CORA
(whispers to Nick)
What's room tone?
NICK
It's for the sound, Mom. We just
have to be quiet.
At that moment a door opens at the rear of the set and a
DOCTOR and NURSE enter. The Nurse carries an extra overcoat.
Jeff, the Driver, turns and sternly whispers for them to be
quiet.
WANDA
And roll sound. Nobody move.
SOUND
Speed.
INT. THE SET. DAY
The camera is wide, showing the entire set, actors, and crew.
Everyone stands in perfect silence, as motionless as statues.
As the silence continues the mood on the set gradually
changes. One by one people drift into their own private worlds
of reflection.
MS the Sound man, alternately watching his recorder and his
stopwatch. Behind him the Boom man holds the mike in position
to record general ambiance while staring off into the
distance.
CU the tape recorder spinning in quiet precision.
CU the stopwatch, its giant second hand showing five seconds
have passed.
MS Nick standing next to his mother who drapes one arm
casually over Nick's shoulder. Nick glances up and sees Nicole
beside him, absorbed in her own thoughts. Suddenly she looks
up and her eyes meet Nick's. She slips him the barest hint
of a smile.
The camera DOLLIES slowly through the standing, silent group,
passing over faces in different degrees of thought.
CU the Sound man's stopwatch, the giant second hand showing
ten seconds have passed.
MS Nick. He is so immersed in thought he looks at no one.
The camera slowly DOLLIES into a CU of him.
INT. AN AWARDS CEREMONY
CHAD PALOMINO stands at a gleaming podium, looking radiant
in an immaculate tuxedo. He holds an envelope in his hands.
CHAD
We have a new category this year:
Best Film Ever Made by a Human Being.
And the winner is none other than my
Best Bud, Nick Reve!
Amid thunderous applause Nick bounds on the stage and accepts
an Oscar from Chad. He stands grinning like an idiot as the
applause continues.
INT. THE SET. DAY
MS Nick, still wrapped in thought, his lips starting to form
the same idiotic smile. MS Nicole. The camera DOLLIES slowly
into her face, now tinged with a slight uneasiness.
INT. A CHEAP RESTAURANT
Wide shot at the counter. Nicole stands facing a large bald
man with his back to the camera. She is wearing a cheap pink
waitress uniform and has her hair under a hairnet.
MAN
Had any experience?
NICOLE
I was an actress for a while.
She pulls her headshot out of her shoulder bag and hands it
to the man with a hopeful smile. He flips over the headshot
and looks at her credits with confused annoyance.
MAN
Yeah, but can you cook a hamburger?
NICOLE
(doubtfully)
Probably.
INT. THE SET. DAY
MS Nicole. She jerks her head slightly in response to this
moment of thought.
CU the stopwatch, showing fifteen seconds have passed.
MS Wolf. The camera begins a slow DOLLY into his CU.
INT. WANDA'S APT. DAY
Wolf stands like Thor in the middle of the Red Set, his arms
crossed over his chest, his jaw set in determination. Smoke
billows around him. At his feet, dressed in Nicole's wedding
gown, Wanda sobs hysterically.
WANDA
Wolf, I'm sorry! Please forgive me!
I love you, Wolf! Please! Give me
one more chance. Let me prove it! I
love you! I love you, Wolf!
Wolf remains unmoved for a long moment. Finally he reaches
out with a forgiving smile and pats Wanda's head.
INT. THE SET. DAY
MS Wolf. He glances furtively at Wanda with a trace of hope
still in his eyes.
MS Wanda, looking off. The camera DOLLIES into her CU.
INT. A CHEAP HOTEL ROOM
This is the same hotel room from Part Two, in which we saw
Nicole and Chad Palomino. At the moment Wanda and Chad lie
panting in the sweat-soaked sheets.
WANDA
What I love about you, Chad, is you're
not afraid of my power.
CHAD
Oh God, Wanda! I love your power.
It's like an afferdesiac to me!
INT. THE SET. DAY
MS Wanda. She shifts slightly and glances quickly around
her. Her smile is tinged with the hint of sexual pleasure.
MS the Gaffer, frowning, absorbed in thought. The camera
DOLLIES into a CU of him.
INT. A CHEAP RESTAURANT. DAY
Suddenly, a CU of an incredibly beautiful hamburger being
placed in a toasted bun on a gleaming white oval plate. A
hand places a garnish of parsley on it then carries the plate
to the lunch counter. Camera PANS to reveal the GAFFER sitting
on the stool. He picks up the hamburger and takes a huge
bite out of it. This shot holds for quite some time as he
continues to chew.
INT. THE SET. DAY
MS The Gaffer. A hopeful, delicious smile spreading over his
face.
CU the Sound man's stopwatch, the giant second hand showing
twenty seconds have passed.
MS Cora. She gazes serenely out before her.
INT. NURSING HOME. DAY
In the pale afternoon light, Cora stands in the middle of
her drab, barren room. She appears to be staring at the door.
Suddenly she begins striding toward it. Effortlessly, easily,
she walks right through it.
INT. AN AWARDS CEREMONY
Nick still stands at the podium with his Oscar.
NICK
In closing I'd like to say to all
the people who told me not to make
this movie, who wouldn't meet with
me or return a simple phone call. To
my favorite professor at Film School
whose parting advice to me was to
take a job teaching at a women's
college. To Delores DelSporto, the
girl I loved in high school who left
me for a Jr. Varsity football player:
to all these people I'd like to say
thank you but I can't because what I
really feel like saying is go fu --
!!
INT. THE SET. DAY
MS Nick, his head and body jerking in a sudden spasm. He
finishes the last word of his speech in a choked whisper and
the Sound man frowns hard at him.
CU the Sound man's stopwatch showing twenty-five seconds
have passed. The camera stays on the watch until the final
five seconds have elapsed.
SOUND
And, that's a cut on room tone.
The room erupts with activity. Everyone moves and talks at
once. Nick whispers something to Nicole then runs off.
WANDA
OK, strike the set. Props! Art
Department! Redress for Scene thirty-
one. Let's go! Right away people!
Nick! Nick! Anyone seen Nick?!
WS the set. Suddenly the fake door closes right into the
lens, turning the frame completely BLACK.
END CREDITS.
THE END
