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