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1.
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BLACK
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TITLES FADE IN:
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SUPERIMPOSE:
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AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES
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BETWEEN +258 AND -148 DEGREES FAHRENHEIT.
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THERE IS NOTHING TO CARRY SOUND. NO AIR PRESSURE. NO
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OXYGEN.
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LIFE IN SPACE IS IMPOSSIBLE.
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TITLES FADE OUT.
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OVER BLACK
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SUPERIMPOSE:
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GRAVITY
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FADE IN:
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1 EXT. OUTER SPACE - DAY 1
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A section of the Earth as CAMERA TRACKS. The EXPLORER space
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shuttle becomes visible. The fuselage roof of the shuttle
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is open, creating an exterior hangar where the Hubble
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telescope is docked.
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MISSION CONTROL (V.O.)
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(over radio)
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Um, please verify that the P-one
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ATA removal on replacement cap part
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one and two are complete.
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EXPLORER CAPTAIN (V.O.)
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(over radio)
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DMA M-one, M-two, M-three and M-
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four are complete.
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MISSION CONTROL (V.O.)
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(over radio)
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Okay. Copy that, Explorer. Dr.
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Stone, Houston. Medical is
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concerned about your ECG readings.
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2.
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RYAN (V.O.)
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(over radio)
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I’m fine, Houston.
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MISSION CONTROL (V.O.)
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(over radio)
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Well, Medical doesn't agree, Doc.
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Are you feeling nauseous?
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RYAN (V.O.)
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(over radio)
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Not any more than usual, Houston.
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Diagnostics are green. Link to
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communications card ready for data
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reception. If this works, when we
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touch down tomorrow, I’m buying all
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you guys a round of drinks.
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MISSION CONTROL (V.O.)
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(over radio)
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That’s a date, Doctor. Just
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remember, Houston’s partial to
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margaritas.
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RYAN (V.O.)
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(over radio)
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Booting comms card now. Please
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confirm link.
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MISSION CONTROL (V.O.)
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(over radio)
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That’s a negative, we’re not seeing
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any data.
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RYAN (V.O.)
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(over radio)
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Standby, Houston, I’m gonna reboot
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the comms card.
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MISSION CONTROL (V.O.)
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(over radio)
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Standing by.
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ANOTHER ANGLE
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MATT (V.O.)
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(over radio)
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Houston, I have a bad feeling about
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this mission.
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MISSION CONTROL (V.O.)
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(over radio)
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Please expand.
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3.
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MATT (V.O.)
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(over radio)
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Okay, let me tell you a story. It
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was ninety-six. MORE)
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I’d been up here for forty-two days. Every time I passed
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over Texas, I looked down knowing that Mrs. Kowalski was
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looking up, thinking of me. Six weeks I’m blowing kisses at
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that woman. Then we land at Edwards and I find out that
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she’s run off with this lawyer. So, I packed my car, and I
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headed to --
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MISSION CONTROL (V.O.)
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(over radio;
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interrupting)
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Tijuana. You’ve told this story,
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Kowalski. As Houston recalls, she,
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uh, took off in your seventy- four
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GTO. Engineering requests fuel
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status on the jetpack prototype.
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MATT KOWALSKI, a veteran astronaut commander on his last
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space mission, spacewalks behind the shuttle. He wears a
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propulsion backpack.
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MATT (V.O.)
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(over radio)
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Five hours off the reservation and
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I show thirty percent drain. Give
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my compliments to Engineering.
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Except for a slight malfunction in
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the nulling of the roll axis, this
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jetpack is one prime piece of
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thrust.
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MISSION CONTROL (V.O.)
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(over radio)
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Engineering says thank you.
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CAMERA TILTS UP WITH Matt.
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MATT (V.O.)
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(over radio)
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Tell ‘em I still prefer my sixty-
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seven Corvette, though. Speaking of
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which, did I ever tell you --
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MISSION CONTROL (V.O.)
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(over radio)
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We know the Corvette story, Matt.
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MATT (V.O.)
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(over radio)
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4.
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Even Engineering? MATT
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(V. O.)
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(CONT'D)
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MISSION CONTROL (V.O.)
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(over radio)
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Especially Engineering.
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Matt starts to play a country western song over the radio
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speakers. He moves, circling around the space shuttle.
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Over radio, Hank Williams, Jr. sings “Angels Are Hard To
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Find.”
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MISSION CONTROL (V.O.)
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(over radio)
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We’re going to miss you, Matt.
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RYAN (V.O.)
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(over radio)
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Comms card reboot in progress.
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ANOTHER ANGLE
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DR. SHARIFF DASARI becomes visible, tethered to the
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shuttle, as he makes repairs to it.
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MISSION CONTROL (V.O.)
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(over radio)
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Thank you, Doctor.
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(to Shariff)
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Shariff, what’s your status?
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SHARIFF (V.O.)
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(over radio)
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Nearly there. Replacing battery
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module A-one and C.
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MISSION CONTROL (V.O.)
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(over radio)
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Uh, could you be a little more
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specific? Indeterminate estimates
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make Houston anxious.
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SHARIFF (V.O.)
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(over radio)
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Oh, no, no, Houston. Don’t be
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anxious. Anxiety’s not good for the
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heart. System is ready to
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reactivate.
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MISSION CONTROL (V.O.)
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(over radio)
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5.
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Hubbletelescope engaged. Upgrade
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fully functional.
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Matt approaches Shariff from b.g.
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We hear people in Mission Control chatter and cheer, V.O.
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MISSION CONTROL (V.O.)
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(over radio)
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That applause you hear is for you,
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Shariff. Congratulations. Kick
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back, take the rest of the day off.
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Shariff starts dancing.
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SHARIFF (V.O.)
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(over radio)
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Whoo-hoo-hoo!
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(chuckles; singing in
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Hindi)
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Mera juta hai jaapaani, my patloon
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inglistaani saar pe laal topi rusi
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--
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(low)
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-- phir bhi dil hai hindustani
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MISSION CONTROL (V.O.)
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(over radio)
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Matt, do you have a visual on just
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what Mission Specialist Shariff is
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doing up there?
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Matt moves around Shariff.
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MATT (V.O.)
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(over radio)
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He appears to be doing some form of
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the Macarena.
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(off Shariff’s laugh)
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But that would be just a best-
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guess scenario on my part.
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CAMERA TILTS DOWN and DOLLIES IN ON DR. RYAN STONE, a
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medical engineer on her first mission. She is on a crane-
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like robotic arm attached to the shuttle. She is focused on
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a communication card panel on the Hubble.
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MISSION CONTROL (V.O.)
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(over radio)
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6.
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Dr. Stone, Houston. Medical now
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have you with a temperature drop to
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thirty-five-point-nine and a heart-
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rate rise to seventy. How are you
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feeling?
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RYAN (V.O.)
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(over radio)
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Houston, I’m fine. It’s just
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keeping your lunch down in zero-G
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is harder than it looks.
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MISSION CONTROL (V.O.)
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(over radio)
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Uh, Dr. Stone, Medical is asking if
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you want to return to Explorer.
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RYAN (V.O.)
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(over radio)
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Negative. We’ve been here a week,
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Houston. Let’s just finish this.
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(clears throat)
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Card is up.
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MISSION CONTROL (V.O.)
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(over radio)
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Uh, no, that’s a negative. I’m
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afraid we’re getting nothing on
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this end, Doctor.
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RYAN (V.O.)
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(over radio)
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Try again.
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MISSION CONTROL (V.O.)
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(over radio)
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No, still nothing.
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RYAN (V.O.)
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(over radio)
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Houston, can you please turn that
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music off.
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MISSION CONTROL (V.O.)
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(over radio)
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Kowalski.
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MATT (V.O.)
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(over radio)
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Not a problem.
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Matt turns the music off.
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7.
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RYAN (V.O.)
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(over radio)
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Thank you, Kowalski. Now, Houston?
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MISSION CONTROL (V.O.)
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(over radio)
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That’s a negative.
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RYAN (V.O.)
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(over radio)
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Could Houston be misinterpreting
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the data?
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MISSION CONTROL (V.O.)
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(over radio)
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Well, we’re not receiving any data.
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Engineering is recommending a vis-
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check for component damage.
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Ryan takes a card out and examines it.
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RYAN (V.O.)
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(over radio)
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Let me see what’s going on. What
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have we got?
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(to Mission Control)
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Visual examination doesn’t reveal
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any damaged components. The problem
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must be originating from the comms
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panel.
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MISSION CONTROL (V.O.)
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(over radio)
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Yeah, that seems to be the case.
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Engineering admits that you warned
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us that this could happen. That’s
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as close to an apology as you’re
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going to get from them. We should
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have listened to you, Doc.
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RYAN (V.O.)
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(over radio)
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Get working.
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MISSION CONTROL (V.O.)
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(over radio)
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Well, looks like we’re going to
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have to improvise.
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Matt moves INTO FRAME.
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RYAN (V.O.)
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(over radio)
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8.
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I’m on it.
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MISSION CONTROL (V.O.)
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(over radio)
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How long do you think it’ll take
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you?
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RYAN (V.O.)
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(over radio)
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One hour.
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MISSION CONTROL (V.O.)
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(over radio)
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Outstanding. MORE)
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Installing your system in the Hubbleis the purpose of this
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mission and so we appreciate your patience, Doctor.
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Kowalski, we-we know you don’t care about things like this,
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but, uh, for your information, this delay is not gonna be
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long enough for you to break Anatoly Solovyev’s
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spacewalking record. It seems like you’re gonna be left, uh
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--
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CAMERA TILTS DOWN and TRACKS WITH Matt as he moves past
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Shariff.
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MATT (V.O.)
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(over radio)
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Seventy-five minutes shy? Never
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crossed my mind.
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MISSION CONTROL (V.O.)
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(over radio)
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Matt... it’s been a privilege.
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MATT (V.O.)
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(over radio)
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Right back at you, Houston.
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MISSION CONTROL (V.O.)
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(over radio)
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Enjoy your last walk.
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MATT (V.O.)
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(over radio)
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Am I a go to assist Dr. Stone in
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removing the panel?
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RYAN (V.O.)
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(over radio)
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Assistance appreciated.
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9.
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CAMERA PANS AROUND WITH Matt as he joins Ryan at the crane-
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like robotic arm.
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MISSION CONTROL (V.O.)
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(over radio)
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Permission granted.
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MATT
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Thank you, Houston.
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(to Ryan)
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Mind if I join the fun?
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RYAN
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Certainly. MISSION CONTR OL
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(VO.)
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(CONT 'D)
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MATT
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How you feeling?
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RYAN
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(pants, chuckling)
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Like a Chihuahua that’s being
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tumble-dried.
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MATT
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(chuckles softly)
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Well, it’s been a rough week. If it
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makes you feel any better, I
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coughed up everything but my
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kidneys on my first ride.
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RYAN
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Shit.
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Ryan drops a bolt, which floats as Matt reaches out to grab
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it. Matt moves to Ryan and gives the bolt to her. They work
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together on removing the panel.
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RYAN (CONT’D)
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Sorry. I’m used to a basement lab
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in a hospital where things fall to
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the floor.
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(chuckles softly)
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Thank you.
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MATT
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Well, you’re the genius up here. I
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only drive the bus.
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RYAN
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10.
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Yeah, well, call me a genius if I
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can get this board initialized in
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the next hour.
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MISSION CONTROL (V.O.)
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(over radio)
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Explorer, this is Houston.
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EXPLORER CAPTAIN (V.O.)
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(over radio)
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Go ahead, Houston.
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MISSION CONTROL (V.O.)
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(over radio)
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Uh, NORAD reports a Russian
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satellite has incurred a missile
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strike.
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Matt continues to breathe heavily into the radio.
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MISSION CONTROL (V.O.)
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(over radio)
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The impact has created a cloud of
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debris orbiting at twenty thousand
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miles per hour. Current debris
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orbit does not overlap with your
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trajectory. We’ll keep you posted
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on any developments.
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EXPLORER CAPTAIN (V.O.)
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(over radio)
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Copy that, Houston.
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RYAN
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Should we -- Should we be worried?
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MATT
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No, let’s let the boys down there
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worry for us.
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RYAN
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Explorer, engage arm and pivot to
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cargo bay.
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EXPLORER CAPTAIN (V.O.)
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(over radio)
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Stand by for arm maneuver.
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The robotic arm begins to move very slowly, pulling Ryan
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and Matt along.
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MATT
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11.
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So, doc, now that you work for
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NASA, how do you like us?
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SHARIFF
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Kind of like winning the lottery,
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huh?
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Shariff chuckles.
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RYAN
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(inhaling sharply)
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I was just happy that they didn’t
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cut the funding to my research.
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MATT
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How long was your training?
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RYAN
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Oh, six months.
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SHARIFF
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Including holidays?
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RYAN
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Mm-hm.
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Ryan moves. Matt unclips a cable.
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MATT
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So, what is this scanning system?
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SHARIFF
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Oh, nothing Matt. It’s just a new
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set of eyes to scan the edge of the
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universe.
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Matt holds the cable.
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RYAN
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It’s designed for hospital use, but
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this one’s a prototype.
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EXPLORER CAPTAIN (V.O.)
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(over radio)
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Stand by for locking.
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Matt and Ryan begin to remove another panel.
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MATT
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Listen, they don’t bankroll
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prototypes. Even for your pretty
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blue eyes.
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12.
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RYAN
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Well, my eyes are brown.
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MATT
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Right now, your eyes are bloodshot.
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She chuckles.
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SHARIFF
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Kowalski! Is this great, or what?
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Woo-hoo-hoo!
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Matt and Ryan turn to see Shariff jump and float away from
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the shuttle. His safety tether tenses and snaps him back.
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Matt glances upward.
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MATT
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And to think he went to Harvard.
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You gotta admit one thing: Can’t
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beat the view.
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(beat)
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So, what do you like about being up
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here?
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RYAN
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The silence. I could get used to
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it.
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MATT
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Terrific.
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RYAN
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Houston, from first inspection,
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comms panel appears to be dead. Am
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|
I a go to cut link to auxiliary?
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MISSION CONTROL (V.O.)
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(over radio)
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You’re the expert, doctor. It’s
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your call.
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MATT
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Houston, I have a bad feeling about
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|
this mission.
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MISSION CONTROL (V.O.)
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(over radio)
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|
Please elaborate.
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|
|
MATT
|
|
It’s the same feeling I had about
|
|
Mardi Gras in 1987.
|
|
13.
|
|
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
That is affirmative. Surprisingly,
|
|
Control hasn’t heard the Mardi Gras
|
|
story. Please proceed.
|
|
|
|
Matt and Ryan work the panel.
|
|
|
|
MATT
|
|
Well, it’s day one, and I’m bumping
|
|
my way down Bourbon Street looking
|
|
for a sister of a friend of mine.
|
|
Streets are full of people. I’m
|
|
thinking there’s no way I’m gonna
|
|
find this girl.
|
|
|
|
RYAN
|
|
Proceeding to override.
|
|
|
|
MATT
|
|
Then all of the sudden, I look up,
|
|
and there she is, and I’m about to
|
|
yell out, and I see she’s holding
|
|
hands with some short, hairy guy in
|
|
board shorts and a Margaritaville
|
|
shirt. And then I realize that this
|
|
guy is not a guy. That my girl is
|
|
holding hands with a --
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
ISS, this is Houston.
|
|
|
|
RUSSIAN SPACE STATION CAPTAIN
|
|
(V.O.)
|
|
(over radio)
|
|
Houston.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Explorer, this is Houston.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Go ahead, Houston.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
Mission abort. Repeat. Mission
|
|
abort. Initiate emergency
|
|
disconnect from Hubble. Begin
|
|
reentry procedure. ISS, initiate
|
|
emergency evacuation.
|
|
14.
|
|
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Copy all, Houston, and in work.
|
|
(to Matt)
|
|
Matt, immediate return to Explorer.
|
|
Repeat, immediate return to
|
|
Explorer.
|
|
|
|
MATT
|
|
Copy. Explorer, prep airlock.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Airlock engaged, ready to receive.
|
|
|
|
MATT
|
|
Houston, elaborate.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Debris from the missile strike has
|
|
caused a chain reaction, hitting
|
|
other satellites and creating new
|
|
debris. Traveling faster than a
|
|
high-speed bullet up towards your
|
|
altitude. All copy.
|
|
|
|
MATT
|
|
Copy all.
|
|
(to Ryan)
|
|
Put a bow on it, Dr. Stone.
|
|
|
|
RYAN
|
|
I can’t. The board is still
|
|
initializing.
|
|
|
|
MATT
|
|
I’m not gonna ask you again.
|
|
|
|
RYAN
|
|
One second.
|
|
|
|
MATT
|
|
Not one second. Now. Shut it down.
|
|
That’s an order.
|
|
|
|
Ryan finishes working.
|
|
|
|
RYAN
|
|
Okay, I’m sorry. I’m sorry. I’m
|
|
done. I’m done.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
15.
|
|
|
|
|
|
(over radio)
|
|
Kowalski, initiate emergency
|
|
disconnect from the Hubble.
|
|
|
|
Ryan and Matt close the panel.
|
|
|
|
MATT
|
|
All right, Shariff, let’s do this.
|
|
|
|
Matt and Shariff move to the base of the Hubble.
|
|
|
|
SHARIFF
|
|
Roger, Matt.
|
|
|
|
MATT
|
|
Houston, update.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Well, we have a full-on chain
|
|
reaction. It’s been confirmed that
|
|
it’s the unintentional side effect
|
|
of the Russians striking one of
|
|
their own satellites.
|
|
|
|
SHARIFF
|
|
They shot down their own satellite?
|
|
|
|
Matt pulls down a lever. Then moves upward.
|
|
|
|
MATT
|
|
Right of disposal. Most likely a
|
|
spy sat gone bad. Now it’s
|
|
shrapnel.
|
|
(to Explorer Captain)
|
|
Explorer, ready to disengage HST.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Locks releasing in three... two...
|
|
one.
|
|
|
|
The locks holding the Hubble in place release. Matt pushes
|
|
it up.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Explorer, new data coming through.
|
|
|
|
MATT
|
|
What's the blowback, Houston?
|
|
|
|
MISSION CONTROL (V.O.)
|
|
16.
|
|
|
|
|
|
(over radio)
|
|
It’s not good. Most of our systems
|
|
are gone. Debris chain reaction is
|
|
out of control and rapidly
|
|
expanding.
|
|
|
|
Ryan is on the robotic arm.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Multiple satellites are down, and
|
|
they keep on falling.
|
|
|
|
Matt flies to the right.
|
|
|
|
MATT
|
|
Define ‘multiple satellites.’
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Most of them are gone.
|
|
Telecommunication systems are dead.
|
|
Expect a communication blackout at
|
|
any moment.
|
|
|
|
RYAN
|
|
Kowalski, visual of debris at nine
|
|
o’clock.
|
|
|
|
Fragments of debris fly past.
|
|
|
|
MATT
|
|
Half of North America just lost
|
|
their Facebook.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Explorer, repeat, expect a
|
|
communication blackout at any
|
|
moment.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Copy that, Houston.
|
|
|
|
A large piece of debris from a BSE satellite flies past
|
|
Shariff.
|
|
|
|
MATT
|
|
Explorer, this is Kowalski,
|
|
confirming visual contact with
|
|
debris. Debris is from a BSE sat.
|
|
17.
|
|
|
|
|
|
The debris flies.
|
|
|
|
SHARIFF
|
|
Heads up!
|
|
|
|
MATT
|
|
To repeat, I have --
|
|
|
|
RYAN
|
|
Dr. Stone requesting faster
|
|
transport.
|
|
|
|
MATT
|
|
WE have to go. We have to go, go,
|
|
go!
|
|
|
|
Matt flies left.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
(over radio)
|
|
Kennedy reports meteorological
|
|
conditions no-go for re-entry.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Houston, Explorer. Copy.
|
|
|
|
RYAN
|
|
Explorer, Dr. Stone requesting
|
|
faster transport to bay area.
|
|
Explorer, do you copy?
|
|
|
|
MATT
|
|
Explorer, permission to retrieve
|
|
Dr. Stone.
|
|
|
|
Matt flies towards Ryan.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
You’re a go, Kowalski.
|
|
(to Mission Control)
|
|
Houston, this is Explorer, copy.
|
|
|
|
MATT
|
|
All right.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
We've lost Houston. We’ve lost
|
|
Houston.
|
|
|
|
Matt tries to help Ryan detach herself.
|
|
18.
|
|
|
|
|
|
MATT
|
|
Unstrap. Look, we need to get the
|
|
hell out of here.
|
|
|
|
RYAN
|
|
All right.
|
|
|
|
SHARIFF
|
|
Need some help there, Matt?
|
|
|
|
MATT
|
|
No, don’t wait for us.
|
|
|
|
A piece of debris smashes into Shariff, killing him.
|
|
|
|
RYAN
|
|
It’s stuck!
|
|
|
|
MATT
|
|
Man down! Man down!
|
|
|
|
Flying debris punctures holes in the shuttle, which starts
|
|
to veer out of control.
|
|
|
|
EXPLORER CAPTAIN (V.O.)
|
|
(over radio)
|
|
Houston, this is Explorer, copy.
|
|
Houston, this is Explorer, copy.
|
|
Kowalski, repor--
|
|
|
|
Ryan, still attached to the robotic arm, spins around with
|
|
the shuttle.
|
|
|
|
MATT
|
|
Explorer’s been hit!
|
|
(to Explorer Captain)
|
|
Explorer, do you read? Explorer,
|
|
over! Explorer!
|
|
|
|
The robotic arm breaks off from the shuttle with Ryan still
|
|
attached to it. She continues to spin around.
|
|
|
|
MATT (CONT’D)
|
|
Astronaut is off structure! Dr.
|
|
Stone is off structure!
|
|
(to Ryan)
|
|
Dr. Stone, detach! You must detach!
|
|
If you don’t detach, that arm’s
|
|
gonna carry you too far!
|
|
|
|
RYAN
|
|
(crying out)
|
|
No! No! I can--
|
|
19.
|
|
|
|
|
|
MATT
|
|
Listen to my voice! You need to
|
|
focus!
|
|
|
|
RYAN
|
|
I can’t! I can’t!
|
|
|
|
MATT
|
|
I’m losing visual of you. In a few
|
|
seconds, I won’t be able to track
|
|
you. You need to detach! I can’t
|
|
see you anymore! Do it now!
|
|
|
|
RYAN
|
|
Okay, I’m trying! I’m trying! I’m
|
|
trying!
|
|
|
|
Ryan detaches herself and flies off.
|
|
|
|
MATT
|
|
Houston, I’ve lost visual of Dr.
|
|
Stone. Houston, I’ve lost visual of
|
|
Dr. Stone.
|
|
|
|
|
|
2 EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY 2
|
|
|
|
Ryan spins out of control as she careens.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Dr. Stone, do you copy? Repeat, do
|
|
you copy?
|
|
|
|
She flies PAST CAMERA and continues in the b.g.
|
|
|
|
RYAN
|
|
Yes, yes, yes. I copy! I’m
|
|
detached!
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Give me your position.
|
|
|
|
RYAN
|
|
I don’t know! I don’t know! I’m
|
|
spinning! I can’t -- I can’t -- !
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Report your position.
|
|
|
|
RYAN
|
|
20.
|
|
|
|
|
|
GPS is down. I ca-- It’s down, I
|
|
can’t --
|
|
|
|
She spins and flips.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Give me a visual.
|
|
|
|
RYAN
|
|
I told you, nothing. I see nothing!
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Do you have a visual of Explorer?
|
|
|
|
RYAN
|
|
No. No.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Do you have a visual of ISS?
|
|
|
|
RYAN
|
|
No.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
You need to focus. Anything, use
|
|
the sun and the Earth, give me
|
|
coordinates.
|
|
|
|
RYAN
|
|
It’s so fast. I can’t breathe! I
|
|
can’t breathe!
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Give me coordinates! Dr. Stone, do
|
|
you copy? Repeat, do you copy? Give
|
|
me your position! Report your
|
|
position. Give me a visual! Do you
|
|
have a visual of Explorer? Do you
|
|
have a visual of ISS? I need you to
|
|
focus. Anything. Use the sun and
|
|
the Earth, give me coordinates.
|
|
Give me coordinates.
|
|
|
|
She continues spinning.
|
|
|
|
DISSOLVE TO:
|
|
21.
|
|
|
|
|
|
3 INT. HELMET - DAY 3
|
|
|
|
Ryan glances about as she tries to calm down. The Explorer
|
|
shuttle, a glowing light, is far off in the distance.
|
|
|
|
RYAN
|
|
Kowalski? Kowalski, do you copy?
|
|
Kowals-- I have-have a vis--
|
|
Kowalski, I have a visual. I have-
|
|
have a visual of Explorer. With
|
|
north at -- twelve o’clock and the
|
|
shuttle is at the center of the
|
|
dial. I can see -- I can see the
|
|
Chinese station. No -- No, it’s the
|
|
International Space Station. ISS is
|
|
at -- ISS is at seven o'clock.
|
|
|
|
CAMERA RACKS FOCUS ON the inside of the helmet, which
|
|
illuminates gauges and meters of the vital statistics of
|
|
Ryan’s space suit, which read:
|
|
|
|
CWL TEMP 15C WARN RADIATION LOW OXYGEN 10::percent:: LIFE
|
|
SUPPORT BATTERY 42::percent::
|
|
|
|
RYAN
|
|
Lieutenant Kowalski, do you copy?
|
|
|
|
CAMERA PULLS BACK OUT of her helmet.
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
4 EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY 4
|
|
|
|
Ryan continues to flip and spin around.
|
|
|
|
RYAN
|
|
Explorer, do you -- do you copy?
|
|
Houston, do you copy? Houston, this
|
|
is Mission Specialist Ryan Stone. I
|
|
am off structure and I am drifting.
|
|
Do you copy? Anyone...? Anybody...?
|
|
Do you copy? Please copy. Please.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Dr. Stone, do you copy?
|
|
|
|
RYAN
|
|
Yeah, Lieutenant Kowalski, yes.
|
|
Yes, Lieutenant Kowalski, I’m here,
|
|
I’m here!
|
|
22.
|
|
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Repeat, do you copy?
|
|
|
|
Ryan shines her flashlight, using it like a beacon.
|
|
|
|
RYAN
|
|
Yes, yes, I copy, I’m here! I’m
|
|
here.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Flash your light.
|
|
|
|
RYAN
|
|
My light -- my light?
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Flash it so I can see you.
|
|
|
|
RYAN
|
|
Uh, okay. Uh... I... Okay, okay.
|
|
Here, here! I’m here!
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Ah, there you are. Hang on tight.
|
|
Report your status.
|
|
|
|
RYAN
|
|
I’m fine, I’m fine. I’m all right.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Your status. Give me your readings.
|
|
|
|
Ryan looks at the gauge on her wrist, which indicates her
|
|
suit status.
|
|
|
|
RYAN
|
|
I... Uh, three -- three -- three
|
|
point six PSI.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Your O2, give me your O2.
|
|
|
|
RYAN
|
|
23.
|
|
|
|
|
|
Uh, oxygen is going down. It’s
|
|
going down fast. It’s going down
|
|
fast. Nine -- No, eight-eight
|
|
percent. Eight three point nine
|
|
percent.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
Okay, you’re breathing too fast.
|
|
You’re burning oxygen, and we don’t
|
|
want to do that. We want to relax.
|
|
Copy?
|
|
|
|
RYAN
|
|
Okay, so -- Okay, sorry. Yes, copy,
|
|
copy.
|
|
|
|
MATT (V.O.)
|
|
(over radio)
|
|
All right. Nearly there.
|
|
|
|
RYAN
|
|
Please hurry.
|
|
|
|
Matt approaches from far off in the b.g. He speeds toward
|
|
her.
|
|
|
|
MATT
|
|
You can holster that torch, Dr.
|
|
Stone.
|
|
|
|
RYAN
|
|
Sorry. Sorry.
|
|
|
|
Matt collides with her and grabs onto her. Ryan reacts,
|
|
panicked. They tumble together, facing each other.
|
|
|
|
MATT
|
|
Gotcha. All right, now I’m gonna
|
|
tether you to me.
|
|
|
|
RYAN
|
|
Uh-huh.
|
|
|
|
MATT
|
|
I know, you never realized how
|
|
devastatingly good-looking I am.
|
|
But I need you to stop staring and
|
|
help me with the tether.
|
|
|
|
RYAN
|
|
Mm-hmm.
|
|
24.
|
|
|
|
|
|
MATT
|
|
Okay?
|
|
|
|
RYAN
|
|
Okay, okay. Uh, I got it.
|
|
|
|
Matt attaches the tether to Ryan’s suit. They continue
|
|
tumbling together.
|
|
|
|
MATT
|
|
All right, here we go. All right.
|
|
Now, to clear you from the jets...
|
|
|
|
RYAN
|
|
Uh-huh.
|
|
|
|
MATT
|
|
I’m gonna give you a little push.
|
|
|
|
RYAN
|
|
No, no, no, no. No, no, no.
|
|
|
|
MATT
|
|
Not a push.
|
|
|
|
RYAN
|
|
No, no.
|
|
|
|
MATT
|
|
A nudge.
|
|
|
|
RYAN
|
|
No, no, no, no, no, no, no, no, no!
|
|
Damn it, no!
|
|
|
|
Matt pushes Ryan away from him. As she drifts again, she
|
|
panics. Matt turns and uses the thrusters to accelerate.
|
|
|
|
MATT
|
|
See? Where you go, I go. Better.
|
|
Let’s get outta here.
|
|
|
|
Matt pulls Ryan behind him via the tether.
|
|
|
|
RYAN
|
|
Goddamn it.
|
|
|
|
MATT
|
|
I know what you mean.
|
|
|
|
RYAN
|
|
Damn it.
|
|
25.
|
|
|
|
|
|
They move towards the Explorer in the distance.
|
|
|
|
MATT
|
|
You’re burning oxygen. We’re going
|
|
back to the shuttle. How’s that for
|
|
a plan? Copy?
|
|
|
|
RYAN
|
|
Fuck!
|
|
|
|
MATT
|
|
Right. Copy that. Houston, in the
|
|
blind. This is Kowalski. Dr. Stone
|
|
and I are gonna make our way back
|
|
to base. Can you get the Explorer
|
|
to prepare the airlock for arrival?
|
|
Copy? Houston, this is...
|
|
|
|
|
|
5 EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY 5
|
|
|
|
Matt flies, pulling Ryan behind him.
|
|
|
|
MATT
|
|
... Kowalski. How do you copy?
|
|
Houston, in the blind. This is
|
|
Kowalski.
|
|
|
|
RYAN
|
|
They can’t hear us.
|
|
|
|
MATT
|
|
We don’t know that. That’s why we
|
|
keep talking. If somebody is
|
|
listening, they might just save
|
|
your life. Set your watch for
|
|
ninety minutes.
|
|
|
|
RYAN
|
|
Why ninety?
|
|
|
|
MATT
|
|
Well, Houston clocked that...
|
|
|
|
Ryan sets her watch.
|
|
|
|
MATT
|
|
... debris at fifty thousand miles
|
|
an hour. If you factor in our
|
|
current orbit, then I figure we got
|
|
about ninety minutes before we get
|
|
our asses kicked again.
|
|
26.
|
|
|
|
|
|
Text on the wrist display next to the watch reads:
|
|
|
|
SUIT PRESS 35PSI 01:30 00 OXYGEN ALERT 6::percent::
|
|
|
|
BATTERY 18::percent:: SPC02 4.1 min
|
|
|
|
She reaches and grabs hold of the tether.
|
|
|
|
RYAN
|
|
O2 down to six percent.
|
|
|
|
MATT
|
|
Okay. Pretty scary shit being
|
|
untethered up here, isn’t it?
|
|
|
|
RYAN
|
|
Yeah, pretty scary shit.
|
|
|
|
MATT
|
|
Well, you did all right.
|
|
|
|
Matt thrusts forward again, pulling her in a jerking
|
|
motion.
|
|
|
|
|
|
6 INT. HELMET - RYAN’S POV THROUGH THE HELMET TO MATT - DAY 6
|
|
|
|
RYAN
|
|
Well, you weren’t so bad yourself.
|
|
|
|
MATT
|
|
Houston, in the blind. This is
|
|
Kowalski. Our current location is
|
|
approximately... nine hundred
|
|
meters out from the Explorer. Dr.
|
|
Stone and I would like to retrieve
|
|
the body of Mission Specialist
|
|
Shariff and return it to the
|
|
shuttle. Am I a go to retrieve?
|
|
Roger that.
|
|
|
|
Matt flies back and forth as he tries to correct their
|
|
course, searching for Shariff. The tether jerks Ryan back
|
|
and forth.
|
|
|
|
RYAN
|
|
Where is he? Where is he?
|
|
|
|
Matt ignites the thrusters and speeds in b.g. toward the
|
|
panel Shariff is attached to. Matt grabs onto the panel,
|
|
stopping his trajectory. Ryan flies past him toward
|
|
Shariff’s corpse.
|
|
27.
|
|
|
|
|
|
RYAN
|
|
Oh, my God. Oh, my God.
|
|
|
|
|
|
7 EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY 7
|
|
|
|
Ryan flies f.g. and crashes into Shariff’s corpse, causing
|
|
it to careen out of control, pulling the panel with it.
|
|
Matt, still holding onto the panel, disconnects Shariff’s
|
|
tether from it and attaches it to himself.
|
|
|
|
MATT
|
|
Grab him! Grab him!
|
|
|
|
RYAN
|
|
I’m trying, I’m trying!
|
|
|
|
Matt lets go of the panel, which exits, as Shariff’s corpse
|
|
and Ryan pull him with them.
|
|
|
|
MATT
|
|
You’re pullin’ me away.
|
|
|
|
RYAN
|
|
Got h-- I got him!
|
|
|
|
Ryan grabs hold of Shariff’s corpse and holds on.
|
|
|
|
MATT
|
|
Clutch him like he’s your
|
|
Valentine.
|
|
|
|
RYAN
|
|
I got -- I got him. Okay. I got
|
|
him.
|
|
|
|
MATT
|
|
I can’t engage my thrust with you
|
|
two yo-yoin’ around.
|
|
|
|
Ryan looks down at the face of the corpse and reacts.
|
|
|
|
Shariff’s corpse. The helmet is destroyed and there is a
|
|
hole through his face, caused by the debris. Ryan is
|
|
horrified.
|
|
|
|
Near Shariff’s corpse there is a photo floating, attached
|
|
to a small tether. The photo depicts Shariff with his wife
|
|
and son.
|
|
|
|
MATT
|
|
Jesus Christ.
|
|
28.
|
|
|
|
|
|
Matt leads Ryan and Shariff’s corpse toward the wreckage of
|
|
the Explorer, which has suffered devastating damage.
|
|
|
|
MATT
|
|
Here’s hopin’ you have a hell of an
|
|
insurance policy, Houston. The
|
|
damages to Explorer are
|
|
catastrophic. Will commence search
|
|
for survivors.
|
|
|
|
RYAN
|
|
O2 down to five percent.
|
|
|
|
|
|
8 EXT. OUTER SPACE - EXPLORER- DAY 8
|
|
|
|
Matt, Ryan, and Shariff’s corpse are flying toward Explorer
|
|
at a high velocity.
|
|
|
|
MATT
|
|
All right, here we go. Careful of
|
|
the edges!
|
|
|
|
They slam into the shuttle and scatter. Ryan flies and is
|
|
pulled by the tether to Matt, who grabs onto the broken
|
|
cockpit window frame.
|
|
|
|
Matt pulls Ryan toward him.
|
|
|
|
MATT
|
|
Here. Here!
|
|
|
|
CAMERA PUSHES PAST THEM THROUGH the window frame, INTO the
|
|
cockpit, which is in disarray. Several objects are floating
|
|
about. The beam of Matt’s flashlight shines onto a floating
|
|
toy.
|
|
|
|
Ryan moves to enter, but suddenly bumps into the corpse of
|
|
one of the astronauts. Matt peers in through a hole on the
|
|
other side of the cockpit.
|
|
|
|
MATT
|
|
Houston, in the blind. To confirm.
|
|
Mission Specialist Dr. Stone and
|
|
Mission Commander Matthew Kowalski
|
|
are the sole survivors of the STS-
|
|
one-five- seven.
|
|
|
|
Ryan joins Matt, now tethered to the shuttle. Shariff’s
|
|
corpse floats in the b.g.
|
|
|
|
RYAN
|
|
29.
|
|
|
|
|
|
I apologize for not complying. I
|
|
should’ve stopped working as soon
|
|
as you instructed me to.
|
|
|
|
MATT
|
|
We were gonna get hit no matter
|
|
what. There was nothing you could
|
|
do to change that. Hey.
|
|
|
|
RYAN
|
|
Yes?
|
|
|
|
MATT
|
|
All right, we have to make our way
|
|
to the Space Station. Over there.
|
|
|
|
Matt points to the space station way off in the distance.
|
|
|
|
MATT
|
|
It’s a bit of a hike, but we need
|
|
to use their escape pod, the Soyuz,
|
|
to get back to Earth. Agreed? Dr.
|
|
Stone, agreed?
|
|
|
|
Matt and Ryan facing each other.
|
|
|
|
RYAN
|
|
Agreed.
|
|
|
|
MATT
|
|
All right. After you.
|
|
|
|
Matt pushes Ryan, and she spins away. Matt pushes off the
|
|
shuttle and thrusts, pulling Ryan with him.
|
|
|
|
RYAN
|
|
Oh, God. Oh, God. Oh, God.
|
|
|
|
MATT
|
|
Houston, in the blind. This is
|
|
Kowalski.
|
|
|
|
CAMERA PULLS BACK to reveal Shariff’s corpse, now tethered
|
|
to the shuttle.
|
|
|
|
MATT
|
|
Dr. Stone and I have determined to
|
|
proceed to ISS and use one of their
|
|
Soyuz for re-entry. ISS, if you
|
|
hear us... we could sure use a
|
|
rescue mission.
|
|
30.
|
|
|
|
|
|
9 EXT. OUTER SPACE - 550 KM ABOVE EARTH - DAY 9
|
|
|
|
Matt floats, pulling Ryan behind him. The sun crests over
|
|
the edge of the Earth.
|
|
|
|
Hank Williams, Jr. sings “Angels Are Hard To Find” under
|
|
the following scenes.
|
|
|
|
RYAN
|
|
O2 down to two percent.
|
|
|
|
MATT
|
|
We’re getting there. Beautiful,
|
|
don’t you think?
|
|
|
|
RYAN
|
|
What?
|
|
|
|
MATT
|
|
The sunrise.
|
|
|
|
Matt slowly floats, pulling Ryan behind him.
|
|
|
|
MATT
|
|
That’s what I’m gonna miss the
|
|
most. So where’s home, Dr. Stone?
|
|
Ryan, where’s home?
|
|
|
|
RYAN
|
|
Home?
|
|
|
|
MATT
|
|
Mm-hm. Down there. Mother Earth.
|
|
Where do you pitch you tent?
|
|
|
|
RYAN
|
|
Lake Zurich.
|
|
|
|
MATT
|
|
Where the hell is that?
|
|
|
|
RYAN
|
|
Illinois.
|
|
|
|
Matt floats, pulling Ryan behind him.
|
|
|
|
MATT
|
|
Illinois. Central Time Zone.
|
|
(sighs)
|
|
That would make it roughly... eight
|
|
PM. What are the good people of
|
|
Lake Zurich doing at eight o’clock?
|
|
31.
|
|
|
|
|
|
RYAN
|
|
I don’t know. I’m not gonna make
|
|
it. I’m slowing you down.
|
|
|
|
MATT
|
|
What would you be doing? Come on,
|
|
Ryan. It’s eight o’clock. You've
|
|
just left the hospital after an
|
|
eighteen-hour shift. Driving home.
|
|
|
|
RYAN
|
|
The radio. I listen to the radio.
|
|
|
|
MATT
|
|
There we go. Let me guess. NPR?
|
|
Classical? Top forty?
|
|
|
|
RYAN
|
|
Anything. I don’t care, as long as
|
|
they don’t talk. I just drive.
|
|
|
|
MATT
|
|
And where are you driving to?
|
|
|
|
RYAN
|
|
I just drive.
|
|
|
|
MATT
|
|
What do you miss down there? Is
|
|
there a Mr. Stone?
|
|
|
|
RYAN
|
|
No.
|
|
|
|
MATT
|
|
Nobody special?
|
|
|
|
Ryan slowly floats. The reflection of the Earth appears on
|
|
her helmet.
|
|
|
|
MATT
|
|
Somebody down there looking up,
|
|
thinking about you? Ryan?
|
|
|
|
RYAN
|
|
I had a daughter.
|
|
|
|
Matt glances at the mirror affixed to his wrist. The mirror
|
|
on his wrist depicts the reflection of Ryan.
|
|
|
|
RYAN
|
|
32.
|
|
|
|
|
|
She was four. She was at school
|
|
playing tag. Slipped, hit her head,
|
|
and that was it. Stupidest thing. I
|
|
was driving when I got the call,
|
|
so... ever since then, that’s what
|
|
I do. I wake up, I go to work, and
|
|
I just drive.
|
|
|
|
Matt floats in the b.g. toward the far-off space station.
|
|
Ryan is pulled with him.
|
|
|
|
RYAN
|
|
O2 down to one percent.
|
|
|
|
MATT
|
|
Well, I’ve got good news and bad
|
|
news. The good news is, we’re about
|
|
five minutes from the ISS and I
|
|
know where the Russians stash their
|
|
vodka. And that is good, because
|
|
I’m runnin’ on fumes here. The bad
|
|
news is, I’m gonna be about ten
|
|
minutes short of breakin’ Anatoly’s
|
|
record, and I --
|
|
|
|
An alarm sounds, indicating Ryan’s oxygen level is low.
|
|
Matt looks at his wrist mirror.
|
|
|
|
RYAN
|
|
Uh...
|
|
|
|
MATT
|
|
What?
|
|
|
|
RYAN
|
|
Uh... I’m redlining. My O2 tank
|
|
pressure is low.
|
|
|
|
MATT
|
|
Your tank is out of oxygen but you
|
|
still have it in your suit.
|
|
|
|
RYAN
|
|
Got it.
|
|
|
|
|
|
10 INT. HELMET - RYAN’S POV OF MATT AND THE INTERNATIONAL 10
|
|
SPACE STATION - DAY
|
|
|
|
MATT
|
|
So you have to sip, not gulp.
|
|
33.
|
|
|
|
|
|
She looks down to her arms as she checks her oxygen
|
|
monitor. The monitor reads: oxygen low.
|
|
|
|
MATT
|
|
Wine, not beer.
|
|
|
|
She glances up to Matt.
|
|
|
|
MATT
|
|
Sip, Ryan.
|
|
(to Mission Control)
|
|
Houston, in the blind, we have a
|
|
visual of the ISS. The station must
|
|
have been evacuated because the
|
|
first Soyuz is...
|
|
|
|
|
|
11 EXT. OUTER SPACE - DAY 11
|
|
|
|
Matt and Ryan float in the f.g., as Ryan exits.
|
|
|
|
MATT
|
|
... missing. The second Soyuz
|
|
exhibits surface damage, and its
|
|
chute has been deployed. Any use as
|
|
an escape pod for re-entry is
|
|
impossible.
|
|
|
|
Matt floats toward the space station, pulling Ryan with
|
|
him.
|
|
|
|
RYAN
|
|
Shouldn’t we be turning? We’re
|
|
drifting again.
|
|
|
|
MATT
|
|
Not yet. I wasn’t kidding about
|
|
those fumes. This can has one or
|
|
two good thrusts left... if we’re
|
|
lucky. Steady. Aim. Fire!
|
|
|
|
Matt triggers his thruster, hurtling them at a high speed.
|
|
|
|
|
|
12 INT. HELMET - RYAN’S POV - DAY 12
|
|
|
|
Past Matt to the space station. Ryan’s arms enter f.g. and
|
|
grab hold of the tether.
|
|
|
|
RYAN
|
|
Brake! Brake! You have to brake!
|
|
|
|
MATT
|
|
34.
|
|
|
|
|
|
I can’t, the can’s empty.
|
|
|
|
|
|
13 EXT. OUTER SPACE - SPACE STATION - DAY 13
|
|
|
|
MATT
|
|
We’re gonna hit hard! Grab a hold
|
|
of anything you can!
|
|
|
|
|
|
14 INT. HELMET - RYAN’S POV TO THE SPACE STATION - DAY 14
|
|
|
|
She flies toward the space station.
|
|
|
|
|
|
15 EXT. OUTER SPACE - SPACE STATION - DAY 15
|
|
|
|
Matt flies and smashes into it. Ryan is pulled behind him.
|
|
|
|
RYAN
|
|
It’s -- what do I do? What do I
|
|
do?!
|
|
|
|
She flies into f.g. as CAMERA TILTS UP and FLIPS AROUND to
|
|
TRACK WITH her as grabs hold of a railing.
|
|
|
|
MATT
|
|
Ryan!
|
|
|
|
Matt flies past, pulling Ryan with him. Ryan bumps into a
|
|
solar panel and their tether snaps. Ryan falls.
|
|
|
|
RYAN
|
|
The tether broke, I’m detached! I’m
|
|
detached!
|
|
|
|
MATT
|
|
Grab a hold! Grab anything!
|
|
|
|
Ryan falls. She becomes entangled in some of the Soyuz’s
|
|
parachute rigging. The rigging pulls her up. She reaches
|
|
out her hand.
|
|
|
|
MATT
|
|
Ryan! Give me five!
|
|
|
|
RYAN
|
|
I’ve got you.
|
|
|
|
|
|
16 INT. HELMET - RYAN’S POV - MATT - DAY 16
|
|
35.
|
|
|
|
|
|
He flies toward her, unsuccessfully grabs for her hand.
|
|
|
|
RYAN
|
|
I’ve got you. Right here, right
|
|
here. Okay, get it.
|
|
|
|
Ryan grabs hold of the tether attached to him.
|
|
|
|
MATT
|
|
Shit! Shit.
|
|
|
|
RYAN
|
|
No. No, no, no, no, no, no, no, no.
|
|
|
|
|
|
17 EXT. OUTER SPACE - SPACE STATION - DAY 17
|
|
|
|
Ryan is pulled by the tether.
|
|
|
|
RYAN
|
|
Got ya.
|
|
|
|
Matt holds firmly onto the tether as he is yanked. Ryan
|
|
holds firmly onto the tether. Ryan’s left leg is entangled
|
|
in the parachute rigging.
|
|
|
|
RYAN
|
|
Got ya. You just... hold on and I’m
|
|
gonna start pulling you in. I’m
|
|
gonna star--
|
|
|
|
MATT
|
|
Hey, Doc.
|
|
|
|
RYAN
|
|
Just hold on. Hang on. I am gonna
|
|
pull you in. I’m gonna pull you in.
|
|
|
|
MATT
|
|
Ryan, listen. You have to let me
|
|
go.
|
|
|
|
RYAN
|
|
No.
|
|
|
|
MATT
|
|
The ropes are too loose. I’m
|
|
pulling you with me.
|
|
|
|
RYAN
|
|
No.
|
|
|
|
Matt takes hold of the tether clip.
|
|
36.
|
|
|
|
|
|
RYAN
|
|
No, no, no.
|
|
|
|
MATT
|
|
You have to let me go, or we both
|
|
die.
|
|
|
|
RYAN
|
|
I’m not letting you go!
|
|
|
|
Ryan is pulled and Matt yanks her back.
|
|
|
|
RYAN
|
|
We’re fine!
|
|
|
|
MATT
|
|
No. Ryan, let go.
|
|
|
|
RYAN
|
|
No. No. You’re not going anywhere.
|
|
You’re not going anywhere.
|
|
|
|
Matt starts to unclip the tether.
|
|
|
|
MATT
|
|
It’s not up to you.
|
|
|
|
RYAN
|
|
No, no, no, no, no... no... Please
|
|
don’t do this.
|
|
|
|
Matt unclips the tether.
|
|
|
|
RYAN
|
|
Please, please, please, please
|
|
don’t do this. Please don’t do
|
|
this. No, no, no. Please don’t,
|
|
Matt. Please don’t do this.
|
|
|
|
Matt lets go of the tether and floats off.
|
|
|
|
MATT
|
|
You’re gonna make it, Ryan.
|
|
|
|
RYAN
|
|
No!
|
|
|
|
Ryan floats toward the space station. Matt floats away.
|
|
|
|
RYAN
|
|
I had you. I had you! I had you.
|
|
37.
|
|
|
|
|
|
Ryan smacks into a part of the space station and flips
|
|
over. She grabs hold of a metal railing. We see Matt far
|
|
away now in the b.g. Ryan’s C02 alarm goes off, indicating
|
|
that she’s out of oxygen.
|
|
|
|
MATT
|
|
Ryan, do you hear me? Do you copy?
|
|
|
|
RYAN
|
|
My CO2alarm went off. My CO2 alarm
|
|
went off.
|
|
|
|
MATT
|
|
Look, you need to board the
|
|
station. Do you see the airlock?
|
|
|
|
Ryan turns, holding tightly onto the metal railing.
|
|
|
|
MATT
|
|
Hey, Ryan, you copy? Look for the
|
|
airlock. It’s above you, next to
|
|
the Zarya module. You see it?
|
|
|
|
RYAN
|
|
Yes. Yes, I see it. I see it.
|
|
|
|
MATT
|
|
All right, good. That’s where you
|
|
want to go. Now you’re getting
|
|
lightheaded, right?
|
|
|
|
RYAN
|
|
Yeah. Yes.
|
|
|
|
MATT
|
|
That’s because you’re breathing
|
|
CO2. You’re losing consciousness.
|
|
You need to board the station.
|
|
|
|
RYAN
|
|
Okay.
|
|
|
|
Holding on tight to the space station’s railing, Ryan turns
|
|
her body upside down and moves toward the station.
|
|
|
|
MATT
|
|
That second Soyuz is too damaged
|
|
for re-entry, but it’s perfectly
|
|
fine for a little Sunday drive.
|
|
|
|
Ryan climbs upward.
|
|
|
|
RYAN
|
|
38.
|
|
|
|
|
|
Sunday drive?
|
|
|
|
MATT
|
|
Look to the west. You see that dot
|
|
in the distance?
|
|
|
|
CAMERA PANS TO a tiny dot in the distance, which is the
|
|
Chinese station.
|
|
|
|
MATT
|
|
That’s a Chinese station.
|
|
|
|
RYAN
|
|
Yes.
|
|
|
|
MATT
|
|
You’re gonna take the Soyuz, and
|
|
you’re gonna cruise over there.
|
|
Chinese lifeboat is a Shenzhou.
|
|
|
|
RYAN
|
|
I’ve never flown a Shenzhou.
|
|
|
|
CAMERA DOLLIES AROUND Ryan.
|
|
|
|
MATT
|
|
It doesn’t matter. Its re-entry
|
|
protocol is identical to the Soyuz.
|
|
|
|
RYAN
|
|
Okay.
|
|
|
|
MATT
|
|
You never flown the Soyuz either?
|
|
|
|
RYAN
|
|
Only a simulator.
|
|
|
|
MATT
|
|
Well, then you know.
|
|
|
|
RYAN
|
|
But I crashed it.
|
|
|
|
MATT
|
|
It’s a simulator, that’s what it’s
|
|
designed for.
|
|
|
|
RYAN
|
|
Every time. I crashed it every
|
|
time.
|
|
39.
|
|
|
|
|
|
CAMERA TRACKS WITH Ryan to reveal Matt, a tiny speck in
|
|
b.g.
|
|
|
|
MATT
|
|
You point the damn thing at Earth.
|
|
It’s not rocket science. And by
|
|
this time tomorrow, you’re gonna be
|
|
back in Lake Zurich with a hell of
|
|
a story to tell. You copy? Ryan,
|
|
you copy?
|
|
|
|
RYAN
|
|
I’m gonna take the Soyuz and come
|
|
get you.
|
|
|
|
MATT
|
|
No, you’re not.
|
|
|
|
RYAN
|
|
I’m coming to get you.
|
|
|
|
MATT
|
|
No, I’ve got too much of a head
|
|
start on you.
|
|
|
|
RYAN
|
|
(wavering)
|
|
I’m coming to get you.
|
|
|
|
MATT
|
|
I’m afraid that ship...
|
|
(chuckling)
|
|
Already sailed. Ryan, you’re gonna
|
|
have to learn to let go.
|
|
|
|
RYAN
|
|
But I --
|
|
|
|
MATT
|
|
I want to hear you say you’re gonna
|
|
make it. Come on, Ryan, say it.
|
|
|
|
RYAN
|
|
I’m gonna make it.
|
|
|
|
MATT
|
|
All right. Keep going. What kind of
|
|
name is Ryan for a girl?
|
|
|
|
RYAN
|
|
Dad wanted a boy.
|
|
|
|
MATT
|
|
40.
|
|
|
|
|
|
Are you close to the airlock?
|
|
|
|
RYAN
|
|
Not yet.
|
|
|
|
MATT
|
|
Keep going. So now that we have
|
|
some distance between us... you’re
|
|
attracted to me, right?
|
|
|
|
RYAN
|
|
What?
|
|
|
|
MATT
|
|
Well, people say I have beautiful
|
|
blue eyes.
|
|
|
|
RYAN
|
|
You have beautiful -- You have
|
|
beautiful blue eyes.
|
|
|
|
MATT
|
|
I have brown eyes. Hey, you want to
|
|
know the good news?
|
|
|
|
RYAN
|
|
What?
|
|
|
|
MATT
|
|
I’m gonna break Anatoly’s record,
|
|
and I think mine’s gonna stand for
|
|
a long, long time.
|
|
|
|
RYAN
|
|
Oh, no. I’m coming to get you.
|
|
|
|
Matt, a tiny speck in b.g.
|
|
|
|
MATT
|
|
Oh, my God.
|
|
|
|
RYAN
|
|
What? What?
|
|
|
|
MATT
|
|
Wow. Hey, Ryan?
|
|
|
|
RYAN
|
|
Yeah?
|
|
|
|
MATT
|
|
You should see the sun on the
|
|
Ganges.
|
|
41.
|
|
|
|
|
|
(exhales sharply)
|
|
It’s amazing.
|
|
|
|
CAMERA PANS TO Ryan. She moves her arm. Hank Williams Jr.’s
|
|
“Angels Are Hard To Find” continues.
|
|
|
|
|
|
18 INT. HELMET - RYAN’S POV - DAY 18
|
|
|
|
Matt is a tiny speck. With great effort, Ryan climbs to the
|
|
airlock and opens its handle.
|
|
|
|
|
|
19 EXT. OUTER SPACE - SPACE STATION - DAY 19
|
|
|
|
Ryan opens the airlock door and is blown by the air
|
|
pressure as she tightly grips the door handle. She manages
|
|
to climb inside the airlock.
|
|
|
|
|
|
20 INT. SPACE STATION - AIRLOCK MODULE - DAY 20
|
|
|
|
Ryan closes the airlock door. She turns the handle of a
|
|
valve. The oxygen levels of the module re-pressurizes.
|
|
|
|
As oxygen fills the cabin, Ryan takes off her helmet and
|
|
breathes deeply.
|
|
|
|
She removes her suit.
|
|
|
|
|
|
21 INT. SPACE STATION - DAY 21
|
|
|
|
Ryan enters and glances about.
|
|
|
|
An electrical panel with exposed wiring emits sparks and
|
|
flames.
|
|
|
|
Ryan enters the communications room.
|
|
|
|
RYAN
|
|
Where are you? Where are you?
|
|
Comms. Comms. There you are.
|
|
|
|
She stops and turns toward the radio panel, placing a radio
|
|
headset on her head.
|
|
|
|
RYAN
|
|
(into radio)
|
|
42.
|
|
|
|
|
|
Okay. Matt, this is Ryan, copy.
|
|
Matt, this is Ryan, copy. Matt, I
|
|
made it, I’m here, I’m on the
|
|
station. Do you copy? Come on,
|
|
Matt, talk to me. Tell me where you
|
|
are, give me your position. Where
|
|
are you? Give me a visual. Just
|
|
tell me what you see. Oh, come on.
|
|
You’ve been yammering since we left
|
|
Cape Canaveral, and now you decide
|
|
to shut up? Talk to me. Just say
|
|
something, say anything! I don’t
|
|
care! Hey, tell me about, uh, Mardi
|
|
Gras. Tell me about the hairy guy.
|
|
Huh? Tell me what happened. What
|
|
happened to the, uh, hairy guy?
|
|
|
|
Ryan’s reflection is on the window as she gazes through it.
|
|
|
|
RYAN
|
|
(into radio)
|
|
Please talk to me.
|
|
(whispering)
|
|
Please.
|
|
(to mission control)
|
|
Houston, in the blind... this is
|
|
Mission Specialist Ryan Stone
|
|
reporting from the ISS. All
|
|
communications with Mission
|
|
Commander Matthew Kowalski have
|
|
been lost. Radio transmission
|
|
absent. Visuals nonexistent. To
|
|
confirm, I, Ryan Stone, am the sole
|
|
survivor of STS-one-five- seven.
|
|
|
|
An alarm sounds, prompting her to float and examine a
|
|
laptop affixed to the wall.
|
|
|
|
RYAN
|
|
What now?
|
|
|
|
On the laptop monitor, which displays a message and a graph
|
|
of the station, which indicates which sections are on fire.
|
|
The alert reads: “FIRE.”
|
|
|
|
On the map, the labels of which read: “Kibo Lab, jcm,
|
|
Overhead, Port, UC Lab, Node 2, Deck.”
|
|
|
|
Ryan approaches a ball of fire. She grabs a fire
|
|
extinguisher off the wall and uses it on the fire.
|
|
43.
|
|
|
|
|
|
The spray from the fire extinguisher blasts her against the
|
|
wall, momentarily knocking her unconscious, then she
|
|
regains consciousness.
|
|
|
|
The fire is quickly expanding. Ryan takes the fire
|
|
extinguisher again, plants her feet and stabilizes herself.
|
|
She sprays the fire extinguisher.
|
|
|
|
The fireball rapidly expands, knocking Ryan into a new
|
|
passageway. The fireball expands throughout the station
|
|
behind her. She dives down, through a hatch. She struggles
|
|
to open the hatch to the second Soyuz. The fireball is
|
|
expanding into the compartment.
|
|
|
|
Ryan climbs down into the second Soyuz, still carrying the
|
|
fire extinguisher and locks the hatch above her.
|
|
|
|
She climbs further down into another section of the Soyuz.
|
|
She closes the second hatch above her.
|
|
|
|
The Soyuz shakes, due to the station outside exploding and
|
|
crumbling.
|
|
|
|
|
|
22 INT. SOYUZ - DAY 22
|
|
|
|
Ryan slides down through a hatch into the command center of
|
|
the Soyuz.
|
|
|
|
RYAN
|
|
Okay. Okay. Where is it, where is
|
|
it? Where is the power? Here you
|
|
are. Okay, great, just like
|
|
training. Um... Uh, undocking,
|
|
undocking.
|
|
|
|
She reaches for a nearby instruction manual, which is
|
|
marked in red. She straps herself into the seat and
|
|
examines it.
|
|
|
|
RYAN
|
|
(clearing throat)
|
|
Undocking. Red. Okay. Okay, where
|
|
is it? Where is it? Come on. Okay.
|
|
Okay. Okay, I remember this, I
|
|
remember this.
|
|
|
|
She reaches up and presses several buttons on the control
|
|
console. The monitor now displays a countdown which reads:
|
|
“00:04.30.”
|
|
|
|
The Soyuz is jolted and shakes terribly.
|
|
44.
|
|
|
|
|
|
Ryan flips through the pages of the instructions.
|
|
|
|
RYAN
|
|
Oh, you don’t have four minutes.
|
|
We’re going manual. Come on. Okay.
|
|
Okay. Active-Activate, undock.
|
|
(Russian)
|
|
Rezerveyi rassik
|
|
|
|
She reaches up toward another control panel and presses a
|
|
button.
|
|
|
|
|
|
23 EXT. STATION - OUTER SPACE - DAY 23
|
|
|
|
The Soyuz is released from the station and floats away from
|
|
it. The Earth is far off in the b.g.
|
|
|
|
|
|
24 INT. SOYUZ - DAY 24
|
|
|
|
The periscope displaying the station from outside. As it
|
|
floats away, the parachute, which has been deployed, is
|
|
tangled around a section of the station.
|
|
|
|
Ryan breathes heavily. She is seated and watches the
|
|
periscope in front of her. She checks her watch for the
|
|
amount of time until the debris will hit again. It reads
|
|
“00:07:25.”
|
|
|
|
RYAN
|
|
Seven minutes to get out of here.
|
|
|
|
Ryan pulls out the joysticks to activate the manual control
|
|
steering.
|
|
|
|
RYAN
|
|
(whispering)
|
|
All right, okay.
|
|
|
|
|
|
25 EXT. OUTER SPACE - DAY 25
|
|
|
|
The station thrusts away, the parachute still caught. It
|
|
pulls taut and stops the Soyuz with a jolt.
|
|
|
|
|
|
26 INT. SOYUZ - DAY 26
|
|
|
|
Ryan is shaken about as the station is jolted. She glances
|
|
about, confused.
|
|
|
|
RYAN
|
|
45.
|
|
|
|
|
|
What? What-what? What-what?
|
|
|
|
|
|
27 EXT. STATION - OUTER SPACE - DAY 27
|
|
|
|
The parachute tenses and pulls the Soyuz toward the station
|
|
at a high speed.
|
|
|
|
|
|
28 INT. SOYUZ - DAY 28
|
|
|
|
Ryan, upside down, gazes at the periscope. She sees that
|
|
the Soyuz is on a trajectory to crash into the station.
|
|
|
|
RYAN
|
|
No, no, no, no, no, no, no, no, no!
|
|
|
|
She uses the manual controls to activate the thrusters.
|
|
|
|
|
|
29 EXT. OUTER SPACE - DAY 29
|
|
|
|
The thrusters emit a quick blast changing the Soyuz’s
|
|
direction slightly. The parachute ropes become taut.
|
|
|
|
The Soyuz flies away from the station, but the parachute
|
|
snaps the Soyuz back toward it.
|
|
|
|
|
|
30 INT. SOYUZ - DAY 30
|
|
|
|
Ryan glances about.
|
|
|
|
|
|
31 EXT. STATION - OUTER SPACE 31
|
|
|
|
The Soyuz flies over the station. The parachute catches
|
|
again. The ropes pull taut.
|
|
|
|
|
|
32 INT. SOYUZ - DAY 32
|
|
|
|
Ryan is shaken about as the Soyuz is jolted to a stop. She
|
|
takes control of the manual steering.
|
|
|
|
|
|
33 EXT. STATION - OUTER SPACE 33
|
|
|
|
The Soyuz is pulled back toward the station.
|
|
|
|
|
|
34 INT. SOYUZ - DAY 34
|
|
46.
|
|
|
|
|
|
Ryan looks through the periscope.
|
|
|
|
RYAN
|
|
Stop! Stop! Stop! Stop! Stop!
|
|
|
|
|
|
35 EXT. STATION - OUTER SPACE 35
|
|
|
|
The thruster jets are manually activated, stopping its
|
|
approach and gently pushing it away at a steady rate.
|
|
|
|
|
|
36 INT. SOYUZ - DAY 36
|
|
|
|
Through the periscope, we see Soyuz is slowly floating away
|
|
from the station.
|
|
|
|
RYAN
|
|
Come on, come on, come on, come on,
|
|
come on. Come on.
|
|
(whispering)
|
|
Come on, come on, come on, come on.
|
|
|
|
Ryan uses the manual steering to steady the Soyuz.
|
|
|
|
RYAN
|
|
(whispering)
|
|
That’s right, that’s right. Come
|
|
on, come on, come on.
|
|
(low)
|
|
That’s right, that’s right, that’s
|
|
right, that’s right, that’s right.
|
|
Ahhh. Come on.
|
|
|
|
|
|
37 EXT. STATION - OUTER SPACE - DAY 37
|
|
|
|
The Soyuz flies away from the station at a slower velocity
|
|
than before. The parachute pulls taut, and the Soyuz jolts
|
|
to a stop, but the soft thrusters keep it from being pulled
|
|
back toward it.
|
|
|
|
|
|
38 INT. SOYUZ - DAY 38
|
|
|
|
Through the periscope, we see that Soyuz has steadied, but
|
|
is still tethered to the station via the parachute, which
|
|
is entangled in one of the station’s solar panels.
|
|
|
|
RYAN
|
|
(whispers)
|
|
F--
|
|
(breathes heavily)
|
|
47.
|
|
|
|
|
|
Great.
|
|
|
|
Ryan glances about.
|
|
|
|
|
|
39 EXT. STATION - OUTER SPACE - DAY 39
|
|
|
|
The Soyuz hovers near the station. Ryan, wearing a space
|
|
suit, steps out of the hatch, tethered to the inside of the
|
|
Soyuz cabin. Her watch timer goes off, indicating that the
|
|
debris should be coming back. She glances about, but does
|
|
not see any debris.
|
|
|
|
RYAN
|
|
Clear skies with a chance of
|
|
satellite debris.
|
|
|
|
She climbs down the side of the Soyuz to where the
|
|
parachute ropes are bolted to the vessel. She attaches
|
|
herself to an open panel and glances about.
|
|
|
|
RYAN
|
|
(whispering)
|
|
Okay, we detach this, and we go
|
|
home. Piece of cake.
|
|
|
|
Satisfied that no debris is coming, she produces a tool and
|
|
starts to detach the parachute ropes. She doesn’t see the
|
|
debris coming toward her.
|
|
|
|
RYAN
|
|
Okay.
|
|
(low; indistinct)
|
|
Okay, what do we have? Okay, all
|
|
right.
|
|
|
|
Ryan drops one of her tools, which starts to float away.
|
|
She turns to grab it and sees the debris hurtling toward
|
|
her as it starts to tear through the satellites.
|
|
|
|
RYAN
|
|
Shit.
|
|
|
|
As she quickly tries to detach the parachute ropes, she
|
|
flips upside-down and tries to ignore the debris cutting
|
|
through the station behind her.
|
|
|
|
RYAN
|
|
Okay. Okay, come on. Come on, come
|
|
on. All right. Okay, okay, okay.
|
|
Okay.
|
|
48.
|
|
|
|
|
|
She removes one of the ropes as a section of the station
|
|
explodes behind her. The remaining part of the station
|
|
flies under the Soyuz.
|
|
|
|
She holds onto the Soyuz as the station spins out of
|
|
control, pulling the Soyuz with it. She struggles to hold
|
|
on as the Soyuz flies through new debris.
|
|
|
|
She removes the final rope and holds tight to the Soyuz,
|
|
which flies away from the station. The wing of the Soyuz
|
|
plows through a satellite.
|
|
|
|
The Soyuz floats, seemingly out of harm’s way. Ryan climbs
|
|
toward the Soyuz hatch. She glances back at the crumbling
|
|
station before exiting.
|
|
|
|
RYAN
|
|
I hate space.
|
|
|
|
|
|
40 INT. SOYUZ - DAY 40
|
|
|
|
A control panel displays several alerts and alarms. Ryan’s
|
|
helmet floats.
|
|
|
|
Ryan closes the hatch after having just come through it.
|
|
She straps into the command seat and switches off the
|
|
alarms.
|
|
|
|
RYAN
|
|
(to the control panel)
|
|
Shut up.
|
|
(beat)
|
|
Okay.
|
|
|
|
She looks at her watch. She resets her watch timer to
|
|
01:30. She starts the timer.
|
|
|
|
Ryan reacts to the temperature which is now below freezing.
|
|
She places an instruction manual in her lap and uses the
|
|
steering joysticks to reposition the Soyuz.
|
|
|
|
RYAN
|
|
All right. That’s good.
|
|
|
|
Ryan looks through the periscope, displaying the western
|
|
horizon.
|
|
|
|
RYAN
|
|
Okay. Let’s stabilize you.
|
|
|
|
|
|
41 EXT. OUTER SPACE - DAY 41
|
|
49.
|
|
|
|
|
|
The Soyuz floats and steadies into a stabilized position.
|
|
|
|
|
|
42 INT. SOYUZ - DAY 42
|
|
|
|
The periscope displays the far-off Chinese station on the
|
|
western horizon. The Soyuz stabilizes in a position to head
|
|
directly toward it.
|
|
|
|
RYAN
|
|
Okay. Let’s go visit the Chinese
|
|
station.
|
|
(to Mission Control)
|
|
Houston, in the blind, Tiangong is
|
|
approximately one hundred
|
|
kilometers to the west, and I am
|
|
off its course by about thirteen
|
|
degrees. I will correct trajectory.
|
|
|
|
She clears her throat.
|
|
|
|
|
|
43 EXT. OUTER SPACE - HIGH ANGLE - DAY 43
|
|
|
|
The Soyuz floats.
|
|
|
|
|
|
44 INT. SOYUZ - DAY 44
|
|
|
|
The periscope displays the Chinese station in the distance.
|
|
|
|
RYAN
|
|
(whispering)
|
|
Okay. Okay.
|
|
|
|
LOW ANGLE - RYAN
|
|
|
|
reaches up and flips some switches.
|
|
|
|
RYAN
|
|
Okay.
|
|
(to Mission Control)
|
|
I will engage S-Ka-Dae in five...
|
|
four... three...
|
|
|
|
Ryan presses the thruster ignition button on the control
|
|
panel.
|
|
|
|
RYAN
|
|
Two... one.
|
|
|
|
|
|
45 EXT. OUTER SPACE - DAY 45
|
|
50.
|
|
|
|
|
|
The Soyuz continues to float.
|
|
|
|
|
|
46 INT. SOYUZ - DAY 46
|
|
|
|
Ryan reacts, confused.
|
|
|
|
RYAN
|
|
What’s happening, what’s happening?
|
|
Come on, come on.
|
|
|
|
Ryan reaches up toward the control panel again.
|
|
|
|
LOW ANGLE - RYAN
|
|
|
|
presses the thruster ignition button again.
|
|
|
|
RYAN
|
|
One.
|
|
|
|
|
|
47 EXT. OUTER SPACE - DAY 47
|
|
|
|
The Soyuz continues to float.
|
|
|
|
|
|
48 INT. SOYUZ - DAY 48
|
|
|
|
Ryan repeatedly presses the ignition button, but nothing
|
|
happens. She starts to panic.
|
|
|
|
RYAN
|
|
Come on, come on, come on.
|
|
|
|
She taps on the fuel gauge, frozen in place due to the
|
|
temperature. The needle is tapped loose and drops down to
|
|
zero, indicating that there is no fuel.
|
|
|
|
RYAN
|
|
You gotta be kidding me. You gotta
|
|
be kidding me!
|
|
|
|
Ryan angrily hits and kicks the control panel.
|
|
|
|
RYAN
|
|
No! Don’t you fu--
|
|
|
|
|
|
49 EXT. SOYUZ (OUTER SPACE) 49
|
|
|
|
Ryan calms down. The Chinese station is far off in the b.g.
|
|
51.
|
|
|
|
|
|
RYAN (V.O.)
|
|
Houston, in the blind. Houston, in
|
|
the blind, this is Dr. Ryan Stone.
|
|
I’m calling from the Soyuz TMA-one-
|
|
four-M. I’m currently out of fuel
|
|
and adrift, do you copy? Houston.
|
|
This is Dr. Ryan Stone. MORE)
|
|
|
|
Do you copy? Houston. This is Ryan Stone. Do you copy?
|
|
|
|
The sun sets behind the edge of the Earth.
|
|
|
|
|
|
50 INT. SOYUZ - DAY 50
|
|
|
|
The edge of the window, which starts to gather frost and
|
|
freeze over.
|
|
|
|
RYAN (O.S.)
|
|
(into radio; wavering
|
|
voice, sniffs)
|
|
Houston, this is Missish -- Mission
|
|
Specialist Ryan Stone, do you copy?
|
|
|
|
ANINGAAQ (V.O.)
|
|
(over radio)
|
|
(Indistinct)
|
|
|
|
THE TOP OF A CONTROL PANEL
|
|
|
|
A card depicting a Russian religious character is affixed
|
|
to it.
|
|
|
|
RYAN (O.S.)
|
|
(into radio)
|
|
Houston, Houston, please confirm
|
|
identity.
|
|
|
|
ANINGAAQ (V.O.)
|
|
(over radio)
|
|
(Indistinct)
|
|
|
|
RYAN (O.S.)
|
|
(into radio)
|
|
Houston, you’re coming in over an
|
|
A.M. frequency. Copy.
|
|
|
|
RYAN’S HELMET AND A FIRE EXTINGUISHER
|
|
|
|
Both floating in the air.
|
|
|
|
RYAN (O.S.) (CONT’D)
|
|
(into radio)
|
|
52.
|
|
|
|
|
|
Do you copy?
|
|
(pants)
|
|
Is this the Chinese station? Is
|
|
this Tiangong? Copy. RYAN
|
|
(V. O.)
|
|
(CONT'D)
|
|
|
|
ANINGAAQ (V.O.)
|
|
(over radio)
|
|
(Inuit)
|
|
|
|
RYAN (O.S.)
|
|
(into radio)
|
|
Mayday, can you copy?
|
|
|
|
RYAN
|
|
|
|
leaning toward the control panel, reacting as a
|
|
transmission finally comes through the radio.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
Mayday, mayday, mayday.
|
|
|
|
ANINGAAQ (V.O.)
|
|
(over radio)
|
|
(Inuit)
|
|
|
|
RYAN
|
|
(into radio; panting)
|
|
Ma-- Yes, yes. Mayday, mayday.
|
|
Mayday, mayday. An--
|
|
(whispering)
|
|
Anin--Aningaaq, is that -- ? Is
|
|
that your -- ? Is that your name?
|
|
Aningaaq is your -- is your name?
|
|
Is that your name?
|
|
|
|
ANINGAAQ (V.O.)
|
|
(over radio; in Tagalog)
|
|
Mayday!
|
|
|
|
RYAN
|
|
(into radio)
|
|
No, no, no. No, my name is not
|
|
‘Mayday.’ I’m Stone. Dr. Ryan
|
|
Stone, I need help. I am --
|
|
|
|
She reacts as she hears dogs over the radio.
|
|
|
|
RYAN (CONT’D)
|
|
53.
|
|
|
|
|
|
Wh-- Those are dogs. They’re
|
|
calling from Earth. They’re calling
|
|
from Earth.
|
|
|
|
Ryan sits back in her seat and moves her fingers, trying to
|
|
keep them warm.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
Aningaaq, make your dogs bark again
|
|
for me, would you please? Your
|
|
dogs. Dogs, you know. Woof, woof.
|
|
Dogs.
|
|
|
|
Aningaaq makes barking sounds, howls. Ryan makes howling
|
|
sounds along with him.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
Woof, woof. Whoo, whoo!
|
|
|
|
Ryan starts crying.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio; crying)
|
|
Oh, I’m gonna die, Aningaaq. I
|
|
know, we’re all gonna die.
|
|
Everybody knows that. But I’m gonna
|
|
die today. Funny, that. You know,
|
|
to know...
|
|
|
|
Aningaaq starts to sing.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio, crying)
|
|
But the thing is, it’s that I’m
|
|
still scared. I’m really scared.
|
|
Nobody will mourn for me, no one
|
|
will pray for my soul. Will you
|
|
mourn for me? Will you say a prayer
|
|
for me? Or is it too late?
|
|
|
|
A tear falls from her eye, freezes, and floats. CAMERA RACK
|
|
FOCUSES ON IT.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
I mean, I’d say one for myself, but
|
|
I’ve never prayed in my life, so...
|
|
Nobody ever taught me how. Nobody
|
|
ever taught me how.
|
|
54.
|
|
|
|
|
|
CAMERA RACK FOCUSES BACK ON Ryan as she hears a baby over
|
|
the radio. She reacts and cries, as she hears Aningaaq
|
|
singing.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
A baby. There’s a baby with you,
|
|
huh? Is that a lullaby you’re
|
|
singing? MORE)
|
|
(whispering)
|
|
That’s so sweet. I used to sing to
|
|
my baby. I hope I see her soon.
|
|
|
|
She leans over and presses a button on the control panel.
|
|
CAMERA PANS WITH her as she reaches up and switches off the
|
|
lights. She turns some dials, decreasing the oxygen in the
|
|
cabin’s atmosphere, preparing to kill herself.
|
|
|
|
The monitor, displaying the atmosphere levels and vital
|
|
statistics of the cabin. The oxygen meter drops rapidly as
|
|
an alert sounds. Text under the meter reads: “O2.”
|
|
|
|
Ryan, now sitting back in the seat. She closes her eyes.
|
|
|
|
RYAN (CONT’D)
|
|
(into radio)
|
|
That’s nice, Aningaaq. Keep
|
|
singing, just like that.
|
|
(exhales sharply)
|
|
Sing me to sleep, and I’ll sleep.
|
|
Keep singing. And sing, and sing.
|
|
|
|
The beam of a flashlight shines on her through the O.S.
|
|
porthole. She sees Matt, peering through the porthole. He
|
|
starts to open the hatch. Ryan, covering her face and
|
|
reacting.
|
|
|
|
RYAN (CONT’D)
|
|
No, no, no, don’t!
|
|
|
|
Matt opens the hatch, sucking out all the air and sound. He
|
|
crawls in and closes the hatch behind him. Ryan, cowering
|
|
behind her hands, but still alive. Matt sitting next to
|
|
her. He leans over and turns a dial to re- pressurize the
|
|
cabin. He takes off his helmet as air and sound are
|
|
returned.
|
|
|
|
MATT
|
|
(grunts)
|
|
Check your watch. Thirteen hours
|
|
and eleven minutes. Call Anatoly
|
|
and tell him he’s been bumped.
|
|
55.
|
|
|
|
|
|
Ryan reacts.
|
|
|
|
MATT (CONT’D)
|
|
It’s a little gloomy in here, isn’t
|
|
it?
|
|
|
|
Matt switches the lights back on.
|
|
|
|
RYAN
|
|
How did you -- ?
|
|
|
|
MATT
|
|
Trust me, it’s a hell of a story.
|
|
|
|
RYAN
|
|
But how did -- ?
|
|
|
|
Hank Williams, Jr. sings “Angels Are Hard To Find” over
|
|
radio.
|
|
|
|
MATT
|
|
(grunts)
|
|
That’s better. I found a little
|
|
extra -- a little extra battery
|
|
power. It helps that I didn’t have
|
|
you around to distract me. I have
|
|
to say, I’m glad to see ya. I
|
|
didn’t think you were gonna make
|
|
it.
|
|
(pants)
|
|
Did you find the vodka?
|
|
|
|
RYAN
|
|
(panting)
|
|
You -- You never told me where --
|
|
where it was, so...
|
|
|
|
MATT
|
|
Oh, well...
|
|
|
|
Matt reaches under his seat and produces a small bottle of
|
|
vodka. Matt sips from the bottle.
|
|
|
|
MATT (CONT’D)
|
|
To Anatoly.
|
|
(in Russian)
|
|
Na zdorovje
|
|
(sips; grunts)
|
|
Huh? No?
|
|
|
|
RYAN
|
|
No.
|
|
56.
|
|
|
|
|
|
MATT
|
|
All right. Let’s get out of here.
|
|
The Chinese station’s about a
|
|
hundred miles. Just a little Sunday
|
|
drive.
|
|
|
|
RYAN
|
|
We can’t.
|
|
|
|
MATT
|
|
Sure we can.
|
|
|
|
Matt presses several buttons.
|
|
|
|
RYAN
|
|
There’s no fuel, I tried
|
|
everything.
|
|
|
|
MATT
|
|
Well, there’s always something we
|
|
can do.
|
|
|
|
RYAN
|
|
I tried everything.
|
|
|
|
MATT
|
|
Did you try the soft landing jets?
|
|
|
|
RYAN
|
|
They’re for landing. So...
|
|
|
|
MATT
|
|
Well, landing is launching. It’s
|
|
the same thing. Didn’t you learn
|
|
about that in training?
|
|
|
|
RYAN
|
|
I never got to land the simulator.
|
|
I told you that.
|
|
|
|
MATT
|
|
But you know about it.
|
|
|
|
RYAN
|
|
And I crashed it...
|
|
(emphasizing)
|
|
... every time. But this --
|
|
|
|
MATT
|
|
Listen, do you want to go back, or
|
|
do you want to stay here?
|
|
57.
|
|
|
|
|
|
CAMERA SLOWLY DOLLIES AROUND IN FRONT of them as Matt
|
|
switches off the lights.
|
|
|
|
MATT (CONT’D)
|
|
I get it, it’s nice up here. You
|
|
can just shut down all the systems,
|
|
turn out all the lights... and just
|
|
close your eyes and tune out
|
|
everybody. There’s nobody up here
|
|
that can hurt you. It’s safe. I
|
|
mean, what’s the point of going on?
|
|
What’s the point of living? Your
|
|
kid died. Doesn’t get any rougher
|
|
than that. But still, it’s a matter
|
|
of what you do now. MORE)
|
|
|
|
If you decide to go, then you gotta just get on with it.
|
|
Sit back, enjoy the ride. You gotta plant both your feet on
|
|
the ground and start livin’ life.
|
|
|
|
RYAN
|
|
How did you get here?
|
|
|
|
MATT
|
|
I’m telling you, it’s a hell of a
|
|
story. Hey, Ryan?
|
|
|
|
RYAN
|
|
What?
|
|
|
|
MATT
|
|
It’s time to go home.
|
|
|
|
PULL BACK to reveal that Matt is not there. Ryan was
|
|
imagining him. An alert sounds. She leans and turns the
|
|
dials to repressurize the cabin. The oxygen meter starts to
|
|
rise. The meter reads “O2.”
|
|
|
|
Ryan presses a button, turning off the alert. She breathes
|
|
deeply, then leans and switches the lights back on, then
|
|
presses more buttons on the control panel. She reaches for
|
|
a landing instructions manual, which is marked green.
|
|
|
|
RYAN
|
|
Landing...
|
|
(inhales sharply)
|
|
Landing -- Landing is launching.
|
|
(whispers to herself)
|
|
I said... Oh. Okay, landing,
|
|
landing. Landing is green.
|
|
|
|
Ryan flips through the pages and stops on a graph.
|
|
58.
|
|
|
|
|
|
RYAN (CONT’D)
|
|
Okay. Okay, landing. All right.
|
|
Okay. Soft landing jets trigger
|
|
automatically at three meters
|
|
before landing, so...
|
|
|
|
Ryan rotates her wrist, trying to stay warm.
|
|
|
|
RYAN (CONT’D)
|
|
(as if to Matt)
|
|
Oh, you’re a clever son of a bitch,
|
|
Matt.
|
|
(to herself)
|
|
I need to -- I need to get rid of
|
|
the B.O...
|
|
|
|
HIGH ANGLE - RYAN
|
|
|
|
flips through the instructions.
|
|
|
|
RYAN (CONT’D)
|
|
... and the engine module.
|
|
(sniffs)
|
|
Right. Okay.
|
|
|
|
ANOTHER ANGLE
|
|
|
|
Ryan peruses the instructions and reaches to the control
|
|
panel.
|
|
|
|
RYAN (CONT’D)
|
|
Okay.
|
|
|
|
Ryan flips open the cover to a button.
|
|
|
|
HIGH ANGLE - RYAN
|
|
|
|
holding her hand to the button.
|
|
|
|
RYAN (CONT’D)
|
|
Okay. Tri-module separation.
|
|
|
|
Ryan presses the button.
|
|
|
|
RYAN (CONT’D)
|
|
Go.
|
|
|
|
|
|
51 EXT. OUTER SPACE - DAY 51
|
|
59.
|
|
|
|
|
|
The three modules of the Soyuz -- the control cabin, the
|
|
airlock, and the engines -- separate. The control cabin
|
|
floats with Ryan inside as the other sections exit either
|
|
side.
|
|
|
|
|
|
52 INT. SOYUZ - HIGH ANGLE - DAY 52
|
|
|
|
Ryan flips through the instruction manual.
|
|
|
|
RYAN
|
|
Okay.
|
|
(to Mission Control)
|
|
Houston, here’s the tricky part.
|
|
Soyuz has to think we are three
|
|
meters off the Earth.
|
|
|
|
ANOTHER ANGLE
|
|
|
|
Ryan stops on a graphic in the instructions, displaying
|
|
what to do next.
|
|
|
|
RYAN
|
|
All right. Okay.
|
|
(as if to Matt)
|
|
Hey, Matt?
|
|
|
|
Ryan reaches toward the control panel.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
Since I had to listen to endless
|
|
hours of your storytelling this
|
|
week, I need for you to do me a
|
|
favor.
|
|
|
|
Ryan presses another button.
|
|
|
|
HIGH ANGLE - RYAN
|
|
|
|
continues pressing buttons according to what the
|
|
instructions tell her.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
You are gonna see a little girl
|
|
with brown hair, very messy, lots
|
|
of knots. She doesn’t like to brush
|
|
it. That’s okay. Her name is Sarah.
|
|
Can you please tell her that Mama
|
|
found her red shoe? She was so
|
|
worried about that shoe, Matt. But
|
|
it was just right under the bed.
|
|
60.
|
|
|
|
|
|
Ryan presses more buttons. The monitor changes to display
|
|
new graphics in Russian.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
Give her a...
|
|
|
|
HIGH ANGLE - RYAN
|
|
|
|
continues pressing buttons whilst perusing the
|
|
instructions.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
... big hug and a big kiss for me,
|
|
and tell her that Mama misses her.
|
|
You tell her that she is my...
|
|
(voice wavers)
|
|
... angel. And she makes me so
|
|
proud. So, so proud.
|
|
|
|
ANOTHER ANGLE
|
|
|
|
Ryan presses several buttons. She manually sets the current
|
|
altitude at 3 meters. A counter on the monitor changes to
|
|
read: “000 003.0”
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
And you...
|
|
|
|
HIGH ANGLE - RYAN
|
|
|
|
continues to press buttons.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
... tell her that I’m not quitting.
|
|
You tell her that I love her, Matt.
|
|
You tell her that I love her...
|
|
(voice wavers)
|
|
... so much.
|
|
|
|
Ryan looks up.
|
|
|
|
RYAN
|
|
(as if to Matt)
|
|
Can you do that for me? Roger that.
|
|
(to herself)
|
|
Here we go.
|
|
|
|
Ryan looks back at the control panel in front of her. She
|
|
presses a button.
|
|
61.
|
|
|
|
|
|
53 EXT. OUTER SPACE - DAY 53
|
|
|
|
The soft landing jets ignite at the back of the Soyuz
|
|
control cabin, hurtling it toward the Chinese station in
|
|
the distance.
|
|
|
|
|
|
54 INT. SOYUZ - LOW ANGLE - DAY 54
|
|
|
|
Ryan reaches up and grabs her space helmet and pulls it
|
|
down.
|
|
|
|
ANOTHER ANGLE
|
|
|
|
Ryan puts on her space helmet and unbuckles the seat belt.
|
|
She leans to gaze through the porthole.
|
|
|
|
|
|
55 EXT. SOYUZ - OUTER SPACE - DAY 55
|
|
|
|
The Soyuz cabin hurtles toward the Chinese station. Ryan
|
|
gazes through the porthole.
|
|
|
|
|
|
56 INT. SOYUZ - DAY 56
|
|
|
|
The Chinese station can be seen through the porthole, and
|
|
it appears to be dropping toward the Earth.
|
|
|
|
RYAN
|
|
You’re losing altitude, Tiangong.
|
|
You keep dropping and you’re gonna
|
|
kiss the atmosphere. But not
|
|
without me, because you’re my last
|
|
ride.
|
|
|
|
Ryan disarms the emergency exit latch for the hatch.
|
|
|
|
RYAN
|
|
Okay.
|
|
|
|
Ryan moves back and reaches up to grab the fire
|
|
extinguisher floating above her.
|
|
|
|
RYAN
|
|
Wait.
|
|
|
|
She cradles it to her and moves back toward the hatch.
|
|
|
|
The Soyuz is quickly approaching the Chinese station.
|
|
|
|
RYAN
|
|
62.
|
|
|
|
|
|
Five... four... three...
|
|
|
|
Ryan holds the exit latch.
|
|
|
|
RYAN
|
|
No more just driving. Let’s go
|
|
home.
|
|
|
|
Ryan pulls the latch.
|
|
|
|
|
|
57 EXT. OUTER SPACE - DAY 57
|
|
|
|
The hatch bursts open, and Ryan is hurtled out of the
|
|
Soyuz.
|
|
|
|
HIGH ANGLE - THE CHINESE STATION AND THE SOYUZ
|
|
|
|
Ryan hurtles forward and twirls about with the Chinese
|
|
station below her. She struggles to locate its position as
|
|
she spins, using the fire extinguisher to stabilize her
|
|
position.
|
|
|
|
RYAN
|
|
Steady. Okay, come on, come on.
|
|
Come on. Steady, steady. Come on.
|
|
Come on. Where are you? Where are
|
|
you?
|
|
|
|
Ryan flips back to see the Chinese station below her.
|
|
|
|
RYAN
|
|
Forty-five, ninety, one-eighty.
|
|
One-eighty.
|
|
|
|
Ryan uses the spray of the fire extinguisher to act as a
|
|
thrust back toward the station.
|
|
|
|
RYAN
|
|
Come on. Okay, okay. Okay. All
|
|
right.
|
|
|
|
She thrusts down toward a satellite wing. She can’t grab
|
|
hold of anything and floats, hovering over the station. She
|
|
tries to use the fire extinguisher to move back down, but
|
|
it is empty. She tosses it away and continues floating,
|
|
just above the station.
|
|
|
|
RYAN
|
|
(crying out)
|
|
Damn it.
|
|
63.
|
|
|
|
|
|
Ryan reaches out and grabs the end of the station. She
|
|
hangs on.
|
|
|
|
RYAN
|
|
Down, down, down. Down, down, down,
|
|
down, down. Down.
|
|
|
|
Ryan struggles to climb up the length of the station. She
|
|
finally reaches the hatch.
|
|
|
|
RYAN
|
|
Come to Mama. Come to Ma--
|
|
|
|
She cries out.
|
|
|
|
As she holds on to the rail surrounding the hatch, the next
|
|
debris strike starts. Debris hurtles past her as she opens
|
|
the hatch and crawls down inside. The station hurtles
|
|
toward the Earth through the shower of debris.
|
|
|
|
|
|
58 INT. CHINESE STATION - AIRLOCK - RYAN’S POV THROUGH HELMET 58
|
|
- DAY
|
|
|
|
to the control panel as Ryan removes the helmet.
|
|
|
|
Chinese space station voice continues over speaker in
|
|
Mandarin over following dialogue.
|
|
|
|
She turns and struggles to open an airlock, moving through
|
|
the compartment.
|
|
|
|
RYAN
|
|
Okay. Shit! Okay. Come on.
|
|
Shenzhou, come on. Shenzhou.
|
|
Shenzhou. Fuck! Okay, this way.
|
|
Shenzhou. Where are you? Come on,
|
|
where are you? What’s this?
|
|
|
|
She glances down at a hatch.
|
|
|
|
|
|
59 EXT. CHINESE SPACE STATION - DAY 59
|
|
|
|
The space station traveling toward Earth as the station
|
|
starts to break apart.
|
|
|
|
|
|
60 INT. CHINESE SPACE STATION - DAY 60
|
|
|
|
Ryan, floating, tossing her helmet. Ryan closes the airlock
|
|
hatch behind her. And floats down a compartment, into the
|
|
control cabin.
|
|
64.
|
|
|
|
|
|
61 INT. SHENZHOU CONTROL CABIN - DAY 61
|
|
|
|
Ryan, upside down, closing the hatch and locking it. She
|
|
sits in a seat and buckles her seat belt.
|
|
|
|
RYAN
|
|
I --
|
|
|
|
She glances at the cabin window.
|
|
|
|
|
|
62 EXT. CHINESE SPACE STATION - DAY 62
|
|
|
|
The space station traveling and continuing to break apart.
|
|
|
|
|
|
63 INT. SHENZHOU CONTROL CABIN - DAY 63
|
|
|
|
RYAN
|
|
In the Soyuz, the power button
|
|
is... here.
|
|
|
|
Ryan is using the control panel.
|
|
|
|
RYAN
|
|
Ah. Okay, uh, undocking, undocking.
|
|
Um --
|
|
(sucks airs through
|
|
teeth)
|
|
Uh, eeni, meeni -- Okay, that
|
|
doesn't sound good. Miny... moe.
|
|
|
|
Female Chinese Shenzhou voice over speakers in Mandarin.
|
|
|
|
RYAN
|
|
Ah.
|
|
(in Spanish)
|
|
No hablo chino.
|
|
(sucks air through teeth)
|
|
Miny... moe.
|
|
|
|
Ryan presses buttons on the control panel.
|
|
|
|
The panel reads: “00:00:52.0”
|
|
|
|
RYAN
|
|
Okay. Okay, good.
|
|
|
|
|
|
64 EXT. CHINESE SPACE STATION - DAY 64
|
|
|
|
The space station traveling through space.
|
|
65.
|
|
|
|
|
|
65 INT. SHENZHOU CONTROL CABIN - DAY 65
|
|
|
|
The control panel reads: “00:00:44.0”
|
|
|
|
RYAN
|
|
(into radio)
|
|
Houston. Houston, in the blind.
|
|
This is Mission Specialist Ryan
|
|
Stone reporting from the Shenzhou.
|
|
|
|
I’m about to undock from Tiangong... And I have a bad
|
|
feeling about this mission. (chuckles) Reminds me of a
|
|
story, Houston --
|
|
|
|
Ryan cries out. CAMERA PANS TO the cabin window, then back
|
|
to Ryan.
|
|
|
|
RYAN
|
|
Never-Never mind the story,
|
|
Houston. Never mind the story. It's
|
|
getting hot in here. Okay. All
|
|
right. Okay. All right, the way I
|
|
see it, there’s only two possible
|
|
outcomes. Either I make it down
|
|
there in one piece and I have one
|
|
hell of a story to tell, or I burn
|
|
up in the next ten minutes. Either
|
|
way, whichever way... no harm, no
|
|
foul! Because either way... it’ll
|
|
be one hell of a ride. I’m ready.
|
|
|
|
Ryan reaches out and grabs her helmet, putting it on.
|
|
|
|
|
|
66 EXT. CHINESE SPACE STATION - DAY 66
|
|
|
|
The space station, burning up and breaking apart as the
|
|
Shenzhou control cabin splits off from the rest of the
|
|
station and hurtles off.
|
|
|
|
|
|
67 INT. SHENZHOU CONTROL CABIN - DAY 67
|
|
|
|
Ryan, as the cabin spins.
|
|
|
|
|
|
68 EXT. SHENZHOU CONTROL CABIN - DAY 68
|
|
|
|
The cabin hurtling toward Earth.
|
|
|
|
|
|
69 INT. SHENZHOU CONTROL CABIN - DAY 69
|
|
66.
|
|
|
|
|
|
The smoking control panel.
|
|
|
|
Ryan reaches for the control panel and presses a button.
|
|
|
|
|
|
70 EXT. SHENZHOU CONTROL CABIN - DAY 70
|
|
|
|
The cabin splits off from the rest of the vessel and
|
|
continues on. The burning cabin traveling among burning
|
|
debris. It falls toward Earth, entering the atmosphere.
|
|
|
|
The burning debris plummeting into Earth’s atmosphere.
|
|
|
|
|
|
71 INT. SHENZHOU CONTROL CABIN - DAY 71
|
|
|
|
The control panel sparking.
|
|
|
|
|
|
72 EXT. EARTH’S OUTER ATMOSPHERE - DAY 72
|
|
|
|
And cabin and burning debris, leaving a smoking trail as
|
|
they travel.
|
|
|
|
The cabin is breaking apart.
|
|
|
|
|
|
73 INT. SHENZHOU CONTROL CABIN - DAY 73
|
|
|
|
The cabin window as daylight flashes through it.
|
|
|
|
|
|
74 EXT. EARTH’S ATMOSPHERE - DAY 74
|
|
|
|
The pod, plummeting, falls through the clouds as a
|
|
parachute emerges from the pod, slowing the pod’s
|
|
trajectory.
|
|
|
|
|
|
75 INT. SHENZHOU CONTROL CABIN - DAY 75
|
|
|
|
MISSION CONTROL (V.O.)
|
|
Shenzhou, in the blind, this is
|
|
Houston. Indicate FM frequency.
|
|
|
|
The control panel is burning.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
Our radars detect you on a reentry
|
|
trajectory. If you copy, please
|
|
confirm identity.
|
|
67.
|
|
|
|
|
|
76 EXT. EARTH’S ATMOSPHERE - DAY 76
|
|
|
|
The pod falling through the clouds.
|
|
|
|
|
|
77 EXT. LAKE - DAY 77
|
|
|
|
The pod, falling and drops into a lake.
|
|
|
|
|
|
78 INT. SHENZHOU CONTROL CABIN - DAY 78
|
|
|
|
Ryan removes her helmet as smoke fills the cabin.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
This is Houston.
|
|
|
|
Other radio voices.
|
|
|
|
RADIO WOMAN #2 (V.O.)
|
|
It’s freezing, it’s boring as hell.
|
|
|
|
RADIO (V.O.)
|
|
-- is: No money down!
|
|
|
|
Ryan unstraps herself and rises, staggering to the hatch
|
|
door. She unlocks the hatch.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
Please confirm iden--
|
|
|
|
Other radio voices.
|
|
|
|
MALE RADIO DJ (V.O.)
|
|
-- messages, we’ll be right --
|
|
|
|
MISSION CONTROL (V.O.)
|
|
This is Houston, please confirm
|
|
identity.
|
|
|
|
MALE WEATHERMAN (V.O.)
|
|
Skies over the Midwest are
|
|
completely clear --
|
|
|
|
MISSION CONTROL (V.O.)
|
|
We’ve deployed a rescue mission to
|
|
retrieve you. Rescue mission is on
|
|
the way.
|
|
|
|
|
|
79 EXT. LAKE - DAY 79
|
|
68.
|
|
|
|
|
|
The door to the pod shoots off.
|
|
|
|
|
|
80 INT. SHENZHOU CONTROL CABIN - DAY 80
|
|
|
|
Ryan stands at the hatch as water pours inside the cabin,
|
|
forcing her against the cabin wall.
|
|
|
|
MISSION CONTROL (V.O.)
|
|
Shenzhou, in the blind, this is
|
|
Houston. We’ve deployed a rescue
|
|
mission to retrieve you. Our radars
|
|
--
|
|
|
|
The cabin fills with water.
|
|
|
|
|
|
81 EXT. LAKE - DAY 81
|
|
|
|
The pod sinking below the surface of the lake.
|
|
|
|
|
|
82 INT. SHENZHOU CONTROL CABIN - DAY 82
|
|
|
|
Ryan struggling to stay above the water as it continues to
|
|
rise.
|
|
|
|
|
|
83 EXT. LAKE - UNDERWATER - DAY 83
|
|
|
|
The pod, sinking down.
|
|
|
|
|
|
84 INT. CABIN - UNDERWATER - DAY 84
|
|
|
|
Ryan, dropping below the surface of the water. She swims
|
|
into a cloud of air bubbles.
|
|
|
|
|
|
85 EXT. LAKE - UNDERWATER - DAY 85
|
|
|
|
Ryan swimming. Her spacesuit weighs her down and she
|
|
struggles to remove it.
|
|
|
|
A frog swims past.
|
|
|
|
Ryan removes her spacesuit and swims up.
|
|
|
|
|
|
86 EXT. LAKE - DAY 86
|
|
|
|
Ryan surfaces. She floats on her back.
|
|
69.
|
|
|
|
|
|
The CAMERA TILTS UP TO the sky. Burning debris from the
|
|
space station soars through. TILT BACK DOWN TO Ryan
|
|
swimming.
|
|
|
|
She crawls onto the shore and lies down, exhausted.
|
|
|
|
RYAN
|
|
(chuckles)
|
|
Thank you. No.
|
|
|
|
She struggles to her feet. She unsteadily walks off.
|
|
|
|
FADE OUT.
|
|
|
|
OVER BLACK
|
|
|
|
END CREDITS.
|
|
|
|
THE END
|
|
|