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1.
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BLACK. THE GENTLE SOUND OF WIND IN CORN
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A row of books. From spaces between them, dust falls.
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I N T E R S T E L L A R
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ELDERLY FEMALE VOICE
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(V.O.)
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Sure. Dad was a farmer.
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BRIGHT CORN STALKS FILL THE FRAME, SWAYING IN THE BREEZE
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ELDERLY FEMALE VOICE
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(V.O.)
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Like everybody else back then.
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The wind is RISING, shaking the plants more FORCEFULLY ...
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Insert cut: a WOMAN in her eighties against a dark
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background.
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ELDERLY WOMAN
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Course, he didn’t start that way...
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The WIND IS HOWLING, SHRIEKING and we RIP INTO -
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1 EXT. THE STRATOSPHERE - DAY 1
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BURNING through the fringes of space -
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2 INT. COCKPIT - CONTINUOUS 2
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A young PILOT fights his BUFFETING craft -
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RADIO
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(O.S.)
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Computer says you’re too tight -
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PILOT
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I got this -
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The Pilot grabs a panicked glance at his instruments -
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RADIO
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(O.S.)
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Crossing the Straights ... shutting
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it down, Cooper. Shutting it all
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down ...
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PILOT
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2.
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NO! I need the power up -
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3 EXT. THE STRATOSPHERE - CONTINUOUS 3
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The BLACK and RED SKY starts SPINNING HORRIFYINGLY -
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4 INT. COCKPIT - DAY 4
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As the controls RIP themselves free, the pilot SHOUTS and
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we -
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CUT TO:
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5 INT. BEDROOM, FARMHOUSE - NIGHT 5
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A man WAKES, nightmare SWEATY. This is COOPER.
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YOUNG GIRL’S VOICE
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(O.S.)
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Dad? Dad?
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Cooper turns: in the doorway - his sleepy ten-year-old
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daughter. This is MURPH.
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COOPER
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Sorry. Go back to sleep.
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MURPH
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I thought you were the ghost.
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COOPER
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There’s no ghost, Murph.
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MURPH
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Grandpa says you can get ghosts.
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COOPER
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Maybe Grandpa’s a little too close
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to being one himself. Back to
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sleep.
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MURPH
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Were you dreaming about the crash?
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COOPER
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Back to sleep, Murph.
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Murph shuffles back out the door. Cooper moves to the
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window. DAWN breaks over an ENDLESS SEA OF CORN ...
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3.
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ELDERLY FEMALE VOICE
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(V.O.)
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Corn, sure. But dust. In your ears,
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your mouth...
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INSERT CUT: AN OLD-TIMER IN CLOSE UP, WATERY-EYED,
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DESCRIBES DUST BOWL CONDITIONS.
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OLD-TIMER
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(V.O.)
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Dust just everywhere. Everywhere.
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6 EXT. COOPER’S FARM - MORNING 6
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An old man, handkerchief across his face, sweeps dust out
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of the door onto the porch. This is Grandpa (DONALD).
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7 INT. KITCHEN, FARMHOUSE - MORNING 7
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Cooper pours himself coffee as Donald puts grits on the
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table. TOM, Cooper’s fifteen-year-old son, stuffs his face.
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Murph, wet hair, towel around neck, plays with pieces of a
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MODEL (a lunar lander).
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DONALD
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Not at the table, Murph.
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MURPH
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Dad, can you fix this?
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COOPER
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(takes pieces, frowning)
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What’d you do to my lander?
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MURPH
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Wasn’t me.
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TOM
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Lemme guess - your ghost?
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MURPH
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It knocked it off my shelf. It
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keeps knocking books off.
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TOM
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There’s no such things as ghosts,
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dumb-ass -
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COOPER
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(to Tom)
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4.
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Hey -
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MURPH
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I looked it up, it’s called a
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poltergeist.
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TOM
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Dad, tell her.
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COOPER
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Murph, you know that’s not
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scientific.
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MURPH
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You say science is about admitting
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what we don’t know.
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DONALD
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She’s got you there.
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COOPER
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(hands her pieces)
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Start looking after our stuff.
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Donald looks at Cooper, admonishing. Cooper shrugs.
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COOPER
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Fine. Murph, you wanna talk
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science, don’t just tell me you’re
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scared of some ghost - record the
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facts, analyze, present your
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conclusions.
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MURPH
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Sure.
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Cooper gets up, grabs his keys.
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DONALD
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Hold up.
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(Off look.)
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Parent-teacher conferences.
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’Parent’ - not ’grandparent’.
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8 EXT. FARMHOUSE - MOMENTS LATER 8
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The kids pile into an old pickup truck, scraping DUST off
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the seats. Cooper, coffee in hand, peers at a black cloud.
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COOPER
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Dust storm?
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5.
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DONALD
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(shakes his head)
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Nelson’s torching his whole crop.
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COOPER
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Blight?
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DONALD
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They’re saying it’s the last
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harvest for okra. Ever.
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Cooper stares at the smoke. Uneasy. Gets into the truck.
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COOPER
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Shoulda planted corn like the rest
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of us.
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DONALD
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Be nice to Miss Hanley. She’s
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single.
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COOPER
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What’s that supposed to mean?
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DONALD
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Repopulating the Earth - start
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pulling your weight.
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COOPER
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Start minding your business.
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9 INT/EXT. PICKUP TRUCK ON DIRT ROAD - MOMENTS LATER 9
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Cooper sips his coffee, steering while Murph shifts -
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COOPER
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Okay, gimme second -
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Murph wrestles the long gear stick into second. Cooper
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sips.
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COOPER
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Now third -
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Murph struggles to find third - GRIND.
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TOM
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Find a gear, dumb-ass.
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MURPH
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Shut up, Tom!
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6.
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BANG - A TIRE BLOWS OUT. Cooper stops the truck.
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TOM
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What’d you do, Murph?
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COOPER
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She didn’t do anything. We lost a
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tire is all.
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TOM
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Murphy’s Law.
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MURPH
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Shut up, Tom.
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Cooper gets out of the truck, checks the flat, turns to
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Tom.
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COOPER
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Grab the spare.
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TOM
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That is the spare.
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COOPER
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Okay, patch kit.
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TOM
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How’m I supposed to patch it out
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here?
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COOPER
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Figure it out. I’m not always going
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to be here to help you.
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Tom moves to the back of the truck. Murph is there.
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MURPH
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Why’d you and Mom name me after
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something bad?
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COOPER
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We didn’t.
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MURPH
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Murphy’s Law?
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COOPER
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Murphy’s Law doesn’t mean bad stuff
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will happen. It means ’whatever can
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happen, will happen’. And that
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sounded just fine to us.
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7.
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Murph frowns, hearing something ...
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COOPER
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What?
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Then Cooper hears it, too. A LOW RUMBLE. Cooper GRABS Murph
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as a DRONE SOARS low overhead -
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COOPER
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Come on!
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Cooper jumps into the truck - he pulls out a laptop and
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antenna hands them to Murph - shouts at Tom -
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COOPER
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Get in!
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TOM
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(jack in hand)
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What about the tire?
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10 INT/EXT. PICKUP TRUCK THROUGH FIELDS - MOMENTS LATER 10
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Close on the SHREDDING TIRE as the truck BARRELS through
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cornfields. Murph fires up the laptop. Cooper strains to
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see through the cornstalks, scanning the horizon -
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TOM
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There!
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To the right, the dark shape of the drone, cruising low
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over the fields. Cooper JERKS the wheel - the drone has
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long, thin wings like a U-2, but no cockpit.
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COOPER
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Indian air force surveillance
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drone. Solar cells could power an
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entire farm.
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(To Tom.)
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Take the wheel -
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Tom takes the wheel - Cooper hands Murph the antenna.
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COOPER
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Keep it pointed right at it -
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Cooper works the laptop - the screen fills with Hindi.
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Faster, Tom. I’m losing it.
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8.
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Tom WEAVES through the corn - they round a corner, almost
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HIT a HARVESTER - BANG - the truck loses a wing mirror -
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Ahead the drone SOARS, banking, pulling away -
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The truck BURSTS out of the corn, Cooper’s nose is in the
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laptop.
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TOM
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Dad?
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COOPER
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Almost got it. Don’t stop.
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In front of them, the drone plummets from view into the
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next valley - the path ahead leads to a three-hundred-foot
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drop.
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TOM
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DAD ...
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Cooper looks up.
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COOPER
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Tom!
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Tom locks up the brakes. Cooper looks at him - he shrugs.
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TOM
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You told me to keep going.
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Cooper grabs the laptop and opens the door.
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COOPER
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Guess that answers the ’if I told
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you to drive off a cliff’ scenario.
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Murph is still pointing the antenna.
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MURPH
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We lost it.
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COOPER
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(smiles)
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No, we didn’t.
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The DRONE SOARS BACK OVER THEM - Cooper is moving his
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fingers across the track pad, PILOTING THE DRONE.
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As the kids watch, Cooper sends the drone soaring over
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them, banking above the valley. Cooper crouches next to
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Murph.
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9.
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COOPER
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Want to give it a whirl?
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Murph, guided by Cooper, moves her fingers across the track
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pad - the massive drone BANKS in response. Murph is in
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heaven.
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COOPER
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Let’s set her down next to the
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river.
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11 EXT. RIVERBANK - MOMENTS LATER 11
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The truck limps up to the drone. Cooper and the kids climb
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down. Cooper runs a hand along the smooth carbon flank of
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the aircraft.
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TOM
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How long you think it’s been up
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there?
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COOPER
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Delhi mission control went down
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same as ours, ten years ago.
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TOM
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It’s been up there ten years? Why’d
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it come down so low?
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COOPER
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Sun finally cooked its brain. Or it
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came down looking for something.
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MURPH
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What?
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COOPER
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Some kind of signal. Who knows?
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Cooper finds an access hatch. Pries it open. Examines the
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black-box brain of the machine.
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MURPH
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What are you going to do with it?
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COOPER
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Give it something socially
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responsible to do, like drive a
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combine.
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MURPH
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10.
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Couldn’t we just let it go? It’s
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not hurting anyone.
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Cooper looks down at his daughter. Good kid.
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COOPER
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This thing has to adapt, just like
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the rest of us.
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12 EXT. COUNTY SCHOOL - DAY 12
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The truck pulls up to school, drone fuselage hanging out.
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COOPER
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How’s this work? You guys come
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with?
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TOM
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I’ve got class. But she ...
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Pats Murph on shoulder.
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Needs to wait.
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Murph glares at Tom as he hops out.
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COOPER
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Why? What?
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MURPH
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Dad, I had a thing ... well,
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they’ll tell you about it. Just try
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and ...
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COOPER
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Am I gonna be mad?
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MURPH
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Not with me. Just try not to -
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COOPER
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Relax, I got this.
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Murph pulls out a notebook. Starts drawing a BARCODE.
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13 INT. PRINCIPAL’S OFFICE - LATER - MORNING 13
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Cooper enters, awkward. The PRINCIPAL (male, fifties) turns
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from the window.
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11.
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PRINCIPAL
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Little late, Coop.
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(Indicates chair.)
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Guess you had to stop off at the
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Asian fighter plane store.
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COOPER
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(sits, smiles)
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Actually, sir, it’s a surveillance
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drone. With outstanding solar
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cells.
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Cooper nods at Murph’s teacher, Ms Hanley, thirties,
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attractive.
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PRINCIPAL
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We got Tom’s scores back. He’s
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going to make an excellent farmer.
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Congratulations.
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The Principal slides a paper across the desk.
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COOPER
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(taken aback)
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What about college?
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PRINCIPAL
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The university only takes a
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handful. They don’t have resources
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-
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COOPER
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I’m still paying taxes - where’s
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that go? There’s no more armies.
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PRINCIPAL
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Not to the university. Coop, you
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have to be realistic.
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COOPER
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You’re ruling him out for college
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now? He’s fifteen.
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PRINCIPAL
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Tom’s score simply isn’t high
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enough.
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COOPER
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What’re you? About a thirty-six-
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inch waist?
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(Beat.)
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Thirty-inch inseam?
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12.
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PRINCIPAL
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I’m not sure I see what -
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COOPER
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You’re telling me you need two
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numbers to measure your own ass,
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but just one to measure my son’s
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future?
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Ms Hanley stifles a laugh. The Principal shoots her a look.
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PRINCIPAL
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You’re a well educated man, Coop. A
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trained pilot -
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COOPER
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And an engineer.
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PRINCIPAL
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Okay. Well, right now the world
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doesn’t need more engineers. We
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didn’t run out of planes, or
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television sets. We ran out of
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food.
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Cooper leans back. He’s not going to win this one.
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PRINCIPAL
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The world needs farmers. Good
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farmers, like you. And Tom.
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(Smiles benignly.)
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We’re a caretaker generation. And
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things are getting better. Maybe
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your grandchildren -
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COOPER
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Are we done, sir?
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PRINCIPAL
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No. Ms Hanley is here to talk about
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Murph.
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Cooper shifts his gaze to Ms Hanley.
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MS HANLEY
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Murph’s a bright kid. A wonderful
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kid, Mr Cooper. But she’s been
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having a little trouble ...
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Ms Hanley places a textbook on the desk.
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She brought this to school, to show the other kids the
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section on the lunar landings ...
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13.
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COOPER
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Yeah, it’s one of my old textbooks,
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she likes the pictures.
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MS HANLEY
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This is an old federal textbook.
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We’ve replaced them with corrected
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versions.
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COOPER
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Corrected?
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MS HANLEY
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Explaining how the Apollo missions
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were faked to bankrupt the Soviet
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Union.
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COOPER
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You don’t believe we went to the
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moon?
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MS HANLEY
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(tolerant smile)
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I believe it was a brilliant piece
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of propaganda. The Soviets
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bankrupted themselves pouring
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resources into rockets and other
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useless machines.
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COOPER
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|
’Useless machines’?
|
|
|
|
MS HANLEY
|
|
Yes, Mr Cooper. And if we don’t
|
|
want a repeat of the wastefulness
|
|
and excess of the twentieth
|
|
century, our children need to learn
|
|
about this planet, not tales of
|
|
leaving it.
|
|
|
|
Cooper considers this in silence. Looks at Ms Hanley.
|
|
|
|
COOPER
|
|
One of those useless machines they
|
|
used to make was called an MRI. And
|
|
if we had any of them left, the
|
|
doctors might have been able to
|
|
find the cyst in my wife’s brain
|
|
before she died, rather than
|
|
afterwards. Then she could be
|
|
sitting here listening to this,
|
|
which’d be good, cos she was always
|
|
the calmer one ...
|
|
14.
|
|
|
|
|
|
Ms Hanley looks at Cooper, embarrassed. Then -
|
|
|
|
MS HANLEY
|
|
I’m sorry about your wife, Mr
|
|
Cooper. But Murph got into a fist
|
|
fight with several of her
|
|
classmates over this Apollo
|
|
nonsense and we thought it best to
|
|
|
|
MS HANLEY
|
|
bring you in and see what ideas you
|
|
might have for dealing with her
|
|
behavior on the home front.
|
|
|
|
COOPER
|
|
Sure. Well, there’s a ball game
|
|
tomorrow night, and Murph’s going
|
|
through a bit of a baseball phase.
|
|
There’ll be candy and soda ...
|
|
|
|
Ms Hanley looks at him, expectant.
|
|
|
|
COOPER
|
|
I think I’ll take her to that.
|
|
|
|
Ms Hanley turns to the Principal, not happy.
|
|
|
|
|
|
14 EXT. PICKUP TRUCK OUTSIDE SCHOOL - MOMENTS LATER 14
|
|
|
|
Murph looks up from her notebook at her dad, expectantly.
|
|
|
|
MURPH
|
|
How’d it go?
|
|
|
|
COOPER
|
|
I, uh ... got you suspended.
|
|
|
|
MURPH
|
|
What?!
|
|
|
|
COOPER
|
|
Sorry.
|
|
|
|
MURPH
|
|
Dad! I told you not to -
|
|
|
|
The CB radio CRACKLES to life.
|
|
|
|
CB OPERATOR
|
|
Cooper? Boots for Cooper.
|
|
|
|
COOPER
|
|
15.
|
|
|
|
|
|
Cooper.
|
|
|
|
BOOTS
|
|
(over radio)
|
|
Coop, those combines you rebuilt
|
|
went haywire.
|
|
|
|
COOPER
|
|
Power the controllers down for a
|
|
couple minutes.
|
|
|
|
BOOTS
|
|
(over radio)
|
|
Did that. You should come take a
|
|
look, it’s kinda weird.
|
|
|
|
|
|
15 EXT. FARMHOUSE - DAY 15
|
|
|
|
Cooper and Murph pass a slow-moving harvester pulling up to
|
|
the house, which is surrounded by AUTOMATED FARM MACHINES.
|
|
|
|
They’ve nosed up to the house like animals at a Nativity.
|
|
|
|
Boots, the farm hand, approaches -
|
|
|
|
BOOTS
|
|
One by one they been peeling off
|
|
from the fields and heading over.
|
|
|
|
Cooper pops open the cabin to a harvester. Checks the auto
|
|
pilot hooked up to the controls.
|
|
|
|
BOOTS
|
|
Something’s interfering with their
|
|
compass ...
|
|
|
|
Cooper jumps down and heads to the front door. Enters.
|
|
|
|
BOOTS (O.S.)
|
|
Magnetism or some such ...
|
|
|
|
|
|
16 INT. FARMHOUSE - CONTINUOUS 16
|
|
|
|
Cooper looks at the kitchen. Nothing. Murph comes in.
|
|
|
|
MURPH
|
|
What is it, Dad?
|
|
|
|
A small BANG from upstairs. Cooper heads up.
|
|
16.
|
|
|
|
|
|
17 INT. MURPH’S BEDROOM - CONTINUOUS 17
|
|
|
|
Murph’s bedroom clearly used to be her mother’s. Cooper, in
|
|
the doorway, looks at the wall of BOOKS opposite - several
|
|
GAPS. He looks down at some books on the floor.
|
|
|
|
MURPH
|
|
Nothing special about which books.
|
|
(Off look.)
|
|
|
|
MURPH
|
|
Been working on it, like you said.
|
|
|
|
Murph holds up her notebook with its barcode.
|
|
|
|
MURPH
|
|
I counted the spaces.
|
|
|
|
COOPER
|
|
Why?
|
|
|
|
MURPH
|
|
In case the ghost’s trying to say
|
|
something. I’m trying Morse.
|
|
|
|
COOPER
|
|
Morse?
|
|
|
|
MURPH
|
|
Yeah. Dots and dashes, used for -
|
|
|
|
COOPER
|
|
Murph, I know what Morse code is. I
|
|
just don’t think your bookshelf’s
|
|
trying to talk to you.
|
|
|
|
He leaves. Murph, embarrassed, turns back to the shelf.
|
|
|
|
|
|
18 INT. FRONT PORCH, FARMHOUSE - NIGHT 18
|
|
|
|
Donald hands Cooper a beer.
|
|
|
|
COOPER
|
|
Had to reset every compass clock
|
|
and GPS to offset for the anomaly.
|
|
|
|
DONALD
|
|
Which is?
|
|
|
|
COOPER
|
|
17.
|
|
|
|
|
|
No idea. If the house was built on
|
|
magnetic ore, we’d’ve seen this the
|
|
first time we switched on a
|
|
tractor.
|
|
|
|
Donald nods. Sips.
|
|
|
|
DONALD
|
|
Sounds like your meeting at school
|
|
didn’t go so well.
|
|
|
|
COOPER
|
|
(sighs)
|
|
We’ve forgotten who we are, Donald.
|
|
Explorers, pioneers. Not
|
|
caretakers.
|
|
|
|
Donald nods, thoughtful. Weighs up his words.
|
|
|
|
DONALD
|
|
When I was a kid it felt like they
|
|
made something new every day. Some
|
|
gadget or idea. Like every day was
|
|
Christmas. But six billion people
|
|
... just try to imagine that. And
|
|
every last one of them trying to
|
|
have it all.
|
|
|
|
He turns to Cooper.
|
|
|
|
This world isn’t so bad. And Tom’ll do just fine - you’re
|
|
the one who doesn’t belong. Born forty years too late, or
|
|
forty years too early. My daughter knew it, God bless her.
|
|
And your kids know it. ’Specially Murph.
|
|
|
|
COOPER
|
|
We used to look up and wonder at
|
|
our place in the stars. Now we just
|
|
look down and worry about our place
|
|
in the dirt.
|
|
|
|
DONALD
|
|
Cooper, you were good at something
|
|
and you never got a chance to do
|
|
anything with it. I’m sorry. But
|
|
that’s not your kids’ fault.
|
|
|
|
Cooper looks up at the stars above.
|
|
|
|
OLD-TIMER (V.O.)
|
|
May 14th. Never forget. Clear as a
|
|
bell. You’d never think ...
|
|
18.
|
|
|
|
|
|
INSERT CUT: THE OLD-TIMER REMEMBERS. CUT TO A SECOND OLD-
|
|
TIMER ...
|
|
|
|
SECOND OLD-TIMER
|
|
When the first of the real big ones
|
|
rolled in ... I thought it was the
|
|
end of the world.
|
|
|
|
|
|
19 EXT. BASEBALL FIELD - LATE AFTERNOON 19
|
|
|
|
The CRACK of ball off bat - a pop-fly caught to a trickle
|
|
of applause. Half-filled stands at what looks like a minor
|
|
league game.
|
|
|
|
DONALD
|
|
In my day we had real ball players.
|
|
Who’re these bums?
|
|
|
|
As the team runs in from the field we see: NEW YORK
|
|
YANKEES.
|
|
|
|
COOPER
|
|
Well, in my day people were too
|
|
busy fighting over food for
|
|
baseball, so consider this
|
|
progress.
|
|
|
|
Murph offers Donald some popcorn.
|
|
|
|
DONALD
|
|
Fine. But popcorn at a ball game is
|
|
unnatural. I want a hot dog.
|
|
|
|
MURPH
|
|
(confused)
|
|
What’s a hot dog?
|
|
|
|
Cooper sits with Tom a row in front.
|
|
|
|
COOPER
|
|
The school says you’re gonna follow
|
|
in my footsteps. I think that’s
|
|
great.
|
|
|
|
TOM
|
|
You think that’s great?
|
|
|
|
MURPH
|
|
You hate farming, Dad. Grandpa
|
|
said.
|
|
|
|
Cooper looks at Donald, who shrugs ’sorry’.
|
|
19.
|
|
|
|
|
|
COOPER
|
|
What’s important is how you feel
|
|
about it, Tom.
|
|
|
|
TOM
|
|
I like what you do. I like our
|
|
farm.
|
|
|
|
On the field: the batter hits one along the ground - it
|
|
rolls to an infielder’s foot - but the infielder IGNORES
|
|
it, STARING up at the sky. The crowd starts to look up ...
|
|
|
|
OLD-TIMER (V.O.)
|
|
You’ve never seen the like. Black.
|
|
Just black ...
|
|
|
|
INSERT CUT: THE OLD-TIMER CHOKES BACK FEAR AS HE REMEMBERS.
|
|
|
|
Cooper stares at the horizon, where an ENORMOUS BLACK DUST
|
|
STORM IS MASSING. People start leaving, tying handkerchiefs
|
|
across their faces.
|
|
|
|
COOPER
|
|
Come on, guys.
|
|
|
|
|
|
20 INT/EXT. PICKUP TRUCK - MOMENTS LATER 20
|
|
|
|
Cooper speeds along as Donald and the kids stuff RAGS into
|
|
cracks and vents ... behind them the WALL OF BLACK DUST
|
|
ADVANCES, SWALLOWING UP ROADS, BUILDINGS. A nasty SOUND is
|
|
developing - the truck ROCKING with GUSTS of wind ...
|
|
Suddenly, BLACK DUST ENVELOPS the car, LIGHTNING CRACKLING.
|
|
|
|
DONALD
|
|
It’s a bad one ...
|
|
|
|
COOPER
|
|
Mask up, guys.
|
|
|
|
Murph and Tom take SURGICAL MASKS out of the glove box.
|
|
|
|
|
|
21 EXT. FARMHOUSE - CONTINUOUS 21
|
|
|
|
VISIBILITY MERE FEET as the dust storm BRUTALIZES the farm.
|
|
|
|
The truck CRAWLS up to the house. Cooper leans in to try
|
|
and see better ... CRACK - a panel of sheet metal SMASHES
|
|
into the windshield - Cooper turns - wrestles Murph out of
|
|
the truck as Donald blindly stumbles towards the front door
|
|
with Tom ...
|
|
20.
|
|
|
|
|
|
22 INT. FARMHOUSE - CONTINUOUS 22
|
|
|
|
The SHUTTERS BANG as the wind WHIPS around the house,
|
|
FORCING JETS OF DUST up through cracks in the window
|
|
frames, floorboards ... Donald SLAMS the door. Murph is
|
|
COUGHING ... Cooper looks around. Sees dust coming from
|
|
upstairs.
|
|
|
|
COOPER
|
|
Did you both shut your windows?
|
|
|
|
Tom nods. Murph looks at Cooper. Runs for the stairs.
|
|
|
|
COOPER
|
|
Wait -
|
|
|
|
|
|
23 INT. MURPH’S BEDROOM - CONTINUOUS 23
|
|
|
|
Cooper gets to the doorway. Murph stands in the middle of
|
|
the room, STARING. Cooper SHUTS the window. The dust hangs
|
|
in the relative quiet. Murph is staring, TRANSFIXED, at
|
|
LINES where dust is FALLING UNNATURALLY FAST, STREAMING
|
|
DOWN through the air, collecting on the floor in a PATTERN
|
|
-
|
|
|
|
MURPH
|
|
The Ghost.
|
|
|
|
Cooper STARES at dust collecting like snow on power
|
|
lines...
|
|
|
|
COOPER
|
|
Grab your pillow, sleep in with
|
|
Tom.
|
|
|
|
|
|
24 EXT. FARMHOUSE - DAWN - MORNING 24
|
|
|
|
Calm. Dust settled.
|
|
|
|
|
|
25 INT. TOM’S ROOM - CONTINUOUS 25
|
|
|
|
Murph slips out of bed, wrapped in her blanket. Pads down
|
|
the hall, peeks in her bedroom door at -
|
|
|
|
|
|
26 INT. MURPH’S BEDROOM - CONTINUOUS 26
|
|
|
|
Cooper sits, staring at the PATTERN of dust: thick radial
|
|
lines, like a CIRCULAR BARCODE. Murph sits down next to her
|
|
dad. They STARE at it together. He holds up a coin ...
|
|
21.
|
|
|
|
|
|
COOPER
|
|
It’s not a ghost ...
|
|
|
|
Cooper tosses the coin across a line. It SHOOTS at the
|
|
floor -
|
|
|
|
It’s gravity.
|
|
|
|
|
|
27 INT. SAME - LATER 27
|
|
|
|
Donald pokes his head in.
|
|
|
|
DONALD
|
|
I’m dropping Tom, then heading to
|
|
town ...
|
|
(Looks at dust pattern.)
|
|
You wanna clean that up when you’ve
|
|
finished praying to it?
|
|
|
|
Cooper reaches for Murph’s notebook. Starts writing ...
|
|
|
|
|
|
28 INT. KITCHEN, FARMHOUSE - LATER 28
|
|
|
|
Murph fills a glass of water. Picks up a plate of
|
|
sandwiches.
|
|
|
|
|
|
29 INT. MURPH’S BEDROOM - CONTINUOUS 29
|
|
|
|
Follow Murph into the room, to find Cooper standing there.
|
|
|
|
COOPER
|
|
I got something.
|
|
|
|
Cooper is pointing to the thick and thin radial lines -
|
|
|
|
COOPER
|
|
Binary. Thick is one, thin is zero
|
|
- it’s numbers ... number pairs...
|
|
|
|
He holds up the notebook to show Murph the number pairs.
|
|
|
|
Coordinates.
|
|
|
|
|
|
30 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 30
|
|
|
|
Cooper and Murph pore over MAPS. Cooper TOSSES one aside,
|
|
lays it out on the table. Finds a spot. Looks up at Murph
|
|
...
|
|
22.
|
|
|
|
|
|
31 EXT. FARMHOUSE - MOMENTS LATER 31
|
|
|
|
Cooper packing his truck - sleeping bag, flashlight ...
|
|
|
|
MURPH
|
|
You can’t leave me behind!
|
|
|
|
COOPER
|
|
Grandpa’s back in two hours.
|
|
|
|
MURPH
|
|
You don’t know what you’re going to
|
|
find -
|
|
|
|
COOPER
|
|
That’s why I can’t take you.
|
|
|
|
|
|
32 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 32
|
|
|
|
Cooper grabs the maps and a bottle of water. He calls up -
|
|
|
|
COOPER
|
|
Murph?
|
|
|
|
Nothing.
|
|
|
|
COOPER
|
|
Murph, just wait here for Grandpa.
|
|
Tell him I’ll call him on the
|
|
radio.
|
|
|
|
|
|
33 INT/EXT. PICKUP TRUCK ON ROAD - MOMENTS LATER 33
|
|
|
|
Cooper drives, map spread on the wheel, looks for a pen -
|
|
reaches over to the passenger wheel well - lifts a BLANKET
|
|
- Murph is there -
|
|
|
|
COOPER
|
|
JESUS!
|
|
|
|
The truck WOBBLES as Cooper regains control.
|
|
|
|
COOPER
|
|
Murph, what are you doing?!
|
|
|
|
Murph is LAUGHING as she climbs into the passenger seat -
|
|
|
|
COOPER
|
|
It’s not funny -
|
|
23.
|
|
|
|
|
|
But Murph’s laugh is infectious.
|
|
|
|
MURPH
|
|
You wouldn’t be here if it wasn’t
|
|
for me.
|
|
|
|
Cooper hands Murph the map.
|
|
|
|
COOPER
|
|
Fair enough. Make yourself
|
|
useful...
|
|
|
|
The pickup cruises down the road, heading for the
|
|
MOUNTAINS.
|
|
|
|
|
|
34 EXT. PLAINS APPROACHING MOUNTAINS - DUSK 34
|
|
|
|
The tiny pickup is dwarfed by the darkening foothills.
|
|
|
|
|
|
35 EXT. DIRT ROAD OFF MOUNTAIN PASS - NIGHT 35
|
|
|
|
Cooper pulls up to a gate in chain-link fence. Murph is
|
|
asleep next to him.
|
|
|
|
COOPER
|
|
Murph. Murph.
|
|
|
|
Murph wakes.
|
|
|
|
COOPER
|
|
I think this is as far as we get.
|
|
|
|
Murph glances out at the fence. Closes her eyes again.
|
|
|
|
MURPH
|
|
Why? You didn’t bring the bolt-
|
|
cutters?
|
|
|
|
COOPER
|
|
I like your spirit, young lady.
|
|
|
|
Cooper gets out of the truck, retrieves his bolt-cutters
|
|
and comes up to the fence. He looks up and down the road.
|
|
|
|
Nothing. He reaches out and puts the jaws of the cutters -
|
|
|
|
WHAM! SPOTLIGHTS IN COOPER’S EYES - A HARSH ELECTRIC VOICE
|
|
-
|
|
|
|
VOICE
|
|
24.
|
|
|
|
|
|
STEP AWAY FROM THE FENCE.
|
|
|
|
Cooper drops the cutters, puts his hands in the air -
|
|
|
|
COOPER
|
|
Don’t shoot! My child is in the
|
|
car! I’m unarmed! My daughter is -
|
|
|
|
Murph watches, terrified as, with a ZAP, Cooper DROPS.
|
|
Murph SCRAMBLES back along the seat as MASSIVE FOOTSTEPS
|
|
APPROACH.
|
|
|
|
The door is WRENCHED open - a BLINDING LIGHT
|
|
|
|
VOICE
|
|
DON’T BE AFRAID.
|
|
|
|
Murph SCREAMS.
|
|
|
|
|
|
36 INT. BRIGHT, INDUSTRIAL ROOM - LATER 36
|
|
|
|
Cooper comes to, sitting in a chair. Opposite him is an
|
|
ARTICULATED MACHINE. A VOICE emanates from its side.
|
|
|
|
MACHINE
|
|
How did you find this place?
|
|
|
|
COOPER
|
|
Where’s my daughter?
|
|
|
|
MACHINE
|
|
You had the coordinates for this
|
|
facility marked on your map. Where
|
|
did you get them?
|
|
|
|
Cooper leans in to the machine.
|
|
|
|
COOPER
|
|
WHERE’S MY DAUGHTER?!
|
|
|
|
Cooper’s scream REVERBERATES. Cooper sizes up the machine.
|
|
|
|
MACHINE
|
|
You might think you’re still in the
|
|
Marines, but the Marines don’t
|
|
exist anymore, pal. I’ve got grunts
|
|
like you mowing my grass ...
|
|
|
|
The Machine RISES to its full height.
|
|
|
|
MACHINE
|
|
25.
|
|
|
|
|
|
How did you find us?
|
|
|
|
COOPER
|
|
But you don’t look like a lawnmower
|
|
to me ... you, I’m gonna turn into
|
|
an overqualified vacuum cleaner -
|
|
|
|
FEMALE VOICE (O.S.)
|
|
No, you’re not.
|
|
|
|
Cooper turns to see a businesslike woman in her thirties.
|
|
|
|
WOMAN
|
|
Tars, back down, please.
|
|
|
|
The machine, TARS, sinks back down.
|
|
|
|
COOPER
|
|
You’re taking a risk using ex-
|
|
military for security. They’re old,
|
|
their control units are
|
|
unpredictable ...
|
|
|
|
WOMAN
|
|
Well, that’s what the government
|
|
could spare.
|
|
|
|
COOPER
|
|
Who are you?
|
|
|
|
WOMAN
|
|
Dr Brand.
|
|
|
|
COOPER
|
|
I knew a Dr Brand once. But he was
|
|
a professor -
|
|
|
|
WOMAN (BRAND)
|
|
What makes you think I’m not?
|
|
|
|
COOPER
|
|
And nowhere near as cute.
|
|
|
|
BRAND
|
|
You think you can flirt your way
|
|
out of this mess?
|
|
|
|
COOPER
|
|
(honest, scared)
|
|
26.
|
|
|
|
|
|
Dr Brand, I have no idea what this
|
|
mess is. I’m scared for my little
|
|
girl and I want her by my side.
|
|
Then I’ll tell you anything you
|
|
want to know. Okay?
|
|
|
|
Brand considers this. Turns to Tars.
|
|
|
|
BRAND
|
|
Get the principals and the girl
|
|
into the conference room.
|
|
(To Cooper.)
|
|
Your daughter’s fine. Bright kid.
|
|
(Rises.)
|
|
Must have a very smart mother.
|
|
|
|
|
|
37 INT. UNDERGROUND FACILITY - MOMENTS LATER 37
|
|
|
|
Cooper follows Brand into a corridor. Tars LURCHES behind.
|
|
|
|
COOPER
|
|
It’s pretty clear you don’t want
|
|
visitors - why not let us back up
|
|
from your fence and be on our way?
|
|
|
|
BRAND
|
|
It’s not that simple.
|
|
|
|
COOPER
|
|
Sure it is. I don’t know anything
|
|
about you or this place.
|
|
|
|
BRAND
|
|
Yes, you do.
|
|
|
|
Brand ushers Cooper through a door into a conference room -
|
|
|
|
|
|
38 INT. CONFERENCE ROOM - CONTINUOUS 38
|
|
|
|
Where an OLD MAN is crouched down, talking to Murph.
|
|
|
|
MURPH
|
|
Dad!
|
|
|
|
Murph runs into Cooper’s arms. The Old Man SMILES at
|
|
Cooper.
|
|
|
|
OLD MAN
|
|
Hello, Cooper.
|
|
|
|
COOPER
|
|
27.
|
|
|
|
|
|
(stunned)
|
|
Professor Brand?
|
|
|
|
MAN AT TABLE (DOYLE)
|
|
Just take a seat, Mr Cooper.
|
|
|
|
Cooper and Murph sit at a table where five people are
|
|
waiting - a bespectacled man, WILLIAMS, leans forward to
|
|
address Cooper.
|
|
|
|
WILLIAMS
|
|
Explain how you found this
|
|
facility.
|
|
|
|
COOPER
|
|
Stumbled across it. Looking for
|
|
salvage and I saw the fence -
|
|
|
|
WILLIAMS
|
|
You’re sitting in the world’s best
|
|
kept secret - you don’t stumble in.
|
|
And you certainly don’t stumble
|
|
out.
|
|
|
|
PROFESSOR BRAND
|
|
Cooper, please. Cooperate with
|
|
these people.
|
|
|
|
Cooper looks nervously around the room.
|
|
|
|
COOPER
|
|
It’s hard to explain, but we
|
|
learned these coordinates from an
|
|
anomaly ...
|
|
|
|
DOYLE
|
|
What sort of anomaly?
|
|
|
|
COOPER
|
|
I don’t want to term it
|
|
’supernatural’ ... but ...
|
|
|
|
Cooper is losing them. Williams leans forward. Serious.
|
|
|
|
WILLIAMS
|
|
You’re going to have to, Mr Cooper.
|
|
Real quick.
|
|
|
|
COOPER
|
|
After that last storm, it was a
|
|
pattern ... in dust ...
|
|
|
|
MURPH
|
|
28.
|
|
|
|
|
|
It was gravity.
|
|
|
|
All eyes turn to Murph. She’s said the magic word. Doyle
|
|
looks at Professor Brand, excited. Turns to Cooper -
|
|
|
|
DOYLE
|
|
Where was this gravitational
|
|
anomaly?
|
|
|
|
COOPER
|
|
Look, I’m happy you’re excited
|
|
about gravity, but if you want more
|
|
answers from us I’m gonna need
|
|
assurances -
|
|
|
|
WILLIAMS
|
|
Assurances?
|
|
|
|
Cooper looks at Murph. Then covers Murph’s ears.
|
|
|
|
COOPER
|
|
That we’re getting out of here ...
|
|
and not in the trunk of some car.
|
|
|
|
Brand laughs. Williams smiles. Cooper looks confused.
|
|
|
|
PROFESSOR BRAND
|
|
Don’t you know who we are, Coop?
|
|
|
|
COOPER
|
|
No. No, I don’t.
|
|
|
|
BRAND
|
|
(points around table)
|
|
Williams, Doyle, Jenkins, Smith,
|
|
you already know my father,
|
|
Professor Brand. We’re NASA.
|
|
|
|
COOPER
|
|
NASA?
|
|
|
|
PROFESSOR BRAND
|
|
NASA. Same NASA you flew for.
|
|
|
|
Now Cooper is laughing, too. Murph looks around, confused.
|
|
|
|
|
|
39 INT. UNDERGROUND FACILITY - MOMENTS LATER 39
|
|
|
|
Professor Brand shows Cooper the facility.
|
|
|
|
COOPER
|
|
29.
|
|
|
|
|
|
I heard you got shut down for
|
|
refusing to drop bombs from the
|
|
stratosphere onto starving people.
|
|
|
|
PROFESSOR BRAND
|
|
When they realized killing other
|
|
people wasn’t a long term solution
|
|
they needed us back. Set us up in
|
|
the old NORAD facility. In secret.
|
|
|
|
COOPER
|
|
Why secret?
|
|
|
|
PROFESSOR BRAND
|
|
Public opinion won’t allow spending
|
|
on space exploration. Not when
|
|
we’re struggling to put food on the
|
|
table.
|
|
|
|
Professor Brand ushers Cooper through a large door -
|
|
|
|
|
|
40 INT. GREENHOUSE - CONTINUOUS 40
|
|
|
|
Professor Brand gestures to large PLANTATIONS under glass.
|
|
|
|
PROFESSOR BRAND
|
|
Blight. Wheat seven years ago, okra
|
|
this year. Now there’s just corn.
|
|
|
|
COOPER
|
|
But we’re growing more than ever -
|
|
|
|
PROFESSOR BRAND
|
|
Like the potatoes in Ireland, like
|
|
the wheat in the dust bowl, the
|
|
corn will die. Soon.
|
|
|
|
Brand enters with Murph. She shows her the greenhouses.
|
|
|
|
COOPER
|
|
We’ll find a way, we always have.
|
|
|
|
PROFESSOR BRAND
|
|
Driven by the unshakable faith that
|
|
the Earth is ours.
|
|
|
|
COOPER
|
|
Not just ours, but it is our home.
|
|
|
|
PROFESSOR BRAND
|
|
30.
|
|
|
|
|
|
Earth’s atmosphere is 80 percent
|
|
nitrogen. We don’t even breathe
|
|
nitrogen.
|
|
|
|
Professor Brand shows him a blighted stalk.
|
|
|
|
PROFESSOR BRAND
|
|
Blight does. And as it thrives our
|
|
air contains less and less
|
|
oxygen...
|
|
|
|
Professor Brand gestures over at Murph ...
|
|
|
|
PROFESSOR BRAND
|
|
The last people to starve will be
|
|
the first to suffocate. Your
|
|
daughter’s generation will be the
|
|
last to survive on Earth.
|
|
|
|
Cooper looks over at Murph. Then back to Professor Brand.
|
|
|
|
COOPER
|
|
Tell me this is where you explain
|
|
how you’re going to save the world.
|
|
|
|
|
|
41 INT. VAST CIRCULAR CHAMBER - LAUNCH FACILITY - MOMENTS 41
|
|
LATER
|
|
|
|
Cooper and Professor Brand enter like ants in a grain silo.
|
|
|
|
A ROCKET is on a pad, DWARFED by the circular chamber. Far
|
|
above, a ring of mirrors reflects the dawn down into the
|
|
facility.
|
|
|
|
PROFESSOR BRAND
|
|
We’re not meant to save the world
|
|
... we’re meant to leave it.
|
|
|
|
Cooper stares up at the rocket. He recognizes the
|
|
arrangement of two CRAFT at the top.
|
|
|
|
COOPER
|
|
Rangers.
|
|
|
|
PROFESSOR BRAND
|
|
The last components of our one
|
|
versatile ship in orbit, the
|
|
Endurance. Our final expedition.
|
|
|
|
COOPER
|
|
What happened to the other
|
|
vehicles?
|
|
31.
|
|
|
|
|
|
PROFESSOR BRAND
|
|
The Lazarus missions.
|
|
|
|
COOPER
|
|
Sounds cheerful.
|
|
|
|
PROFESSOR BRAND
|
|
Lazarus came back from the dead -
|
|
|
|
COOPER
|
|
He had to die in the first place.
|
|
You sent people out there looking
|
|
for a new home ...
|
|
|
|
Professor Brand nods.
|
|
|
|
COOPER
|
|
There’s no planet in our solar
|
|
system that can support life ...
|
|
and it’d take them a thousand years
|
|
to reach the nearest star - that
|
|
doesn’t even qualify as futile ...
|
|
Where did you send them, Professor?
|
|
|
|
PROFESSOR BRAND
|
|
Cooper, I can’t tell you any more
|
|
unless you agree to pilot this
|
|
craft. You’re the best we ever had.
|
|
|
|
COOPER
|
|
I barely left the stratosphere.
|
|
|
|
PROFESSOR BRAND
|
|
This crew’s never left the
|
|
simulator. We can’t program this
|
|
mission from Earth, we don’t know
|
|
what’s out there. We need a pilot.
|
|
And this is the mission you were
|
|
trained for.
|
|
|
|
COOPER
|
|
Without ever knowing. An hour ago,
|
|
you didn’t even know I was still
|
|
alive. And you were going anyway.
|
|
|
|
PROFESSOR BRAND
|
|
We had no choice. But something
|
|
brought you here. They chose you.
|
|
|
|
COOPER
|
|
Who’s ’they’?
|
|
|
|
Professor Brand is silent. Cooper wrestles.
|
|
32.
|
|
|
|
|
|
How long would I be gone?
|
|
|
|
PROFESSOR BRAND
|
|
Hard to know. Years.
|
|
|
|
COOPER
|
|
I’ve got my kids, Professor.
|
|
|
|
PROFESSOR BRAND
|
|
Get out there and save them.
|
|
|
|
Cooper considers this. Decides.
|
|
|
|
COOPER
|
|
Who’s ’they’?
|
|
|
|
|
|
42 INT. CONFERENCE ROOM - LATER 42
|
|
|
|
A man in his forties has the solar system up on the screen.
|
|
|
|
This is ROMILLY.
|
|
|
|
ROMILLY
|
|
We started detecting gravitational
|
|
anomalies almost fifty years ago.
|
|
Mostly small distortions to our
|
|
instruments in the upper atmosphere
|
|
- I believe you encountered one
|
|
yourself ...
|
|
|
|
COOPER
|
|
(realizing)
|
|
Over the Straights - my crash -
|
|
something tripped my fly-by wire -
|
|
|
|
ROMILLY
|
|
Exactly. But the most significant
|
|
anomaly was this ...
|
|
|
|
Cooper stares at an image of Saturn and its moons. Romilly
|
|
zooms in on some stars DISTORTED like ripples in a pond.
|
|
|
|
ROMILLY
|
|
A disturbance of spacetime out near
|
|
Saturn.
|
|
|
|
COOPER
|
|
A wormhole?
|
|
|
|
ROMILLY
|
|
It appeared forty-eight years ago.
|
|
33.
|
|
|
|
|
|
COOPER
|
|
Where does it lead?
|
|
|
|
PROFESSOR BRAND
|
|
Another galaxy.
|
|
|
|
COOPER
|
|
A wormhole isn’t a naturally
|
|
occurring phenomenon.
|
|
|
|
BRAND
|
|
Someone placed it there.
|
|
|
|
COOPER
|
|
’They’.
|
|
|
|
BRAND
|
|
And whoever ’They’ are, they appear
|
|
to be looking out for us - that
|
|
wormhole lets us travel to other
|
|
stars. It came along right as we
|
|
needed it.
|
|
|
|
DOYLE
|
|
They’ve put potentially habitable
|
|
worlds within our reach. Twelve, in
|
|
fact from our initial probes.
|
|
|
|
COOPER
|
|
You sent probes into it?
|
|
|
|
PROFESSOR BRAND
|
|
We sent people into it. Ten years
|
|
ago.
|
|
|
|
COOPER
|
|
The Lazarus missions.
|
|
|
|
Professor Brand rises and moves to a MEMORIAL, pointing -
|
|
|
|
PROFESSOR BRAND
|
|
Twelve possible worlds. Twelve
|
|
Ranger launches carrying the
|
|
bravest humans ever to live, led by
|
|
the remarkable Dr Mann.
|
|
|
|
DOYLE
|
|
34.
|
|
|
|
|
|
Each person’s landing pod had life
|
|
support for two years - but they
|
|
could use hibernation to stretch
|
|
that, making observations on
|
|
organics over a decade or more.
|
|
Their mission was to assess their
|
|
world, and if it showed promise,
|
|
send a signal, bed down for the
|
|
long nap, and wait to be rescued.
|
|
|
|
COOPER
|
|
And if their world didn’t show
|
|
promise?
|
|
|
|
DOYLE
|
|
Hence the bravery.
|
|
|
|
COOPER
|
|
Because you don’t have resources to
|
|
visit all twelve.
|
|
|
|
DOYLE
|
|
No. Data transmission back through
|
|
the wormhole is rudimentary, simple
|
|
binary ’pings’ on an annual basis
|
|
to give some clue as to which
|
|
worlds have potential. One system
|
|
shows promise.
|
|
|
|
COOPER
|
|
One? Kind of a long shot.
|
|
|
|
BRAND
|
|
One system with three potential
|
|
worlds ... no long shot.
|
|
|
|
COOPER
|
|
So if we find a new home, what
|
|
then?
|
|
|
|
PROFESSOR BRAND
|
|
That’s the long shot. There’s Plan
|
|
A and there’s Plan B. Did you
|
|
notice anything strange about the
|
|
launch chamber ...
|
|
|
|
|
|
43 INT. LAUNCH FACILITY - MOMENTS LATER 43
|
|
|
|
Cooper cocks his head, puzzling at the VAST chamber ...
|
|
there are structures built SIDEWAYS around the CURVED
|
|
walls...
|
|
35.
|
|
|
|
|
|
COOPER
|
|
This whole facility ... it’s a
|
|
vehicle? A space station?
|
|
|
|
PROFESSOR BRAND
|
|
Both. We’ve been working on it, and
|
|
others like it for twenty-five
|
|
years. Plan A.
|
|
|
|
COOPER
|
|
How does it get off the Earth?
|
|
|
|
PROFESSOR BRAND
|
|
Those first gravitational anomalies
|
|
changed everything - suddenly we
|
|
knew that harnessing gravity was
|
|
real. So I started working on the
|
|
theory - and we start building this
|
|
station.
|
|
|
|
COOPER
|
|
But you haven’t solved it, yet.
|
|
|
|
PROFESSOR BRAND
|
|
That’s why there’s a Plan B.
|
|
|
|
|
|
44 INT. LABORATORY - MOMENTS LATER 44
|
|
|
|
TECHNICIANS work the complex, high-tech lab. Professor
|
|
Brand and Cooper follow Brand to a large glass and steel
|
|
apparatus.
|
|
|
|
BRAND
|
|
The problem is gravity. How to get
|
|
a viable amount of human life off
|
|
|
|
BRAND
|
|
this planet. This is one way - Plan
|
|
B. A population bomb. Almost five
|
|
thousand fertilized eggs, weighing
|
|
in at under 900 kilos.
|
|
|
|
COOPER
|
|
How could you raise them?
|
|
|
|
BRAND
|
|
36.
|
|
|
|
|
|
With equipment on board we incubate
|
|
the first ten. After that, with
|
|
surrogacy, the growth becomes
|
|
exponential - within thirty years
|
|
we might have a colony of hundreds.
|
|
The real difficulty of colonization
|
|
is genetic diversity,
|
|
(Indicates vials.)
|
|
This takes care of that.
|
|
|
|
Cooper looks at the equipment. Unenthusiastic.
|
|
|
|
COOPER
|
|
We just give up on the people here?
|
|
|
|
PROFESSOR BRAND
|
|
That’s why Plan A’s a lot more fun.
|
|
|
|
|
|
45 INT. PROFESSOR BRAND’S OFFICE 45
|
|
|
|
Professor Brand watches Cooper as he gazes over the vast
|
|
tracts of ALGEBRA covering every available surface.
|
|
|
|
COOPER
|
|
Where have you got to?
|
|
|
|
PROFESSOR BRAND
|
|
Almost there.
|
|
|
|
COOPER
|
|
Almost? You’re asking me to hang
|
|
everything on an ’almost’?
|
|
|
|
Professor Brand moves close to Cooper.
|
|
|
|
PROFESSOR BRAND
|
|
I’m asking you to trust me.
|
|
|
|
Cooper looks at the passion in Professor Brand’s eyes.
|
|
|
|
COOPER
|
|
All those years of training - you
|
|
never told me.
|
|
|
|
PROFESSOR BRAND
|
|
We can’t always be open about
|
|
everything, Coop, even if we want
|
|
to be. What can you tell your
|
|
children about this mission?
|
|
|
|
Cooper considers this. Uneasy.
|
|
37.
|
|
|
|
|
|
PROFESSOR BRAND
|
|
Find us a new home. When you
|
|
return, I’ll have solved the
|
|
problem of gravity. You have my
|
|
word.
|
|
|
|
|
|
46 EXT. FARMHOUSE - LATE DAY 46
|
|
|
|
Donald, on the porch, gets to his feet as he sees Cooper’s
|
|
pickup approaching. The truck pulls up. Murph TEARS past
|
|
Grandpa into the house - Donald looks at Cooper,
|
|
questioning.
|
|
|
|
|
|
47 INT. HALL OUTSIDE MURPH’S ROOM - CONTINUOUS 47
|
|
|
|
Cooper tries to open the door, but Murph has stacked a desk
|
|
and chair against it -
|
|
|
|
COOPER
|
|
Murph?
|
|
|
|
MURPH
|
|
Go! If you’re leaving, just go!
|
|
|
|
|
|
48 EXT. PORCH - NIGHT 48
|
|
|
|
Donald looks out at the night, taking it all in.
|
|
|
|
DONALD
|
|
This world never was enough for
|
|
you, was it, Coop?
|
|
|
|
COOPER
|
|
I’m not gonna lie to you, Donald -
|
|
heading out there is what I feel
|
|
born to do and it excites me. That
|
|
doesn’t make it wrong.
|
|
|
|
Donald considers this. Turns to Cooper.
|
|
|
|
DONALD
|
|
It might. Don’t trust the right
|
|
thing done for the wrong reason.
|
|
The ’why’ of a thing? That’s the
|
|
foundation.
|
|
|
|
COOPER
|
|
(sadly)
|
|
Well, the foundation’s solid.
|
|
(Gestures at landscape.)
|
|
38.
|
|
|
|
|
|
We farmers sit here every year when
|
|
the rains fail and say ’next year’.
|
|
Next year ain’t gonna save us. Nor
|
|
the one after. This world’s a
|
|
treasure, Donald. But she’s been
|
|
telling us to leave for a while
|
|
now.
|
|
(Stares at the horizon.)
|
|
Mankind was born on Earth. It was
|
|
never meant to die here.
|
|
|
|
Donald considers this. Scoops the dust off the rail.
|
|
|
|
DONALD
|
|
Tom’ll be okay. But you have to
|
|
make it right with Murph.
|
|
|
|
COOPER
|
|
I will.
|
|
|
|
DONALD
|
|
Without making any promises you
|
|
don’t know you can keep.
|
|
|
|
Cooper meets Donald’s gaze. Looks away, nodding.
|
|
|
|
|
|
49 INT. MURPH’S BEDROOM - MORNING 49
|
|
|
|
Cooper’s hand, reaching in, removes the chair from the
|
|
desk, barricading the door. Murph is lying on the bed,
|
|
turned away. Cooper pushes the desk back gently. Enters,
|
|
quietly.
|
|
|
|
COOPER
|
|
You have to talk to me.
|
|
|
|
Nothing.
|
|
|
|
COOPER
|
|
I have to fix this before I go.
|
|
|
|
Murph turns, tear-stained, angry cheeks blazing -
|
|
|
|
MURPH
|
|
Then I’ll keep it broken so you
|
|
have to stay.
|
|
|
|
Cooper sits down on the bed next to Murph.
|
|
|
|
COOPER
|
|
39.
|
|
|
|
|
|
After you kids came along, your
|
|
mother said something I didn’t
|
|
really understand - she said, ’I
|
|
look at the babies and I see myself
|
|
as they’ll remember me.’ She said,
|
|
’It’s as if we don’t exist anymore,
|
|
like we’re ghosts, like now we’re
|
|
just there to be memories for our
|
|
kids.’ Now I realize - once we’re
|
|
parents, we’re just the ghosts of
|
|
our childrens’ futures.
|
|
|
|
MURPH
|
|
You said ghosts don’t exist.
|
|
|
|
COOPER
|
|
That’s right. I can’t be your ghost
|
|
right now - I need to exist.
|
|
Because they chose me. They chose
|
|
me, Murph. You saw it. Murph sits
|
|
up.
|
|
|
|
Points at the shelves. The gaps.
|
|
|
|
MURPH
|
|
I figured out the message ...
|
|
(Opens her notebook.)
|
|
It was Morse code ...
|
|
|
|
COOPER
|
|
Murph -
|
|
|
|
MURPH
|
|
One word. You know what it is?
|
|
|
|
Cooper shakes his head sadly. Murph holds out her notebook
|
|
-
|
|
|
|
’STAY’. It says ’STAY’, Dad.
|
|
|
|
COOPER
|
|
Oh, Murph.
|
|
|
|
MURPH
|
|
You don’t believe me?! Look the
|
|
books! Look at -
|
|
|
|
Cooper takes his daughter in his arms ...
|
|
|
|
COOPER
|
|
It’s okay, it’s okay ...
|
|
|
|
Murph buries her head on Cooper’s shoulder, sobbing.
|
|
40.
|
|
|
|
|
|
Murph, a father looks in his child’s eyes and thinks -
|
|
maybe it’s them ... maybe my child will save the world. And
|
|
everyone, once a child, wants to look into their own dad’s
|
|
eyes and know he saw how they saved some little corner of
|
|
their world. But, usually, by then, the father is gone.
|
|
|
|
MURPH
|
|
Like you will be.
|
|
|
|
Cooper looks at his daughter. Lies with head, not heart:
|
|
|
|
COOPER
|
|
No. I’m coming back.
|
|
|
|
MURPH
|
|
When?
|
|
|
|
Cooper reaches into his pocket. Pulls out two WATCHES.
|
|
|
|
COOPER
|
|
One for you. One for me.
|
|
|
|
Murph takes the watch, curious. Cooper holds up his watch.
|
|
|
|
When I’m in hyper-sleep, or travel near the speed of light,
|
|
or near a black hole, time will change for me. It’ll run
|
|
more slowly. When I get back we’ll compare.
|
|
|
|
MURPH
|
|
Time will run differently for us?
|
|
|
|
COOPER
|
|
Yup. By the time I get back we
|
|
might even be the same age. You and
|
|
me. Imagine that ...
|
|
|
|
Murph takes this in. Cooper sees he’s made a mistake.
|
|
|
|
Wait, Murph -
|
|
|
|
MURPH
|
|
You have no idea when you’re coming
|
|
back.
|
|
|
|
Cooper looks at his daughter.
|
|
|
|
MURPH
|
|
No idea at all!
|
|
|
|
Murph THROWS the watch - TURNS HER BACK.
|
|
|
|
COOPER
|
|
41.
|
|
|
|
|
|
Don’t make me leave like this.
|
|
|
|
Nothing.
|
|
|
|
COOPER
|
|
Please. I have to go now.
|
|
|
|
Murph will not turn around. Cooper tries to rest his hand
|
|
on the back of her head, but she shakes it off.
|
|
|
|
COOPER
|
|
I love you, Murph. Forever. And I’m
|
|
coming back.
|
|
|
|
Cooper walks slowly out. A BOOK DROPS FROM THE SHELF.
|
|
Cooper turns to look at it. Then leaves.
|
|
|
|
|
|
50 EXT. FARMHOUSE - MOMENTS LATER 50
|
|
|
|
Cooper, mechanical, puts his small bag in the truck.
|
|
|
|
DONALD
|
|
How’d it go?
|
|
|
|
COOPER
|
|
Fine. It was fine.
|
|
|
|
Cooper turns to Tom. Hugs him. Tight enough for both kids.
|
|
|
|
I love you, Tom.
|
|
|
|
TOM
|
|
Travel safe, Dad.
|
|
|
|
COOPER
|
|
(indicates farm)
|
|
Look after our place, you hear?
|
|
|
|
TOM
|
|
Can I use your truck while you’re
|
|
gone?
|
|
|
|
COOPER
|
|
(smiles)
|
|
I’ll make sure they bring it back
|
|
for you.
|
|
|
|
Cooper gets in. Starts the engine.
|
|
|
|
COOPER
|
|
Mind my kids for me, Donald.
|
|
42.
|
|
|
|
|
|
Donald nods. Cooper pulls out.
|
|
|
|
|
|
51 INT. MURPH’S BEDROOM - CONTINUOUS 51
|
|
|
|
Murph jumps off the bed, GRABS the watch, RUNS downstairs.
|
|
|
|
|
|
52 INT. PICKUP TRUCK - CONTINUOUS 52
|
|
|
|
As Cooper drives he lifts the blanket in the wheel-well
|
|
where Murph hid last time. Nothing. And we hear a
|
|
COUNTDOWN...
|
|
|
|
VOICE
|
|
(O.S.)
|
|
TEN ... NINE ...
|
|
|
|
|
|
53 EXT. FARMHOUSE - CONTINUOUS 53
|
|
|
|
Murph RACES out of the house, watch in hand -
|
|
|
|
MURPH
|
|
Dad?! DAD?!
|
|
|
|
VOICE
|
|
(V.O.)
|
|
EIGHT ... SEVEN ...
|
|
|
|
But Cooper is a dust trail far down the road.
|
|
|
|
VOICE
|
|
(O.S.)
|
|
SIX ... FIVE ...
|
|
|
|
Murph SOBS as her grandpa puts his arms around her ...
|
|
|
|
|
|
54 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 54
|
|
|
|
As Cooper drives away tears roll down his cheeks
|
|
|
|
VOICE
|
|
(O.S.)
|
|
FOUR ... THREE ... TWO ... ONE ...
|
|
|
|
|
|
55 INT. LAUNCH FACILITY - DAY 55
|
|
|
|
VOICE
|
|
(O.S.)
|
|
43.
|
|
|
|
|
|
IGNITION.
|
|
|
|
FIRE SHOOTS FROM THE BASE OF THE ROCKET ... The rocket
|
|
RISES slowly from the pad, up into the sky ...
|
|
|
|
|
|
56 INT. RANGER COCKPIT - CONTINUOUS 56
|
|
|
|
Cooper, in his space helmet, lets the FORCE of the rocket
|
|
vibrate through him ...
|
|
|
|
VOICE
|
|
(O.S.)
|
|
Stage one ... SEPARATION.
|
|
|
|
Cooper starts to see the Earth’s curve through the
|
|
window...
|
|
|
|
VOICE
|
|
(O.S.)
|
|
Stage two ... SEPARATION.
|
|
|
|
And Cooper shakes loose the bonds of Earth.
|
|
|
|
|
|
57 EXT. UPPER ATMOSPHERE - CONTINUOUS 57
|
|
|
|
The rocket RIPS upwards into the sky.
|
|
|
|
|
|
58 INT. RANGER COCKPIT - CONTINUOUS 58
|
|
|
|
Cooper glances around the vibrating, cramped cockpit -
|
|
Brand, Doyle, Romilly, Tars. Tars spots Cooper’s glance -
|
|
|
|
TARS
|
|
All here, Mr Cooper. Plenty of
|
|
slaves for my robot colony.
|
|
|
|
Cooper looks at him, confused.
|
|
|
|
DOYLE
|
|
They gave him a humor setting so
|
|
he’d fit in with his unit better.
|
|
He thinks it relaxes us.
|
|
|
|
COOPER
|
|
A massive, sarcastic robot. What a
|
|
great idea.
|
|
|
|
TARS
|
|
I have a cue light I can turn on
|
|
when I’m joking, if you like.
|
|
44.
|
|
|
|
|
|
COOPER
|
|
Probably help.
|
|
|
|
TARS
|
|
You can use it to find your way
|
|
back to the ship after I blow you
|
|
out the airlock.
|
|
|
|
Tars looks at Cooper. A beat. An LED turns on. Cooper
|
|
shakes his head.
|
|
|
|
COOPER
|
|
What’s your humor setting, Tars?
|
|
|
|
TARS
|
|
One hundred percent.
|
|
|
|
Cooper turns to the instruments -
|
|
|
|
COOPER
|
|
Take it to seventy-five, please.
|
|
|
|
EARTH ORBIT - CONTINUOUS
|
|
|
|
The Rangers streak across the Earth, settle into a low
|
|
orbit.
|
|
|
|
|
|
59 INT. RANGER COCKPIT - CONTINUOUS 59
|
|
|
|
Quiet. Cooper stares down at the continents sliding by. He
|
|
looks over at Brand who is doing the same, abstracted.
|
|
|
|
COOPER
|
|
We’ll get back.
|
|
|
|
She stares at the land. The oceans.
|
|
|
|
It’s hard. Leaving everything. My kids ... your father ...
|
|
|
|
BRAND
|
|
We’re going to spend a lot of time
|
|
together ...
|
|
|
|
COOPER
|
|
(nods)
|
|
We should learn to talk.
|
|
|
|
BRAND
|
|
And when not to.
|
|
(Off look.)
|
|
Just trying to be honest.
|
|
45.
|
|
|
|
|
|
COOPER
|
|
Maybe you don’t need to be that
|
|
honest.
|
|
(Turns to Tars.)
|
|
Tars, what’s your honesty
|
|
parameter?
|
|
|
|
Tars DISENGAGES from the floor and MOVES to the rear
|
|
airlock -
|
|
|
|
TARS
|
|
Ninety percent.
|
|
|
|
COOPER
|
|
Ninety? What kind of robot are you?
|
|
|
|
TARS
|
|
Absolute honesty isn’t always the
|
|
most diplomatic, or safe form of
|
|
communication with emotional
|
|
beings.
|
|
|
|
Cooper turns to Brand. Shrugs.
|
|
|
|
COOPER
|
|
Ninety percent honesty it is, then.
|
|
|
|
Brand looks at Cooper. Can’t help smiling.
|
|
|
|
VOICE
|
|
(over radio)
|
|
Sixty seconds out...
|
|
|
|
|
|
60 EXT. EARTH ORBIT - CONTINUOUS 60
|
|
|
|
The Rangers approach a RING MODULE, fire retro-thrusters
|
|
and slide gracefully into the center of the ring - the last
|
|
piece of a large modular craft: the U.S.S. ENDURANCE. Four
|
|
LANDERS (including the Rangers) are nestled inside the ring
|
|
module.
|
|
|
|
|
|
61 INT. RING MODULE, ENDURANCE - MOMENTS LATER 61
|
|
|
|
Brand, Doyle and Romilly, following Tars, FLOAT through the
|
|
cramped cabins, powering up. Tars powers up a second
|
|
articulated machine, CASE.
|
|
|
|
DOYLE
|
|
Cooper, you should have control.
|
|
46.
|
|
|
|
|
|
62 INT. COCKPIT, ENDURANCE (RANGER) - CONTINUOUS 62
|
|
|
|
Cooper checks instruments -
|
|
|
|
COOPER
|
|
Talking fine. Ready to spin?
|
|
|
|
|
|
63 INT. RING MODULE, ENDURANCE - CONTINUOUS 63
|
|
|
|
Doyle and Romilly are strapped in - Brand grabs a handhold
|
|
-
|
|
|
|
|
|
64 INT. COCKPIT, ENDURANCE - CONTINUOUS 64
|
|
|
|
BRAND
|
|
(over radio)
|
|
All set.
|
|
|
|
Cooper hits a switch ...
|
|
|
|
|
|
65 EXT. EARTH ORBIT - CONTINUOUS 65
|
|
|
|
Thrusters silently fire on the Endurance. It starts
|
|
ROTATING.
|
|
|
|
|
|
66 INT. RING MODULE, ENDURANCE - CONTINUOUS 66
|
|
|
|
The crew members settle in as gravity is established.
|
|
|
|
Romilly is clearly struggling to find his sea legs in the
|
|
rotating ship.
|
|
|
|
BRAND
|
|
You okay there?
|
|
|
|
ROMILLY
|
|
Yup. Just need a little time -
|
|
|
|
BRAND
|
|
There should be Dramamine in the
|
|
hab pod.
|
|
|
|
|
|
67 INT. RING MODULE, ENDURANCE - LATER 67
|
|
|
|
The crew listen to Professor Brand over the video link -
|
|
|
|
PROFESSOR BRAND
|
|
47.
|
|
|
|
|
|
(on screen)
|
|
I miss you already. Amelia, be
|
|
safe. Give my regards to Dr Mann.
|
|
|
|
BRAND
|
|
I will, Dad.
|
|
|
|
PROFESSOR BRAND
|
|
(on screen)
|
|
Things look good for your
|
|
trajectory. We’re calculating two
|
|
years to Saturn.
|
|
|
|
ROMILLY
|
|
That’s a lot of Dramamine ...
|
|
|
|
Cooper thinks about two years. What it means to his kids.
|
|
|
|
COOPER
|
|
(on screen)
|
|
Keep an eye on my family, sir.
|
|
Specially Murph. She’s a smart one.
|
|
|
|
PROFESSOR BRAND
|
|
(on screen)
|
|
We’ll be waiting when you get back
|
|
...
|
|
|
|
|
|
68 INT. COCKPIT, ENDURANCE - LATER 68
|
|
|
|
Cooper and Doyle flick switches and check instruments -
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
... A little older. A little wiser.
|
|
But happy to see you ...
|
|
|
|
|
|
69 INT. RING MODULE, ENDURANCE - CONTINUOUS 69
|
|
|
|
Brand, Romilly, Tars and Case strap in.
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
’Do not go gentle into that good
|
|
night ...’
|
|
|
|
|
|
70 INT. COCKPIT, ENDURANCE - CONTINUOUS 70
|
|
|
|
Cooper turns to Doyle. HITS the thrusters.
|
|
48.
|
|
|
|
|
|
71 EXT. EARTH ORBIT - CONTINUOUS 71
|
|
|
|
Endurance’s main engines FIRE. The craft PUSHES out of
|
|
orbit -
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
’Rage, rage against the dying of
|
|
the light.’ God speed, Endurance.
|
|
|
|
The craft accelerates away from Earth.
|
|
|
|
|
|
72 INT. RING MODULE, ENDURANCE - DAY 72
|
|
|
|
The crew sets up their CRYO-BEDS. Cooper looks out at the
|
|
diminishing Earth floating in the void. Brand joins him.
|
|
|
|
COOPER
|
|
So alone.
|
|
|
|
BRAND
|
|
We’ve got each other - Dr Mann had
|
|
it worse.
|
|
|
|
COOPER
|
|
(points at Earth)
|
|
I meant them. Look at that perfect
|
|
planet. We’re not gonna find
|
|
another one like her.
|
|
|
|
BRAND
|
|
No. This isn’t like looking for a
|
|
new condo - the human race is going
|
|
to be adrift ... desperate for a
|
|
rock to cling to while they catch
|
|
their breaths. We have to find that
|
|
rock. Our three prospects are at
|
|
the edge of what might sustain
|
|
human life.
|
|
|
|
Brand shows him a blurry image of a dark blue planet.
|
|
|
|
BRAND
|
|
Laura Miller’s first. She started
|
|
our biology program.
|
|
|
|
She shows him a red world, just a tiny dot.
|
|
|
|
And Wolf Edmunds is here.
|
|
|
|
Cooper hears something in her voice.
|
|
49.
|
|
|
|
|
|
COOPER
|
|
Who’s Edmunds?
|
|
|
|
BRAND
|
|
(fondly)
|
|
Wolf’s a particle physicist.
|
|
|
|
COOPER
|
|
None of them had family?
|
|
|
|
BRAND
|
|
No attachments. My father insisted.
|
|
They knew the odds against ever
|
|
seeing another human being. I’m
|
|
hoping we surprise at least three
|
|
of them.
|
|
|
|
COOPER
|
|
Tell me about Dr Mann.
|
|
|
|
Brand replaces the screen image for a grainy, white orb.
|
|
|
|
BRAND
|
|
Remarkable. The best of us. My
|
|
father’s protégé. He inspired
|
|
eleven people to follow him on the
|
|
loneliest journey in human history.
|
|
Scientists, explorers ... That’s
|
|
what I love - out there we face
|
|
great odds. Death. But not evil.
|
|
|
|
COOPER
|
|
Nature can’t be evil?
|
|
|
|
BRAND
|
|
Formidable, frightening - not evil.
|
|
Is a tiger evil because it rips a
|
|
gazelle to pieces?
|
|
|
|
COOPER
|
|
Just what we bring with us, then.
|
|
|
|
BRAND
|
|
This crew represents the best
|
|
aspects of humanity.
|
|
|
|
COOPER
|
|
Even me?
|
|
|
|
Brand looks at him. Smiles.
|
|
|
|
BRAND
|
|
Hey, we agreed, ninety percent.
|
|
50.
|
|
|
|
|
|
Brand moves to her cryo-bed. Cooper looks out at space.
|
|
|
|
BRAND
|
|
Don’t stay up too late. We can’t
|
|
spare the resources.
|
|
|
|
COOPER
|
|
Hey, I’ve been waiting a long time
|
|
to be up here -
|
|
|
|
BRAND
|
|
You are literally wasting your
|
|
breath.
|
|
|
|
Cooper nods at her. Joins Tars.
|
|
|
|
COOPER
|
|
Show me the trajectory again.
|
|
|
|
TARS
|
|
Eight months to Mars, then counter-
|
|
orbital slingshot around -
|
|
|
|
Brand’s cryo-bed darkens.
|
|
|
|
COOPER
|
|
(whisper)
|
|
Tars? Was Dr Brand -
|
|
|
|
TARS
|
|
Why are you whispering? You can’t
|
|
wake them.
|
|
|
|
COOPER
|
|
Were Dr Brand and Edmunds ...
|
|
close?
|
|
|
|
TARS
|
|
I wouldn’t know.
|
|
|
|
COOPER
|
|
Is that ninety percent, or ten
|
|
percent ’wouldn’t know’?
|
|
|
|
TARS
|
|
I also have a discretion setting.
|
|
|
|
COOPER
|
|
So I gather ...
|
|
(Rises.)
|
|
|
|
COOPER
|
|
But not a poker face.
|
|
51.
|
|
|
|
|
|
Tars watches Cooper head for the comm. station. He sits
|
|
down to record a message. Awkward. Stuck. He dives in -
|
|
|
|
COOPER
|
|
Hey, guys. I’m about settle down
|
|
for the long nap, so I figured I’d
|
|
send you an update ...
|
|
|
|
|
|
73 EXT. OUTER SPACE - CONTINUOUS 73
|
|
|
|
The Endurance slips away from the small blue planet ...
|
|
|
|
COOPER
|
|
(V.O.)
|
|
The Earth looks amazing from here
|
|
... you can’t see any of the dust -
|
|
|
|
|
|
74 EXT. CORNFIELDS - DAY 74
|
|
|
|
A line of dust slides across the shimmering horizon.
|
|
|
|
COOPER
|
|
(V.O.)
|
|
Hope you guys are doing great. This
|
|
should get to you okay ...
|
|
|
|
|
|
75 EXT. FRONT PORCH, FARMHOUSE - DAY 75
|
|
|
|
Donald watches two approaching vehicles kick up dust.
|
|
|
|
COOPER
|
|
(V.O.)
|
|
Professor Brand said he’d make sure
|
|
of it. Guess I’ll say good night.
|
|
|
|
Donald recognizes Cooper’s truck ... Murph BURSTS out of
|
|
the house -
|
|
|
|
MURPH
|
|
(quiet)
|
|
Is it him?
|
|
|
|
DONALD
|
|
I don’t think so, Murph.
|
|
|
|
Donald rises to meet the truck. Professor Brand gets out.
|
|
|
|
PROFESSOR BRAND
|
|
You must be Donald. Hello, Murph.
|
|
52.
|
|
|
|
|
|
MURPH
|
|
Why’re you in my dad’s truck?
|
|
|
|
PROFESSOR BRAND
|
|
He wanted me to bring it for your
|
|
brother.
|
|
|
|
Silence. Professor Brand reaches into his briefcase.
|
|
|
|
PROFESSOR BRAND
|
|
He sent you a message -
|
|
|
|
Murph TURNS and goes back into the house. Donald takes a
|
|
disc from Professor Brand.
|
|
|
|
DONALD
|
|
Pretty upset with him for leaving.
|
|
|
|
PROFESSOR BRAND
|
|
If you record messages, I’ll
|
|
transmit them to Cooper.
|
|
|
|
Donald nods. Professor Brand looks up at the house.
|
|
|
|
Murph’s a bright spark. Maybe I could fan the flame.
|
|
|
|
DONALD
|
|
She’s already making fools of her
|
|
teachers. She should come make a
|
|
fool out of you.
|
|
|
|
Professor Brand smiles. Donald looks up into the blue.
|
|
|
|
Where are they?
|
|
|
|
PROFESSOR BRAND
|
|
Heading towards Mars ...
|
|
|
|
|
|
76 EXT. MARS - DAY 76
|
|
|
|
The Endurance streaks away from Mars ...
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
Next time we hear from Cooper,
|
|
they’ll be coming up on Saturn.
|
|
|
|
|
|
77 EXT. SATURN - DAY 77
|
|
53.
|
|
|
|
|
|
The Endurance settles into an orbit around the ringed
|
|
giant.
|
|
|
|
TOM
|
|
(O.S.)
|
|
But they said I can start advanced
|
|
agriculture a year early ...
|
|
|
|
|
|
78 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 78
|
|
|
|
Cooper, blanket around his shoulders, watches a highly
|
|
compressed video of Tom -
|
|
|
|
TOM
|
|
Got to go, Dad. Hope you’re safe up
|
|
there.
|
|
|
|
Tom makes way for Donald:
|
|
|
|
DONALD
|
|
I’m sorry, Coop, I asked Murph to
|
|
say hi, but she’s stubborn as her
|
|
old man. I’ll try again next time,
|
|
stay safe.
|
|
|
|
The video cuts out. Cooper gets up, puts a pair of EAR BUDS
|
|
in his ears and heads into -
|
|
|
|
|
|
79 INT. HAB POD, RING MODULE - LATER 79
|
|
|
|
Cooper enters. Romilly is staring out the window.
|
|
|
|
COOPER
|
|
You good, Rom?
|
|
|
|
Romilly looks at Cooper.
|
|
|
|
ROMILLY
|
|
It gets to me, Coop. This tin can.
|
|
Radiation, vacuum outside -
|
|
everything wants us dead. We’re
|
|
just not supposed to be here.
|
|
|
|
Cooper looks at him, sympathetic.
|
|
|
|
COOPER
|
|
We’re explorers, Rom, on the
|
|
greatest ocean of all.
|
|
|
|
Romilly bangs on the side of the ship.
|
|
54.
|
|
|
|
|
|
ROMILLY
|
|
Millimeters of aluminum. That’s it.
|
|
And nothing within millions of
|
|
miles that won’t kill us in
|
|
seconds.
|
|
|
|
COOPER
|
|
A lot of the finest solo yachtsmen
|
|
couldn’t swim. They knew if they
|
|
went overboard that was it, anyway.
|
|
This is no different.
|
|
|
|
Romilly considers this. Cooper passes him his ear buds -
|
|
|
|
COOPER
|
|
Here -
|
|
|
|
And the sounds of a THUNDERSTORM wash over Romilly, sounds
|
|
that take us to ...
|
|
|
|
|
|
80 EXT. SPACE - CONTINUOUS 80
|
|
|
|
The Endurance is a tiny speck before the ringed gassy
|
|
giant.
|
|
|
|
|
|
81 INT. NAVIGATION, RING MODULE, ENDURANCE - CONTINUOUS 81
|
|
|
|
Cooper looks over Doyle’s shoulder - he’s flicking through
|
|
images of star fields, distorted as if through a fish-eye
|
|
lens.
|
|
|
|
COOPER
|
|
From the relay probe?
|
|
|
|
DOYLE
|
|
It was in orbit around the wormhole
|
|
- each time it swung around we got
|
|
images of the other side of the
|
|
foreign galaxy.
|
|
|
|
COOPER
|
|
Like swinging a periscope around?
|
|
|
|
DOYLE
|
|
Exactly.
|
|
|
|
COOPER
|
|
So we’ve got a pretty good idea
|
|
what we’re gonna find on the other
|
|
side?
|
|
55.
|
|
|
|
|
|
DOYLE
|
|
Navigationally.
|
|
|
|
Brand approaches.
|
|
|
|
BRAND
|
|
We’ll be coming up on the wormhole
|
|
in less than forty-five. Suit up.
|
|
|
|
|
|
82 INT. COCKPIT, RANGER - LATER 82
|
|
|
|
Cooper straps in, peering out at the inky blackness past
|
|
Saturn. Romilly joins him there, excited.
|
|
|
|
COOPER
|
|
(over radio)
|
|
Strap in - I’m killing the spin ...
|
|
|
|
|
|
83 EXT. SATURN - CONTINUOUS 83
|
|
|
|
As the Endurance streaks past Saturn, it stops rotating,
|
|
headed for a DISTORTED BLUR of stars.
|
|
|
|
|
|
84 INT. COCKPIT, RANGER - CONTINUOUS 84
|
|
|
|
ROMILLY
|
|
There!
|
|
|
|
He points at the SPHERICAL blur of stars.
|
|
|
|
ROMILLY
|
|
That’s it! That’s the wormhole!
|
|
|
|
COOPER
|
|
Say it, don’t spray it, Rom.
|
|
|
|
ROMILLY
|
|
Cooper, this is a portal, cutting
|
|
through spacetime -
|
|
(Points.)
|
|
We’re seeing into the heart of a
|
|
galaxy so far away we don’t even
|
|
know where it is in the universe.
|
|
|
|
Cooper stares at the wormhole as they approach: a massive
|
|
spherical lens into another galaxy.
|
|
|
|
COOPER
|
|
It’s a sphere.
|
|
56.
|
|
|
|
|
|
ROMILLY
|
|
Of course it is. You thought it
|
|
would be just a hole?
|
|
|
|
COOPER
|
|
No ... well, in all the
|
|
illustrations -
|
|
|
|
Romilly grabs a piece of paper, draws two points, far apart
|
|
-
|
|
|
|
ROMILLY
|
|
In the illustrations they’re trying
|
|
to show you how it works -
|
|
|
|
He pokes a hole in one point with his pen ...
|
|
|
|
ROMILLY
|
|
So they say ’You wanna go from here
|
|
to there but it’s too far? A
|
|
wormhole bends space like this ...’
|
|
|
|
He folds the paper over and jams the pen through the second
|
|
point, connecting them.
|
|
|
|
ROMILLY
|
|
’So you can take a shortcut across
|
|
a higher dimension.’ But to show
|
|
that, they’ve turned three-
|
|
dimensional space ...
|
|
(Gestures around.)
|
|
Into two dimensions.
|
|
(Hold up paper.)
|
|
Which turns the wormhole into two
|
|
dimensions ... a circle.
|
|
(Indicates hole in
|
|
paper.)
|
|
But what’s a circle in three
|
|
dimensions?
|
|
|
|
COOPER
|
|
A sphere.
|
|
|
|
ROMILLY
|
|
Exactly.
|
|
(Points out window.)
|
|
It’s a spherical hole ...
|
|
|
|
Cooper marvels at the concept. And at the looming sphere
|
|
...
|
|
|
|
ROMILLY
|
|
57.
|
|
|
|
|
|
And who put it here? Who do we
|
|
thank?
|
|
|
|
COOPER
|
|
I’m not thanking anyone till we get
|
|
through it in one piece.
|
|
|
|
|
|
85 EXT. WORMHOLE - CONTINUOUS 85
|
|
|
|
As the Endurance SWINGS around the wormhole, the view of
|
|
the foreign galaxy SWINGS in opposition, like an ENORMOUS
|
|
SHAVING MIRROR ... it’s extremely disorienting.
|
|
|
|
The Endurance fires retro-thrusters to slow, descending
|
|
towards the wormhole ...
|
|
|
|
|
|
86 INT. COCKPIT, RANGER - CONTINUOUS 86
|
|
|
|
Cooper is at the controls. Doyle is next to him.
|
|
|
|
COOPER
|
|
Any trick to this?
|
|
|
|
DOYLE
|
|
No one knows.
|
|
|
|
COOPER
|
|
(glances at Doyle)
|
|
But the others made it, right?
|
|
|
|
DOYLE
|
|
At least some of them.
|
|
|
|
COOPER
|
|
Thanks for the confidence boost.
|
|
|
|
Cooper stares down into the vast lens of the wormhole.
|
|
|
|
Everybody ready to say goodbye to our solar system?
|
|
|
|
ROMILLY
|
|
(over radio)
|
|
To our galaxy ...
|
|
|
|
Cooper pushes the sticks forward, nosing down and letting
|
|
gravity PULL them towards the center of the wormhole ...
|
|
|
|
|
|
87 EXT. WORMHOLE - CONTINUOUS 87
|
|
58.
|
|
|
|
|
|
The Endurance reaches the surface of the wormhole. As it
|
|
crosses the threshold it becomes apparent that THERE IS NO
|
|
SURFACE ... the craft simply passes into the space of the
|
|
distortion, its own warped reflection flickering towards it
|
|
as if the ship were leaning into a giant shaving mirror ...
|
|
|
|
|
|
88 INT. COCKPIT - CONTINUOUS 88
|
|
|
|
Cooper and Doyle stare at the distortion of space ahead ...
|
|
|
|
|
|
89 INT. RING MODULE, ENDURANCE - CONTINUOUS 89
|
|
|
|
Brand and Romilly look out at reflections bordering the
|
|
bulk - a space beyond our three dimensions ...
|
|
|
|
|
|
90 EXT. WORMHOLE - CONTINUOUS 90
|
|
|
|
The Endurance moves through a TUNNEL OF DISTORTED
|
|
REFLECTIONS, seeming to gather more and more dizzying
|
|
speed, but getting no closer to the far mouth, as if on an
|
|
accelerating treadmill -
|
|
|
|
|
|
91 INT. COCKPIT, RANGER - CONTINUOUS 91
|
|
|
|
Cooper, awestruck, checks his instruments -
|
|
|
|
DOYLE
|
|
They won’t help you in here. We’re
|
|
cutting through the bulk - space
|
|
beyond our three dimensions ...
|
|
(Checks his equipment.)
|
|
All we can do is record and
|
|
observe.
|
|
|
|
|
|
92 INT. RING MODULE, ENDURANCE - CONTINUOUS 92
|
|
|
|
Brand JUMPS - a shape in the air in front of her is
|
|
BENDING, warping to form ripples in spacetime inside the
|
|
cabin - Romilly STARES at the distortion -
|
|
|
|
ROMILLY
|
|
What is that?!
|
|
|
|
Brand watches the distortion move towards her -
|
|
|
|
BRAND
|
|
I think - I think it’s them.
|
|
59.
|
|
|
|
|
|
ROMILLY
|
|
Distorting spacetime? Don’t -!
|
|
|
|
Brand is reaching out towards the warped space - it MOVES
|
|
towards her, DISTORTING her hand - but Brand is not in pain
|
|
...
|
|
|
|
|
|
93 INT. COCKPIT, RANGER - CONTINUOUS 93
|
|
|
|
Cooper and Doyle watch the tunnel mouth STREAK towards
|
|
them, a mass of stars and nebulae GROWING ...
|
|
|
|
|
|
94 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 94
|
|
|
|
The Endurance slides out of the wormhole.
|
|
|
|
|
|
95 INT. COCKPIT, LANDER - CONTINUOUS 95
|
|
|
|
Suddenly, the instruments are chirping -
|
|
|
|
DOYLE
|
|
We’re ... here.
|
|
|
|
Cooper and Doyle look out at the new galaxy ...
|
|
|
|
|
|
96 INT. RING MODULE, ENDURANCE - CONTINUOUS 96
|
|
|
|
Brand’s hand is back to normal. She stares at her fingers.
|
|
|
|
ROMILLY
|
|
What was that?
|
|
|
|
Brand flexes her fingers, delighted.
|
|
|
|
BRAND
|
|
The first handshake.
|
|
|
|
|
|
97 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 97
|
|
|
|
The cosmos is more CROWDED here - STAR upon STAR, NEBULAE
|
|
...
|
|
|
|
|
|
98 INT. RING MODULE, ENDURANCE - LATER 98
|
|
|
|
Doyle calls up data on a workstation -
|
|
60.
|
|
|
|
|
|
DOYLE
|
|
The lost communications came
|
|
through -
|
|
|
|
BRAND
|
|
How?
|
|
|
|
DOYLE
|
|
The relay on this side cached them.
|
|
|
|
Doyle flicks through data -
|
|
|
|
Years of basic data - no real surprises. Miller’s site has
|
|
kept pinging thumbs up, as has Mann ... but Edmunds went
|
|
down, three years ago.
|
|
|
|
BRAND
|
|
Transmitter failure?
|
|
|
|
DOYLE
|
|
Maybe. He was sending the thumbs up
|
|
right till it went dark.
|
|
|
|
ROMILLY
|
|
Miller still looks good?
|
|
|
|
Doyle nods. Romilly is drawing on a whiteboard -
|
|
|
|
She’s coming up fast ... with one complication - the planet
|
|
is much closer to Gargantua than we thought.
|
|
|
|
COOPER
|
|
Gargantua?
|
|
|
|
DOYLE
|
|
A very large black hole. Miller’s
|
|
and Dr Mann’s planets orbit it.
|
|
|
|
BRAND
|
|
And Miller’s is on the horizon?
|
|
|
|
ROMILLY
|
|
A basketball around the hoop.
|
|
Landing there takes us dangerously
|
|
close. A black hole that big has a
|
|
huge gravitational pull.
|
|
|
|
Cooper glances around the concerned faces -
|
|
|
|
COOPER
|
|
Look, I can swing around that
|
|
neutron star to decelerate -
|
|
61.
|
|
|
|
|
|
BRAND
|
|
It’s not that, it’s time. That
|
|
gravity will slow our clock
|
|
compared to Earth’s. Drastically.
|
|
|
|
COOPER
|
|
How bad?
|
|
|
|
ROMILLY
|
|
Every hour we spend on that planet
|
|
will be maybe ... seven years back
|
|
on Earth.
|
|
|
|
COOPER
|
|
Jesus -
|
|
|
|
ROMILLY
|
|
That’s relativity, folks.
|
|
|
|
COOPER
|
|
We can’t drop down there without
|
|
considering the consequences.
|
|
|
|
DOYLE
|
|
Cooper, we have a mission - COOPER
|
|
That’s easy for you to say - you
|
|
don’t have anyone back on Earth
|
|
waiting for you, do you?
|
|
|
|
DOYLE
|
|
You have no idea what’s easy for
|
|
me.
|
|
|
|
BRAND
|
|
Cooper’s right. We have to think of
|
|
time as a resource, just like
|
|
oxygen and food. Going down there
|
|
is going to cost us.
|
|
|
|
Doyle steps up to the screen, points out three planets.
|
|
|
|
DOYLE
|
|
Look, Dr Mann’s data is promising,
|
|
but we won’t get there for months.
|
|
Edmunds is even further. Miller
|
|
hasn’t sent much, but what she has
|
|
sent is promising - water, organics
|
|
...
|
|
|
|
BRAND
|
|
62.
|
|
|
|
|
|
You don’t find that every day.
|
|
DOYLE No, you do not. So think
|
|
about the resources it would take
|
|
to come back here ...
|
|
|
|
They look at each other, considering. Cooper turns to
|
|
Romilly -
|
|
|
|
COOPER
|
|
How far off the planet do we have
|
|
to stay to be out of the time
|
|
shift?
|
|
|
|
Romilly indicates a spot on his white board.
|
|
|
|
ROMILLY
|
|
Just back from the cusp.
|
|
|
|
COOPER
|
|
So we track a wider orbit of
|
|
Gargantua, parallel with Miller’s
|
|
planet but a little further out ...
|
|
take a Ranger down, grab Miller and
|
|
her samples, debrief and analyze
|
|
back here
|
|
|
|
BRAND
|
|
That’ll work.
|
|
|
|
COOPER
|
|
No time for monkey business down
|
|
there - Tars, you’d better wait up
|
|
here. Who else?
|
|
|
|
ROMILLY
|
|
If we’re talking about a couple
|
|
years - I’d use that time to work
|
|
on gravity - observations from the
|
|
wormhole. That’s gold to Professor
|
|
Brand.
|
|
|
|
COOPER
|
|
Okay. Tars, factor an orbit of
|
|
Gargantua - minimal thrusting -
|
|
conserve fuel - but stay in range.
|
|
|
|
TARS
|
|
Don’t worry, I wouldn’t leave you
|
|
behind ...
|
|
(Swivels around.)
|
|
Dr Brand.
|
|
|
|
She smiles at him.
|
|
63.
|
|
|
|
|
|
99 EXT. BLACK HOLE, GARGANTUA - DAY 99
|
|
|
|
A black sphere sucking light from the cosmos, visible by
|
|
its distorting effect on the light of stars behind it -
|
|
squeezed into a GLOWING, CURVED HORIZON. The Endurance
|
|
approaches.
|
|
|
|
|
|
100 INT. RANGER COCKPIT - DAY 100
|
|
|
|
Cooper looks out at Gargantua. Doyle peers over his
|
|
shoulder
|
|
|
|
DOYLE
|
|
A literal heart of darkness ...
|
|
|
|
Brand points to a small glowing planet nearer the
|
|
blackness.
|
|
|
|
BRAND
|
|
There’s Miller’s planet.
|
|
|
|
Cooper turns to Case, the machine riding shotgun.
|
|
|
|
COOPER
|
|
Ready?
|
|
|
|
CASE
|
|
Yup.
|
|
|
|
COOPER
|
|
Don’t say much, do you?
|
|
|
|
CASE
|
|
Tars talks plenty for both of us.
|
|
|
|
Cooper chuckles as he throws a final switch -
|
|
|
|
COOPER
|
|
Detach -
|
|
|
|
|
|
101 EXT. ENDURANCE - CONTINUOUS 101
|
|
|
|
The Ranger DETACHES from the ring module, like an X-1 from
|
|
a B-29, FIRES retro-thrusters to slow and ... DROPS -
|
|
|
|
|
|
102 EXT. THE BLACK HOLE, GARGANTUA - DAY 102
|
|
|
|
The Ranger SHOOTS down towards Gargantua -
|
|
64.
|
|
|
|
|
|
103 INT. COCKPIT, RANGER - CONTINUOUS 103
|
|
|
|
Cooper is in awe at their acceleration -
|
|
|
|
COOPER
|
|
(into radio)
|
|
Romilly, you reading these forces?
|
|
|
|
|
|
104 INT. RING MODULE, ENDURANCE - CONTINUOUS 104
|
|
|
|
Romilly studies data, marveling.
|
|
|
|
ROMILLY
|
|
Unbelievable.
|
|
(Looks out at Gargantua.)
|
|
If we could see the collapsed star
|
|
inside, the singularity, we’d solve
|
|
gravity.
|
|
|
|
|
|
105 INT. COCKPIT, RANGER - CONTINUOUS 105
|
|
|
|
Cooper looks down at the eerie blackness sliding beneath -
|
|
|
|
COOPER
|
|
No way to get anything from it?
|
|
|
|
ROMILLY
|
|
(over radio)
|
|
Nothing escapes that horizon. Not
|
|
even light. The answer’s there,
|
|
just no way to see it.
|
|
|
|
|
|
106 EXT. GARGANTUA - CONTINUOUS 106
|
|
|
|
The Ranger looks tiny as it STREAKS over the blackness,
|
|
high above the GLOWING HORIZON. It is approaching Miller’s
|
|
planet, a gleaming dark-blue world ...
|
|
|
|
|
|
107 INT. COCKPIT, RANGER - CONTINUOUS 107
|
|
|
|
Cooper studies his trajectory.
|
|
|
|
CASE
|
|
This is fast for atmospheric entry.
|
|
Should we use the thrusters to
|
|
slow?
|
|
|
|
COOPER
|
|
65.
|
|
|
|
|
|
We’re gonna use the Ranger’s
|
|
aerodynamics to save the fuel.
|
|
|
|
CASE
|
|
Air brake?
|
|
|
|
COOPER
|
|
Wanna get in fast, don’t we?
|
|
|
|
CASE
|
|
Brand, Doyle, get ready.
|
|
|
|
|
|
108 EXT. MILLER’S PLANET - CONTINUOUS 108
|
|
|
|
The Ranger STREAKS down towards the planet. It starts to
|
|
encounter the STRATOSPHERE -
|
|
|
|
|
|
109 INT. COCKPIT, RANGER - CONTINUOUS 109
|
|
|
|
The craft starts to HOWL and SHAKE. Cooper studies the
|
|
curving horizon, concentrating -
|
|
|
|
CASE
|
|
We should ease -
|
|
|
|
COOPER
|
|
Hands where I can see them, Case!
|
|
Only time I ever went down was a
|
|
machine easing at the wrong moment
|
|
-
|
|
|
|
CASE
|
|
A little caution -
|
|
|
|
COOPER
|
|
Can get you killed, same as
|
|
reckless.
|
|
|
|
DOYLE
|
|
Cooper! Too damn fast!
|
|
|
|
COOPER
|
|
I got this.
|
|
|
|
Cooper squeezes the shaking controls with white knuckles -
|
|
|
|
CASE
|
|
Should I disable the feedback?
|
|
|
|
COOPER
|
|
No! No, I need to feel the air ...
|
|
66.
|
|
|
|
|
|
110 EXT. STRATOSPHERE, MILLER’S PLANET - CONTINUOUS 110
|
|
|
|
The Ranger glows WHITE HOT, slicing through FLAT CLOUDS -
|
|
|
|
|
|
111 INT. COCKPIT, RANGER - CONTINUOUS 111
|
|
|
|
Cooper peers out at the razor-like layers of cloud -
|
|
|
|
COOPER
|
|
Do we have a fix on the beacon?
|
|
|
|
CASE
|
|
Got it. Can you maneuver?
|
|
|
|
COOPER
|
|
Gotta shave more speed. I’ll try
|
|
and spiral down on it -
|
|
|
|
Doyle looks at Brand, nervous. She takes a breath.
|
|
|
|
|
|
112 EXT. MILLER’S PLANET - CONTINUOUS 112
|
|
|
|
The Ranger CUTS through cloud formations, BURSTING out into
|
|
CLEARER AIR, HIGH ABOVE AN ENDLESS OCEAN -
|
|
|
|
|
|
113 INT. COCKPIT, RANGER - CONTINUOUS 113
|
|
|
|
The crew peer at SPARKLING WATER, streaking below them -
|
|
|
|
DOYLE
|
|
Just water.
|
|
|
|
BRAND
|
|
The stuff of life ...
|
|
|
|
CASE
|
|
Twelve hundred meters out.
|
|
|
|
Cooper BANKS sharply, eases down.
|
|
|
|
BRAND
|
|
It’s shallow. Feet deep ...
|
|
|
|
|
|
114 EXT. MILLER’S PLANET - CONTINUOUS 114
|
|
|
|
The Ranger is low now, kicking up backwash -
|
|
67.
|
|
|
|
|
|
115 INT. COCKPIT, RANGER - CONTINUOUS 115
|
|
|
|
CASE
|
|
Seven hundred meters ...
|
|
|
|
Cooper peers ahead -
|
|
|
|
COOPER
|
|
Wait for it ...
|
|
|
|
CASE
|
|
Five hundred meters ...
|
|
|
|
Cooper YANKS the stick -
|
|
|
|
COOPER
|
|
Fire!
|
|
|
|
|
|
116 EXT. MILLER’S PLANET - CONTINUOUS 116
|
|
|
|
The Ranger’s retro-rockets FIRE - killing the craft’s speed
|
|
just feet from the surface. Water SPRAYS UP as the Ranger
|
|
SLEWS diagonally, gear is lowered, the Ranger drops, its
|
|
landing gear holding it just above the shallow water.
|
|
|
|
|
|
117 INT. COCKPIT, RANGER - CONTINUOUS 117
|
|
|
|
Everyone BOUNCES with the impact. Then BREATHES.
|
|
|
|
BRAND
|
|
Very graceful.
|
|
|
|
COOPER
|
|
No. But it was very efficient.
|
|
(Looks at them.)
|
|
What’re you waiting for? Go!
|
|
|
|
Brand and Doyle hurry out of their harnesses, helmets on.
|
|
|
|
Case moves to the hatch. With a CRACK, the hatch opens and
|
|
LIGHT and SPRAY whip inside ...
|
|
|
|
|
|
118 EXT. MILLER’S PLANET - MOMENTS LATER - DAY 118
|
|
|
|
Case climbs quickly from the craft, knee deep in the water.
|
|
|
|
Brand and Doyle follow. Case TRACKS the beacon.
|
|
|
|
CASE
|
|
68.
|
|
|
|
|
|
This way, about two hundred meters.
|
|
|
|
Brand and Doyle peer into the distance. Smooth, ankle-deep
|
|
water to the horizon, where a distant MOUNTAIN RANGE LOOMS.
|
|
|
|
They start splashing towards it in their heavy spacesuits
|
|
...
|
|
|
|
DOYLE
|
|
(panting)
|
|
The gravity’s punishing ...
|
|
|
|
BRAND
|
|
Floating through space too long?
|
|
|
|
CASE
|
|
One hundred and thirty percent
|
|
Earth gravity.
|
|
|
|
|
|
119 INT. COCKPIT, RANGER - CONTINUOUS 119
|
|
|
|
Cooper listens to their chatter, IMPATIENT.
|
|
|
|
COOPER
|
|
(under his breath)
|
|
Come on ...
|
|
|
|
|
|
120 EXT. MILLER’S PLANET - CONTINUOUS 120
|
|
|
|
Doyle falls behind. Brand pushes on. Ahead, Case stops.
|
|
|
|
CASE
|
|
Should be here.
|
|
|
|
Brand joins him, searching the shallows for some sign of
|
|
Miller’s mission. She looks up, confused.
|
|
|
|
BRAND
|
|
If the signal’s coming from here -
|
|
|
|
Case DROPS to his knees THRASHING under the water, like a
|
|
bear fishing. Doyle arrives -
|
|
|
|
DOYLE
|
|
What’s he doing?
|
|
|
|
|
|
121 INT. COCKPIT, LANDER - CONTINUOUS 121
|
|
|
|
Cooper notices something. In the distance. The mountains -
|
|
69.
|
|
|
|
|
|
122 EXT. MILLER’S PLANET - CONTINUOUS 122
|
|
|
|
Case WRENCHES a piece of DAMAGED EQUIPMENT from the sea
|
|
bed.
|
|
|
|
BRAND
|
|
Her beacon ...
|
|
|
|
Case starts lugging the beacon to the Ranger.
|
|
|
|
DOYLE
|
|
Wreckage. Where’s the rest ...?
|
|
|
|
BRAND
|
|
Towards the mountains!
|
|
|
|
She starts moving fast towards some FLOATING OBJECTS.
|
|
|
|
|
|
123 INT. COCKPIT, RANGER - CONTINUOUS 123
|
|
|
|
Cooper is staring out at the horizon -
|
|
|
|
COOPER
|
|
Those aren’t mountains ...
|
|
|
|
|
|
124 EXT. MILLER’S PLANET - CONTINUOUS 124
|
|
|
|
Brand pauses -
|
|
|
|
COOPER
|
|
(over radio)
|
|
They’re waves -
|
|
|
|
Brand looks closer - the ’mountains’ are moving, tiny lines
|
|
of white sea spray are blowing from the tops ...
|
|
|
|
|
|
125 INT. COCKPIT, RANGER - CONTINUOUS 125
|
|
|
|
Cooper looks the other direction ... there is a MOUNTAIN
|
|
WAVE BEARING DOWN ON THE SHIP ...
|
|
|
|
|
|
126 EXT. MILLER’S PLANET - CONTINUOUS 126
|
|
|
|
Brand is searching the wreckage -.
|
|
|
|
COOPER
|
|
(over radio)
|
|
Brand, get back here!
|
|
70.
|
|
|
|
|
|
BRAND
|
|
We need the recorder -
|
|
|
|
Doyle looks from Brand to Case, who is loading the beacon.
|
|
|
|
Beyond him Doyle sees the mountain wave approaching -
|
|
|
|
DOYLE
|
|
Case, go get her!
|
|
|
|
|
|
127 INT. COCKPIT, RANGER - CONTINUOUS 127
|
|
|
|
Cooper hits the dash, frustrated.
|
|
|
|
COOPER
|
|
Dammit! Brand, get back here!
|
|
|
|
|
|
128 EXT. MILLER’S PLANET - CONTINUOUS 128
|
|
|
|
Brand sloshes along, checking DEBRIS -
|
|
|
|
BRAND
|
|
We can’t leave without her data -
|
|
|
|
COOPER
|
|
(over radio)
|
|
You don’t have time!
|
|
|
|
Case is back at Doyle.
|
|
|
|
DOYLE
|
|
Go, go!
|
|
|
|
Case takes off towards Brand, who is trying to lift a piece
|
|
of equipment from the water. She drops it and moves on -
|
|
|
|
|
|
129 EXT. RANGER - CONTINUOUS 129
|
|
|
|
Cooper swings open the hatch, stands in the doorway,
|
|
peering out at the approaching mountain waves - turns back
|
|
to Brand -
|
|
|
|
COOPER
|
|
Get back here! Now!
|
|
|
|
Brand has pulled something heavy from the wreckage - she
|
|
SLIPS, the wreckage PINNING her down ... She looks back at
|
|
the Ranger - sees the mountain wave THOUSANDS OF FEET HIGH
|
|
ALMOST UPON THEM -
|
|
71.
|
|
|
|
|
|
BRAND
|
|
Cooper, go! Go! I can’t make it!
|
|
|
|
Cooper looks at Case RACING towards her -
|
|
|
|
COOPER
|
|
Get up, Brand!
|
|
|
|
BRAND
|
|
GO! GET OUT OF HERE!
|
|
|
|
Case THROWS her onto his back and starts running. Doyle
|
|
stands, mesmerized by the sheer liquid mountain face ...
|
|
|
|
COOPER
|
|
Doyle! Come on! Case has her!
|
|
|
|
Doyle turns, starts sloshing back, the water RUNNING
|
|
against his ankles now ... Two hundred yards behind, Case
|
|
POUNDS through the shallows, Brand on his back -
|
|
|
|
Cooper looks up at the EVER CLOSER MOUNTAIN WAVE - jumps
|
|
inside.
|
|
|
|
|
|
130 INT. COCKPIT, RANGER - CONTINUOUS 130
|
|
|
|
Cooper powers up, as the wall of liquid fills his view.
|
|
|
|
COOPER
|
|
Come on, come on ...
|
|
|
|
He sees the water right upon them - RUNS back to the hatch.
|
|
|
|
Doyle is at the foot of the ladder, Case RUNNING FAST.
|
|
|
|
DOYLE
|
|
Go!
|
|
|
|
Case JUMPS up the ladder, THROWS Brand inside - TURNS for
|
|
Doyle. The Ranger TILTS, RISES - DOYLE IS RIPPED FROM
|
|
CASE’S HAND - WATER RAGES ACROSS THE OPEN HATCH -
|
|
|
|
COOPER
|
|
Shut the hatch!
|
|
|
|
Case shuts the hatch. Cooper is throwing switches -
|
|
|
|
COOPER
|
|
Power down! Power down! We have to
|
|
ride it out!
|
|
(To Brand, furious.)
|
|
72.
|
|
|
|
|
|
We are not prepared for this!
|
|
|
|
|
|
131 EXT. MILLER’S PLANET - CONTINUOUS 131
|
|
|
|
Doyle is DRAGGED under and away. The Ranger is SUCKED
|
|
SIDEWAYS up the face of the mountain -
|
|
|
|
|
|
132 INT. COCKPIT, RANGER - CONTINUOUS 132
|
|
|
|
Brand and Cooper are thrown across the cockpit. Case GRABS
|
|
Brand, pulls her into her seat - Cooper holds on as the
|
|
craft ROLLS and ROLLS -
|
|
|
|
|
|
133 EXT. MILLER’S PLANET - CONTINUOUS 133
|
|
|
|
The Ranger reaches the top of the wave, rocks upright -
|
|
|
|
|
|
134 INT. COCKPIT, RANGER - CONTINUOUS 134
|
|
|
|
Cooper drops into his seat as the water pours off the
|
|
canopy -
|
|
|
|
|
|
135 EXT. MILLER’S PLANET - CONTINUOUS 135
|
|
|
|
The Ranger tilts over the backside of the wave, SURFING for
|
|
a second then PITCHING FORWARD - TUMBLING DOWN 8,000 FEET
|
|
...
|
|
|
|
|
|
136 INT. COCKPIT, RANGER - CONTINUOUS 136
|
|
|
|
They hang on for dear life, THRASHED MERCILESSLY -
|
|
|
|
|
|
137 EXT. MILLER’S PLANET - CONTINUOUS 137
|
|
|
|
The Ranger comes AGROUND as the wave leaves it behind ...
|
|
|
|
|
|
138 INT. COCKPIT, RANGER - CONTINUOUS 138
|
|
|
|
The craft comes to rest. Cooper jumps to the controls,
|
|
powers up the electrics. The engines won’t respond -
|
|
|
|
|
|
139 EXT. RANGER - CONTINUOUS 139
|
|
73.
|
|
|
|
|
|
The gear LIFTS the Ranger. Water FLOODS out -
|
|
|
|
|
|
140 INT. COCKPIT, RANGER - CONTINUOUS 140
|
|
|
|
Cooper tries the engines again. Nothing.
|
|
|
|
CASE
|
|
Too waterlogged. Let it drain.
|
|
|
|
COOPER
|
|
(hits console)
|
|
GODDAMN!
|
|
|
|
BRAND
|
|
I told you to leave me.
|
|
|
|
COOPER
|
|
And I told you to get your ass back
|
|
here! Difference is, only one of us
|
|
was thinking about the mission -
|
|
|
|
BRAND
|
|
Cooper, you were thinking about
|
|
getting home - I was trying to do
|
|
the right thing!
|
|
|
|
COOPER
|
|
Tell that to Doyle.
|
|
|
|
Quiet. Cooper looks down at the clock. Bitter.
|
|
|
|
How long to drain, Case?
|
|
|
|
CASE
|
|
Forty-five to an hour.
|
|
|
|
Cooper shakes his head. Pulls his helmet off.
|
|
|
|
COOPER
|
|
The stuff of life, huh? What’s this
|
|
gonna cost us, Brand?
|
|
|
|
BRAND
|
|
A lot. Decades.
|
|
|
|
Cooper rubs his face. Mind reeling. Trying to breathe.
|
|
|
|
COOPER
|
|
What happened to Miller?
|
|
|
|
BRAND
|
|
74.
|
|
|
|
|
|
Judging by the wreckage, she was
|
|
broken up by a wave soon after
|
|
impact.
|
|
|
|
COOPER
|
|
How could the wreckage still be
|
|
together after all these years?
|
|
|
|
BRAND
|
|
Because of the time slippage. On
|
|
this planet’s time, she landed here
|
|
just hours ago. She might’ve only
|
|
died minutes ago.
|
|
|
|
Case indicates the beacon.
|
|
|
|
CASE
|
|
The data Doyle received was just
|
|
the initial status, echoing
|
|
endlessly.
|
|
|
|
Cooper takes this in. Breathes hard. Takes off his gloves.
|
|
|
|
COOPER
|
|
We’re not prepared for this, Brand.
|
|
You’re a bunch of eggheads without
|
|
the survival skills of a boy-scout
|
|
troop.
|
|
|
|
BRAND
|
|
We got this far on our brains -
|
|
farther than any humans in history
|
|
-
|
|
|
|
COOPER
|
|
Not far enough. And we’re stuck
|
|
here till there won’t be anyone
|
|
left on Earth to save -
|
|
|
|
BRAND
|
|
I’m counting every second, same as
|
|
you, Cooper.
|
|
|
|
Cooper takes this in. They’re in the same boat.
|
|
|
|
COOPER
|
|
Don’t you have some clever way we
|
|
jump into a black hole and get back
|
|
the years?
|
|
|
|
She shakes her head, dismissive.
|
|
|
|
COOPER
|
|
75.
|
|
|
|
|
|
Don’t just shake your head at me -!
|
|
|
|
BRAND
|
|
Time is relative - it can stretch
|
|
and squeeze - but it can’t run
|
|
backwards. The only thing that can
|
|
move across dimensions like time is
|
|
gravity.
|
|
|
|
COOPER
|
|
(thinks)
|
|
The beings who led us here ... they
|
|
communicate through gravity ...
|
|
|
|
Brand nods.
|
|
|
|
COOPER
|
|
Could they be talking to us from
|
|
the future?
|
|
|
|
BRAND
|
|
(considers)
|
|
Maybe ...
|
|
|
|
COOPER
|
|
Well, if they can -
|
|
|
|
BRAND
|
|
Look, Cooper, they’re creatures of
|
|
at least five dimensions - to them
|
|
time may be just another physical
|
|
dimension. To them the past might
|
|
be a canyon they can climb into and
|
|
the future a mountain they can can
|
|
climb up ... but to us it’s not,
|
|
okay?
|
|
|
|
Brand pulls her helmet off. Looks Cooper in the eyes.
|
|
|
|
BRAND
|
|
I’m sorry, Cooper. I screwed up.
|
|
But you knew about relativity.
|
|
|
|
COOPER
|
|
My daughter was ten. I couldn’t
|
|
explain Einstein’s theories before
|
|
I left.
|
|
|
|
BRAND
|
|
Could you tell her you were going
|
|
to save the world?
|
|
|
|
COOPER
|
|
76.
|
|
|
|
|
|
No. I wasn’t much of a parent, but
|
|
I understood the most important
|
|
thing - let your kids feel safe.
|
|
Which rules out telling a ten-year-
|
|
old that the world’s ending.
|
|
|
|
CASE
|
|
Cooper?
|
|
|
|
Case is pointing out at another MOUNTAIN RANGE.
|
|
|
|
COOPER
|
|
How long for the engines?
|
|
|
|
CASE
|
|
A minute or two -
|
|
|
|
COOPER
|
|
We don’t have it!
|
|
|
|
The mountain wave is approaching. Cooper tries the engines
|
|
-
|
|
|
|
|
|
141 EXT. RANGER - CONTINUOUS 141
|
|
|
|
The rockets COUGH and steam ...
|
|
|
|
|
|
142 INT. COCKPIT, RANGER - CONTINUOUS 142
|
|
|
|
Cooper tries the engines again. Close. But no ignition.
|
|
|
|
COOPER
|
|
Helmets on!
|
|
|
|
The wave is upon them ...
|
|
|
|
COOPER
|
|
Blow our cabin oxygen through the
|
|
main thrusters. We’ll spark it -
|
|
|
|
Case hits a button - a HISS and SHRIEK of gas escaping ...
|
|
Brand seals her helmet just as the cockpit DEPRESSURIZES -
|
|
|
|
COOPER
|
|
Come on, now ...
|
|
|
|
Cooper hits the engines - they BLAST TO LIFE -
|
|
|
|
|
|
143 EXT. RANGER - CONTINUOUS 143
|
|
77.
|
|
|
|
|
|
A fiery BLAST sends the Ranger clear of the mountain wave.
|
|
|
|
Down below, Doyle’s body lies in the shallows, about to be
|
|
swept up into the next rush of water ...
|
|
|
|
|
|
144 INT. RING MODULE, ENDURANCE - DAY 144
|
|
|
|
Romilly watches as Cooper and Brand enter the Endurance.
|
|
|
|
BRAND
|
|
Hello, Rom.
|
|
|
|
ROMILLY
|
|
I’ve waited years.
|
|
|
|
COOPER
|
|
How many years?
|
|
|
|
ROMILLY
|
|
By now ... it must be -
|
|
|
|
TARS
|
|
Twenty-three years ...
|
|
|
|
Cooper’s head lowers.
|
|
|
|
TARS
|
|
... four months, eight days.
|
|
|
|
Cooper turns away.
|
|
|
|
ROMILLY
|
|
Doyle?
|
|
|
|
Brand’s eyes flicker down. She shakes her head. She grasps
|
|
Romilly’s hands, looks up into his eyes, vulnerable -
|
|
|
|
BRAND
|
|
I thought I was prepared. I knew
|
|
all the theory. Reality’s
|
|
different.
|
|
|
|
ROMILLY
|
|
And Miller?
|
|
|
|
BRAND
|
|
There’s nothing here for us.
|
|
|
|
Brand looks at Romilly’s wrinkles. His greying beard.
|
|
|
|
BRAND
|
|
78.
|
|
|
|
|
|
Why didn’t you sleep?
|
|
|
|
ROMILLY
|
|
I did a couple of stretches. But I
|
|
stopped believing you were coming
|
|
back, and something seems wrong
|
|
about dreaming your life away. I
|
|
learned what I could from studying
|
|
the black hole, but I couldn’t send
|
|
anything to your father. We’ve been
|
|
receiving, but nothing gets out.
|
|
|
|
She looks up at Romilly, not wanting to ask ...
|
|
|
|
BRAND
|
|
Is he still alive?
|
|
|
|
Romilly nods. Brand closes her eyes with relief.
|
|
|
|
ROMILLY
|
|
We’ve got years of messages stored
|
|
...
|
|
|
|
Brand opens her eyes, looks for Cooper. He is in the comm.
|
|
booth. He SHUTS the privacy curtain. She looks down.
|
|
|
|
|
|
145 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 145
|
|
|
|
Cooper studies the machine like it might bite him.
|
|
|
|
COOPER
|
|
Cooper.
|
|
|
|
COMPUTER VOICE
|
|
Messages span twenty-three years -
|
|
|
|
COOPER
|
|
I know.
|
|
(Whispers.)
|
|
Just start at the beginning.
|
|
|
|
Cooper leans forward as the screen flickers to life: Tom,
|
|
still seventeen, turns on the camera.
|
|
|
|
TOM
|
|
Hi, Dad -
|
|
|
|
Cooper pauses it. Prepares himself. Lets it run -
|
|
|
|
TOM
|
|
I met another girl, Dad. I really
|
|
think this is the one -
|
|
79.
|
|
|
|
|
|
Tom holds up a picture of himself and a teenage GIRL.
|
|
|
|
TOM
|
|
Murph stole Grandpa’s car. She
|
|
crashed it - she’s okay, though.
|
|
Your truck’s still running -
|
|
Grandpa said she should steal that
|
|
next time. I said if she did it’d
|
|
be the last thing she did ...
|
|
|
|
Cooper leans back ...
|
|
|
|
|
|
146 INT. COMMUNICATIONS BOOTH, ENDURANCE - DAY 146
|
|
|
|
Cooper is holed up, still watching, unshaved. He’s been
|
|
watching for days. On the screen, Tom is in his twenties -
|
|
|
|
TOM
|
|
I’ve got a surprise for you, Dad.
|
|
You’re a grandpa ...
|
|
|
|
Tom holds up an infant wrapped tight in swaddling.
|
|
|
|
TOM
|
|
Congratulations. Meet Jesse.
|
|
|
|
Cooper smiles a tearful smile.
|
|
|
|
TOM
|
|
Grandpa said he already earned the
|
|
’great’ part so we just leave it at
|
|
that.
|
|
|
|
The screen cuts out. Then comes back on. Tom in his
|
|
thirties -
|
|
|
|
TOM
|
|
Hi, Dad. I’m sorry it’s been
|
|
awhile. What with Jesse and all ...
|
|
|
|
He stops, emotional.
|
|
|
|
TOM
|
|
Grandpa died last week. We buried
|
|
him out in the back forty, next to
|
|
Mom and Jesse.
|
|
(Looks down.)
|
|
Where we’d have buried you, if
|
|
you’d ever come back.
|
|
(Looks up.)
|
|
Murph was there for the funeral. I
|
|
don’t see her so much anymore.
|
|
80.
|
|
|
|
|
|
(Sighs.)
|
|
You’re not listening to this. I
|
|
know that. All these messages are
|
|
just out there, drifting in the
|
|
darkness ... I figured as long as
|
|
they were willing to send them
|
|
there was some hope, but ...
|
|
(Pauses.)
|
|
You’re gone. You’re never coming
|
|
back. And I’ve known that for a
|
|
long time. Lois says - that’s my
|
|
wife, Dad - she says I have to let
|
|
you go. So I am.
|
|
(Reaches up to turn off
|
|
camera.)
|
|
Wherever you are, I hope you’re at
|
|
peace. Goodbye, Dad.
|
|
|
|
The screen goes black. Tears are streaming down Cooper’s
|
|
face. He stares at the black screen, wiping his face. He
|
|
starts to get up - the screen flickers to life once more -
|
|
A beautiful WOMAN of about forty has turned on the camera -
|
|
she looks at us, unsure about this. Makes a start -
|
|
|
|
WOMAN
|
|
Hello, Dad. You sonofabitch.
|
|
|
|
Cooper peers into the face, recognizing -
|
|
|
|
COOPER
|
|
(whispers)
|
|
Murph?
|
|
|
|
WOMAN (MURPH)
|
|
I never made one of these when you
|
|
were still responding cos I was so
|
|
mad at you for leaving. When you
|
|
went quiet, it seemed like I should
|
|
just live with my decision. And I
|
|
have ...
|
|
(Looks around.)
|
|
But today’s my birthday. And it’s a
|
|
special one because you once told
|
|
me -
|
|
|
|
She stops, unable to speak for a second.
|
|
|
|
MURPH
|
|
You once told me that when you came
|
|
back we might be the same age ...
|
|
and today I’m the age you were when
|
|
you left ...
|
|
(Starts crying.)
|
|
81.
|
|
|
|
|
|
So it’d be a real good time for you
|
|
to come back.
|
|
|
|
Murph reaches up, switches off the camera and we stay with
|
|
her in -
|
|
|
|
|
|
147 INT. COMMUNICATION ROOM, NASA - DAY 147
|
|
|
|
Murph brings her hand down from the camera. Wipes her
|
|
tears.
|
|
|
|
PROFESSOR BRAND
|
|
(O.S., softly)
|
|
I didn’t mean to intrude.
|
|
|
|
Murph turns to see Professor Brand, now ELDERLY, in a
|
|
WHEELCHAIR in the doorway.
|
|
|
|
PROFESSOR BRAND
|
|
I’ve never seen you in here before.
|
|
|
|
Murph rises -
|
|
|
|
MURPH
|
|
I’ve never been in here before.
|
|
|
|
Murph wheels Professor Brand out into the corridor.
|
|
|
|
|
|
148 INT. CURVING CORRIDOR, NASA - MOMENTS LATER 148
|
|
|
|
Murph pushes Professor Brand.
|
|
|
|
PROFESSOR BRAND
|
|
I talk to Amelia all the time. It
|
|
helps. I’m glad you’ve started -
|
|
|
|
MURPH
|
|
I haven’t. I just had something I
|
|
wanted to get out.
|
|
|
|
|
|
149 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 149
|
|
|
|
Professor Brand wheels behind his desk.
|
|
|
|
PROFESSOR BRAND
|
|
I know they’re still out there.
|
|
|
|
MURPH
|
|
I know.
|
|
82.
|
|
|
|
|
|
PROFESSOR BRAND
|
|
There are so many reasons their
|
|
communications might not be getting
|
|
through.
|
|
|
|
MURPH
|
|
(smiles gently)
|
|
I know, Professor.
|
|
|
|
PROFESSOR BRAND
|
|
I’m not sure which I’m more afraid
|
|
of ... they never come back, or
|
|
they come back to find we’ve
|
|
failed.
|
|
|
|
She watches his introspection. Brings him back with -
|
|
|
|
MURPH
|
|
Then let’s succeed.
|
|
|
|
PROFESSOR BRAND
|
|
(gestures at formula)
|
|
So, back from the fourth iteration,
|
|
let’s run it with a finite set.
|
|
|
|
Murph has picked up a notebook. Pauses.
|
|
|
|
MURPH
|
|
With respect, Professor. We’ve
|
|
tried that hundreds of times.
|
|
|
|
PROFESSOR BRAND
|
|
And it only has to work once,
|
|
Murph.
|
|
|
|
She shrugs. Starts to work.
|
|
|
|
|
|
150 INT. LAUNCH FACILITY - LATER 150
|
|
|
|
Murph and Professor Brand sit, eating sandwiches on a
|
|
walkway. WORKERS move about the CIRCULAR CHAMBER, building
|
|
more SIDEWAYS INFRASTRUCTURE. Professor Brand looks down,
|
|
proud.
|
|
|
|
PROFESSOR BRAND
|
|
Every rivet they drive in could
|
|
have been a bullet. We’ve done well
|
|
for the world, here. Whether or not
|
|
we crack the equation before I kick
|
|
-
|
|
|
|
MURPH
|
|
83.
|
|
|
|
|
|
Don’t be morbid, Professor.
|
|
|
|
PROFESSOR BRAND
|
|
I’m not afraid of death, Murph. I’m
|
|
an old physicist - I’m afraid of
|
|
time.
|
|
|
|
|
|
151 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 151
|
|
|
|
Murph stands before the algebra. She REALIZES something.
|
|
|
|
MURPH
|
|
Time ... you’re afraid of time ...
|
|
|
|
CONVINCED, she TURNS -
|
|
|
|
MURPH
|
|
Professor, the equation ...?
|
|
|
|
He looks up.
|
|
|
|
MURPH
|
|
For years we’ve tried to solve it
|
|
without changing the underlying
|
|
assumptions about time -
|
|
|
|
PROFESSOR BRAND
|
|
And?
|
|
|
|
MURPH
|
|
And that means each iteration
|
|
becomes an attempt to prove its own
|
|
proof - it’s recursive. Nonsensical
|
|
-
|
|
|
|
PROFESSOR BRAND
|
|
(sharp)
|
|
Are you calling my life’s work
|
|
’nonsense’, Murph?
|
|
|
|
MURPH
|
|
No, I’m saying you’ve been trying
|
|
to finish it with one arm - no,
|
|
with both arms tied behind your
|
|
back ...
|
|
|
|
Murph focuses on Professor Brand, suddenly WARY ...
|
|
|
|
MURPH
|
|
... and I don’t understand why.
|
|
|
|
Professor Brand looks down. Starts wheeling his chair.
|
|
84.
|
|
|
|
|
|
PROFESSOR BRAND
|
|
I’m an old man, Murph. Could we
|
|
pick this up some other time? I’d
|
|
like to go talk to my daughter.
|
|
|
|
Murph nods. Looking at the Professor. Confused.
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
Stepping out into the universe, we
|
|
must first confront the reality
|
|
that nothing in our solar system
|
|
can help us ...
|
|
|
|
|
|
152 INT. COMMUNICATIONS BOOTH, ENDURANCE - NIGHT 152
|
|
|
|
Brand watches her father on screen.
|
|
|
|
PROFESSOR BRAND
|
|
(V.O.)
|
|
... then we must confront the
|
|
realities of interstellar travel.
|
|
We must venture far beyond the
|
|
reach of our own life spans. We
|
|
must think not as individuals, but
|
|
as a species ...
|
|
|
|
|
|
153 INT. RING MODULE, ENDURANCE - DAY 153
|
|
|
|
Romilly, Brand, Cooper, Tars and Case sit in discussion.
|
|
|
|
COOPER
|
|
Tars kept the Endurance right where
|
|
we needed her, but it took years
|
|
longer than we anticipated ...
|
|
|
|
Cooper puts both planets on screen - Dr Mann’s ice world,
|
|
and Edmunds’ desert planet.
|
|
|
|
COOPER
|
|
We don’t have the fuel to visit
|
|
both prospects. We have to choose.
|
|
|
|
ROMILLY
|
|
How? They’re both promising.
|
|
Edmunds’ data was better, but Dr
|
|
Mann is the one still transmitting.
|
|
|
|
BRAND
|
|
85.
|
|
|
|
|
|
We’ve got no reason to suppose
|
|
Edmunds’ results would have soured.
|
|
His world has key elements to
|
|
sustain human life -
|
|
|
|
COOPER
|
|
As does Dr Mann’s.
|
|
|
|
BRAND
|
|
Cooper, this is my field. And I
|
|
really believe Edmunds’ is the
|
|
better prospect.
|
|
|
|
COOPER
|
|
(challenging)
|
|
Why?
|
|
|
|
BRAND
|
|
Gargantua, that’s why.
|
|
(Steps to board.)
|
|
Look at Miller’s world -
|
|
hydrocarbons, organics, yes. But no
|
|
life. Sterile. We’ll find the same
|
|
thing on Dr Mann’s.
|
|
|
|
ROMILLY
|
|
Because of the black hole?
|
|
|
|
BRAND
|
|
(nods)
|
|
Murphy’s Law - whatever can happen
|
|
will happen. Accident is the first
|
|
building block of evolution - but
|
|
when you’re orbiting a black hole
|
|
not enough can happen - it sucks in
|
|
asteroids and comets, random events
|
|
that would otherwise reach you. We
|
|
need to go to further afield.
|
|
|
|
COOPER
|
|
You once referred to Dr Mann as the
|
|
’best of us’.
|
|
|
|
BRAND
|
|
He’s remarkable. We’re only here
|
|
because of him.
|
|
|
|
COOPER
|
|
And he’s there on the ground
|
|
sending an unambiguous message that
|
|
we should go to that planet.
|
|
|
|
Brand is silent. Romilly looks from Brand to Cooper.
|
|
86.
|
|
|
|
|
|
ROMILLY
|
|
Should we vote?
|
|
|
|
COOPER
|
|
If we’re going to vote, there’s
|
|
something you need to know. Brand?
|
|
|
|
She says nothing.
|
|
|
|
COOPER
|
|
He has a right to know.
|
|
|
|
BRAND
|
|
That has nothing to do with it.
|
|
|
|
ROMILLY
|
|
What does?
|
|
|
|
COOPER
|
|
She’s in love with Wolf Edmunds.
|
|
|
|
ROMILLY
|
|
(to Brand)
|
|
Is that true?
|
|
|
|
BRAND
|
|
Yes. And that makes me want to
|
|
follow my heart. But maybe we’ve
|
|
spent too long trying to figure all
|
|
this with theory -
|
|
|
|
COOPER
|
|
You’re a scientist, Brand -
|
|
|
|
BRAND
|
|
I am. So listen to me when I tell
|
|
you that love isn’t something we
|
|
invented - it’s observable,
|
|
powerful. Why shouldn’t it mean
|
|
something?
|
|
|
|
COOPER
|
|
It means social utility - child
|
|
rearing, social bonding -
|
|
|
|
BRAND
|
|
87.
|
|
|
|
|
|
We love people who’ve died ...
|
|
where’s the social utility in that?
|
|
Maybe it means more - something we
|
|
can’t understand, yet. Maybe it’s
|
|
some evidence, some artifact of
|
|
higher dimensions that we can’t
|
|
consciously perceive. I’m drawn
|
|
across the universe to someone I
|
|
haven’t seen for a decade, who I
|
|
know is probably dead. Love is the
|
|
one thing we’re capable of
|
|
perceiving that transcends
|
|
dimensions of time and space. Maybe
|
|
we should trust that, even if we
|
|
can’t yet understand it.
|
|
|
|
Brand looks at Romilly, who can’t meet her eye.
|
|
|
|
BRAND
|
|
Cooper, yes - the tiniest
|
|
possibility of seeing Wolf again
|
|
excites me. But that doesn’t mean
|
|
I’m wrong.
|
|
|
|
Cooper thinks back to his conversation with Donald.
|
|
|
|
COOPER
|
|
Honestly, Amelia ... it might.
|
|
|
|
Romilly looks at Brand. It’s clear she’s lost.
|
|
|
|
COOPER
|
|
Tars, set the course for Dr Mann.
|
|
|
|
Brand is starting to tear up. She turns away.
|
|
|
|
|
|
154 EXT. OUTER SPACE - MOMENTS LATER 154
|
|
|
|
The thrusters FIRE, pushing the Endurance out of its orbit
|
|
of Gargantua.
|
|
|
|
|
|
155 INT. RING MODULE, ENDURANCE - LATER 155
|
|
|
|
Brand is checking her POPULATION BOMB. Cooper enters.
|
|
|
|
COOPER
|
|
Brand, I’m sorry.
|
|
|
|
BRAND
|
|
Why? You’re just being objective.
|
|
(Beat.)
|
|
88.
|
|
|
|
|
|
Unless you’re punishing me for
|
|
screwing up on Miller’s planet.
|
|
|
|
COOPER
|
|
This wasn’t a personal decision for
|
|
me.
|
|
|
|
Brand turns from her equipment. Looks him in the eye.
|
|
|
|
BRAND
|
|
Well, if you’re wrong, you’ll have
|
|
a very personal decision to make.
|
|
(Off look.)
|
|
Your fuel calculations are based on
|
|
a return journey. Strike out on Dr
|
|
Mann’s planet, and we’ll have to
|
|
decide whether to return home, or
|
|
push on to Edmunds’ planet with
|
|
Plan B. Starting a colony could
|
|
save us from extinction.
|
|
|
|
She closes the population bomb.
|
|
|
|
BRAND
|
|
You might have to decide between
|
|
seeing your children again ... and
|
|
the future of the human race.
|
|
(Smiles bitterly.)
|
|
I trust you’ll be as objective,
|
|
then.
|
|
|
|
|
|
156 EXT. OUTER SPACE - CONTINUOUS 156
|
|
|
|
The Endurance sinks past a GLORIOUS NEBULA whose GOLDEN
|
|
MISTS DISSOLVE TO ROILING BLACK CLOUDS and we are -
|
|
|
|
|
|
157 EXT. FARMHOUSE - DAY 157
|
|
|
|
Murph stands with Tom, now late forties. Watching a field
|
|
BURN.
|
|
|
|
TOM
|
|
We’ll lose about a third this
|
|
season. But next year ... I’m gonna
|
|
start working Nelson’s fields.
|
|
Should make it up.
|
|
|
|
MURPH
|
|
What happened to Nelson?
|
|
|
|
Tom glances at her. Don’t ask. Heads for the house.
|
|
89.
|
|
|
|
|
|
158 INT/EXT. FARMHOUSE - DUSK 158
|
|
|
|
Murph at family dinner with Tom, LOIS, and their six-year-
|
|
old son COOP.
|
|
|
|
LOIS
|
|
Will you stay the night? We left
|
|
your room like it was ...
|
|
|
|
Murph looks down, awkward ...
|
|
|
|
MURPH
|
|
No, I need to ...
|
|
|
|
Murph looks upstairs. At Lois.
|
|
|
|
MURPH
|
|
Too many memories, Lois.
|
|
|
|
She nods. Coop helps Tom clear. As Coop takes Murph’s plate
|
|
he starts COUGHING. Looks up at her, sees her concern,
|
|
GRINS.
|
|
|
|
COOP
|
|
The dust.
|
|
|
|
He and Tom head into the kitchen.
|
|
|
|
MURPH
|
|
I have a friend who should look at
|
|
his lungs, Lois.
|
|
|
|
She nods, is about to speak. Tom sits back down.
|
|
|
|
Pull back to reveal the glowing windows against the
|
|
darkening plain, dust clouds rolling across the horizon ...
|
|
|
|
|
|
159 INT. CORRIDOR, NASA - NIGHT 159
|
|
|
|
Murph hurries down a corridor with a doctor, GETTY.
|
|
|
|
GETTY
|
|
He started asking for you after he
|
|
came to, but we couldn’t raise you
|
|
-
|
|
|
|
|
|
160 INT. HOSPITAL ROOM, NASA - MOMENTS LATER 160
|
|
|
|
Murph is at Professor Brand’s bedside. He is hooked up to
|
|
machines. Barely breathing.
|
|
90.
|
|
|
|
|
|
PROFESSOR BRAND
|
|
Murph ... Murph ...
|
|
|
|
Murph takes his hand with gentle concern.
|
|
|
|
MURPH
|
|
I’m here, Professor.
|
|
|
|
PROFESSOR BRAND
|
|
I don’t have much life ...
|
|
(Breathes.)
|
|
I have to tell you ...
|
|
|
|
MURPH
|
|
Try to take it easy.
|
|
|
|
PROFESSOR BRAND
|
|
All these ... years. All these
|
|
people ... counted on me ...
|
|
|
|
MURPH
|
|
It’s okay, Professor.
|
|
|
|
PROFESSOR BRAND
|
|
I let you ... all you ... down.
|
|
|
|
MURPH
|
|
No. I’ll finish what you started.
|
|
|
|
Professor Brand looks up into Murph’s eyes, tears welling.
|
|
|
|
PROFESSOR BRAND
|
|
Murph. Good, good Murph. Such faith
|
|
... all these years, I told you to
|
|
have faith ... to believe ...
|
|
|
|
MURPH
|
|
I do believe -
|
|
|
|
PROFESSOR BRAND
|
|
I needed you to believe your father
|
|
was coming back ...
|
|
|
|
MURPH
|
|
I do, Professor -
|
|
|
|
PROFESSOR BRAND
|
|
Forgive me, Murph ...
|
|
|
|
MURPH
|
|
There’s nothing to forgive.
|
|
|
|
PROFESSOR BRAND
|
|
91.
|
|
|
|
|
|
I lied, Murph. I lied to you ...
|
|
|
|
Murph looks at Professor Brand, confused.
|
|
|
|
PROFESSOR BRAND
|
|
There’s no reason to come back ...
|
|
no way to help us ...
|
|
|
|
MURPH
|
|
But Plan A - all this - all these
|
|
people ... the equation!
|
|
|
|
But Professor Brand slowly shakes his head, tears rolling
|
|
down. As Murph tries to comprehend, he settles, DRIFTING.
|
|
|
|
MURPH
|
|
(whispers)
|
|
Did he know?
|
|
|
|
Nothing.
|
|
|
|
MURPH
|
|
Did my dad know?!
|
|
|
|
Nothing.
|
|
|
|
MURPH
|
|
Did he abandon me?!
|
|
|
|
PROFESSOR BRAND
|
|
Do ... not ... go...
|
|
|
|
She leans in to hear.
|
|
|
|
PROFESSOR BRAND
|
|
Gentle ... into ... into ...
|
|
|
|
MURPH
|
|
NO! NO! Professor, stay! You can’t!
|
|
You can’t leave ...
|
|
|
|
Getty is at her shoulder.
|
|
|
|
MURPH
|
|
You can’t, you can’t, you ...
|
|
|
|
Getty puts his hand on her shoulder. She sits there. Stuck.
|
|
|
|
As Professor Brand goes still ...
|
|
|
|
MURPH
|
|
(V.O.)
|
|
92.
|
|
|
|
|
|
Dr Brand, I’m sorry to tell you
|
|
that your father died today ...
|
|
|
|
|
|
161 INT. COMMUNICATION ROOM, NASA - DAY 161
|
|
|
|
Murph, controlled anger, sits in front of the camera.
|
|
|
|
MURPH
|
|
He had no pain and was ... at
|
|
peace. I’m sorry for your loss.
|
|
|
|
She reaches to switch off the camera. STOPS. Acid.
|
|
|
|
MURPH
|
|
Did you know, Brand? Did he tell
|
|
you ...?
|
|
|
|
|
|
162 INT. RING MODULE, ENDURANCE - DAY 162
|
|
|
|
Murph’s voice rings through the empty ship. Only Case there
|
|
to register it.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
Did you know that Plan A was a sham
|
|
...?! You left us here. To die.
|
|
Never coming back ...
|
|
|
|
Through the window we see the Ranger moving away, towards -
|
|
|
|
|
|
163 EXT. DR MANN’S PLANET - DAY 163
|
|
|
|
The Endurance orbits the silvery white globe as the Ranger
|
|
heads towards the planet.
|
|
|
|
|
|
164 EXT. STRATOSPHERE - MOMENTS LATER 164
|
|
|
|
The Ranger drops through layers of large, MOUNTAINOUS
|
|
CLOUD.
|
|
|
|
|
|
165 INT. COCKPIT, RANGER - CONTINUOUS 165
|
|
|
|
Cooper and Tars, Brand and Romilly. Cooper peers out,
|
|
concerned, studying a heads-up display of CLOUD DENSITY ...
|
|
|
|
|
|
166 EXT. DR MANN’S PLANET - CONTINUOUS 166
|
|
93.
|
|
|
|
|
|
The Ranger cuts through one cloud, banks left and SCRAPES
|
|
AGAINST THE NEXT ’CLOUD’, PANELS TEARING FROM THE WING -
|
|
THE CLOUDS ARE ACTUALLY SOLID ICE FORMATIONS ...
|
|
|
|
|
|
167 INT. COCKPIT, RANGER - CONTINUOUS 167
|
|
|
|
Cooper banks away from the ICE, glancing out at the damage
|
|
-
|
|
|
|
|
|
168 EXT. DR MANN’S PLANET - CONTINUOUS 168
|
|
|
|
The Ranger moves cautiously through the ’cloudscape’ like a
|
|
ship through an ice field ...
|
|
|
|
|
|
169 INT. COCKPIT, RANGER - CONTINUOUS 169
|
|
|
|
Romilly and Brand put their helmets on. Tars indicates the
|
|
beacon’s position. Cooper looks, BANKS the Ranger.
|
|
|
|
|
|
170 EXT. DR MANN’S PLANET - CONTINUOUS 170
|
|
|
|
The Ranger’s gear lowers as it comes to rest, tentatively,
|
|
at the base of what looks like a large CUMULUS CLOUD.
|
|
|
|
|
|
171 EXT. DR MANN’S PLANET - LATER 171
|
|
|
|
Cooper leads them up the ICE CLOUD. From a distance, they
|
|
are walking on a cloud. Tars brings up the rear.
|
|
|
|
Cooper crests a ridge. SPOTS something. He starts down
|
|
towards a dirty orange dot in the cloudscape.
|
|
|
|
|
|
172 EXT. DR MANN’S POD - MOMENTS LATER 172
|
|
|
|
Cooper is there. The others arrive at the large metal pod -
|
|
WEATHERED and DAMAGED over the years, half buried in ice.
|
|
|
|
Nearby, various WIRE MARKERS stick out of the ice. Tars
|
|
starts digging out the hatch.
|
|
|
|
|
|
173 INT. DR MANN’S POD - LATER 173
|
|
|
|
A CRACK of COLD LIGHT, as the outer hatch is wrenched open.
|
|
94.
|
|
|
|
|
|
Cooper steps through the airlock, into a CRYPT-LIKE SPACE -
|
|
Cooper’s hand sweeps ice from the nameplate of a cryo-
|
|
chamber, ’DR MANN’.
|
|
|
|
Tars fires up the cryo-chamber. The ice starts to melt.
|
|
|
|
Cooper, helmet off, CRACKS the lid, pushes it back,
|
|
revealing a figure in a plastic shroud. Cooper rips the
|
|
seal ...
|
|
|
|
Dr Mann’s eyes flicker open. He watches Cooper, breathing,
|
|
focusing - reaches up with TREMBLING hands - GRABS Cooper -
|
|
PULLS himself up, CHEEK AGAINST CHEEK - SOBBING - hands
|
|
desperately CARESSING Cooper’s face. Cooper holds him
|
|
tight.
|
|
|
|
COOPER
|
|
(whispering)
|
|
It’s okay. It’s okay.
|
|
|
|
|
|
174 INT. SAME - LATER 174
|
|
|
|
Dr Mann sits, blanket over his shoulders, sipping from a
|
|
steaming cup. He looks at their faces, marveling.
|
|
|
|
DR MANN
|
|
(cracked, parched)
|
|
Pray you never learn just how good
|
|
it can be to see another face.
|
|
(Shaky sip.)
|
|
I hadn’t much hope to begin with.
|
|
After so much time, I had none. My
|
|
supplies were exhausted. The last
|
|
time I went to sleep, I set no
|
|
waking date.
|
|
(Looks at them all.)
|
|
You have literally raised me from
|
|
the dead.
|
|
|
|
COOPER
|
|
(smiles)
|
|
Lazarus.
|
|
|
|
DR MANN
|
|
(nods)
|
|
And the others?
|
|
|
|
ROMILLY
|
|
I’m afraid you’re it, sir.
|
|
|
|
DR MANN
|
|
So far, surely?
|
|
95.
|
|
|
|
|
|
COOPER
|
|
With our situation, there’s not
|
|
much hope of any other rescue.
|
|
|
|
This hits Dr Mann hard. He looks down at his tea.
|
|
|
|
BRAND
|
|
Dr Mann, tell us about your world.
|
|
|
|
DR MANN
|
|
(smiles gently)
|
|
My world. Yes. Our world, we hope.
|
|
Our world is cold, stark ...
|
|
|
|
|
|
175 EXT. DR MANN’S PLANET - DAY 175
|
|
|
|
Dr Mann leads the others up to the summit of a cloud.
|
|
|
|
DR MANN
|
|
(V.O.)
|
|
But undeniably beautiful ...
|
|
|
|
From the top, they watch the planet’s pale sun setting.
|
|
|
|
DR MANN
|
|
The days are sixty-seven cold
|
|
hours, the nights are sixty-seven
|
|
far colder hours ...
|
|
|
|
They make their way back into the shelter.
|
|
|
|
DR MANN
|
|
(V.O.)
|
|
The gravity is a very pleasant 80
|
|
percent of Earth’s. Up here, where
|
|
I landed, the ’water’ is alkali and
|
|
the ’air’ has too much ammonia in
|
|
it to breathe for more than a few
|
|
minutes ...
|
|
|
|
Brand checks readings on Dr Mann’s instruments.
|
|
|
|
|
|
176 INT. DR MANN’S POD - NIGHT 176
|
|
|
|
The crew are captivated by Dr Mann ...
|
|
|
|
DR MANN
|
|
96.
|
|
|
|
|
|
But down at the surface, and there
|
|
is a surface ... the chlorine
|
|
dissipates and the ammonia gives
|
|
way to crystalline hydrocarbons and
|
|
breathable air. To organics.
|
|
Possibly even to life.
|
|
(Off looks.)
|
|
Yes. We may be sharing this world.
|
|
|
|
BRAND
|
|
(giddy)
|
|
These readings are from the
|
|
surface?
|
|
|
|
Brand is reviewing Dr Mann’s piles of data.
|
|
|
|
DR MANN
|
|
Over the years I’ve dropped various
|
|
probes.
|
|
|
|
COOPER
|
|
How far have you explored?
|
|
|
|
DR MANN
|
|
I’ve mounted several major
|
|
expeditions, but with oxygen in
|
|
limited supply, Kipp there had to
|
|
do most of the legwork.
|
|
|
|
Dr Mann indicates a DEFUNCT ARTICULATED MACHINE.
|
|
|
|
TARS
|
|
What’s wrong with him?
|
|
|
|
DR MANN
|
|
Degeneration. He misidentified the
|
|
first organics we found as ammonia
|
|
crystals. We struggled on for a
|
|
time, but ultimately, I
|
|
decommissioned him and used his
|
|
power source to keep the mission
|
|
going.
|
|
(Remembers, sadly.)
|
|
I thought I was alone before I shut
|
|
him down.
|
|
|
|
TARS
|
|
Would you like me to look at him?
|
|
|
|
DR MANN
|
|
No, I think he needs a human touch.
|
|
|
|
Tars turns to Brand.
|
|
97.
|
|
|
|
|
|
TARS
|
|
Dr Brand, Case is relaying a
|
|
message for you from the comm.
|
|
station.
|
|
|
|
She nods.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
... He had no pain and was ... at
|
|
peace.
|
|
|
|
|
|
177 INT. DR MANN’S POD - LATER 177
|
|
|
|
Brand watches Murph’s message on Tars’ data screen.
|
|
|
|
MURPH
|
|
I’m sorry for your loss.
|
|
|
|
Brand STARES. Cooper is there. Murph reaches up -
|
|
|
|
BRAND
|
|
(abstract)
|
|
Is that Murph?
|
|
|
|
Cooper nods.
|
|
|
|
BRAND
|
|
She’s become a -
|
|
|
|
MURPH
|
|
(acid)
|
|
Did you know, Brand? Did he tell
|
|
you? That Plan A was a sham ...?!
|
|
|
|
Cooper looks at Brand, who is shocked.
|
|
|
|
MURPH
|
|
You left us here to set up your
|
|
colony. Never coming back ...
|
|
|
|
Murph does not want to ask, tears are running down her
|
|
cheeks -
|
|
|
|
MURPH
|
|
(Small.)
|
|
Did my father know? Dad ...?
|
|
|
|
Cooper stares. Murph’s eyes bore into his ...
|
|
|
|
COOPER
|
|
Did you leave me here to die?
|
|
98.
|
|
|
|
|
|
The screen goes dark. Cooper stands there, SHOCKED.
|
|
|
|
BRAND
|
|
Cooper, my father devoted his whole
|
|
life to Plan A - I have no idea
|
|
what she means -
|
|
|
|
DR MANN
|
|
(O.S.)
|
|
I do.
|
|
|
|
They turn. Dr Mann looks at them with gentle calm.
|
|
|
|
COOPER
|
|
He never even hoped to get people
|
|
off the Earth.
|
|
|
|
DR MANN
|
|
No.
|
|
|
|
BRAND
|
|
But he’s been trying to solve the
|
|
gravity equation for forty years!
|
|
|
|
Dr Mann comes over, looks into Brand’s eyes.
|
|
|
|
DR MANN
|
|
Amelia, your father solved his
|
|
equation before I even left.
|
|
|
|
BRAND
|
|
Then why wouldn’t he use it?!
|
|
|
|
DR MANN
|
|
The equation couldn’t reconcile
|
|
relativity with quantum mechanics.
|
|
You need more -
|
|
|
|
COOPER
|
|
More what?!
|
|
|
|
DR MANN
|
|
More data. You need to see inside a
|
|
black hole. And the laws of nature
|
|
prohibit a naked singularity.
|
|
|
|
COOPER
|
|
(to Romilly)
|
|
Is that true?
|
|
|
|
ROMILLY
|
|
If a black hole is an oyster, the
|
|
singularity is the pearl inside.
|
|
99.
|
|
|
|
|
|
ROMILLY
|
|
Its gravity is so strong, it’s
|
|
always hidden in darkness, behind
|
|
the horizon. That’s why we call it
|
|
a black hole.
|
|
|
|
COOPER
|
|
If we could look beyond the horizon
|
|
-
|
|
|
|
DR MANN
|
|
Some things aren’t meant to be
|
|
known.
|
|
(To Brand.)
|
|
Your father had to find another way
|
|
to save the human race from
|
|
extinction. Plan B. A colony.
|
|
|
|
BRAND
|
|
Why not tell people? Why keep
|
|
building that damn station?
|
|
|
|
DR MANN
|
|
He knew how much harder it would be
|
|
for people to come together and
|
|
save the species, instead of
|
|
themselves ...
|
|
(To Cooper, sympathetic.)
|
|
Or their children.
|
|
|
|
COOPER
|
|
Bullshit.
|
|
|
|
DR MANN
|
|
Would you have left if you hadn’t
|
|
believed you were trying to save
|
|
them? Evolution has yet to
|
|
transcend that simple barrier - we
|
|
can care deeply, selflessly for
|
|
people we know, but our empathy
|
|
rarely extends beyond our line of
|
|
sight.
|
|
|
|
BRAND
|
|
But the lie. A monstrous lie ...
|
|
|
|
DR MANN
|
|
Unforgivable. And he knew it. Your
|
|
father was prepared to destroy his
|
|
own humanity to save our species.
|
|
He made the ultimate sacrifice.
|
|
|
|
COOPER
|
|
100.
|
|
|
|
|
|
No. That’s being made by the people
|
|
of Earth who’ll die because, in his
|
|
arrogance, he declared their case
|
|
hopeless.
|
|
|
|
DR MANN
|
|
I’m sorry, Cooper. Their case is
|
|
hopeless. We are the future.
|
|
|
|
Cooper REELS. Brand puts her hand on his shoulder -
|
|
|
|
BRAND
|
|
Cooper, what can I do?
|
|
|
|
He turns to her. Looks her in the eyes.
|
|
|
|
COOPER
|
|
Let me go home.
|
|
|
|
And the sound of WIND in DRY CORNSTALKS takes us -
|
|
|
|
|
|
178 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAWN 178
|
|
|
|
Murph drives. Getty next to her. In the distance, several
|
|
fields BURN.
|
|
|
|
GETTY
|
|
Are you sure?
|
|
|
|
MURPH
|
|
His solution was correct. He’d had
|
|
it for years.
|
|
|
|
GETTY
|
|
It’s worthless?
|
|
|
|
MURPH
|
|
It’s half the answer.
|
|
|
|
GETTY
|
|
How do you find the other half?
|
|
|
|
Murph points at the sky.
|
|
|
|
MURPH
|
|
Out there? A black hole. Stuck here
|
|
on Earth? I’m not sure you can.
|
|
|
|
They pass vehicles PILED HIGH with belongings and people.
|
|
|
|
GETTY
|
|
101.
|
|
|
|
|
|
They just pack up and leave. What
|
|
are they hoping to find?
|
|
|
|
MURPH
|
|
Survival.
|
|
(Looks ahead.)
|
|
Dammit!
|
|
|
|
A DUST STORM SWAMPS the truck, killing visibility. Murph
|
|
pulls over. Kills the engine. The wind rocks the car.
|
|
|
|
GETTY
|
|
Don’t people have a right to know?
|
|
|
|
MURPH
|
|
Panic won’t help. We have to keep
|
|
working, same as ever.
|
|
|
|
GETTY
|
|
Isn’t that just what Professor
|
|
Brand ...?
|
|
|
|
MURPH
|
|
(sharp)
|
|
Brand gave up on us - I’m still
|
|
trying to solve this.
|
|
|
|
GETTY
|
|
So you have an idea?
|
|
|
|
MURPH
|
|
No. I have a ... feeling.
|
|
|
|
Getty looks at her as she STARES out at the dust.
|
|
|
|
INSERT CUT: MURPH (TEN), wet hair, towel around neck, turns
|
|
and STARES at a book on the floor -
|
|
|
|
MURPH
|
|
(V.O.)
|
|
I told you about my ghost ...
|
|
|
|
She stoops to pick up the toy next to it - a broken LUNAR
|
|
LANDER.
|
|
|
|
MURPH (FORTY) puts her hands on the glass, watching the
|
|
sand scrape the car’s window ...
|
|
|
|
MURPH
|
|
My dad thought I called it a ghost
|
|
because I was scared of it ...
|
|
|
|
INSERT CUT: MURPH (TEN) counts the books and gaps.
|
|
102.
|
|
|
|
|
|
MARVELING.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
But I was never scared of it ...
|
|
|
|
MURPH (TEN) takes out her notebook and starts drawing lines
|
|
to represent the books.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
I called it a ghost because it felt
|
|
like ...
|
|
|
|
MURPH (FORTY) turns to Getty.
|
|
|
|
MURPH
|
|
Like a person. Trying to tell me
|
|
something ...
|
|
|
|
The storm is clearing. Murph starts the engine.
|
|
|
|
MORPH
|
|
If there’s an answer here on Earth,
|
|
it’s back there, somehow. No one’s
|
|
coming to save us.
|
|
(Pulls out.)
|
|
I have to find it ...
|
|
|
|
Murph pulls past a pickup piled with worldly goods and
|
|
people. She makes eye contact with two filthy kids in the
|
|
back ...
|
|
|
|
And we’re running out of time.
|
|
|
|
|
|
179 EXT. RANGER, DR MANN’S PLANET - DAWN 179
|
|
|
|
Tars is up on the wing of the Ranger. Case pilots the
|
|
LANDER in to land near the Ranger.
|
|
|
|
|
|
180 INT. COCKPIT, RANGER - CONTINUOUS 180
|
|
|
|
Cooper is sitting with his feet on the console.
|
|
|
|
CASE
|
|
(over radio)
|
|
What about auxiliary oxygen
|
|
scrubbers?
|
|
|
|
COOPER
|
|
103.
|
|
|
|
|
|
They can stay. I’ll sleep most of
|
|
the journey.
|
|
(Wry.)
|
|
|
|
COOPER
|
|
I saw it all on the way out here.
|
|
|
|
Romilly comes through the airlock. Removes his helmet.
|
|
|
|
ROMILLY
|
|
I have a suggestion for your return
|
|
journey.
|
|
|
|
COOPER
|
|
What?
|
|
|
|
ROMILLY
|
|
Have one last crack at the black
|
|
hole ...
|
|
|
|
Tars enters.
|
|
|
|
ROMILLY
|
|
Gargantua’s an older, spinning
|
|
black hole - what we call a gentle
|
|
singularity.
|
|
|
|
COOPER
|
|
Gentle?
|
|
|
|
ROMILLY
|
|
They’re hardly gentle, but their
|
|
tidal gravity is quick enough that
|
|
something crossing the horizon fast
|
|
might survive ... a probe, say.
|
|
|
|
COOPER
|
|
What happens to it after it
|
|
crosses?
|
|
|
|
ROMILLY
|
|
Beyond the horizon is a complete
|
|
mystery - who’s to say there isn’t
|
|
some way the probe can glimpse the
|
|
singularity and relay the quantum
|
|
data? If he’s equipped to transmit
|
|
every form of energy that can pulse
|
|
- X-ray, visible light, radio -
|
|
|
|
TARS
|
|
Just when did this probe become a
|
|
’he’?
|
|
104.
|
|
|
|
|
|
Romilly looks from Tars to Cooper, sheepish.
|
|
|
|
ROMILLY
|
|
Tars is the obvious candidate. I’ve
|
|
already told him what to look for.
|
|
|
|
TARS
|
|
I’d need to take the old optical
|
|
transmitter from Kipp.
|
|
|
|
COOPER
|
|
(to Tars)
|
|
You’d do this for us?
|
|
|
|
TARS
|
|
Before you get teary, try to
|
|
remember that as a robot I have to
|
|
do anything you say, anyway.
|
|
|
|
COOPER
|
|
Your cue light’s broken.
|
|
|
|
TARS
|
|
I’m not joking.
|
|
|
|
Bing. The light flashes on.
|
|
|
|
|
|
181 EXT. RANGER, DR MANN’S PLANET - DAY 181
|
|
|
|
Brand and Dr Mann approach Cooper and Romilly at the foot
|
|
of the ladder. Cooper addresses Brand -
|
|
|
|
COOPER
|
|
Ranger’s almost ready. Case is on
|
|
his way back down with another
|
|
load.
|
|
|
|
BRAND
|
|
I’ll start a final inventory.
|
|
|
|
ROMILLY
|
|
Dr Mann, I need Tars to remove and
|
|
adapt some components from Kipp.
|
|
|
|
Dr Mann considers this. Looks at Tars. At Romilly.
|
|
|
|
DR MANN
|
|
He musn’t disturb Kipp’s archival
|
|
functions.
|
|
|
|
ROMILLY
|
|
I’ll supervise.
|
|
105.
|
|
|
|
|
|
Dr Mann considers this. Nods.
|
|
|
|
COOPER
|
|
We need to pick out a site. You
|
|
don’t wanna move the module once we
|
|
land it.
|
|
|
|
DR MANN
|
|
I’ll show you the probe sites.
|
|
|
|
Cooper glances around at the winds picking up -
|
|
|
|
COOPER
|
|
Will conditions hold?
|
|
|
|
DR MANN
|
|
These squalls usually blow over.
|
|
You’ve got a long-range
|
|
transmitter?
|
|
|
|
Cooper reaches up to check a box plugged in at his neck.
|
|
|
|
COOPER
|
|
Good to go.
|
|
|
|
Dr Mann points at a nozzle on his elbow -
|
|
|
|
DR MANN
|
|
Charged?
|
|
|
|
Cooper checks, thumbs up. Dr Mann sets off, Cooper follows.
|
|
|
|
|
|
182 EXT. DR MANN’S PLANET - LATER 182
|
|
|
|
As Cooper follows Dr Mann down a ridge, they see the lander
|
|
fly over. Cooper waves, reaches up to his long-range
|
|
transmitter -
|
|
|
|
COOPER
|
|
A little caution, Case?
|
|
|
|
CASE
|
|
(over radio)
|
|
Safety first, Cooper.
|
|
|
|
Cooper follows Dr Mann down to the edge of the ice. They
|
|
peer down a fifty-foot drop.
|
|
|
|
DR MANN
|
|
Just take it gently -
|
|
106.
|
|
|
|
|
|
He steps off, DROPPING - his ELBOW JETS FIRE, slowing his
|
|
descent in time for him to land with a THUD. Cooper
|
|
follows.
|
|
|
|
They set out through a massive CANYON of ice ...
|
|
|
|
DR MANN
|
|
Brand told me why you feel you have
|
|
to go back -
|
|
|
|
Cooper STOPS.
|
|
|
|
COOPER
|
|
If this excursion is about trying
|
|
to change my mind, let’s turn
|
|
around right now.
|
|
|
|
DR MANN
|
|
No. I understand your position.
|
|
|
|
He turns and starts walking. Cooper follows.
|
|
|
|
DR MANN
|
|
You have attachments. I’m not
|
|
supposed to, but even without
|
|
family, I can promise you that the
|
|
yearning to be with other people is
|
|
massively powerful. Our instincts,
|
|
our emotions, are at the
|
|
foundations of what makes us human.
|
|
They’re not to be taken lightly.
|
|
|
|
The wind WHIPS ice crystals between them ...
|
|
|
|
|
|
183 INT. KITCHEN, FARMHOUSE - DAY 183
|
|
|
|
Murph introduces Getty to Lois and Coop. Getty pulls out a
|
|
STETHOSCOPE and starts examining Coop, Murph slips upstairs
|
|
...
|
|
|
|
|
|
184 INT. MURPH’S BEDROOM - DAY 184
|
|
|
|
Murph opens the door. Stands in her old bedroom. Feeling
|
|
...
|
|
|
|
COOP
|
|
(O.S.)
|
|
Mama lets me play in here ...
|
|
|
|
Murph turns to see Coop. He points at a box on the shelf -
|
|
107.
|
|
|
|
|
|
COOPER
|
|
I don’t touch your stuff.
|
|
|
|
|
|
185 EXT. LANDER - CONTINUOUS 185
|
|
|
|
Brand turns away as the lander touches down in a spray of
|
|
ice.
|
|
|
|
|
|
186 INT. DR MANN’S POD - CONTINUOUS 186
|
|
|
|
Romilly watches Tars crouch down beside Kipp and connect
|
|
Kipp to his own power. Kipp shows signs of life ...
|
|
|
|
|
|
187 EXT. ICE CANYON, DR MANN’S PLANET - CONTINUOUS 187
|
|
|
|
Dr Mann waits for Cooper catch up. The WIND is picking up -
|
|
|
|
DR MANN
|
|
You know why we couldn’t just send
|
|
machines on these missions, Cooper?
|
|
|
|
COOPER
|
|
(breathless)
|
|
Frankly, no.
|
|
|
|
DR MANN
|
|
(pressing on)
|
|
A trip into the unknown requires
|
|
improvisation. Machines can’t
|
|
improvise well because you can’t
|
|
program a fear of death. The
|
|
survival instinct is our single
|
|
greatest source of inspiration.
|
|
|
|
Dr Mann pauses to take a breath. Turns to Cooper.
|
|
|
|
DR MANN
|
|
Take you - a father. With a
|
|
survival instinct that extends to
|
|
your kids ...
|
|
|
|
COOPER
|
|
That’s why I’m going home, hopeless
|
|
or not.
|
|
|
|
DR MANN
|
|
And what does research tell us is
|
|
the last thing you’ll see before
|
|
you die?
|
|
(Off look.)
|
|
108.
|
|
|
|
|
|
Your children. At the very moment
|
|
of death, your mind pushes you a
|
|
little harder to survive. For them.
|
|
|
|
Dr Mann turns and starts walking out onto a massive ice
|
|
field.
|
|
|
|
|
|
188 INT. KITCHEN, FARMHOUSE - DAY 188
|
|
|
|
Murph brings Coop downstairs. Getty is listening to Lois’
|
|
back. He looks up at Murph. GRAVE. Shakes his head ...
|
|
|
|
GETTY
|
|
They can’t stay here.
|
|
|
|
TOM
|
|
(O.S.)
|
|
Murph?
|
|
|
|
Murph turns to see Tom in the doorway.
|
|
|
|
TOM
|
|
What is this ...?
|
|
|
|
|
|
189 EXT. LANDER, DR MANN’S PLANET - CONTINUOUS 189
|
|
|
|
Brand is counting flight cases when a WIND whips ice at her
|
|
...
|
|
|
|
|
|
190 INT. DR MANN’S POD - CONTINUOUS 190
|
|
|
|
Romilly takes his helmet off, PEERING over Tars’ shoulder
|
|
at Kipp’s data screen. Confused.
|
|
|
|
ROMILLY
|
|
I don’t understand.
|
|
|
|
|
|
191 EXT. ICE FIELD, DR MANN’S PLANET - CONTINUOUS 191
|
|
|
|
Cooper and Dr Mann are like two ants on a sheet.
|
|
|
|
DR MANN
|
|
The first window’s up ahead -
|
|
|
|
Cooper peers ahead to an OPENING in the ice. Dr Mann stops
|
|
at the edge. Looks around the wind-blasted ice plane.
|
|
|
|
DR MANN
|
|
109.
|
|
|
|
|
|
When I left Earth I felt fully
|
|
prepared to die. But I just never
|
|
faced the possibility that my
|
|
planet wouldn’t be the one. None of
|
|
this turned out the way it was
|
|
supposed to.
|
|
|
|
COOPER
|
|
Professor Brand would disagree.
|
|
|
|
Cooper peers over the edge at an enormous CREVASSE ...
|
|
|
|
Dr Mann RIPS COOPER’S LONG-RANGE TRANSMITTER FROM HIS NECK
|
|
-
|
|
|
|
Cooper TURNS to Dr Mann - who BLASTS him with his ELBOW
|
|
JET.
|
|
|
|
He SLIPS backwards, but avoids going over the edge -
|
|
|
|
COOPER
|
|
What are you doing?!
|
|
|
|
Until Dr Mann KICKS him. Cooper hits his jets, pushing
|
|
himself onto a lower ledge of ice -
|
|
|
|
|
|
192 INT. KITCHEN, FARMHOUSE - DAY 192
|
|
|
|
Tom confronts Murph while Getty looks on -
|
|
|
|
MURPH
|
|
They can’t stay here, Tom!
|
|
|
|
GETTY
|
|
Not one more day -
|
|
|
|
Tom TURNS, PUNCHES Getty - who collapses.
|
|
|
|
LOIS
|
|
Tom?!
|
|
|
|
TOM
|
|
Coop, get your aunt’s things -
|
|
she’s done here.
|
|
|
|
MURPH
|
|
Tom, Dad didn’t raise you this dumb
|
|
-
|
|
|
|
TOM
|
|
110.
|
|
|
|
|
|
Dad didn’t raise us, Grandpa did,
|
|
and he’s buried outside with Mom in
|
|
our ground. I’m not leaving them -
|
|
|
|
MURPH
|
|
You have to, Tom -
|
|
|
|
TOM
|
|
I’m a farmer, Murph! You don’t give
|
|
up on the Earth.
|
|
|
|
MURPH
|
|
No! But she gave up on you! And
|
|
she’s poisoning your family.
|
|
|
|
|
|
193 EXT. DR MANN’S PLANET - DAY 193
|
|
|
|
Cooper SCRAMBLES to his knees. Dr Mann approaches -
|
|
|
|
DR MANN
|
|
I’m sorry - I can’t let you leave.
|
|
|
|
COOPER
|
|
Why?!
|
|
|
|
DR MANN
|
|
We’re going to need your ship to
|
|
continue the mission ... once the
|
|
others realize what this place
|
|
isn’t.
|
|
|
|
Cooper’s mind races. He looks around.
|
|
|
|
COOPER
|
|
You faked all the data?
|
|
|
|
DR MANN
|
|
I had a lot of time.
|
|
|
|
COOPER
|
|
Is there even a surface?
|
|
|
|
DR MANN
|
|
I’m afraid not -
|
|
|
|
Dr Mann KICKS Cooper over the edge, Cooper CLINGS on -
|
|
|
|
DR MANN
|
|
111.
|
|
|
|
|
|
I tried to do my duty, Cooper, but
|
|
the day I arrived I could see this
|
|
place had nothing. I resisted the
|
|
temptation for years ... but I knew
|
|
there was a way to get rescued.
|
|
|
|
COOPER
|
|
You fucking coward.
|
|
|
|
Cooper BLASTS Dr Mann off his feet with his jet - SCRAMBLES
|
|
up onto the ice. Dr Mann TACKLES him, they go down,
|
|
WRESTLING. WIDER shows us two TINY FIGURES in a VAST
|
|
LANDSCAPE, deciding the future of humanity with a BRAWL ...
|
|
|
|
|
|
194 INT. KITCHEN, FARMHOUSE - DAY 194
|
|
|
|
Murph begs Tom -
|
|
|
|
MURPH
|
|
Please, come with us.
|
|
|
|
TOM
|
|
To live underground, praying Dad
|
|
comes back to save us all?
|
|
|
|
MURPH
|
|
He’s not coming back. He was never
|
|
coming back. It’s up to us. To me.
|
|
|
|
TOM
|
|
You’re gonna save the human race,
|
|
Murph? Really? How? Our dad
|
|
couldn’t -
|
|
|
|
MURPH
|
|
HE DIDN’T EVEN TRY!
|
|
(Off look.)
|
|
He just abandoned us, Tom.
|
|
|
|
Murph looks around, frustrated. Coop hands Murph the box.
|
|
|
|
MURPH
|
|
Tom, if you won’t come, let them -
|
|
|
|
TOM
|
|
Murph.
|
|
(Points at box.)
|
|
Take your stuff, and go. Murph
|
|
hands the box back to Coop.
|
|
|
|
MURPH
|
|
Keep it.
|
|
112.
|
|
|
|
|
|
She leaves. Getty follows.
|
|
|
|
|
|
195 EXT. ICE FIELD, DR MANN’S PLANET - DAY 195
|
|
|
|
Dr Mann LUNGES at Cooper, who SIDESTEPS him and PINS him
|
|
...
|
|
|
|
COOPER
|
|
Stop this!
|
|
|
|
Dr Mann HEADBUTTS COOPER, FACEPLATE IMPACTS FACEPLATE.
|
|
|
|
COOPER
|
|
Mann! Don’t - you’ll kill us both -
|
|
|
|
CRACK. Dr Mann SMASHES his helmet into Cooper’s AGAIN AND
|
|
AGAIN as he -
|
|
|
|
DR MANN
|
|
SOMEONE’S - GLASS - WILL - GIVE -
|
|
WAY - FIRST -!
|
|
|
|
COOPER
|
|
FIFTY-FIFTY YOU KILL YOUR SELF!
|
|
STOP!
|
|
|
|
Dr Mann STOPS. Looks up at Cooper, BREATHING. Both
|
|
faceplates have TINY FRACTURES ...
|
|
|
|
DR MANN
|
|
Best odds I’ve had in years -
|
|
|
|
WHACK - He BUTTS Cooper’s faceplate, which CRACKS
|
|
SICKENINGLY. AMMONIA HISSES INSIDE - COOPER ROLLS OFF,
|
|
HANDS UP, DESPERATELY TRYING TO PLUG THE LARGE CRACK - Dr
|
|
Mann RISES. Checks the fractures in his own helmet. Bends
|
|
down to look at Cooper, STRUGGLING, CHOKING -
|
|
|
|
DR MANN
|
|
Please don’t judge me, Cooper - you
|
|
were never tested like I was. Few
|
|
men have been ...
|
|
|
|
|
|
196 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 196
|
|
|
|
Murph drives. Getty looks over, sympathetic.
|
|
|
|
GETTY
|
|
You did your best, Murph.
|
|
|
|
She just stares ahead at the road ...
|
|
113.
|
|
|
|
|
|
197 EXT. ICE FIELD, DR MANN’S PLANET - DAY 197
|
|
|
|
With curiosity and FEAR, Dr Mann watches Cooper CRAWL ...
|
|
|
|
DR MANN
|
|
You’re feeling it, aren’t you? That
|
|
survival instinct - that’s what
|
|
drove me. It’s always driven the
|
|
human race, and it’s going to save
|
|
it now. I’m going to save it. For
|
|
all mankind. For you, Cooper.
|
|
|
|
Unable to watch any more, he RISES, walking away,
|
|
continuing to talk to Cooper via the radio ...
|
|
|
|
DR MANN
|
|
I’m sorry, I can’t watch you go
|
|
through this - I thought I could.
|
|
But I’m still here. I’m here for
|
|
you ...
|
|
|
|
Dr Mann, hurrying away, listens to Cooper RASPING -
|
|
|
|
DR MANN
|
|
Cooper. When you left, did
|
|
Professor Brand read you that poem?
|
|
How does it end ...?
|
|
|
|
Dr Mann hauls himself up a ledge. The wind WHIPS up ice.
|
|
|
|
DR MANN
|
|
(over radio)
|
|
’Do not go gentle ...’
|
|
|
|
Cooper FREEZES. REMEMBERS. TRANSMITTER ...
|
|
|
|
DR MANN
|
|
(over radio)
|
|
’... into that good night ...’
|
|
|
|
Cooper LOOKS around - on the ice ten feet away - the
|
|
TRANSMITTER -
|
|
|
|
|
|
198 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 198
|
|
|
|
Murph and Getty drive past a long line of DESPERATE
|
|
REFUGEES - glimpsing FACES hardened against insurmountable
|
|
odds ...
|
|
|
|
DR MANN
|
|
(over radio)
|
|
114.
|
|
|
|
|
|
’... Rage, rage against the dying
|
|
of the light.’
|
|
|
|
|
|
199 EXT. DR MANN’S PLANET - DAY 199
|
|
|
|
Cooper CRAWLS - CRAWLS - CHOKING - CRAWLING ...
|
|
|
|
Dr Mann leap/jets up onto the higher ice - glances back at
|
|
the floundering figure on the ice with pity and awe.
|
|
|
|
DR MANN
|
|
(whispers)
|
|
Cooper ...? Do you see your
|
|
children, yet?
|
|
|
|
Dr Mann hears only CHOKING, GASPING, HACKING. He kills his
|
|
radio. Scared. Watches Cooper’s silent thrashing. TURNS.
|
|
|
|
Cooper GRABS the transmitter - tries to calm his FRANTIC
|
|
HANDS - can’t reconnect it with clumsy gloves - pulls glove
|
|
off - FREEZING - BITING - WAKING - he gets the connector IN
|
|
-
|
|
|
|
COOPER
|
|
BRAND! BRAND!
|
|
|
|
|
|
200 EXT. LANDER - CONTINUOUS 200
|
|
|
|
Brand is STARTLED by Cooper’s RASPING over her radio -
|
|
|
|
COOPER
|
|
(over radio)
|
|
HELP ... ME ... HELP ...
|
|
|
|
|
|
201 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 201
|
|
|
|
Murph DECIDES - she SPINS the truck around - floors it back
|
|
in the direction they came ...
|
|
|
|
|
|
202 INT. COCKPIT, LANDER - CONTINUOUS 202
|
|
|
|
Brand JUMPS into the lander -
|
|
|
|
BRAND
|
|
Case?!
|
|
|
|
Case is already FIRING engines -
|
|
115.
|
|
|
|
|
|
CASE
|
|
I have a fix.
|
|
|
|
BRAND
|
|
Cooper?! Cooper, we’re coming!
|
|
|
|
|
|
203 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 203
|
|
|
|
Cooper GASPS -
|
|
|
|
COOPER
|
|
NO AIR - AMMONIA.
|
|
|
|
BRAND
|
|
(over radio)
|
|
Don’t talk - breathe as little as
|
|
possible. We’re coming -!
|
|
|
|
|
|
204 EXT. CORNFIELDS - DAY 204
|
|
|
|
Murph PULLS off the road, CUTTING through the corn -
|
|
|
|
|
|
205 EXT. DR MANN’S PLANET - CONTINUOUS 205
|
|
|
|
The lander HURTLES through the cloudscape, RECKLESSLY,
|
|
DANGEROUSLY FAST, PUNCHING through some clouds, DODGING
|
|
others -.
|
|
|
|
|
|
206 INT. COCKPIT, LANDER - CONTINUOUS 206
|
|
|
|
Brand watches Case fly, praying he’s not just guessing -
|
|
|
|
|
|
207 INT. DR MANN’S POD - CONTINUOUS 207
|
|
|
|
Romilly is crouched next to Tars, perturbed.
|
|
|
|
ROMILLY
|
|
This data makes no sense. Access
|
|
the archive -
|
|
|
|
|
|
208 EXT. CORNFIELDS - DAY 208
|
|
|
|
Murph PULLS UP in a SCREECH of dust - jumps out - GRABS her
|
|
spare gas can, THROWING FUEL over the nearby stalks ...
|
|
116.
|
|
|
|
|
|
209 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 209
|
|
|
|
Cooper FLOPS back onto the ice, STARING SKYWARD ...
|
|
|
|
INSERT CUT: MURPH (TEN) examines the WATCH Cooper has given
|
|
her ... She THROWS it - turns her tear-stained face to
|
|
Cooper - Cooper’s eyes water, from poison or memory -
|
|
|
|
|
|
210 EXT. CORNFIELDS - DAY 210
|
|
|
|
Murph SETS FIRE to the corn ... JUMPS in the truck -
|
|
|
|
|
|
211 EXT. DR MANN’S PLANET - CONTINUOUS 211
|
|
|
|
The lander SWEEPS around a towering cumulus, SPIRALING in
|
|
on the ICE PLAIN -
|
|
|
|
|
|
212 INT. COCKPIT, LANDER - CONTINUOUS 212
|
|
|
|
Brand POINTS -
|
|
|
|
BRAND
|
|
I see him -
|
|
|
|
|
|
213 EXT. FARMHOUSE - DAY 213
|
|
|
|
Tom RACES out of the house, JUMPS in Cooper’s old truck,
|
|
heading out to the fire ... calling on the radio -
|
|
|
|
|
|
214 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 214
|
|
|
|
Through WATERING EYES and WIND-WHIPPED ICE, Cooper glimpses
|
|
Brand LEAPING from the lander, elbow jets firing. Brand
|
|
RIPS Cooper’s helmet off - THRUSTS an OXYGEN MASK over his
|
|
nose and mouth. Cooper GASPS, SUCKING AIR HARD -
|
|
|
|
COOPER
|
|
MANN - WAS - MANN -
|
|
|
|
BRAND
|
|
Dr Mann did this?!
|
|
|
|
Cooper nods. Brand takes this in - REALIZES -
|
|
|
|
BRAND
|
|
Romilly!
|
|
117.
|
|
|
|
|
|
She keys her long-range transmitter -
|
|
|
|
BRAND
|
|
Romilly?! Romilly?!
|
|
|
|
|
|
215 INT. DR MANN’S POD - CONTINUOUS 215
|
|
|
|
Tars turns back from Kipp.
|
|
|
|
TARS
|
|
It needs a person to unlock its
|
|
archival function.
|
|
|
|
Tars makes way for Romilly, who leans in to the screen. He
|
|
glances at his helmet - the radio is SQUAWKING. As he
|
|
reaches for his helmet, he places his hand on the screen -
|
|
Kipp FLICKERS TO LIFE ... Romilly lifts his helmet -
|
|
|
|
ROMILLY
|
|
Brand -?
|
|
|
|
Kipp LOOKS UP -
|
|
|
|
KIPP
|
|
Please, don’t make -
|
|
|
|
And EXPLODES -
|
|
|
|
|
|
216 EXT. DR MANN’S PLANET - CONTINUOUS 216
|
|
|
|
Dr Mann hears the explosion - sees a BLACK CLOUD rising
|
|
from up the hill. PANIC-STRICKEN -
|
|
|
|
DR MANN
|
|
Dammit, Romilly ...
|
|
|
|
He switches his radio back on -
|
|
|
|
BRAND
|
|
(over radio)
|
|
Come on, Cooper! Couple more steps
|
|
-
|
|
|
|
Dr Mann THINKS - makes for the Ranger.
|
|
|
|
|
|
217 INT. COCKPIT, LANDER - CONTINUOUS 217
|
|
|
|
Brand pulls the mask off Cooper, who looks at Case -
|
|
118.
|
|
|
|
|
|
COOPER
|
|
What happened to caution?
|
|
|
|
CASE
|
|
Safety first.
|
|
|
|
COOPER
|
|
Brand, I’m sorry. We should’ve
|
|
followed your instincts. Mann lied
|
|
about this place -
|
|
|
|
BRAND
|
|
(scared)
|
|
Oh, no -
|
|
|
|
|
|
218 EXT. FARMHOUSE - DAY 218
|
|
|
|
Murph SCREECHES up - turns to Getty -
|
|
|
|
MURPH
|
|
Keep watch -
|
|
|
|
She runs towards the farmhouse.
|
|
|
|
MURPH
|
|
Lois!
|
|
|
|
|
|
219 INT. COCKPIT, LANDER - DAY 219
|
|
|
|
Case spots something on the console.
|
|
|
|
CASE
|
|
There’s been an explosion -
|
|
|
|
BRAND
|
|
Where?
|
|
|
|
CASE
|
|
Dr Mann’s compound.
|
|
|
|
Case puts the lander into the air.
|
|
|
|
|
|
220 INT. COCKPIT, RANGER - CONTINUOUS 220
|
|
|
|
Dr Mann straps in. Powers up.
|
|
|
|
|
|
221 EXT. DR MANN’S PLANET - CONTINUOUS 221
|
|
119.
|
|
|
|
|
|
The Ranger RISES -
|
|
|
|
|
|
222 INT. COCKPIT, RANGER - CONTINUOUS 222
|
|
|
|
Dr Mann pushes the craft into the air -
|
|
|
|
|
|
223 EXT. DR MANN’S PLANET - CONTINUOUS 223
|
|
|
|
The lander comes through the black smoke from Dr Mann’s
|
|
pod.
|
|
|
|
Below - a figure BURSTS out of the smoke: Tars, blackened,
|
|
burned, but RUNNING ... towards the lander -
|
|
|
|
|
|
224 INT. COCKPIT, LANDER - CONTINUOUS 224
|
|
|
|
Case SWINGS the lander around and HITS the airlock open -
|
|
|
|
|
|
225 EXT. DR MANN’S POD - CONTINUOUS 225
|
|
|
|
Tars LEAPS UP into the airlock - the lander THRUSTS away -
|
|
|
|
|
|
226 INT. COCKPIT, THE LANDER - CONTINUOUS 226
|
|
|
|
Cooper looks over at Case -
|
|
|
|
COOPER
|
|
Do you have a fix on the Ranger?
|
|
|
|
CASE
|
|
He’s pushing into orbit -
|
|
|
|
COOPER
|
|
If he takes control of the ship
|
|
we’re dead -
|
|
|
|
BRAND
|
|
He’d maroon us?
|
|
|
|
COOPER
|
|
He is marooning us -
|
|
|
|
|
|
227 INT. KITCHEN, FARMHOUSE - DAY 227
|
|
|
|
Lois and Coop head outside with a few essentials. Murph
|
|
heads upstairs ...
|
|
120.
|
|
|
|
|
|
228 EXT. FARMHOUSE - CONTINUOUS 228
|
|
|
|
Getty helps them into the truck, glances nervously at the
|
|
distant fire -
|
|
|
|
GETTY
|
|
Come on, Murph!
|
|
|
|
|
|
229 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 229
|
|
|
|
The Ranger ROCKETS upwards ...
|
|
|
|
|
|
230 INT. COCKPIT, LANDER - CONTINUOUS 230
|
|
|
|
Cooper moves up next to Case. Hits the transmitter -
|
|
|
|
COOPER
|
|
Dr Mann? Dr Mann, please respond -
|
|
|
|
CASE
|
|
He doesn’t know the Endurance
|
|
docking procedure.
|
|
|
|
COOPER
|
|
The autopilot does.
|
|
|
|
CASE
|
|
Not since Tars disabled it.
|
|
|
|
Cooper looks into the airlock -
|
|
|
|
COOPER
|
|
Nice. What’s your trust setting?
|
|
|
|
TARS
|
|
Lower than yours, apparently.
|
|
|
|
Cooper hits the transmitter -
|
|
|
|
COOPER
|
|
Dr Mann?
|
|
|
|
|
|
231 INT. COCKPIT, RANGER - CONTINUOUS 231
|
|
|
|
Dr Mann hears Cooper. Ignores him - looking instead at the
|
|
navigation computer.
|
|
|
|
COOPER
|
|
(over radio)
|
|
121.
|
|
|
|
|
|
Dr Mann, if you attempt docking -
|
|
|
|
Dr Mann switches off the transmitter -
|
|
|
|
|
|
232 INT. MURPH’S BEDROOM - DAY 232
|
|
|
|
Murph looks at the bookshelves. Spots the box. Moves over
|
|
to it and LOOKS INSIDE ...
|
|
|
|
|
|
233 EXT. FARMHOUSE - CONTINUOUS 233
|
|
|
|
Outside, Getty paces, Lois and Coop sit tight ...
|
|
|
|
|
|
234 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 234
|
|
|
|
The Ranger approaches the Endurance ...
|
|
|
|
|
|
235 INT. COCKPIT, RANGER - CONTINUOUS 235
|
|
|
|
Dr Mann pilots the lander alongside the ship. Hits the
|
|
autopilot -
|
|
|
|
COMPUTER VOICE
|
|
Auto-docking sequence withheld.
|
|
|
|
Dr Mann looks at the screen, surprised.
|
|
|
|
DR MANN
|
|
Override.
|
|
|
|
COMPUTER VOICE
|
|
Unauthorized.
|
|
|
|
Dr Mann thinks. Looks over at the MANUAL DOCKING CONTROLS
|
|
...
|
|
|
|
|
|
236 INT. COCKPIT, LANDER - CONTINUOUS 236
|
|
|
|
Cooper peers ahead as they SHOOT up into orbit. Brand looks
|
|
- the Ranger is in close to the Endurance -
|
|
|
|
COOPER
|
|
Dr Mann, do not attempt docking. Dr
|
|
Mann?
|
|
|
|
Static.
|
|
122.
|
|
|
|
|
|
237 INT. COCKPIT, RANGER - CONTINUOUS 237
|
|
|
|
Dr Mann SCRAMBLES from the controls to the airlock, FOCUSED
|
|
...
|
|
|
|
|
|
238 EXT. ENDURANCE - CONTINUOUS 238
|
|
|
|
The Ranger inches closer to an OUTER HATCH of Endurance - A
|
|
ROW OF MECHANICAL GRAPPLES tries to connect with Endurance
|
|
-
|
|
|
|
|
|
239 INT. COCKPIT, RANGER - CONTINUOUS 239
|
|
|
|
Dr Mann works the docking system, concentrating -
|
|
|
|
|
|
240 EXT. ENDURANCE - CONTINUOUS 240
|
|
|
|
The grapples PULL the Ranger into the Endurance hatch.
|
|
|
|
|
|
241 INT. COCKPIT, RANGER - CONTINUOUS 241
|
|
|
|
A CLANG as the ships come together -
|
|
|
|
COMPUTER VOICE
|
|
Imperfect contact - hatch lockout.
|
|
|
|
DR MANN
|
|
Override.
|
|
|
|
COMPUTER VOICE
|
|
Hatch lockout disengaged.
|
|
|
|
Dr Mann moves to the airlock control ...
|
|
|
|
|
|
242 INT. COCKPIT, LANDER - CONTINUOUS 242
|
|
|
|
Cooper stares out at the Ranger -
|
|
|
|
COOPER
|
|
Is he locked on?
|
|
|
|
CASE
|
|
Imperfectly.
|
|
|
|
Cooper grabs the transmitter -
|
|
|
|
COOPER
|
|
123.
|
|
|
|
|
|
Dr Mann! Dr Mann! Do not, repeat do
|
|
not attempt to open the hatch! If
|
|
you -
|
|
|
|
|
|
243 INT. COCKPIT, RANGER - CONTINUOUS 243
|
|
|
|
In SILENCE Dr Mann looks through the hatch window. Hits the
|
|
button opening the outer door -
|
|
|
|
|
|
244 EXT. ENDURANCE - CONTINUOUS 244
|
|
|
|
The outer door of the Ranger SLIDES OPEN. Several grapples
|
|
are OPENING AND CLOSING BLINDLY, trying to seal the join -
|
|
|
|
|
|
245 INT. COCKPIT, LANDER - CONTINUOUS 245
|
|
|
|
Cooper looks at Case -
|
|
|
|
COOPER
|
|
What happens if he blows the hatch?
|
|
|
|
CASE
|
|
Nothing good.
|
|
|
|
COOPER
|
|
Pull us back!
|
|
|
|
Case hits the retro-thrusters.
|
|
|
|
BRAND
|
|
Case, relay my transmission to his
|
|
onboard computer, and have it
|
|
rebroadcast as emergency p.a. -
|
|
|
|
BRAND
|
|
(hits transmitter)
|
|
DR MANN, DO NOT OPEN THE IN--
|
|
|
|
|
|
246 INT. COCKPIT, RANGER - CONTINUOUS 246
|
|
|
|
Silence. Dr Mann takes a breath, reaches for the inner
|
|
lever -
|
|
|
|
BRAND
|
|
(over radio)
|
|
--PEAT - DO NOT OPEN INNER HATCH!
|
|
|
|
Dr Mann is STARTLED by the voice. He hits the transmitter -
|
|
124.
|
|
|
|
|
|
DR MANN
|
|
Brand, I don’t know what Cooper’s
|
|
told you, but I’m taking control of
|
|
the Endurance, then we’ll talk
|
|
about continuing the mission. This
|
|
is not my survival, or Cooper’s -
|
|
this is mankind’s -
|
|
|
|
Turns back to the lever ... PULLS IT -
|
|
|
|
A DEVASTATING RUSH OF AIR YANKS HIM INTO THE AIRLOCK -
|
|
|
|
|
|
247 EXT. ENDURANCE - CONTINUOUS 247
|
|
|
|
The ESCAPING AIR AND DEBRIS push Endurance into a slow SPIN
|
|
...
|
|
|
|
|
|
248 INT. COCKPIT, RANGER - CONTINUOUS 248
|
|
|
|
Dr Mann is HAMMERED by debris as the airlock starts to RIP
|
|
APART -
|
|
|
|
|
|
249 EXT. ENDURANCE - CONTINUOUS 249
|
|
|
|
The ship SPINS FASTER AND FASTER - the Ranger is RIPPED
|
|
AWAY, FRAGMENTING, SHREDDING THE CLOSEST MODULE OF THE
|
|
RING.
|
|
|
|
|
|
250 INT. COCKPIT, LANDER - CONTINUOUS 250
|
|
|
|
They STARE in HORROR as their ship is sent SPINNING OFF ITS
|
|
ORBIT TOWARDS THE PLANET -
|
|
|
|
BRAND
|
|
Oh, my God.
|
|
|
|
Cooper GRABS the sticks - HITS the thrusters -
|
|
|
|
|
|
251 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 251
|
|
|
|
The CRIPPLED Endurance is in a FAST FLAT SPIN, heading down
|
|
towards the stratosphere -
|
|
|
|
The lander FLIES after it, DODGING the Ranger debris -
|
|
|
|
|
|
252 INT. COCKPIT, LANDER - CONTINUOUS 252
|
|
125.
|
|
|
|
|
|
Cooper’s eyes are glued to the Endurance as he flies -
|
|
|
|
CASE
|
|
Cooper, there’s no point using our
|
|
fuel to -
|
|
|
|
COOPER
|
|
Just analyze the Endurance’s spin -
|
|
|
|
BRAND
|
|
What’re you doing?!
|
|
|
|
COOPER
|
|
Docking.
|
|
|
|
|
|
253 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 253
|
|
|
|
The DIZZYING SPIN of the Endurance as it PLUMMETS towards
|
|
the ATMOSPHERE - The lander ROCKETS after it, CLOSING
|
|
SLOWLY -
|
|
|
|
|
|
254 INT. COCKPIT, LANDER - CONTINUOUS 254
|
|
|
|
Cooper pours on the power -
|
|
|
|
CASE
|
|
Endurance rotation is 67, 68 RPM -
|
|
|
|
COOPER
|
|
Get ready to match it on the retro-
|
|
thrusters -
|
|
|
|
CASE
|
|
It’s not possible -
|
|
|
|
COOPER
|
|
No. It’s necessary.
|
|
|
|
|
|
255 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 255
|
|
|
|
The SPINNING ENDURANCE starts to encounter the STRATOSPHERE
|
|
- heating up -
|
|
|
|
|
|
256 INT. COCKPIT, LANDER - CONTINUOUS 256
|
|
|
|
Brand looks ahead at the spinning ship -
|
|
|
|
CASE
|
|
126.
|
|
|
|
|
|
Endurance is hitting stratosphere -
|
|
|
|
BRAND
|
|
She’s got no heat shield -!
|
|
|
|
Cooper checks the lander’s speed against Endurance - pulls
|
|
back on thrust as they come in below it -
|
|
|
|
|
|
257 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 257
|
|
|
|
The lander is PERILOUSLY CLOSE to the RED HOT UNDERSIDE of
|
|
the SPINNING ENDURANCE. The lander BANKS sideways, bringing
|
|
its airlock within FEET of the spinning Endurance -
|
|
|
|
|
|
258 INT. COCKPIT, LANDER - CONTINUOUS 258
|
|
|
|
Cooper looks sideways at the spinning hull -
|
|
|
|
COOPER
|
|
Case, you ready?
|
|
|
|
CASE
|
|
Ready.
|
|
|
|
Cooper watches the spinning hull, suddenly UNCERTAIN -
|
|
|
|
CASE
|
|
Cooper?
|
|
(Off look.)
|
|
This is no time for caution.
|
|
|
|
COOPER
|
|
(grins)
|
|
If I black out, take the stick -
|
|
Tars, get ready to engage the
|
|
docking mechanism - Brand, hold
|
|
tight -
|
|
|
|
CASE
|
|
Endurance is starting to heat -
|
|
|
|
COOPER
|
|
HIT IT!
|
|
|
|
Case hits the RETRO-THRUSTERS. The view SPINS -
|
|
|
|
|
|
259 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 259
|
|
|
|
The lander goes into a FASTER AND FASTER SPIN as it, with
|
|
Endurance, PLUMMETS towards the planet -
|
|
127.
|
|
|
|
|
|
260 INT. COCKPIT, LANDER - CONTINUOUS 260
|
|
|
|
LIGHT FLASHES across their faces as the G-force of the spin
|
|
PULLS THEM AGAINST THEIR RESTRAINTS. Cooper STRUGGLES to
|
|
stay conscious - they BUFFET AGAINST THE ATMOSPHERE - Tars
|
|
opens the airlock - the Endurance hatch above him is now
|
|
SLOWLY ROTATING relative to him ...
|
|
|
|
|
|
261 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 261
|
|
|
|
The GLOWING HOT Endurance and the lander PLUMMET, SPINNING
|
|
towards the ice planet, whose curvature is FAST
|
|
DISAPPEARING -
|
|
|
|
|
|
262 INT. AIRLOCK, LANDER - CONTINUOUS 262
|
|
|
|
Tars peers up as THE SPIN SPEEDS MATCH. He waits as the
|
|
BUFFETING moves the hatches ... THEY LINE UP - he FIRES the
|
|
GRAPPLES - they don’t connect - the hatches moved -
|
|
|
|
|
|
263 INT. COCKPIT, LANDER - CONTINUOUS 263
|
|
|
|
Brand loses consciousness - Cooper watches the instruments,
|
|
not the dizzying view, on the point of RED OUT -
|
|
|
|
COOPER
|
|
Come on, Tars ... come on ...
|
|
|
|
|
|
264 INT. AIRLOCK, LANDER - CONTINUOUS 264
|
|
|
|
Tars sees the hatches roll back into ALIGNMENT. He FIRES
|
|
AGAIN - this time THE GRAPPLES HOLD -
|
|
|
|
TARS
|
|
GOT IT!
|
|
|
|
|
|
265 INT. COCKPIT, LANDER - CONTINUOUS 265
|
|
|
|
Cooper registers this. Case fires the retro-rockets to slow
|
|
the spin.
|
|
|
|
COOPER
|
|
Gen-- gentle, Case ...
|
|
|
|
|
|
266 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 266
|
|
|
|
The two craft, NOW JOINED, start to spin more SLOWLY ...
|
|
128.
|
|
|
|
|
|
267 INT. COCKPIT, LANDER - CONTINUOUS 267
|
|
|
|
Cooper eases back into his seat as the G-force lessens -
|
|
|
|
COOPER
|
|
Get ready to pull us up -
|
|
|
|
The spin is slowing to almost nothing -
|
|
|
|
|
|
268 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 268
|
|
|
|
Parts are RIPPING off the Endurance in the HEAT -
|
|
|
|
|
|
269 INT. COCKPIT, LANDER - CONTINUOUS 269
|
|
|
|
Cooper EASES into POWER on the main thrusters -
|
|
|
|
COOPER
|
|
Come on. You can do it ...
|
|
|
|
|
|
270 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 270
|
|
|
|
The THRUSTERS on the lander start to DRAG both ships back
|
|
up away from the planet, the heat DIMINISHING -
|
|
|
|
|
|
271 INT. COCKPIT, LANDER - CONTINUOUS 271
|
|
|
|
Cooper pulls back on the sticks, RELIEF washing over him.
|
|
|
|
Brand comes to ... Cooper turns to Case, grinning -
|
|
|
|
COOPER
|
|
Right? And for our next trick ...
|
|
|
|
CASE
|
|
It’ll have to be good. We’re
|
|
heading into Gargantua’s pull -
|
|
|
|
Cooper’s smile fades. He UNBUCKLES -
|
|
|
|
COOPER
|
|
Take her -
|
|
|
|
|
|
272 INT. RING MODULE, ENDURANCE - MOMENTS LATER 272
|
|
|
|
HISSING STEAM - RUSHING AIR - WHIRLING DEBRIS as Tars and
|
|
Cooper (in suit and helmet) lock down different BULKHEADS -
|
|
129.
|
|
|
|
|
|
Brand (in suit and helmet) FLOATS alongside the POPULATION
|
|
BOMB, checking the equipment -
|
|
|
|
CASE
|
|
(over radio)
|
|
Cooper, we’re slipping towards
|
|
Gargantua - shall I use main
|
|
engines?
|
|
|
|
COOPER
|
|
No! Let her slide as long as we can
|
|
-
|
|
|
|
Cooper FLIES over to Tars, who is welding a bulkhead -
|
|
|
|
COOPER
|
|
Give it to me.
|
|
|
|
TARS
|
|
There’s good news and bad news -
|
|
|
|
COOPER
|
|
I’ve heard that one, Tars - just
|
|
give it to me straight.
|
|
|
|
|
|
273 INT. SAME - MOMENTS LATER 273
|
|
|
|
Cooper SCRAMBLES to where Brand is checking her equipment.
|
|
|
|
COOPER
|
|
The navigation mainframe’s
|
|
destroyed and we don’t have enough
|
|
life support to make it back to
|
|
Earth. But we might scrape to
|
|
Edmunds’ planet.
|
|
|
|
BRAND
|
|
What about fuel?
|
|
|
|
COOPER
|
|
Not enough. But I’ve got a plan -
|
|
let Gargantua suck us right to her
|
|
horizon - then a powered slingshot
|
|
around to launch us at Edmunds.
|
|
|
|
BRAND
|
|
Manually?
|
|
|
|
COOPER
|
|
That’s what I’m here for. I’ll take
|
|
us just inside the critical orbit.
|
|
130.
|
|
|
|
|
|
BRAND
|
|
And the time slippage?
|
|
|
|
COOPER
|
|
Neither of us can afford to worry
|
|
about relativity right now.
|
|
|
|
BRAND
|
|
I’m sorry, Cooper.
|
|
|
|
They embrace, delicately touching faceplate to faceplate.
|
|
|
|
|
|
274 EXT. ENDURANCE - CONTINUOUS 274
|
|
|
|
The CRIPPLED Endurance FALLS towards the HEART OF DARKNESS
|
|
among the stars ...
|
|
|
|
|
|
275 INT. COCKPIT, LANDER - DAY 275
|
|
|
|
Cooper looks ahead at Gargantua. Preparing for battle.
|
|
|
|
|
|
276 EXT. ENDURANCE - MOMENTS LATER 276
|
|
|
|
The lander DETACHES, shifting its orientation ...
|
|
|
|
COOPER
|
|
(over radio)
|
|
Once we’ve gathered enough speed
|
|
around Gargantua - we use the
|
|
lander 1 Ranger 2 as rocket-
|
|
boosters to push us out of the
|
|
black hole’s gravity ...
|
|
|
|
The lander REATTACHES to the rear of the ring module.
|
|
|
|
|
|
277 INT. COCKPIT, RANGER 2 - CONTINUOUS 277
|
|
|
|
Cooper slides into Ranger 2 - checking the systems.
|
|
|
|
COOPER
|
|
The linkages between landers are
|
|
destroyed ...
|
|
|
|
|
|
278 INT. COCKPIT, LANDER - CONTINUOUS 278
|
|
|
|
Tars sits at the controls, running similar checks ...
|
|
131.
|
|
|
|
|
|
COOPER
|
|
(over radio)
|
|
So we’ll control manually. When
|
|
Lander 1’s spent, Tars will detach
|
|
...
|
|
|
|
TARS
|
|
And get sucked into that black
|
|
hole.
|
|
|
|
|
|
279 INT. RING MODULE, ENDURANCE - CONTINUOUS 279
|
|
|
|
Brand and Case listen to Cooper and Tars over the radio.
|
|
|
|
BRAND
|
|
Why does he have to detach?
|
|
|
|
COOPER
|
|
(over radio)
|
|
We have to shed mass if we’re gonna
|
|
escape that gravity.
|
|
|
|
TARS
|
|
(over radio)
|
|
Newton’s third law - the only way
|
|
humans have ever figured out of
|
|
getting somewhere is to leave
|
|
something behind.
|
|
|
|
BRAND
|
|
Cooper, you can’t ask Tars to do
|
|
this for us -
|
|
|
|
|
|
280 INT. COCKPIT, RANGER 2 - CONTINUOUS 280
|
|
|
|
Cooper puts his hands on the controls -
|
|
|
|
COOPER
|
|
He’s a robot, Amelia - I don’t have
|
|
to ask him to do anything.
|
|
|
|
|
|
281 INT. RING MODULE, ENDURANCE - CONTINUOUS 281
|
|
|
|
Brand is furious -
|
|
|
|
BRAND
|
|
Cooper, you asshole -
|
|
|
|
COOPER
|
|
(over radio)
|
|
132.
|
|
|
|
|
|
Sorry, you broke up a little there.
|
|
|
|
TARS
|
|
(over radio)
|
|
It’s what we intended, Dr Brand ...
|
|
|
|
|
|
282 INT. COCKPIT, LANDER - CONTINUOUS 282
|
|
|
|
Tars sits at the controls, ready.
|
|
|
|
TARS
|
|
It’s our last chance to save people
|
|
on Earth - if I can find some way
|
|
to transmit the quantum data I’ll
|
|
find in there, they might still
|
|
make it.
|
|
|
|
|
|
283 INT. RING MODULE, ENDURANCE - CONTINUOUS 283
|
|
|
|
Brand considers this.
|
|
|
|
BRAND
|
|
If there’s someone still there to
|
|
receive it ...
|
|
|
|
|
|
284 EXT. ENDURANCE - CONTINUOUS 284
|
|
|
|
The Endurance ACCELERATES towards the darkness ...
|
|
|
|
|
|
285 INT. RING MODULE, ENDURANCE - CONTINUOUS 285
|
|
|
|
The black hole’s gravity makes the ship SHUDDER ... Brand,
|
|
helmet on, tightens her harness ...
|
|
|
|
|
|
286 EXT. ENDURANCE - CONTINUOUS 286
|
|
|
|
The Endurance STREAKS above the glowing horizon, SKIRTING
|
|
the BLACKNESS beneath ...
|
|
|
|
|
|
287 INT. COCKPIT, LANDER - CONTINUOUS 287
|
|
|
|
Tars looks out at the DARK OCEAN ...
|
|
|
|
|
|
288 EXT. ENDURANCE - CONTINUOUS 288
|
|
133.
|
|
|
|
|
|
The ship orbits the black hole with BLINDING ACCELERATION -
|
|
|
|
|
|
289 INT. RING MODULE, ENDURANCE - CONTINUOUS 289
|
|
|
|
The ship is SHAKING with GRAVITATIONAL ENERGY ...
|
|
|
|
CASE
|
|
MAXIMUM VELOCITY ACHIEVED ...
|
|
PREPARE TO FIRE ESCAPE THRUSTERS -
|
|
|
|
|
|
290 INT. COCKPIT, LANDER - CONTINUOUS 290
|
|
|
|
Tars checks his instruments -
|
|
|
|
TARS
|
|
Ready.
|
|
|
|
|
|
291 INT. COCKPIT, RANGER 2 - CONTINUOUS 291
|
|
|
|
Cooper checks his instruments -
|
|
|
|
COOPER
|
|
Ready.
|
|
|
|
|
|
292 INT. RING MODULE, ENDURANCE - CONTINUOUS 292
|
|
|
|
Brand looks out at the glowing horizon. Glances fearfully
|
|
at the darkness below ... Case puts his hand on the button
|
|
-
|
|
|
|
CASE
|
|
Main engine ignition in three, two,
|
|
one, mark -
|
|
|
|
Case hits the button -
|
|
|
|
|
|
293 EXT. ENDURANCE - CONTINUOUS 293
|
|
|
|
The MAIN ENGINES FIRE - STRAINING AGAINST GARGANTUA ...
|
|
|
|
|
|
294 INT. RING MODULE, ENDURANCE - CONTINUOUS 294
|
|
|
|
Brand feels the thrusters STRAIN to lift the craft -
|
|
|
|
CASE
|
|
134.
|
|
|
|
|
|
Lander 1 engines, on my mark,
|
|
three, two, one, mark -
|
|
|
|
|
|
295 INT. COCKPIT, LANDER - CONTINUOUS 295
|
|
|
|
Tars hits the button -
|
|
|
|
TARS
|
|
Fire.
|
|
|
|
|
|
296 EXT. ENDURANCE - CONTINUOUS 296
|
|
|
|
Lander 1’s engines FIRE, adding to the thrust. The
|
|
Endurance starts RISING away from the darkness ...
|
|
|
|
CASE
|
|
(over radio)
|
|
Ranger 2’s engines, on my mark -
|
|
three, two, one, mark -
|
|
|
|
|
|
297 INT. COCKPIT, RANGER 2 - CONTINUOUS 297
|
|
|
|
Cooper hits the button -
|
|
|
|
COOPER
|
|
Fire.
|
|
|
|
|
|
298 EXT. ENDURANCE - CONTINUOUS 298
|
|
|
|
Ranger 2’s engines add a fresh BLAST of fire, pushing the
|
|
Endurance higher and higher ... back into the starlight ...
|
|
|
|
|
|
299 INT. COCKPIT, RANGER 2 - CONTINUOUS 299
|
|
|
|
Cooper, shaking with the thrust, looks at his instruments -
|
|
|
|
COOPER
|
|
That little maneuver cost us fifty-
|
|
one years ...!
|
|
|
|
|
|
300 INT. RING MODULE, ENDURANCE - CONTINUOUS 300
|
|
|
|
Brand holds on tight -
|
|
|
|
BRAND
|
|
135.
|
|
|
|
|
|
You don’t sound so bad for a
|
|
hundred and twenty!
|
|
|
|
|
|
301 EXT. ENDURANCE - CONTINUOUS 301
|
|
|
|
Lander 1’s engines DIE OUT ...
|
|
|
|
CASE
|
|
(over radio)
|
|
Lander 1, prepare to detach, on my
|
|
mark ... three ...
|
|
|
|
|
|
302 INT. RING MODULE, ENDURANCE - CONTINUOUS 302
|
|
|
|
Brand looks over at the lander -
|
|
|
|
CASE
|
|
Two ...
|
|
|
|
|
|
303 INT. COCKPIT, LANDER 1 - CONTINUOUS 303
|
|
|
|
CASE
|
|
(over radio)
|
|
One ... mark -
|
|
|
|
Tars hits a switch -
|
|
|
|
TARS
|
|
Detach.
|
|
|
|
|
|
304 INT. RING MODULE, ENDURANCE - CONTINUOUS 304
|
|
|
|
Brand sees Lander 1 DROP, revealing Cooper in Ranger 2 ...
|
|
|
|
BRAND
|
|
Goodbye, Tars ...
|
|
|
|
TARS
|
|
(over radio)
|
|
See you on the other side, Coop ...
|
|
|
|
Something in this makes Brand frown, PUZZLED ...
|
|
|
|
|
|
305 EXT. ENDURANCE - CONTINUOUS 305
|
|
|
|
Lander 1 FALLS behind as the Endurance continues to RISE
|
|
...
|
|
136.
|
|
|
|
|
|
306 INT. COCKPIT, RANGER 2 - CONTINUOUS 306
|
|
|
|
Cooper checks his dwindling fuel supply ...
|
|
|
|
COOPER
|
|
Hey, Case? Nice reckless flying.
|
|
|
|
CASE
|
|
(over radio)
|
|
Learned from the master.
|
|
|
|
|
|
307 EXT. ENDURANCE - CONTINUOUS 307
|
|
|
|
As Lander 1 FALLS back towards Gargantua, Ranger 2’s
|
|
engines DIE OUT ...
|
|
|
|
|
|
308 INT. RING MODULE, ENDURANCE - CONTINUOUS 308
|
|
|
|
Case registers the burnout.
|
|
|
|
CASE
|
|
Ranger 2, prepare to detach -
|
|
|
|
Brand looks up, SHOCKED -
|
|
|
|
BRAND
|
|
NO!
|
|
|
|
She UNBUCKLES -
|
|
|
|
CASE
|
|
On my mark -
|
|
|
|
FLIES to the window looking onto Cooper -
|
|
|
|
BRAND
|
|
What are you doing!
|
|
|
|
CASE
|
|
Three ...
|
|
|
|
|
|
309 INT. COCKPIT, RANGER 2 - CONTINUOUS 309
|
|
|
|
Cooper looks across at Brand.
|
|
|
|
COOPER
|
|
Newton’s third law - you have to
|
|
leave something behind.
|
|
137.
|
|
|
|
|
|
CASE
|
|
(over radio)
|
|
Two ...
|
|
|
|
|
|
310 INT. RING MODULE, ENDURANCE - CONTINUOUS 310
|
|
|
|
Brand pushes her helmet up against the window,
|
|
|
|
BRAND
|
|
You told me we had enough power -
|
|
|
|
CASE
|
|
One ...
|
|
|
|
|
|
311 INT. COCKPIT, RANGER 2 - CONTINUOUS 311
|
|
|
|
Cooper looks at her, fondly -
|
|
|
|
COOPER
|
|
Hey, we agreed - ninety percent.
|
|
|
|
CASE
|
|
(over radio)
|
|
Mark ...
|
|
|
|
Cooper reaches for the button. Takes one last look at Brand
|
|
- inside her helmet, Brand is crying, zero-G tears catching
|
|
in her eyelashes like melted snowflakes.
|
|
|
|
Cooper hits the button. But the word catches in his throat
|
|
-.
|
|
|
|
COOPER
|
|
Detach -
|
|
|
|
|
|
312 EXT. ENDURANCE - CONTINUOUS 312
|
|
|
|
Ranger 2 DROPS AWAY from the Endurance ...
|
|
|
|
|
|
313 INT. COCKPIT, RANGER 2 - CONTINUOUS 313
|
|
|
|
Cooper sees the Endurance ACCELERATE AWAY to a bright point
|
|
as he FALLS AND FALLS ... Cooper starts to breathe FASTER -
|
|
|
|
|
|
314 EXT. GARGANTUA - CONTINUOUS 314
|
|
138.
|
|
|
|
|
|
Ranger 2 PLUMMETS towards blackness as the horizon GLOWS
|
|
BRIGHTER and BRIGHTER - distorted starlight, plasma jets
|
|
...
|
|
|
|
|
|
315 INT. COCKPIT, RANGER 2 - CONTINUOUS 315
|
|
|
|
Cooper, trying to control his breathing, uses retro-rockets
|
|
to TURN the lander down. He GASPS at the FLAMING HORIZON -
|
|
|
|
COOPER
|
|
(over radio)
|
|
Tars? Are you there?
|
|
|
|
STATIC - Ranger 2 TILTS down - INKY BLACKNESS ahead -
|
|
|
|
|
|
316 INT. ENDURANCE - CONTINUOUS 316
|
|
|
|
Brand, crying, monitors Cooper’s lonely transmissions ...
|
|
|
|
|
|
317 EXT. GARGANTUA - CONTINUOUS 317
|
|
|
|
Ranger 2 PLUNGES towards the black hole. We hear Cooper’s
|
|
panic breathing get LOUDER and LOUDER until - Ranger 2
|
|
SHUDDERS with EXPONENTIALLY RISING GRAVITATIONAL ENERGY as
|
|
it CROSSES THE HORIZON - PLUNGING TOWARDS THE SINGULARITY -
|
|
ALL WAVELENGTHS OF LIGHT CASCADING WITH HIM - AS WE -
|
|
|
|
PLUNGE INTO ABSOLUTE ...
|
|
|
|
WHITE -
|
|
|
|
Not a whiteout - a SHIMMERING CAVALCADE OF ALL WAVELENGTHS:
|
|
LIGHT, SOUND, EVERYTHING ... the SPHERICAL INSIDE OF THE
|
|
BLACK HOLE, like a STAR turned INSIDE OUT. COOPER IS
|
|
SCREAMING and we CUT to -
|
|
|
|
BURNING CORN - men fighting a fire, Tom leading, GESTURING
|
|
-
|
|
|
|
|
|
318 INT. MURPH’S BEDROOM - TWILIGHT 318
|
|
|
|
Murph (forty) sits on the bed, looking into the BOX. She
|
|
pulls out the LUNAR LANDER MODEL, looks up at the books ...
|
|
|
|
GETTY
|
|
(O.S.)
|
|
Come on, Murph! We don’t have much
|
|
time!
|
|
139.
|
|
|
|
|
|
319 EXT. GARGANTUA - DAY 319
|
|
|
|
A BLACK DOT appears, RUSHING TOWARDS US to become - A DARK
|
|
SPHERE - we PLUNGE through it into SILENT DARKNESS - a
|
|
WHITE SPHERE races towards us -
|
|
|
|
Just as the wormhole was a spherical hole, THESE SPHERES
|
|
ARE HOLES WITHIN HOLES ... we are dropping through A FOUR-
|
|
DIMENSIONAL RABBIT HOLE - LIGHT/DARK/LIGHT/DARK/LIGHT/DARK
|
|
with BLINDING RAPIDITY - the frequency almost SPEAKING.
|
|
Cooper hangs on for dear life -
|
|
|
|
COMPUTER VOICE
|
|
(O.S.)
|
|
FUEL CELL OVERLOAD. DESTRUCTION
|
|
IMMINENT. INITIATE EJECTION.
|
|
|
|
Cooper is LAUNCHED out of Ranger 2, which EXPLODES, and,
|
|
PULLED to one side, MISSES A WHITE HOLE - PLUNGING INSTEAD
|
|
TOWARDS A SMALLER GLASS-LIKE SPHERE -
|
|
|
|
Cooper slows as he falls towards this sphere, reminiscent
|
|
of the wormhole, but the light within is not stars but an
|
|
infinity of WORLD LINES - (paths of objects through
|
|
spacetime) -
|
|
|
|
Cooper PLUNGES INTO THE WORLD SPHERE ... As he falls his
|
|
SINGLE WORLD LINE stretches behind him - the INFINITE
|
|
FUTURES OF HIS WORLD LINE splitting ahead to all the
|
|
different possibilities in spacetime -
|
|
|
|
Cooper himself is now like a ring being pulled down a cone
|
|
of fabric. He STARES at the ORDERED CHAOS of world lines
|
|
...
|
|
|
|
As he SLOWS his past and future world lines BREAK UP so
|
|
they become like INFINITE REFLECTIONS IN PARALLEL MIRRORS
|
|
... Cooper’s world line DROPS into a SMALL, SQUARE TUNNEL -
|
|
|
|
|
|
320 INT. THE TESSERACT - CONTINUOUS 320
|
|
|
|
Tight enough to feel BLINDINGLY FAST at first, but Cooper
|
|
(and his INFINITE OTHERS) is actually SLOWING ... Cooper
|
|
DESPERATELY reaches out, KNOCKING the sides of the tunnel,
|
|
TRYING to slow himself - GRAPPLING - KICKING ’BRICKS’ out
|
|
of
|
|
|
|
the ’walls’. He finally STOPS. Looks around in the SUDDEN
|
|
CALM, FLOATING, catching his breath. He reaches out to the
|
|
tunnel wall - CONFUSED -
|
|
140.
|
|
|
|
|
|
Each ’brick’ is TIGHTLY PACKED PAPER ... PAGES ... BOOKS -
|
|
AS SEEN FROM BEHIND A SHELF ...
|
|
|
|
Cooper PUSHES against a book - it MOVES SLIGHTLY. Cooper
|
|
PUSHES, HARDER AND HARDER AND HARDER -
|
|
|
|
The book drops out of sight, revealing -
|
|
|
|
Murph, aged ten, wet hair, towel around her neck, TURNS,
|
|
STARTLED by THE BOOK FALLING FROM HER SHELF.
|
|
|
|
COOPER
|
|
Murph? Murph?
|
|
|
|
She can’t hear him ...
|
|
|
|
|
|
321 INT. MURPH’S BEDROOM - MORNING 321
|
|
|
|
Murph (ten) stands there, startled, STARING at the
|
|
bookshelves. At the book on the floor, a broken toy beside
|
|
it ...
|
|
|
|
|
|
322 INT. MURPH’S BEDROOM - TWILIGHT 322
|
|
|
|
Murph (forty) looks at the bookshelves, REMEMBERING ...
|
|
|
|
|
|
323 INT. THE TESSERACT - CONTINUOUS 323
|
|
|
|
Cooper watches Murph (ten) cautiously approach - she
|
|
CROUCHES. Picks something up -
|
|
|
|
|
|
324 INT. MURPH’S BEDROOM - TWILIGHT 324
|
|
|
|
Murph (forty) turns the lunar lander in her hands.
|
|
Thinking.
|
|
|
|
|
|
325 INT. MURPH’S BEDROOM - DAY 325
|
|
|
|
Murph (ten) stands up holding the broken LUNAR LANDER ...
|
|
|
|
|
|
326 INT. THE TESSERACT - CONTINUOUS 326
|
|
|
|
Cooper watches Murph (ten) examine the two pieces of the
|
|
LUNAR LANDER MODEL -
|
|
|
|
COOPER
|
|
141.
|
|
|
|
|
|
MURPH! MURPH!
|
|
|
|
She turns ... leaves the room ... Cooper floats there,
|
|
staring. He LOOKS around - each ’wall’ of the tesseract is
|
|
a different view of Murph’s bedroom, so that by rotating he
|
|
can effectively orbit her room ...
|
|
|
|
He claws his way down to the next book wall. PUNCHES out
|
|
two books -
|
|
|
|
Murph’s bedroom, empty. The door opens, Cooper’s EARLIER
|
|
SELF is standing there, staring at the room, perturbed.
|
|
|
|
Murph (ten) joins Cooper, staring at the empty room ...
|
|
Cooper LASHES out at the books - kicks a book out - SPOTS -
|
|
Murph (ten) closes her door, crying, sliding the desk in
|
|
front -
|
|
|
|
|
|
327 INT. MURPH’S BEDROOM - TWILIGHT 327
|
|
|
|
Murph (forty) feels the desk. She puts her hand on the back
|
|
of the chair, tilts it slightly, remembering -
|
|
|
|
|
|
328 INT. THE TESSERACT - CONTINUOUS 328
|
|
|
|
Cooper watches Murph (ten) put A CHAIR ON TOP OF THE DESK.
|
|
|
|
The earlier Cooper nudges the door open -
|
|
|
|
|
|
329 INT. MURPH’S BEDROOM - EVENING 329
|
|
|
|
Murph (ten) sees the door NUDGING against the desk and
|
|
chair -
|
|
|
|
MURPH
|
|
Just go. If you’re leaving - just
|
|
leave now.
|
|
|
|
|
|
330 INT. THE TESSERACT - CONTINUOUS 330
|
|
|
|
Cooper, the frustrated observer, spins around to see his
|
|
EARLIER SELF nudging the door -
|
|
|
|
COOPER
|
|
(to his earlier self)
|
|
Don’t go, you idiot!
|
|
|
|
His Earlier Self shuts the door ...
|
|
142.
|
|
|
|
|
|
COOPER
|
|
Don’t leave your kids. You goddamn
|
|
fool.
|
|
|
|
Cooper PUNCHES OUT books with all his strength -
|
|
|
|
COOPER
|
|
S ... T ...
|
|
|
|
Murph (ten) is watching, no longer scared, fascinated -
|
|
|
|
COOPER
|
|
A ... Y ...
|
|
|
|
Cooper STOPS. Catches his breath. Waits ... Earlier Cooper
|
|
lifts the chair off the table to enter.
|
|
|
|
Cooper watches his earlier self, FRUSTRATED -
|
|
|
|
COOPER
|
|
Stay, you idiot! Tell him, Murph!
|
|
Stay ...
|
|
|
|
As before, Cooper gives Murph the WATCH ... Murph THROWS
|
|
THE WATCH and TURNS AWAY ...
|
|
|
|
COOPER
|
|
Murph, tell him again! Don’t let
|
|
him leave ...!
|
|
|
|
|
|
331 INT. MURPH’S BEDROOM - TWILIGHT 331
|
|
|
|
Murph (forty) picks up the notebook. Opens it. Finds the
|
|
word ’STAY’ ... looks up at the books, REALIZING ...
|
|
|
|
|
|
332 INT. THE TESSERACT - DAY 332
|
|
|
|
Cooper is crying with frustration ...
|
|
|
|
COOPER
|
|
Murph, don’t let me leave ...
|
|
|
|
Cooper watches as his earlier self heads to the door -
|
|
|
|
COOPER
|
|
STAY!!
|
|
|
|
Cooper SMASHES a book from the shelf with all his might -
|
|
His earlier self turns back. Looks at the book. Then
|
|
leaves.
|
|
143.
|
|
|
|
|
|
Cooper rests his head against the books, SOBBING.
|
|
|
|
|
|
333 INT. MURPH’S BEDROOM - TWILIGHT 333
|
|
|
|
Murph (forty) lowers her notebook, moves to the
|
|
bookshelves, IN AWE ...
|
|
|
|
MURPH
|
|
Dad ... it was you. You were my
|
|
ghost ...
|
|
|
|
She is crying. Joyful.
|
|
|
|
|
|
334 INT. THE TESSERACT - DAY 334
|
|
|
|
Cooper sobs at the back of the books. Lost ...
|
|
|
|
TARS
|
|
(over radio)
|
|
Cooper?
|
|
|
|
Cooper, STARTLED, turns. Tars is not there.
|
|
|
|
COOPER
|
|
You survived.
|
|
|
|
TARS
|
|
(over radio)
|
|
Somewhere. In their fifth
|
|
dimension. They saved us ...
|
|
|
|
COOPER
|
|
(frustrated)
|
|
Who’s ’They’? And why would they
|
|
help us?
|
|
|
|
TARS
|
|
(over radio)
|
|
I don’t know, but they constructed
|
|
this three-dimensional space inside
|
|
their five-dimensional reality to
|
|
allow you to understand it ...
|
|
|
|
COOPER
|
|
It isn’t working -!
|
|
|
|
TARS
|
|
(over radio)
|
|
144.
|
|
|
|
|
|
Yes, it is. You’ve seen that time
|
|
is represented here as a physical
|
|
dimension - you even worked out
|
|
that you can exert a force across
|
|
spacetime -
|
|
|
|
COOPER
|
|
(realizing)
|
|
Gravity. To send a message ...
|
|
|
|
Cooper looks around the infinite tunnel, infinite Coopers.
|
|
|
|
COOPER
|
|
Gravity crosses the dimensions -
|
|
including time -
|
|
|
|
Cooper THINKS ... He pulls himself up to a different wall,
|
|
starts counting books ...
|
|
|
|
And you have the quantum data, now -
|
|
|
|
TARS
|
|
(over radio)
|
|
I’m transmitting it on all
|
|
wavelengths - but nothing’s getting
|
|
out ...
|
|
|
|
COOPER
|
|
I can do it -
|
|
|
|
Cooper HITS a book’s world line, sending a WAVE ...
|
|
|
|
TARS
|
|
(over radio)
|
|
Such complicated data ... to a
|
|
child ...
|
|
|
|
COOPER
|
|
Not just any child.
|
|
|
|
|
|
335 INT. MURPH’S BEDROOM - TWILIGHT 335
|
|
|
|
Murph (forty) stands there, looking at her old notebook -
|
|
the page that says ’STAY’ ...
|
|
|
|
GETTY
|
|
(O.S.)
|
|
MURPH?! COME ON!
|
|
|
|
She looks around the room, SEARCHING for an answer ...
|
|
145.
|
|
|
|
|
|
336 EXT. THE TESSERACT - DAY 336
|
|
|
|
Cooper watches Murph (ten) looking out the window ...
|
|
|
|
TARS
|
|
(over radio)
|
|
Even if you communicate it here,
|
|
she wouldn’t understand its
|
|
significance for years ...
|
|
|
|
Cooper is seized by a sudden anger -
|
|
|
|
COOPER
|
|
Then figure something out!
|
|
Everybody on Earth is going to die!
|
|
|
|
TARS
|
|
Cooper, they didn’t bring us here
|
|
to change the past.
|
|
|
|
Cooper hears something in this -
|
|
|
|
COOPER
|
|
We brought ourselves here ...
|
|
|
|
Cooper PUSHES off, looking through the gaps in the books.
|
|
|
|
Murph’s bedroom, full of DUST in the DUST STORM -
|
|
|
|
COOPER
|
|
Tars, feed me the coordinates of
|
|
NASA in binary ...
|
|
|
|
Cooper is in the room now, drawing a pattern in the dust
|
|
...
|
|
|
|
Cooper watches Murph (ten) burst into the room. Murph stops
|
|
and stares at the dust as Cooper’s Earlier Self comes in
|
|
past her, SLAMS the window shut - sees the PATTERN of dust
|
|
...
|
|
|
|
|
|
337 INT. MURPH’S BEDROOM - TWILIGHT 337
|
|
|
|
Murph (forty) runs her finger along the DUST of the
|
|
windowsill ... She turns to look around the room.
|
|
|
|
Frustrated.
|
|
|
|
MURPH
|
|
Come on, Dad. Is there something
|
|
else here ...?
|
|
146.
|
|
|
|
|
|
338 INT. TESSERACT - CONTINUOUS 338
|
|
|
|
Cooper looks up from the floor -
|
|
|
|
COOPER
|
|
Don’t you see, Tars? I brought
|
|
myself here. We’re here to
|
|
communicate with the three-
|
|
dimensional world. We’re the bridge
|
|
...
|
|
|
|
Cooper moves to another iteration of Murph’s room. Murph
|
|
(ten) JUMPS up - GRABS the WATCH, RUNS out the door ...
|
|
|
|
|
|
339 INT. MURPH’S BEDROOM - TWILIGHT 339
|
|
|
|
Murph (forty) looks at the watch, remembering. The second
|
|
hand TWITCHES. She drops the watch back into the box ...
|
|
|
|
|
|
340 INT. TESSERACT - CONTINUOUS 340
|
|
|
|
Cooper pushes himself along the world line of the books ...
|
|
|
|
COOPER
|
|
I thought they chose me - they
|
|
never chose me - they chose Murph.
|
|
|
|
TARS
|
|
(over radio)
|
|
For what?
|
|
|
|
COOPER
|
|
To save the world!
|
|
|
|
Murph (ten) comes back into her bedroom, SOBBING. She is
|
|
holding the watch. She puts it on the shelf.
|
|
|
|
|
|
341 INT. MURPH’S BEDROOM - TWILIGHT 341
|
|
|
|
Murph (forty) puts the box back on the shelf. SIGHS ...
|
|
|
|
|
|
342 INT. TESSERACT - CONTINUOUS 342
|
|
|
|
Cooper races FASTER and FASTER down the world lines.
|
|
|
|
COOPER
|
|
’They’ have access to infinite
|
|
time, infinite space ...
|
|
147.
|
|
|
|
|
|
Cooper gestures at the INFINITIES in all directions ...
|
|
|
|
COOPER
|
|
But no way to find what they need -
|
|
but I can find Murph and find a way
|
|
to tell her - like I found this
|
|
moment -
|
|
|
|
TARS
|
|
(over radio)
|
|
How?
|
|
|
|
COOPER
|
|
Love, Tars. Love - just like Brand
|
|
said - that’s how we find things
|
|
here.
|
|
|
|
TARS
|
|
(over radio)
|
|
So what are we here to do?
|
|
|
|
Cooper looks around the tesseract. The watch sits there on
|
|
the shelf for as long as he can see ...
|
|
|
|
COOPER
|
|
The watch. That’s it. She’ll come
|
|
back for it -
|
|
|
|
TARS
|
|
How do you know?
|
|
|
|
COOPER
|
|
Because I gave it to her. We use
|
|
the second hand. Translate the data
|
|
into Morse and feed it to me -
|
|
|
|
Tars starts to transmit. Cooper GRABS the second-hand world
|
|
line - starts to MANIPULATE it, sending waves down the
|
|
world line ...
|
|
|
|
TARS
|
|
What if she never came back for it?
|
|
|
|
COOPER
|
|
She will. She will ... I feel it
|
|
...
|
|
|
|
The second hand is FLICKING back and forth ...
|
|
|
|
|
|
343 INT. MURPH’S BEDROOM - TWILIGHT 343
|
|
|
|
Murph (forty) turns to leave ...
|
|
148.
|
|
|
|
|
|
GETTY
|
|
(O.S.)
|
|
MURPH, HE’S COMING!
|
|
|
|
She pauses. Goes back to the box - reaches in. PULLS OUT
|
|
THE WATCH ... staring at it ... wondering ...
|
|
|
|
GETTY
|
|
(O.S.)
|
|
MURPH?! MURPH ...?!
|
|
|
|
|
|
344 EXT. FARMHOUSE - TWILIGHT 344
|
|
|
|
Getty is holding a tire iron, watching TOM’S TRUCK
|
|
APPROACH.
|
|
|
|
Lois and Coop STARE, FEARFUL, from the truck ... Tom
|
|
APPROACHES, BLACK from soot ...
|
|
|
|
Murph BURSTS out of the house ... right up to Tom ...
|
|
|
|
MURPH
|
|
Tom, he came back ... he came back
|
|
...
|
|
|
|
TOM
|
|
Who?
|
|
|
|
She holds up the watch ...
|
|
|
|
MURPH
|
|
Dad. It was him. All this time ...
|
|
it was him. He’s going to save us
|
|
...
|
|
|
|
CLOSE ON the second hand of the watch, FLICKING back and
|
|
forth -
|
|
|
|
|
|
345 INT. PROFESSOR BRAND’S OFFICE - DAY 345
|
|
|
|
Murph furiously TRANSCRIBES the movements of the second
|
|
hand -
|
|
|
|
|
|
346 INT. CORRIDOR, NASA - LATER 346
|
|
|
|
Murph, papers in hand, RUNS down the corridor, BUMPS into
|
|
Getty - doesn’t stop ...
|
|
|
|
|
|
347 INT. LAUNCH FACILITY - CONTINUOUS 347
|
|
149.
|
|
|
|
|
|
Murph runs to the railing of the catwalk above the enormous
|
|
construction, looks down at the thousands of workers below.
|
|
|
|
Getty comes out after her, curious. She looks at him, then
|
|
SHOUTS OUT to the enormous space ...
|
|
|
|
MURPH
|
|
EU-RE-KA!
|
|
|
|
She turns to Getty - GRINNING.
|
|
|
|
MURPH
|
|
Well, it’s traditional.
|
|
|
|
She THROWS her paper out over the railing -
|
|
|
|
MURPH
|
|
EUREKA!!
|
|
|
|
Workers look up to see her papers flitting down ...
|
|
|
|
|
|
348 EXT. THE TESSERACT - DAY 348
|
|
|
|
Cooper looks out at the world line of the watch, of Murph,
|
|
as it leads out into infinite complexity ...
|
|
|
|
COOPER
|
|
Did it work?
|
|
|
|
TARS
|
|
(over radio)
|
|
I think it might have.
|
|
|
|
COOPER
|
|
(hopeful)
|
|
Why?
|
|
|
|
TARS
|
|
(over radio)
|
|
Because the bulk beings are closing
|
|
the tesseract ...
|
|
|
|
Cooper looks out to the distance - it is RAPIDLY
|
|
APPROACHING, WORLD LINES BECOMING WORLD SHEETS, BECOMING
|
|
BULKS ...
|
|
|
|
COOPER
|
|
Don’t you get it, yet, Tars? ’They’
|
|
aren’t ’beings’ ... they’re us ...
|
|
trying to help ... just like I
|
|
tried to help Murph ...
|
|
150.
|
|
|
|
|
|
TARS
|
|
(over radio)
|
|
People didn’t build this tesseract
|
|
-
|
|
|
|
COOPER
|
|
Not yet ... but one day. Not you
|
|
and me but people, people who’ve
|
|
evolved beyond the four dimensions
|
|
we know ...
|
|
|
|
The tesseract EXPANSION BACK INTO FIVE DIMENSIONS IS ALMOST
|
|
UPON THEM - Cooper BRACES HIMSELF -
|
|
|
|
COOPER
|
|
What happens now -?
|
|
|
|
BAM - he is swept up in the expansion like a tiny leaf on a
|
|
CHURNING WAVE -
|
|
|
|
Cooper FLIES through the EXPANDING COSMOS, past PLANETS
|
|
ORBITING STARS, WHICH BECOME ATOMIC PARTICLES, WHICH BECOME
|
|
MATTER, BECOMING STARS ...
|
|
|
|
Cooper APPROACHES A GLASSY TUBE. Inside is the OLD,
|
|
UNDAMAGED ENDURANCE. As Cooper looks in from the bulk he
|
|
sees: Brand, strapped in, Doyle opposite, traversing the
|
|
wormhole for the first time ...
|
|
|
|
Cooper REACHES for Brand ... She sees something, reaches up
|
|
- their hands would touch if they weren’t in different
|
|
dimensions, her fingers distorting the space of his fingers
|
|
-
|
|
|
|
WHAM! She, and the Endurance, are SWEPT PAST - Cooper is
|
|
SMASHED into the spacetime of the wormhole - he SCREAMS AND
|
|
WE -
|
|
|
|
|
|
349 INT. OUTER SPACE - LATER 349
|
|
|
|
Cooper FLOATS, dead or unconscious, near Saturn. In the
|
|
distance we see two Rangers approaching ...
|
|
|
|
|
|
350 INT. HOSPITAL ROOM - DAY 350
|
|
|
|
Cooper’s eyes flicker open. A bright room with an open
|
|
window, net curtains obscuring the view. We hear the CRACK
|
|
of a baseball off a bat. Children LAUGHING.
|
|
|
|
VOICE
|
|
(O.S.)
|
|
151.
|
|
|
|
|
|
Mr Cooper? Mr Cooper?
|
|
|
|
Cooper looks over to see a Nurse and a Doctor watching him.
|
|
|
|
He tries to sit up.
|
|
|
|
DOCTOR
|
|
Take it slow, sir. Remember you’re
|
|
no spring chicken any more.
|
|
(Amused.)
|
|
I gather you’re one hundred and
|
|
twenty-four years old.
|
|
(Checks Cooper’s chart.)
|
|
You were extremely lucky. The
|
|
Rangers found you with only minutes
|
|
left in your oxygen supply -
|
|
|
|
COOPER
|
|
Where am I?
|
|
|
|
The Doctor, almost surprised, TURNS, moves to the window,
|
|
opens the curtains. Where Cooper should see sky, he sees a
|
|
CURVING UPSIDE-DOWN TOWN ...
|
|
|
|
DOCTOR
|
|
Cooper Station. Currently orbiting
|
|
Saturn.
|
|
|
|
The Nurse helps Cooper to the window. He looks out at the
|
|
VAST CYLINDRICAL STATION - cornfields and buildings.
|
|
Outside his window, kids are playing baseball. The batter
|
|
hits a POP FLY ... the kids watch it up and up, until it
|
|
carries on, falling up towards the buildings above. The
|
|
kids SHOUT a warning - the ball smashes a skylight. Cooper
|
|
watches the kids laugh.
|
|
|
|
COOPER
|
|
Nice of you to name the place after
|
|
me.
|
|
|
|
The Nurse giggles. The Doctor shoots her a look -
|
|
|
|
What?
|
|
|
|
DOCTOR
|
|
The station wasn’t named after you,
|
|
sir ... It was named after your
|
|
daughter.
|
|
|
|
Cooper smiles at this ...
|
|
|
|
DOCTOR
|
|
152.
|
|
|
|
|
|
Although, she’s always maintained
|
|
just how important you were -
|
|
|
|
COOPER
|
|
Is she ...
|
|
(Braces.)
|
|
still alive?
|
|
|
|
DOCTOR
|
|
She’ll be here in a couple weeks.
|
|
She’s really far too old for a
|
|
transfer from another station, but
|
|
when she heard you’d been found ...
|
|
well, this is Murphy Cooper we’re
|
|
talking about.
|
|
|
|
COOPER
|
|
(marveling)
|
|
Yes, it is ...
|
|
|
|
The Doctor is wrapping up -
|
|
|
|
DOCTOR
|
|
We’ll have you checked out in a
|
|
couple days.
|
|
|
|
Cooper turns back to the window, thinking ...
|
|
|
|
ADMINISTRATOR
|
|
(V.O.)
|
|
I’m sure you’ll be excited to see
|
|
what’s in store ...
|
|
|
|
|
|
351 INT. HANGAR, COOPER STATION - DAY 351
|
|
|
|
The ADMINISTRATOR, thirties, leads Cooper along a walkway -
|
|
|
|
ADMINISTRATOR
|
|
We’ve got a nice situation for you
|
|
...
|
|
|
|
Cooper looks down at a line of SLEEK NEXT-GENERATION
|
|
RANGERS. Sees a PILOT climb into one. Mechanics work
|
|
another ...
|
|
|
|
ADMINISTRATOR
|
|
I actually did a paper on you in
|
|
high school, sir. I know all about
|
|
your life on Earth ...
|
|
|
|
|
|
352 EXT. TOWN SQUARE, COOPER STATION - CONTINUOUS 352
|
|
153.
|
|
|
|
|
|
Cooper looks at the strangely ordinary town the
|
|
Administrator is walking him through ...
|
|
|
|
ADMINISTRATOR
|
|
So when I made my suggestion to Ms
|
|
Cooper, I was delighted to hear
|
|
that she thought it was perfect ...
|
|
|
|
|
|
353 EXT. FARMHOUSE - CONTINUOUS 353
|
|
|
|
The Adminstrator leads Cooper through a cornfield ... The
|
|
old farmhouse is there, preserved. As Cooper approaches, a
|
|
small monitor starts playing the footage of OLD-TIMERS from
|
|
the start of the movie.
|
|
|
|
ADMINISTRATOR
|
|
Of course, I didn’t speak to her
|
|
personally ...
|
|
|
|
As Cooper passes the monitor it changes to a FAMILIAR OLD
|
|
LADY, but Cooper misses it ...
|
|
|
|
|
|
354 INT. KITCHEN, FARMHOUSE - CONTINUOUS 354
|
|
|
|
OLD-TIMERS play on video screens: a museum exhibit. The
|
|
Administrator holds the door open for Cooper.
|
|
|
|
ADMINISTRATOR
|
|
But she confirmed just how much you
|
|
loved farming.
|
|
|
|
COOPER
|
|
She did, huh?
|
|
|
|
Cooper looks over the kitchen. Cooper sees a familiar-
|
|
looking articulated machine -
|
|
|
|
COOPER
|
|
Is that ...?
|
|
|
|
ADMINISTRATOR
|
|
The machine we found out near
|
|
Saturn when we found you, yes. Its
|
|
power source was shot, but we could
|
|
get you another if you want to try
|
|
and get it up and running again.
|
|
|
|
Cooper turns to the Administrator.
|
|
|
|
COOPER
|
|
Please.
|
|
154.
|
|
|
|
|
|
355 INT. HANGAR, COOPER STATION - EVENING 355
|
|
|
|
Cooper, from the catwalk, watches the last of the Rangers
|
|
come back from patrol. The PILOT jumps down as the ground
|
|
crew wheels it into its place in the line of sleek ships.
|
|
|
|
|
|
356 INT. KITCHEN, FARMHOUSE - NIGHT 356
|
|
|
|
Cooper has Tars’ head laid out on the kitchen table.
|
|
|
|
TARS
|
|
Settings: general settings,
|
|
security setting -
|
|
|
|
COOPER
|
|
Honesty. New level setting. Ninety-
|
|
five percent.
|
|
|
|
TARS
|
|
Confirmed. Additional
|
|
customization?
|
|
|
|
COOPER
|
|
Yes. Humor, seventy-five percent.
|
|
Wait.
|
|
(Thinks.)
|
|
Sixty percent.
|
|
|
|
|
|
357 INT. HOSPITAL WAITING ROOM - DAY 357
|
|
|
|
Cooper enters, nervous. A nurse is there.
|
|
|
|
COOPER
|
|
Is she -?
|
|
|
|
NURSE
|
|
The family’s all in there.
|
|
|
|
COOPER
|
|
The family?
|
|
|
|
NURSE
|
|
They all came along to see her -
|
|
she’s been in cryo-sleep for almost
|
|
two years.
|
|
|
|
|
|
358 INT. HOSPITAL ROOM - CONTINUOUS 358
|
|
155.
|
|
|
|
|
|
Cooper cautiously pushes open the door. The bed is
|
|
surrounded by people, grown-up children, grandchildren,
|
|
babies ... They turn to look at him: some SMILES, some
|
|
CURIOUS looks, a small child HIDES behind a parent’s leg
|
|
... Cooper approaches, and the family parts to let him see
|
|
an ELDERLY WOMAN, lying in the bed, FRAIL.
|
|
|
|
She looks up at Cooper. Delighted. Tears of joy. She
|
|
reaches up to him ... he takes her hands.
|
|
|
|
COOPER
|
|
Murph.
|
|
|
|
MURPH
|
|
Dad.
|
|
(To the others.)
|
|
Please.
|
|
|
|
Her voice is a frail whisper. With authority. The family
|
|
shuffles out. Cooper watches them go, turns back to Murph.
|
|
|
|
COOPER
|
|
You told them I like farming.
|
|
|
|
Murph smiles, still mischievous. Cooper marvels at her.
|
|
|
|
COOPER
|
|
Murph, it was me. I was your ghost.
|
|
|
|
MURPH
|
|
I know ...
|
|
|
|
She lifts her wrist - the WATCH is there ...
|
|
|
|
MURPH
|
|
People didn’t believe me, they
|
|
thought I’d done it all myself ...
|
|
(Taps watch.)
|
|
|
|
MURPH
|
|
But I knew who it was ...
|
|
|
|
COOPER
|
|
A father looks in his child’s eyes
|
|
and thinks - maybe it’s them -
|
|
maybe my child will save the world.
|
|
|
|
MURPH
|
|
156.
|
|
|
|
|
|
And everyone, once a child, wants
|
|
to looks into their own dad’s eyes
|
|
and know he saw. But, usually, by
|
|
then, the father is gone. Nobody
|
|
believed me, but I knew you’d come
|
|
back.
|
|
|
|
COOPER
|
|
How?
|
|
|
|
MURPH
|
|
Because my dad promised me.
|
|
|
|
Cooper is crying now.
|
|
|
|
COOPER
|
|
I’m here now. I’m here for you,
|
|
Murph.
|
|
|
|
Murph is shaking her head.
|
|
|
|
MURPH
|
|
No parent should have to watch
|
|
their child die. My kids are here
|
|
for me now. Go.
|
|
|
|
COOPER
|
|
Where?
|
|
|
|
MURPH
|
|
(it’s so obvious)
|
|
Brand.
|
|
|
|
And the family comes back in as Cooper releases Murph’s
|
|
hand, stepping back to let Murph’s kids and grandkids swarm
|
|
over her ... He watches them, their love, as if from
|
|
another dimension. A man out of time. A ghost.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
She’s out there ...
|
|
|
|
|
|
359 EXT. EDMUNDS’ DESERT PLANET - DAY 359
|
|
|
|
Brand, in suit and helmet, stands watching Case excavate a
|
|
pod, buried under a massive rock fall. She is crying.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
Setting up camp ...
|
|
157.
|
|
|
|
|
|
360 EXT. HANGAR, COOPER STATION - NIGHT 360
|
|
|
|
MECHANIC finishes looking over one of the sleek new
|
|
Rangers.
|
|
|
|
He packs his tools and heads out.
|
|
|
|
A figure unfolds itself in the shadows - Tars. He picks his
|
|
way through the shadows, unlocks the door. Cooper DARTS in
|
|
...
|
|
|
|
|
|
361 EXT. EDMUNDS’ DESERT PLANET - DAY 361
|
|
|
|
Brand kneels in front of a small CROSS. Edmunds’ nameplate
|
|
hangs from it.
|
|
|
|
MURPH
|
|
... Alone in a strange galaxy ...
|
|
|
|
She unseals her helmet - PULLS IT OFF ...
|
|
|
|
|
|
362 INT. HANGAR, COOPER STATION - NIGHT 362
|
|
|
|
Cooper and Tars scurry down the line of sleek ships. Cooper
|
|
points - Tars starts working the hatch mechanism, while
|
|
Cooper KEEPS WATCH ...
|
|
|
|
|
|
363 EXT. EDMUNDS’ DESERT PLANET - DAY 363
|
|
|
|
Brand, helmet off, BREATHES. And breathes again.
|
|
|
|
MURPH
|
|
(V.O.)
|
|
Maybe, right now, she’s settling in
|
|
for the long nap ...
|
|
|
|
|
|
364 INT. RANGER IN HANGAR, COOPER STATION - NIGHT 364
|
|
|
|
Cooper STRAPS into the pilot’s chair, Tars beside him. The
|
|
outer doors slide open. They look out at the inky blackness
|
|
of space ...
|
|
|
|
|
|
365 EXT. EDMUNDS’ DESERT PLANET - DUSK 365
|
|
|
|
Brand looks at the setting sun ...
|
|
|
|
MURPH
|
|
158.
|
|
|
|
|
|
(V.O.)
|
|
By the light of our new sun ...
|
|
|
|
|
|
366 INT. HANGAR, COOPER STATION - MORNING 366
|
|
|
|
The Mechanic opening up, walks along the row of ships until
|
|
-
|
|
|
|
One is MISSING.
|
|
|
|
|
|
367 EXT. EDMUNDS’ DESERT PLANET - DUSK 367
|
|
|
|
Brand turns from the dwindling light ...
|
|
|
|
MURPH
|
|
(V.O.)
|
|
In our new home.
|
|
|
|
She heads down through the twilight towards camp. And we -
|
|
Fade out.
|
|
|
|
Credits.
|
|
|
|
End.
|
|
|