NICE GUY EDDIE
Okay, everybody cough up green for
the little lady.
Everybody whips out a buck, and throws it on the table.
Everybody, that is, except Mr. White.
NICE GUY EDDIE
C'mon, throw in a buck.
MR. WHITE
Uh-uh. I don't tip.
NICE GUY EDDIE
Whaddaya mean you don't tip?
MR. WHITE
I don't believe in it.
NICE GUY EDDIE
You don't believe in tipping?
MR. PINK
(laughing)
I love this kid, he's a madman,
this guy.
MR. BLONDE
Do you have any idea what these
ladies make? They make shit.
MR. WHITE
Don't give me that. She don't
make enough money, she can quit.
Everybody laughs.
NICE GUY EDDIE
I don't even know a Jew who'd have
the balls to say that. So let's
get this straight. You never ever
tip?
MR. WHITE
I don't tip because society says I
gotta. I tip when somebody
deserves a tip. When somebody
really puts forth an effort, they
deserve a little something extra.
But this tipping automatically,
that shit's for the birds. As far
as I'm concerned, they're just
doin their job.
MR. BLUE
Our girl was nice.
MR. WHITE
Our girl was okay. She didn't do
anything special.
MR. BLONDE
What's something special, take ya
in the kitchen and suck your dick?
They all laugh.
NICE GUY EDDIE
I'd go over twelve percent for
that.
MR. WRITE
Look, I ordered coffee. Now we've
been here a long fuckin time, and
she's only filled my cup three
times. When I order coffee, I
want it filled six times.
MR. BLONDE
What if she's too busy?
MR. WHITE
The words "too busy" shouldn't be
in a waitress's vocabulary.
NICE GUY EDDIE
Excuse me, Mr. White, but the last
thing you need is another cup of
coffee.
They all laugh.
MR. WHITE
These ladies aren't starvin to
death. They make minimum wage.
When I worked for minimum wage, I
wasn't lucky enough to have a job
that society deemed tipworthy.
NICE GUY EDDIE
Ahh, now we're getting down to it.
It's not just that he's a cheap
bastard--
MR. ORANGE
--It is that too--
NICE GUY EDDIE
--It is that too. But it's also
he couldn't get a waiter job. You
talk like a pissed off dishwasher:
"Fuck those cunts and their
fucking tips."
MR. BLONDE
So you don't care that they're
counting on your tip to live?
Mr. White rubs two of his fingers together.
MR. WHITE
Do you know what this is? It's
the world's smallest violin,
playing just for the waitresses.
MR. BLONDE
You don't have any idea what
you're talking about. These
people bust their ass. This
is a hard job.
MR. WHITE
So's working at McDonald's, but
you don't feel the need to tip
them. They're servin ya food, you
should tip em. But no, society
says tip these guys over here, but
not those guys over there. That's
bullshit.
MR. ORANGE
They work harder than the kids at
McDonald's.
MR. WHITE
Oh yeah, I don't see them cleaning
fryers.
MR. BROWN
These people are taxed on the tips
they make. When you stiff 'em,
you cost them money.
MR. BLONDE
Waitressing is the number one
occupation for female non-college
graduates in this country. It's
the one jab basically any woman
can get, and make a living on.
The reason is because of tips.
MR. WHITE
Fuck all that.
They all laugh.
MR. WHITE
Hey, I'm very sorry that the
government taxes their tips.
That's fucked up. But that ain't
my fault. it would appear that
waitresses are just one of the
many groups the government fucks
in the ass on a regular basis.
You show me a paper says the
government shouldn't do that, I'll
sign it. Put it to a vote, I'll
vote for it. But what I won't do
is play ball. And this non-
college bullshit you're telling
me, I got two words for that:
"Learn to fuckin type." Cause if
you're expecting me to help out
with the rent, you're in for a big
fuckin surprise.
MR. ORANGE
He's convinced me. Give me my
dollar back.
Everybody laughs. Joe's comes back to the table.
JOE
Okay ramblers, let's get to
rambling. Wait a minute, who
didn't throw in?
MR. ORANGE
Mr. White.
JOE
(to Mr. Orange)
Mr. White?
(to Mr. White)
Why?
MR. ORANGE
He don't tip.
JOE
(to Mr. Orange)
He don't tip?
(to Mr. White)
You don't tip? Why?
MR. ORANGE
He don't believe in it.
JOE
(to Mr. Orange)
He don't believe in it?
(to Mr. White)
You don't believe in it?
MR. ORANGE
Nope.
JOE
(to Mr. Orange)
Shut up!
(to Mr. White)
Cough up the buck, ya cheap
bastard, I paid for your goddamn
breakfast.
MR. WHITE
Because you paid for the
breakfast, I'm gonna tip.
Normally I wouldn't.
JOE
Whatever. Just throw in your
dollar, and let's move.
(to Mr. Blonde)
See what I'm dealing with here.
Infants. I'm fuckin dealin with
infants.
The eight men get up to leave. Mr. White's waist is in
the F.G. As he buttons his coat, for a second we see he's
carrying a gun. They exit Uncle Bob's Pancake House,
talking amongst themselves.
2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY
CREDIT SEQUENCE:
When the credit sequence is finished, we FADE TO BLACK:
Over the BLACK we hear the sound of SOMEONE SCREAMING in
agony.
Under the screaming, we hear the sound of a car HAULING
ASS, through traffic.
Over the screams and the traffic noise, we hear SOMEBODY
ELSE SAY:
SOMEBODY ELSE (OS)
Just hold on buddy boy.
Somebody stops screaming long enough to say:
SOMEBODY (OS)
I'm sorry. I can't believe
she killed me. Who would've
fuckin thought that?
TRAINSPOTTING
Trainspotting
Screenplay by
John Hodge
Based on the Novel by
Irvine Welsh
Directed by
Danny Boyle
----------------------------------------------------------------------------
EXT. STREET. DAY
Legs run along the pavement. They are Mark Renton's.
Just ahead of him is Spud. They are both belting along.
As they travel, various objects (pens, tapes, CDs, toiletries, ties,
sunglasses, etc.) either fall or are discarded from inside their jackets.
They are pursued by two hard-looking Store Detectives in identical uniforms.
The men are fast, but Renton and Spud maintain their lead.
RENTON
(voice-over)
Choose life. Choose a job. Choose a career. Choose a family,
Choose a fucking big television, Choose washing machines, cars,
compact disc players, and electrical tin openers.
Suddenly, as Renton crosses a road, a car skids to a halt, inches from him.
In a moment of detachment he stops and looks at the shocked driver, then at
Spud, who has continued running, then at the Two Men, who are now closing in
on him.
He smiles.
INT. SWANNEY'S FLAT ROOM. DAY
In a bare, dingy room, Renton lies on the floor, alone, motionless and
drugged.
RENTON
(v.o)
Choose good health, low cholesterol and dental insurance. Choose
fixed-interest mortgage repayments. Choose a starter home. Choose
your friends.
EXT. FOOTBALL PITCH. NIGHT
On a flood lit five-a-side pitch, Renton and his friends are taking on
another team at football.
The opposition all wear an identical strip (Arsenal), whereas Renton and his
friends wear an odd assortment of gear.
Three girls -- Lizzy, Gail, and Allison and Baby -- stand by the side,
watching.
The boys are outclassed by the team with the strip but play much dirtier.
As each performs a characteristic bit of play, the play freezes and their
name is visible, printed or written on some item of clothing. (T-Shirt,
baseball cap, shorts, trainers). In Begbie's case, his name appears as a
tatoo on his arm.
Sick Boy commits a sneaky foul and indignantly denies it.
Begbie commits an obvious foul and make no effort to deny it.
Spud, in goal, lets the ball in between his legs.
Tommy kicks the ball as hard as he can.
Renton's litany continues over the action:
RENTON
(v.o)
Choose leisure wear and matching luggage. Choose a three piece
suite on hire purchase in a range of fucking fabrics. Choose DIY
and wondering who you are on a Sunday morning. Choose sitting on
that couch watching mind-numbing sprit-crushing game shows,
stuffing fucking junk food into your mouth. Choose rotting away at
the end of it all, pishing you last in a miserable home, nothing
more than an embarrassment to the selfish, fucked-up brats you
have spawned to replace yourself. Choose your future. Choose life.
Renton is hit straight in the face by the ball. He lies back on the
astroturf. Voice-over continues.
But who would I want to do a thing like that?
INCEPTION
INCEPTION
Written by
Christopher Nolan
SHOOTING SCRIPT
FADE IN:
DAWN. CRASHING SURF.
The waves TOSS a BEARDED MAN onto wet sand. He lies there.
A CHILD'S SHOUT makes him LIFT his head to see: a LITTLE
BLONDE BOY crouching, back towards us, watching the tide eat
a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The Bearded
Man tries to call them, but they RUN OFF, FACES UNSEEN. He
COLLAPSES.
The barrel of a rifle ROLLS the Bearded Man onto his back. A
JAPANESE SECURITY GUARD looks down at him, then calls up the
beach to a colleague leaning against a JEEP. Behind them is a
cliff, and on top of that, a JAPANESE CASTLE.
INT. ELEGANT DINING ROOM, JAPANESE CASTLE - LATER
The Security Guard waits as an ATTENDANT speaks to an ELDERLY
JAPANESE MAN sitting at the dining table, back to us.
ATTENDANT
(in Japanese)
He was delirious. But he asked for
you by name. And...
(to the Security Guard)
Show him.
SECURITY GUARD
(in Japanese)
He was carrying nothing but this...
He puts a HANDGUN on the table. The Elderly Man keeps eating.
SECURITY GUARD
...and this.
The Security Guard places a SMALL PEWTER CONE alongside the
gun. The Elderly Man STOPS eating. Picks up the cone.
ELDERLY JAPANESE MAN
(in Japanese)
Bring him here. And some food.
INT. SAME - MOMENTS LATER
The Elderly Man watches the Bearded Man WOLF down his food.
He SLIDES the handgun down the table towards him.
ELDERLY JAPANESE MAN
(in English)
Are you here to kill me?
The Bearded Man glances up at him, then back to his food.
2.
The Elderly Japanese Man picks up the cone between thumb and
forefinger.
ELDERLY JAPANESE MAN
I know what this is.
He SPINS it onto a table- it CIRCLES gracefully across the
polished ebony... a SPINNING TOP.
ELDERLY JAPANESE MAN
I've seen one before. Many, many
years ago...
The Elderly Japanese Man STARES at the top mesmerized.
ELDERLY JAPANESE MAN
It belonged to a man I met in a
half-remembered dream...
MOVE IN on the GRACEFULLY SPINNING TOP...
ELDERLY JAPANESE MAN
A man possessed of some radical
notions...
The Elderly Japanese Man STARES, remembering...
COBB (V.O.)
What's the most resilient parasite?
CUT TO:
INT. SAME ELEGANT DINING ROOM - NIGHT (YEARS EARLIER)
The speaker, COBB, is 35, handsome, tailored. A young
Japanese man, SAITO, eats as he listens.
COBB
A bacteria? A virus?
Cobb gestures at their feast with his wine glass-
COBB
An intestinal worm?
Saito's fork pauses, mid-air. Cobb GRINS. A third man is at
the table- ARTHUR. He jumps in to save the pitch-
ARTHUR
What Mr. Cobb is trying to say-
COBB
An idea.
Saito looks at Cobb, curious.
3.
COBB
Resilient, highly contagious. Once
an idea's taken hold in the brain
it's almost impossible to
eradicate. A person can cover it
up, ignore it- but it stays there.
SAITO
But surely-to forget...?
COBB
Information, yes. But an idea?
Fully formed, understood? That
sticks...
(taps forehead)
In there, somewhere.
SAITO
For someone like you to steal?
ARTHUR
Yes. In the dream state, conscious
defenses are lowered and your
thoughts become vulnerable to
theft. It's called extraction.
COBB
But, Mr. Saito, we can train your
subconscious to defend itself from
even the most skilled extractor.
SAITO
How can you do that?
COBB
Because I am the most skilled
extractor. I know how to search
your mind and find your secrets. I
know the tricks, and I can teach
them to your subconscious so that
even when you're asleep, your guard
is never down.
Cobb leans forwards. Holding Saito's gaze.
COBB
But if I'm going to help you, you
have to be completely open to me.
I'll need to know my way around
your thoughts better than your
wife, your analyst, anyone.
(gestures around)
If this is a dream and you've got a
safe full of secrets, I need to
know what's in that safe. For this
to work, you have to let me in.
4.
Saito gives this a flicker of a smile. Rises. A BODYGUARD
opens double doors which give onto a LAVISH PARTY.
SAITO
Gentlemen. Enjoy your evening as I
consider your proposal.
They watch Saito leave. Arthur turns to Cobb, worried-
ARTHUR
He knows.
Cobb motions silence. A TREMOR starts, they steady their
glasses, Cobb glances at his watch- THE SECOND HAND IS
FROZEN.
ARTHUR
What's going on up there?
And we-
CUT TO:
FILTHY BATHROOM - DAY (FEELS LIKE DIFFERENT TIME)
Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING
BATH. The chair is up on a cabinet- the bottom of the legs
level with the rim of the tub.
A sweating man (40's) watches over Cobb. This is NASH. A
distant EXPLOSION rumbles through the room. Nash moves to the
window, parts the curtains. Outside: a CHAOTIC DEVELOPING-WORLD
CITY- the street filled with RIOTERS- SMASHING, BURNING.
Nash checks Cobb's left wrist: above his watch, tape holds
TWO THIN YELLOW TUBES in place. Nash looks at Cobb's watch-
THE SECOND HAND CRAWLS UNNATURALLY SLOWLY.
Nash follows the tubes to a SILVER BRIEFCASE at Arthur's
feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the
briefcase to Arthur's wrist.
Nash follows another set of tubes from the briefcase to where
they pass under the door to the bedroom. Through the crack of
the door, Nash sees SAITO ASLEEP on the bed, tubes running to
his wrist. BOOM- a closer EXPLOSION, and we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY (FEELS LIKE DIFFERENT TIME)
Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train
BUMPS OVER A ROUGH PIECE OF TRACK.
5.
A Japanese Man, TODASHI (18) watches Nash nervously. He
checks Nash's wrist: TWO YELLOW TUBES CONNECT NASH WITH THREE
OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, SAITO.
Todashi checks his watch: THE SECOND HAND TICKS IN REAL TIME.
Another TRAIN PASSES in the opposite direction with a MIGHTY
WHUMP- Todashi's eyes FLY to Nash's sleeping face-
NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we-
CUT TO:
INT. FILTHY BATHROOM - CONTINUOUS
Another EXPLOSION- Nash CHECKS the sleeping Cobb and we-
CUT TO:
EXT. ROOFTOP TERRACES, JAPANESE CASTLE - NIGHT
A LOW TREMOR RUMBLES THROUGH THE CASTLE. Cobb and Arthur
steady themselves against the wooden rail. Several TILES and
pieces of MASONRY fall. Below them a BLACK SEA churns. Other
GUESTS wander the massive terraces.
ARTHUR
Saito knows. He's playing with us.
COBB
I can get it here. The
information's in the safe- he
looked right at it when I mentioned
secrets.
Arthur nods. Then spots someone over Cobb's shoulder.
ARTHUR
What's she doing here, Cobb?
Cobb turns to see a beautiful woman, elegantly dressed,
staring out at the sea. This is MAL. Cobb watches her.
COBB
You just get to your room. I'll
take care of the rest.
ARTHUR
See that you do. We're here to
work.
Arthur brushes past Mal, shaking his head. She nears Cobb.
Looks out at the DROP. The WIND WHIPS HER HAIR-
MAL
If I jumped, would I survive?
6.
COBB
With a clean dive, perhaps. Mal,
why are you here?
She turns to look at him. Amused.
MAL
I thought you might be missing
me...
She smiles. He leans in, mesmerized.
COBB
I am. But I can't trust you
anymore.
She stares up at him, inviting.
MAL
So what?
FIGHT CLUB
Jack brings the gun up, PUTS THE GUN IN HIS MOUTH.
Tyler cocks his head.
TYLER
What are you doing?
JACK
What have you left for me?
TYLER
Why do you want to do that? Why do
you want to put that gun in your
mouth?
JACK
Not my mouth. Our mouth.
Tyler is calm.
TYLER
This is interesting.
Tyler smiles in appreciation, slowly walks forward, stands
very close to Jack.
TYLER
Why are you going with this, Ikea-
boy?
JACK
It's the only way to get rid of you...
Jack COCKS the hammer on the gun.
TYLER
I can see you feel very strongly. I
feel strongly too.
(pause)
Hey, you and me.
(pause)
Friends again?
Their eyes are locked, unblinking. Long silence.
JACK
Do something for me.
TYLER
What?
JACK
Appreciate something.
TYLER
What?
JACK
Look at me...
TYLER
What?
JACK
My eyes are open.
EXTREME SLOW MOTION:
Jack's finger squeezes the trigger...
KABLAM! -- Jack's cheeks INFLATE with gas. His eyes bulge.
BLOOD flies out from his head. The WINDOW behind him
SHATTERS. SMOKE wafts out of his mouth and tear ducts.
RESUME NORMAL SPEED as the GLASS FALLS behind Jack...
Tyler stands, in gunsmoke, eyes glazed, sniffs the air...
TYLER
What's that smell... ?
Jack slumps to the floor... Tyler falls...
Tyler hits the ground. The back of TYLER'S HEAD is BLOWN
OPEN, revealing blood, skull and brain.
Suddenly, a GROUP of SPACE MONKEYS burst into the room,
moving forward to Jack. TYLER'S BODY IS GONE.
TALL SPACE MONKEY
Are you all right, sir... ?!
Jack quakes, holding the side of his head; a ragged hole
blown in his CHEEK. He's bleeding hard, but he's alive.
JACK
I'm okay...
Jack looks to the Space Monkeys, trying to get his eyes to
see. TWO SPACE MONKEYS enter with Marla. One holds a gun
to Marla as she struggles.
SHORT SPACE MONKEY
Are you sure? You look terrible,
sir! What's happened?
JACK
Everything's fine.
ANOTHER SPACE MONKEY
Sir, you look really awful! Do you
need medical assistance?
Jack sees Marla, tries to get to his feet, falls...
JACK
Bring the girl to me. The rest of
you get out. Now!
The Monkeys bring Marla, releasing her, saluting.
MARLA
What happened... ?
JACK
Don't ask.
Marla crouches, takes out wadded TISSUES and tries to apply.
them to Jack's wound. Space Monkeys are leaving, hesitantly.
JACK
Get to the rendezvous point. Move it!
Jack and Marla are left alone.
MARLA
My God, you're shot...
JACK
Yes.
Jack tries to got up. Marla helps him.
MARLA
Who did this to you?
JACK
I did, I think. But, I'm okay... I'm
fine...
MASSIVE EXPLOSION... the glass walls rattle...
Jack and Marla look -- OUT THE WINDOWS: a BUILDING EXPLODES;
collapsing upon itself. Then, ANOTHER BUILDING IMPLODES
into a massive cloud of dust. Jack and Marla are
silhouetted against the SKYLINE. Jack looks to Marla,
reaches to take her hand.
JACK
I'm sorry... you met me at a very
strange time in my life.
Marla looks at him. ANOTHER BUILDING IMPLODES and COLLAPSES
inward... and ANOTHER BUILDING... and ANOTHER...
The FILM SLOWS, then ADVANCES ONE FRAME at a TIME -- SHOWING
SPROCKET HOLES on the SIDES. EACH FRAME is an IMPLODING
BUILDING -- then, ONE FRAME IS A PENIS. Then, the IMPLODING
BUILDING again. SPEED UP the frames, LOSE the sprocket
holes, RESUME NORMAL SPEED...
FADE TO BLACK:
end
CITIZEN KANE
Citizen Kane
By
Herman J. Mankiewicz
&
Orson Welles
PROLOGUE
FADE IN:
EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)
Window, very small in the distance, illuminated.
All around this is an almost totally black screen. Now, as
the camera moves slowly towards the window which is almost a
postage stamp in the frame, other forms appear; barbed wire,
cyclone fencing, and now, looming up against an early morning
sky, enormous iron grille work. Camera travels up what is now
shown to be a gateway of gigantic proportions and holds on the
top of it - a huge initial "K" showing darker and darker against
the dawn sky. Through this and beyond we see the fairy-tale
mountaintop of Xanadu, the great castle a sillhouette as its
summit, the little window a distant accent in the darkness.
DISSOLVE:
A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL
TELLING SOMETHING OF:
The literally incredible domain of CHARLES FOSTER KANE.
Its right flank resting for nearly forty miles on the Gulf
Coast, it truly extends in all directions farther than the eye
can see. Designed by nature to be almost completely bare and
flat - it was, as will develop, practically all marshland when
Kane acquired and changed its face - it is now pleasantly
uneven, with its fair share of rolling hills and one very good-
sized mountain, all man-made. Almost all the land is improved,
either through cultivation for farming purposes of through
careful landscaping, in the shape of parks and lakes. The
castle dominates itself, an enormous pile, compounded of several
genuine castles, of European origin, of varying architecture -
dominates the scene, from the very peak of the mountain.
DISSOLVE:
GOLF LINKS (MINIATURE)
Past which we move. The greens are straggly and overgrown,
the fairways wild with tropical weeds, the links unused and
not seriously tended for a long time.
DISSOLVE OUT:
DISSOLVE IN:
WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE)
Of the Hagenbeck type. All that now remains, with one
exception, are the individual plots, surrounded by moats, on
which the animals are kept, free and yet safe from each other
and the landscape at large. (Signs on several of the plots
indicate that here there were once tigers, lions, girrafes.)
DISSOLVE:
THE MONKEY TERRACE (MINIATURE)
In the foreground, a great obscene ape is outlined against the
dawn murk. He is scratching himself slowly, thoughtfully,
looking out across the estates of Charles Foster Kane, to the
distant light glowing in the castle on the hill.
DISSOLVE:
THE ALLIGATOR PIT (MINIATURE)
The idiot pile of sleepy dragons. Reflected in the muddy water -
the lighted window.
THE LAGOON (MINIATURE)
The boat landing sags. An old newspaper floats on the surface
of the water - a copy of the New York Enquirer." As it moves
across the frame, it discloses again the reflection of the
window in the castle, closer than before.
THE GREAT SWIMMING POOL (MINIATURE)
It is empty. A newspaper blows across the cracked floor of
the tank.
DISSOLVE:
THE COTTAGES (MINIATURE)
In the shadows, literally the shadows, of the castle. As we
move by, we see that their doors and windows are boarded up
and locked, with heavy bars as further protection and sealing.
DISSOLVE OUT:
DISSOLVE IN:
A DRAWBRIDGE (MINIATURE)
Over a wide moat, now stagnant and choked with weeds. We move
across it and through a huge solid gateway into a formal garden,
perhaps thirty yards wide and one hundred yards deep, which
extends right up to the very wall of the castle. The
landscaping surrounding it has been sloppy and causal for a
long time, but this particular garden has been kept up in
perfect shape. As the camera makes its way through it, towards
the lighted window of the castle, there are revealed rare and
exotic blooms of all kinds. The dominating note is one of
almost exaggerated tropical lushness, hanging limp and
despairing. Moss, moss, moss. Ankor Wat, the night the last
King died.
DISSOLVE:
THE WINDOW (MINIATURE)
Camera moves in until the frame of the window fills the frame
of the screen. Suddenly, the light within goes out. This
stops the action of the camera and cuts the music which has
been accompanying the sequence. In the glass panes of the
window, we see reflected the ripe, dreary landscape of Mr.
Kane's estate behind and the dawn sky.
DISSOLVE:
INT. KANE'S BEDROOM - FAINT DAWN -
A very long shot of Kane's enormous bed, silhouetted against
the enormous window.
DISSOLVE:
INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE.
An incredible one. Big, impossible flakes of snow, a too
picturesque farmhouse and a snow man. The jingling of sleigh
bells in the musical score now makes an ironic reference to
Indian Temple bells - the music freezes -
KANE'S OLD OLD VOICE
Rosebud...
The camera pulls back, showing the whole scene to be contained
in one of those glass balls which are sold in novelty stores
all over the world. A hand - Kane's hand, which has been
holding the ball, relaxes. The ball falls out of his hand and
bounds down two carpeted steps leading to the bed, the camera
following. The ball falls off the last step onto the marble
floor where it breaks, the fragments glittering in the first
rays of the morning sun. This ray cuts an angular pattern
across the floor, suddenly crossed with a thousand bars of
light as the blinds are pulled across the window.
The foot of Kane's bed. The camera very close. Outlined
against the shuttered window, we can see a form - the form of
a nurse, as she pulls the sheet up over his head. The camera
follows this action up the length of the bed and arrives at
the face after the sheet has covered it.
FADE OUT:
GRAVITY
Mission Control interrupts on the radio.
MISSION CONTROL
(ON RADIO)
ISS, this is Houston.
SPACE STATION CAP
(ON RADIO)
Zlotze Houston.
Ryan inserts the plate into the Hubble.
MISSION CONTROL
(ON RADIO)
Explorer, this is Houston.
EXPLORER CAP
(ON RADIO)
Go ahead Houston.
MISSION CONTROL
(ON RADIO)
Mission abort. Repeat: mission abort.
Initiate emergency disconnect from
Hubble.
All the astronauts stop what they're doing and anxiously await
further instructions, except for Ryan who keeps working.
MISSION CONTROL (CONT'D)
(ON RADIO)
Begin re-entry procedure. Start
Deorbit Prep for PLS at Kennedy. ISS,
initiate emergency evacuation.
Matt is immediately flung into action and rapidly unharnesses
himself from the Hubble.
EXPLORER CAP
(ON RADIO)
Copy all Houston, and in work.
Matt, immediate return to Explorer.
Repeat, immediate return to Explorer.
MATT
Roger. Explorer, prep airlock!
EXPLORER CAP
(ON RADIO)
Airlock engaged--ready to receive.
Ryan is working on the panel.
MATT
Houston. Elaborate.
MISSION CONTROL
(ON RADIO)
Debris from the impact has caused a
chain reaction, hitting other
satellites in its path and creating
new debris. Norad reports that orbital
and ballistic effects are driving the
cloud of debris up toward your
altitude. How copy?
MATT
Copy all Houston.
(TO RYAN)
Put a bow on it Dr. Stone.
RYAN
I can't. If I turn it off now we'll
lose the whole system.
She keeps on furiously tweaking.
MATT
I'm not going to ask you again.
RYAN
ONE SECOND--
MATT
Not one second. Now! Shut it down!
THAT'S AN ORDER!!!
She looks up, sees Matt glaring. Looks him in the eye.
RYAN
Sorry. I'm sorry. It's done.
The ROBOTIC ARM slowly withdraws, carrying Ryan back towards the
Shuttle.
Matt watches her go, then:
EXPLORER CAP
(ON RADIO)
Kowalsky, initiate emergency
disconnect from the Hubble.
MATT
Alright Shariff, let's do this.
SHARIFF
Roger.
Shariff turns and heads toward the base of the telescope holding
onto the hangar's handrails.
MATT
Houston. Update.
Matt PROPELS himself to the base of the Hubble using the
propelling unit on his back.
MISSION CONTROL
We have a full on chain reaction. It's
been confirmed that it is the
unintentional side effect of the
Russians striking one of their own
satellites.
Shariff arrives to the base of the telescope.
SHARIFF
They shot down their own satellite?
MATT
Right of disposal. Most likely a spy
sat gone bad. Now it's space junk.
Matt grabs onto the base of the telescope-
MATT (CONT'D)
Explorer, ready to disengage HST.
EXPLORER CAP
(ON RADIO)
Locks releasing in three... two...
one...
The locks attaching the Hubble to the Explorer release. Matt and
Shariff give the Hubble a push away from the hangar. Pushing the
huge telescope is not a difficult task in zero gravity.
MISSION CONTROL
Explorer, new data coming through.
As it floats away, Matt gives the telescope a small spin.
MATT
What's the blowback, Houston?
MISSION CONTROL
It's not good. Most of our systems are
going down. Debris chain reaction is
out of control and rapidly expanding.
Multiple sats are now down and they
keep on falling.
Matt eyes the arm as it slowly retracts, carrying Ryan back.
MATT
Define "multiple" sats.
MISSION CONTROL
Most of them. Telecomunications
systems are gone. Expect a
communication blackout at any moment.
RYAN
Kowalsky, visual of debris at nine
o'clock.
Matt's eyes shift, watching a LARGE OBJECT, a piece of a BSE
SATELLITE, spiral toward them.
MATT
Half of North America just lost their
Facebook.
The sat glides by at tremendous speed.
MISSION CONTROL
You're a go for TH1138. Repeat You're
a go for TH1138 procedure.
EXPLORER CAP
Copy that Houston.
MATT
Explorer, this is Kowalsky. Confirming
visual contact with debris. Debris is
from a BSE sat. To repeat--
SHARIFF
Heads up!
MATT
To repeat I have-
ANOTHER OBJECT, part of a WEATHER SATELLITE, hurls by them, a
little bit closer than the previous one.
RYAN
Dr. Stone requesting faster, faster
transport.
It is followed by a SMALL PIECE OF DEBRIS. It zooms by faster
than the previous ones and hits the BSE SATELLITE.
The satellite EXPLODES into hundreds of pieces and-
A CHAIN REACTION takes place.
MATT
We have to go. Go, go! Go!
The DEBRIS from the BSE satellite hits the WEATHER SATELLITE,
and it EXPLODES, sending debris in all directions.
MISSION CONTROL
Attention. New data suggests immediate
evacuation absolu...
A high frequency of interference and-
THE COMMUNICATION IS LOST.
THE ARM transporting Ryan is moving very slowly.
RYAN
Dr. Stone requesting faster transport
to the bay area. Explorer get me down.
MATT
Explorer permission to retrieve Dr.
Stone.
EXPLORER CAP
(ON RADIO)
You are a go, Kowalsky.
Matt thrusts himself over to Ryan.
EXPLORER CAP (CONT'D)
(ON RADIO)
Houston, this is Explorer. Copy?
But there's no answer.
EXPLORER CAP (CONT'D)
(ON RADIO)
Houston, this is Explorer. Copy?
Still no answer.
EXPLORER CAP (CONT'D)
(ON RADIO)
We lost Houston!
Matt stops next to Ryan.
MATT
Unstrap! You can't tune out the world
up here.
She reaches for the last clip and begins to undo it.
RYAN
I'm trying...
MATT
Try releasing the safety clip.
Shariff makes his way back toward the airlock as-
A PIECE of the debris HITS the Hubble's SOLAR PANELS, making a
12-inch HOLE in its golden surface.
A piece of debris passes, nearly hitting them.
SHARIFF
Need some help there Matt?
MATT
No, don't wait for us. Get inside.
RYAN
It's stuck!
Further back, another piece of debris collides with a bigger
one. The two chunks of debris explode into a million pieces of
shrapnel, one of which-
HITS Shariff's helmet, breaking through the glass and hitting
his head like an expansive bullet.
MATT
Man down! Man down!
Matt PROPELS himself toward Shariff, who is floating away from
the Shuttle unconscious.
MATT (CONT'D)
(TO RYAN)
Disengage!!!
AN IMPACT.
A piece of debris pierces through the right wing of the Space
Shuttle, creating a five-foot hole.
THE SPACE SHUTTLE ROLLS.
The arm, with Ryan attached to it, rolls with the Shuttle.
MATT (CONT'D)
Explorer has been hit. Explorer do you
read? Explorer, over. Explorer--
Another IMPACT.
A piece of debris HITS the robotic arm like a cannon ball and
DETACHES it from the Shuttle.
The broken piece of the arm SPINS AWAY from the Explorer at a
great speed with Ryan attached to it. She passes next to-
THE HUBBLE as a big piece of debris hits the telescope. The top
of the cylinder explodes into more debris, which is expelled in
all directions, barely missing Ryan as she spins away attached
to the arm.
ON THE ARM-
Ryan's panic grows as she spins further into the nothingness of
space.
MATT (CONT'D)
Astronaut off structure! Dr. Stone is
off structure!
With every spin, the shuttle, being punished by debris,
diminishes into a tiny dot in the distance.
MATT (CONT'D)
(ON RADIO)
Dr. Stone, detach!
RYAN
Nooooo!
MATT
(ON RADIO)
You must detach!
RYAN
No.
MATT
If you don't detach that arm is going
to carry you too far!
RYAN
(FROZEN)
I can't!
MATT
(a brief beat, then)
Listen to my voice. You need to focus.
I'm losing visual of you. In a few
seconds I won't be able to track you.
RYAN
(She pulls herself together)
Ok. Ok.
MATT
You need to detach. I can't see you
anymore.
The robotic arm keeps on spinning and stars orbit wildly in her
field of vision.
RYAN
I'm trying. I'm trying.
MATT
Do it. Now!
RYAN
Ok. I'm trying! I can't it's stuck,
Hold on.
Ryan's hands are trembling and she can't get a grip on the hook.
MATT
Houston, I've lost visual of Dr.
Stone... Houston, I've lost visual of
Dr. Stone.
As Matt's VOICE is LOST to STATIC, Ryan squeezes the hook and
is...
...gone, kicking herself AWAY from the robotic arm and FLYING
FREE of the rotating arm. She catches a brief glimpse of the arm
as it helicopters away, then loses sight of it as she rotates
end over end in endless free fall.
No hay comentarios:
Publicar un comentario