7640 lines
253 KiB
Plaintext
7640 lines
253 KiB
Plaintext
2012
|
|
|
|
|
|
|
|
Written by
|
|
|
|
Roland Emmerich & Harald Kloser
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Second Draft
|
|
February 19th, 2008
|
|
|
|
|
|
|
|
|
|
OVER BLACK
|
|
|
|
We listen to the immortal music of Mozart's Adagio of the
|
|
Clarinet Concerto in A.
|
|
|
|
FADE UP
|
|
|
|
|
|
EXT. THE SOLAR SYSTEM
|
|
|
|
Space, infinite and empty.
|
|
|
|
But then, slowly all nine planets of our Solar System move
|
|
into frame and align.
|
|
|
|
The last of them is the giant, burning sphere of the sun.
|
|
|
|
Just as the sun enters frame, a solar storm of gigantic
|
|
proportion unfolds. The eruptions shoot thousands of miles
|
|
into the blackness of space.
|
|
|
|
FADE TO BLACK
|
|
|
|
2009
|
|
|
|
FADE UP
|
|
|
|
|
|
EXT. COUNTRY SIDE/INDIA - SUNSET
|
|
|
|
Mozart's concerto filters from a jeep's stereo, fighting the
|
|
drumming sounds of the monsoon rain. PROF. FREDERIC WEST, 66,
|
|
listens to the music.
|
|
|
|
An Indian BOY playing by the roadside steers his wooden toy
|
|
ship across a puddle.
|
|
|
|
The Professor turns to his driver, pointing to the boy.
|
|
|
|
PROF. WEST
|
|
Watch out!
|
|
|
|
But it's too late. The jeep drives straight through the
|
|
puddle at full speed, sinking the boy's toy ship.
|
|
|
|
In the background, the jeep stops in front of a building. The
|
|
driver jumps out, leading the Professor towards its entrance.
|
|
|
|
The sign at the door reads: `Institute for Astrophysics -
|
|
University of New Delhi'.
|
|
|
|
2.
|
|
|
|
INT. NAGA-DENG MINE/INDIA - SUNSET
|
|
|
|
An endless mine shaft. An old elevator cage comes to a
|
|
grinding halt. When Prof. West steps out we see that he is
|
|
accompanied now by a nervous DR. SATNAM TSURUTANI, 32.
|
|
|
|
PROF. WEST
|
|
How deep are we?
|
|
|
|
SATNAM
|
|
8200 feet. Used to be an old copper
|
|
mine, Professor, sir.
|
|
|
|
As Prof. West follows Satnam, he takes in the unusual setting
|
|
for this science lab.
|
|
|
|
PROF. WEST
|
|
Helmsley told me that the neutrino
|
|
count doubled during the last sun
|
|
eruptions.
|
|
|
|
SATNAM
|
|
Correct, sir. But that is not what
|
|
worries me...
|
|
|
|
They enter a large room with low hanging ceilings. A small
|
|
group of WHITE COATS look up from their computers, which all
|
|
show images of the solar storm we witnessed earlier.
|
|
|
|
SATNAM (CONT'D)
|
|
There was a new solar storm, so strong
|
|
that the physical reaction got even
|
|
more severe.
|
|
|
|
PROF. WEST
|
|
How can that be?
|
|
|
|
SATNAM
|
|
We don't know, Professor, sir.
|
|
|
|
Satnam walks over into another room. There he opens a hatch
|
|
on the floor and hot steam rises.
|
|
|
|
SATNAM (CONT'D)
|
|
The neutrinos suddenly act like...
|
|
microwaves.
|
|
|
|
Prof. West slowly steps closer. When he discovers that the
|
|
water in the tank below is boiling, his face goes pale.
|
|
|
|
CUT TO:
|
|
|
|
3.
|
|
|
|
EXT. LARGE TERRACE/WASHINGTON D.C. - EVENING
|
|
|
|
A major fund raising party is under way. The setting is
|
|
spectacular. A terrace overlooking the Washington Mall and
|
|
the Capitol Building.
|
|
|
|
ADRIAN HELMSLEY, 32, stands with a group of young POLITICAL
|
|
AIDES. He is the only African-American among them.
|
|
|
|
One of the aides spots CARL ANHEUSER, 58, White House Chief
|
|
of Staff, working the crowd.
|
|
|
|
POLITICAL AID #1
|
|
Look at Anheuser. Anyone would think he
|
|
was President. Did you hear, he wants
|
|
us to sign in and out like school boys?
|
|
|
|
ADRIAN
|
|
I still can't believe that Wilson chose
|
|
him of all people to run the White
|
|
House.
|
|
|
|
POLITICAL AID #2
|
|
Why not? Anheuser owns the Senate and
|
|
the Congress.
|
|
|
|
ADRIAN
|
|
Shame he's such a pompous ass.
|
|
|
|
ANHEUSER (O.S.)
|
|
Somebody mention my name?
|
|
|
|
Adrian turns to see Anheuser smiling.
|
|
|
|
ADRIAN
|
|
(SHOCKED)
|
|
Yes sir... No, sir.
|
|
|
|
ANHEUSER
|
|
Which one is it?
|
|
|
|
ADRIAN
|
|
We were talking about what a great
|
|
speech you gave tonight. Well done,
|
|
sir.
|
|
|
|
ANHEUSER
|
|
It's Helmsley, right? I'll remember
|
|
that.
|
|
|
|
Anheuser walks away with a dangerous smile.
|
|
|
|
POLITICAL AID #2
|
|
That guy scares the shit out of me.
|
|
|
|
At that moment Adrian's cell phone rings.
|
|
(CONTINUED)
|
|
|
|
4.
|
|
|
|
ADRIAN
|
|
(into the phone)
|
|
Professor West?
|
|
|
|
PROF. WEST (O.S.)
|
|
I've been trying to reach you!
|
|
|
|
|
|
INT. LIVING ROOM/SATNAM'S HOUSE - NIGHT
|
|
|
|
Prof. West is on the phone. In the background we make out
|
|
Satnam's family around the dining room table.
|
|
|
|
PROF. WEST
|
|
Listen, Adrian. The situation is much
|
|
worse than we thought...
|
|
|
|
Satnam quiets his little son. It is the boy we saw earlier
|
|
with his toy ship.
|
|
|
|
|
|
INT. HALLWAY/WHITE HOUSE - DAY
|
|
|
|
Adrian follows Anheuser through a hallway of the White House,
|
|
papers in hand.
|
|
|
|
ADRIAN
|
|
Sir, the President needs to know this.
|
|
|
|
ANHEUSER
|
|
Helmsley, how long have you been on the
|
|
job as science advisor?
|
|
|
|
ADRIAN
|
|
Four months this week.
|
|
|
|
ANHEUSER
|
|
I would say that's enough time to learn
|
|
that we have rules here. You'll just
|
|
have to wait until the quarterly
|
|
science briefing.
|
|
|
|
ADRIAN
|
|
If this is about what I said last
|
|
night, I am truly sorry, sir.
|
|
|
|
ANHEUSER
|
|
So you didn't like my speech?
|
|
|
|
Exasperated, Adrian holds out the papers to him.
|
|
|
|
ADRIAN
|
|
Can you please have a look at this,
|
|
sir? It's really important.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
5.
|
|
|
|
Finally, Anheuser rips the papers out of his hands and starts
|
|
to walk away, reading.
|
|
|
|
Suddenly he slows down.
|
|
|
|
ANHEUSER
|
|
Who wrote this?
|
|
|
|
ADRIAN
|
|
An Indian astrophysicist I graduated
|
|
with from Harvard and Prof. West, the
|
|
preeminent geologist in the US.
|
|
|
|
ANHEUSER
|
|
Who else knows about it?
|
|
|
|
ADRIAN
|
|
No one, sir.
|
|
|
|
ANHEUSER
|
|
Let's keep it that way, Helmsley.
|
|
|
|
Anheuser walks away.
|
|
|
|
FADE TO BLACK
|
|
|
|
2010
|
|
|
|
FADE UP
|
|
|
|
|
|
EXT. SEVILLE/SPAIN - DAY
|
|
|
|
G8 Summit. Riot police control the unruly crowd with water
|
|
cannons.
|
|
|
|
We see PROTESTERS with Anti Globalization signs behind a
|
|
fence. A convoy of limousines is approaching a historic
|
|
building.
|
|
|
|
|
|
INT. BIG HALL/ALHAMBRA - DAY
|
|
|
|
We follow the American delegation into the conference room,
|
|
where the other G8 delegations are seated around an enormous
|
|
table.
|
|
|
|
The President of the United States, THOMAS F. WILSON, 56,
|
|
doesn't sit down. He addresses the room and everybody goes
|
|
quiet.
|
|
|
|
PRESIDENT WILSON (O.S.)
|
|
Good Morning...
|
|
|
|
For the first time we see the President's face. He is African-
|
|
American.
|
|
(CONTINUED)
|
|
|
|
6.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
I hereby present a motion to meet
|
|
privately with my seven fellow Heads of
|
|
State, kindly excluding the rest of the
|
|
delegates.
|
|
|
|
A murmur erupts. The Russian President SERGEY MAKARENKO, 62,
|
|
whispers to one of his interpreters.
|
|
|
|
RUSSIAN INTERPRETER
|
|
Mr. Makarenko wishes to have his
|
|
interpreters present.
|
|
|
|
President Wilson looks over to the Russian Colleague.
|
|
|
|
PRESIDENT WILSON
|
|
Mr. President, judging from the
|
|
conversations we've had in the past, I
|
|
can assure you, your English is
|
|
absolutely fine, for what I have to
|
|
say.
|
|
|
|
As the Russian President waves his interpreter away, all the
|
|
international delegates leave as well.
|
|
|
|
The huge doors of the hall close. A secret service officer in
|
|
the sound booth switches off the recording equipment to the
|
|
chamber.
|
|
|
|
The President gathers himself.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
Six months ago I was made aware of a
|
|
situation so devastating, that at
|
|
first, I refused to believe it.
|
|
(PAUSE)
|
|
However through the concerted efforts
|
|
of the brightest scientists of several
|
|
nations, we have now confirmed its
|
|
validity.
|
|
|
|
Dead silence.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
The world as we know it, will soon come
|
|
to an end.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. CHO MING VALLEY/TIBET - DAWN
|
|
|
|
A huge Chinese military helicopter blasts through a majestic
|
|
mountain valley in Tibet. We are at the top of the world.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
7.
|
|
|
|
A Chinese COLONEL, wearing dark sun glasses, watches from the
|
|
chopper as the army forces the evacuation of the villages and
|
|
monasteries.
|
|
|
|
VOICE (O.S.)
|
|
(in Chinese)
|
|
You will have new houses, electricity
|
|
and running water...
|
|
|
|
|
|
EXT. VILLAGE/TIBET - DAY
|
|
|
|
Someone speaks on a megaphone in the village square as
|
|
villagers are evicted by soldiers and herded into trucks.
|
|
|
|
VOICE (O.S.)
|
|
... Some among you will even have the
|
|
chance to work for the glorious
|
|
People's Republic of China building the
|
|
biggest dam project in the world...
|
|
|
|
NENG PANG, a young monk, 18, is loaded into a truck together
|
|
with his PARENTS, both in their 60's.
|
|
|
|
|
|
EXT. SCHOOL/TIBET - DAY
|
|
|
|
Neng's older brother, LIN PANG, 25, is part of a huge crowd
|
|
of young men and women staying behind by a Tibetan school
|
|
building. He turns and yells after the truck.
|
|
|
|
LIN
|
|
I will send you money mother.
|
|
|
|
The Colonel with the dark glasses steps up, addressing the
|
|
masses.
|
|
|
|
COLONEL
|
|
Who can read and write?
|
|
|
|
Eager hands fly up in the air. An official makes notes.
|
|
|
|
COLONEL (CONT'D)
|
|
Who can weld?
|
|
|
|
Lin's hand shoots up in the air. We hear a siren echoing
|
|
through the mountains and suddenly an explosion. Lin turns.
|
|
|
|
In the BACKGROUND, a series of explosions punch enormous
|
|
holes into the side of the mountain, showering rock
|
|
everywhere.
|
|
|
|
FADE TO BLACK
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
8.
|
|
|
|
2011
|
|
|
|
FADE UP
|
|
|
|
|
|
INT. DORCHESTER HOTEL/LONDON - DAY
|
|
|
|
A MAN in a dark suit walks through a hallway of the
|
|
Dorchester looking like your typical MI-6 agent. The decor is
|
|
plush and luxurious. He's stopped by two security men who
|
|
frisk him.
|
|
|
|
|
|
INT. PRESIDENTIAL SUITE/DORCHESTER HOTEL - DAY
|
|
|
|
Heavily ringed fingers flip through a folder.
|
|
|
|
MI-6 OFFICER (O.S.)
|
|
Has his Highness had the opportunity to
|
|
study the dossier?
|
|
|
|
A SAUDI PRINCE looks up and nods without expression.
|
|
|
|
SAUDI PRINCE
|
|
You must understand I have a very big
|
|
family. Mister...
|
|
|
|
MI-6 OFFICER
|
|
Isaacs.
|
|
|
|
SAUDI PRINCE
|
|
Mister Isaacs, one billion dollars is a
|
|
lot of money.
|
|
|
|
MI-6 OFFICER
|
|
I'm afraid the amount is in Euros, your
|
|
Highness.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. LOUVRE/PARIS - NIGHT
|
|
|
|
A group of dark figures in overalls walk past famous
|
|
Renaissance paintings. They stop at the Mona Lisa.
|
|
|
|
MANFRED PICARD, 63, head of the French National Museums,
|
|
stands by LAURA, a young African-American woman in her late
|
|
20's. They observe the specialists opening the case of the
|
|
famous painting.
|
|
|
|
A whoosh of air as the vacuum seal breaks.
|
|
|
|
MANFRED PICARD
|
|
Laura, I'm putting a lot of trust in
|
|
your people.
|
|
(CONTINUED)
|
|
|
|
9.
|
|
|
|
Laura answers in almost perfect French.
|
|
|
|
LAURA
|
|
There are too many crazy people who
|
|
could hurt her, Manfred. The World
|
|
Heritage Foundation has done this all
|
|
over the world.
|
|
|
|
In the BACKGROUND the Mona Lisa is taken off the wall and
|
|
replaced with a perfect replica. Picard still looks uneasy.
|
|
He watches as the real Mona Lisa is sealed into an airtight
|
|
case.
|
|
|
|
MANFRED PICARD
|
|
And she'll be safe now? Tucked away in
|
|
the Swiss Alps?
|
|
|
|
LAURA
|
|
Perfectly safe.
|
|
|
|
Picard looks suspicious but says nothing. The CAMERA MOVES IN
|
|
on the face of the fake Mona Lisa until all we see is her
|
|
mysterious smile.
|
|
|
|
FADE TO BLACK
|
|
|
|
2012
|
|
FADE UP
|
|
|
|
FUZZY TV IMAGES:
|
|
|
|
Lifeless bodies encircle a huge fire pit. They resemble the
|
|
rays of the sun. In the background we see the famous step
|
|
pyramids of Tikal.
|
|
|
|
NEWSCASTER (O.S.)
|
|
... The mass suicide was discovered by
|
|
a BBC documentary crew in the ancient
|
|
Mayan city of Tikal...
|
|
|
|
Many of the dead are women and children looking peaceful and
|
|
are surrounded by colorful flowers.
|
|
|
|
NEWSCASTER (CONT'D)
|
|
... the victims were said to have
|
|
adhered to the Mayan-Quiche Calender
|
|
which predicts the end of time to occur
|
|
on the 21st of December this year, due
|
|
to the sun's destructive forces...
|
|
|
|
The CAMERA slowly pulls out and we are in--
|
|
|
|
10.
|
|
|
|
INT. JACKSON'S APARTMENT/LOS ANGELES - EARLY MORNING
|
|
|
|
A shabby apartment in Silverlake. The TV is on.
|
|
|
|
NEWSCASTER (O.S.)
|
|
... Strangely enough, scientific
|
|
records do support the fact that we are
|
|
heading for the biggest solar climax in
|
|
recorded history...
|
|
|
|
A small tremor rocks the apartment and the dishevelled face
|
|
of JACKSON CURTIS, 33, pops up from behind the couch. He fell
|
|
asleep at his laptop last night.
|
|
|
|
JACKSON
|
|
Oh no. Not again.
|
|
|
|
One look at his watch and he is off running. He throws some
|
|
clothes and a toothbrush in a bag. His cell phone rings.
|
|
|
|
JACKSON (CONT'D)
|
|
Hello?... What do you mean? I'm not
|
|
late. It's not even 10:30...
|
|
|
|
Jackson turns off the TV and darts towards the door, stopping
|
|
only to slide his laptop into a knapsack. As he turns, he
|
|
stumbles over a stack of books, all shrink-wrapped and
|
|
identically titled: `Farewell Atlantis'.
|
|
|
|
JACKSON (CONT'D)
|
|
Damn it!
|
|
(into the phone)
|
|
Kate, I'm on my way... For god's
|
|
sake...
|
|
|
|
Frustrated, he kicks them out of his way and exits. We hold
|
|
on the books and realize that Jackson's photograph is on
|
|
their back covers.
|
|
|
|
|
|
EXT. JACKSON'S GARAGE/LOS ANGELES - EARLY MORNING
|
|
|
|
The phone call continues as Jackson opens the garage door,
|
|
struggling to pack his old SUV with camping equipment.
|
|
|
|
JACKSON
|
|
They're kids, Kate, going on vacation.
|
|
It's not a doctor's appointment... it's
|
|
supposed to be fun. You remember that,
|
|
right? Fun?
|
|
|
|
He tries to start the engine, but the battery is dead.
|
|
Frustrated, he hits the steering wheel.
|
|
|
|
11.
|
|
|
|
EXT. JACKSON'S STREET/LOS ANGELES - EARLY MORNING
|
|
|
|
Jackson runs across the street with his camping equipment,
|
|
throwing it into the trunk of a stretch limo parked by the
|
|
curb.
|
|
|
|
JACKSON
|
|
... I know it's mosquito season at
|
|
Yellowstone, Kate. I'll pick some up on
|
|
the way.
|
|
|
|
He notices a deep crack in the asphalt. His neighbors, an
|
|
elderly couple, stand there and stare at it.
|
|
|
|
NEIGHBOR
|
|
Merrill, we should move back to
|
|
Wisconsin.
|
|
|
|
Jackson gets into the limo and speeds off.
|
|
|
|
|
|
INT. STREETS/LOS ANGELES - EARLY MORNING
|
|
|
|
Jackson drives through LA with the radio on.
|
|
|
|
RADIO HOST (O.S.)
|
|
... Those shake-proof coffee mugs are a
|
|
genius idea, and they just show the
|
|
true nature of us Californians.
|
|
|
|
We pass a family frantically loading boxes into a van.
|
|
|
|
RADIO HOST (O.S.) (CONT'D)
|
|
We'll not bow to little inconveniences
|
|
like these so called `mini-quakes'...
|
|
|
|
Jackson passes a man in a wheelchair. He's holding up a
|
|
cardboard sign: `Repent - The End is Near'.
|
|
|
|
|
|
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
|
|
|
|
Jackson stops and honks in front of an upscale Westwood home.
|
|
|
|
RADIO HOST (O.S.)
|
|
... If you have a funny `mini-quake'
|
|
story you wanna share, call Lisa &
|
|
Randy at 1-800...
|
|
|
|
Jackson switches the radio off. Two kids NOAH, 10, and LILLY,
|
|
7, come running down the driveway. They slow down, as they
|
|
see the limo.
|
|
|
|
NOAH
|
|
Jackson, what is this?
|
|
|
|
(CONTINUED)
|
|
|
|
12.
|
|
|
|
JACKSON
|
|
Don't call me Jackson, Noah, I'm your
|
|
father.
|
|
|
|
Lilly yells from inside the limo.
|
|
|
|
LILLY (O.S.)
|
|
Noah! Look! Daddy's got Space-Busters
|
|
in the car... and Space-Busters 2.
|
|
Awesome!
|
|
|
|
Their mother, KATE CURTIS, 32, a beautiful woman appears.
|
|
|
|
KATE
|
|
So what, you're a chauffeur now? What
|
|
happened to the temp work?
|
|
|
|
JACKSON
|
|
This is better hours for me. Means I
|
|
can still write.
|
|
|
|
KATE
|
|
Of course.
|
|
|
|
Kate's new boyfriend, GORDON SILBERMAN, 43, pulls out of the
|
|
garage in his Porsche wearing his Bluetooth.
|
|
|
|
GORDON
|
|
(on the phone)
|
|
Simone, how many times have I told you,
|
|
we don't do Lipo on Fridays. It's too
|
|
messy.
|
|
|
|
Jackson smiles bitterly. Gordon waves at the kids.
|
|
|
|
GORDON (CONT'D)
|
|
Have fun guys. And watch out for those
|
|
bears.
|
|
(to Jackson)
|
|
Nice car.
|
|
|
|
Jackson waves grudgingly as Gordon pulls away.
|
|
|
|
KATE
|
|
Noah needs to read twenty pages from
|
|
his book each day...
|
|
|
|
She follows Jackson to the car with a bag of pull-up diapers.
|
|
|
|
KATE (CONT'D)
|
|
... and Lilly has to put these on,
|
|
before she goes to sleep.
|
|
|
|
JACKSON
|
|
Still?
|
|
|
|
(CONTINUED)
|
|
|
|
13.
|
|
|
|
He shuts the trunk and gets back behind the wheel. She looks
|
|
at him seriously.
|
|
|
|
KATE
|
|
Jackson, they've been really looking
|
|
forward to this you know. Don't let
|
|
them down.
|
|
|
|
He nods as the car pulls away.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. SHIP DECK/SAN FRANCISCO HARBOR - DAY
|
|
|
|
HARRY HELMSLEY, 73, and his partner TONY DELGADO, 68, board
|
|
an enormous cruise ship, the `Freedom of the Seas'. Harry is
|
|
African-American, Tony is Italian. He carries a large case.
|
|
They pass a poster: `Jazz Night with Harry Helmsley & Tony
|
|
Delgado'.
|
|
|
|
HARRY
|
|
So this time we'll hit the Japs.
|
|
|
|
TONY
|
|
So what?
|
|
|
|
HARRY
|
|
Well Tony, electronics are cheap there
|
|
and... you could visit your boy Will.
|
|
|
|
TONY
|
|
Afternoon ladies...
|
|
|
|
TONY shoots a charmers smile at a couple of older single
|
|
ladies on sun loungers. They smile back coyly.
|
|
|
|
HARRY
|
|
Are you even listening to me?
|
|
|
|
TONY
|
|
Yes unfortunately I am Harry.
|
|
|
|
HARRY
|
|
I heard from Audrey you're a grandpa
|
|
now.
|
|
|
|
TONY
|
|
Why don't you keep your nose out of my
|
|
family. You're cramping my style.
|
|
|
|
HARRY
|
|
He married a Japanese girl - how is
|
|
that the end of the world? You should
|
|
at least go see him.
|
|
|
|
(CONTINUED)
|
|
|
|
14.
|
|
|
|
TONY
|
|
Why? Do you see your boy?
|
|
|
|
HARRY
|
|
Not as much as I'd like. DC is a long
|
|
way. But at least we talk.
|
|
|
|
TONY
|
|
What about?
|
|
|
|
HARRY
|
|
Life, how short it is...
|
|
|
|
Suddenly they're thrown off balance by a large swell that
|
|
pulls the massive `Freedom of the Seas' away from the
|
|
landing, about ten yards.
|
|
|
|
The next moment, the ship slams back against the dock with an
|
|
earthshaking BOOM.
|
|
|
|
TONY
|
|
What the hell was that?
|
|
|
|
A murmur goes through the crowd. Luckily nobody is injured.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. LAURA'S BEDROOM/D.C. - EARLY MORNING
|
|
|
|
The phone rings twice before Laura switches on a light. We
|
|
catch a glimpse of a framed photo of her and Adrian. She
|
|
answers the phone.
|
|
|
|
MANFRED PICARD (O.S.)
|
|
Laura? They lied to us.
|
|
|
|
LAURA
|
|
Manfred is that you?
|
|
|
|
|
|
EXT. STREETS/PARIS - NIGHT
|
|
|
|
Picard is speeding in his Peugeot, anxiously checking his
|
|
rear view mirror.
|
|
|
|
MANFRED PICARD
|
|
I had my suspicions. I should have said
|
|
something. They are following me.
|
|
|
|
LAURA (O.S.)
|
|
Who is?
|
|
|
|
MANFRED PICARD
|
|
They may be listening to us too. Laura
|
|
the Heritage Foundation is a sham.
|
|
(CONTINUED)
|
|
|
|
15.
|
|
|
|
Picard's car approaches a tunnel.
|
|
|
|
LAURA (O.S.)
|
|
What?
|
|
|
|
MANFRED
|
|
The art you collected, it's not in the
|
|
Alps.
|
|
|
|
The Peugeot enters a tunnel.
|
|
|
|
LAURA (O.S.)
|
|
Then where is it?
|
|
|
|
A huge blast rips through the tunnel as his car explodes.
|
|
|
|
SMASH CUT TO:
|
|
|
|
|
|
EXT. ROAD/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
JACKSON AND LILLY
|
|
(singing along to the
|
|
RADIO)
|
|
`We all live in a Yellow Submarine...'
|
|
|
|
They're driving through the glorious landscape of Yellowstone
|
|
National Park. Noah sits in the back with headphones on
|
|
playing Space-Busters 2.
|
|
|
|
As they pass over a ridge, the music station is overpowered
|
|
by a talk show filtering through. We hear a raspy and
|
|
excitable voice.
|
|
|
|
RADIO HOST
|
|
... After what is going on in La-La-
|
|
land with all those surface cracks, I
|
|
told myself: Get your stupid ass to
|
|
Yellowstone. I don't want to miss all
|
|
the great fun, when it finally blows...
|
|
|
|
Lilly reaches for the dial of the radio.
|
|
|
|
LILLY
|
|
What happened to the music?
|
|
|
|
JACKSON
|
|
Hang on, sweet pea, let daddy listen to
|
|
this for a moment...
|
|
|
|
Jackson corrects the dial to get better reception.
|
|
|
|
RADIO HOST
|
|
... There's been government people
|
|
flying in and out all morning. And
|
|
trust me, they did not look happy...
|
|
(CONTINUED)
|
|
|
|
16.
|
|
|
|
A huge black helicopter brushes over the limo.
|
|
|
|
RADIO HOST (CONT'D)
|
|
... Folks, always remember, you heard
|
|
it first from Charlie.
|
|
|
|
They watch in awe as the chopper disappears behind a ridge.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. OVAL OFFICE/WHITE HOUSE - MORNING
|
|
|
|
Laura bursts in and heads straight for the TV. The President
|
|
looks up from his desk.
|
|
|
|
LAURA
|
|
You have to see this.
|
|
|
|
Sally the President's Secretary enters, flustered.
|
|
|
|
PRESIDENT WILSON
|
|
It's alright Sally.
|
|
|
|
Sally closes the door as Laura turns up the TV.
|
|
|
|
CNN ANCHOR
|
|
... Mr. Picard had been the director of
|
|
the French National Museums for 24
|
|
years. As fate would have it his
|
|
assassination took place in the same
|
|
Paris tunnel where Princess Diana died
|
|
in 1997.
|
|
|
|
The President comes around his desk. Laura looks at him
|
|
distraught.
|
|
|
|
LAURA
|
|
I just talked to him, Dad. He told me
|
|
the world Heritage Foundation is a
|
|
sham. Is that true?
|
|
|
|
The President shoots an anxious look across the room. Laura
|
|
turns and suddenly realizes that Adrian is standing in the
|
|
corner.
|
|
|
|
LAURA (CONT'D)
|
|
You knew too? You sleep with me and you
|
|
didn't say anything?
|
|
|
|
Adrian looks ashamed.
|
|
|
|
LAURA (CONT'D)
|
|
I can't even look at you. Either of
|
|
you!
|
|
|
|
(CONTINUED)
|
|
|
|
17.
|
|
|
|
PRESIDENT WILSON
|
|
Honey, calm down.
|
|
|
|
LAURA
|
|
A man was killed! I want the truth Dad.
|
|
Right now.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
A dense forest trail. We hear Lilly before we see her.
|
|
|
|
LILLY (O.S.)
|
|
Daddy, where are we going?
|
|
|
|
JACKSON
|
|
To a very special place, Lil'bee. It's
|
|
a lake. A place where mommy and daddy
|
|
fell in love.
|
|
(winking to Noah)
|
|
Remember the book I gave you?
|
|
|
|
NOAH
|
|
I don't want to know where you and mom
|
|
had sex. I'm not ready for that,
|
|
Jackson.
|
|
|
|
JACKSON
|
|
I'm your dad, Noah.
|
|
|
|
LILLY (O.S.)
|
|
Daddy!
|
|
|
|
Jackson runs to catch up with Lilly who has reached a fence
|
|
with a `keep out' sign posted.
|
|
|
|
JACKSON
|
|
This wasn't here before.
|
|
|
|
Jackson starts to climb the fence.
|
|
|
|
NOAH
|
|
Don't you see the signs?
|
|
|
|
JACKSON
|
|
It's fine guys.
|
|
|
|
|
|
EXT. RIDGE/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Jackson and his kids crest a ridge. They look down on a
|
|
parched basin with cracked terrain.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
18.
|
|
|
|
JACKSON
|
|
It's gone. The whole darn lake is gone.
|
|
I swear you guys there was a lake here.
|
|
|
|
The kids roll their eyes.
|
|
|
|
|
|
EXT. EMPTY LAKE BED/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
A puddle of water is all that remains of the lake. Jackson
|
|
and the kids walk into the basin, unaware of being watched
|
|
THROUGH BINOCULARS.
|
|
|
|
Jackson spots an electronic measuring device and crouches to
|
|
have a closer look.
|
|
|
|
Elsewhere in the lake bed, we see sand seeping through CRACKS
|
|
in the ground.
|
|
|
|
NOAH (O.S.)
|
|
Jackson!
|
|
|
|
When he looks up, he sees heavily armed soldiers coming
|
|
towards them from all sides.
|
|
|
|
JACKSON
|
|
It's okay, Noh'.
|
|
|
|
Through the BINOCULARS, we see Jackson and his kids arrested
|
|
and led over a ridge.
|
|
|
|
With this we reveal an ENORMOUS RESEARCH FACILITY with
|
|
hundreds of tents and vehicles surrounding a massive drilling
|
|
tower.
|
|
|
|
|
|
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Adrian Helmsley and Prof. West exit the drilling tower, both
|
|
studying papers. Adrian notices Jackson and his kids nearby,
|
|
being interrogated by an OFFICER.
|
|
|
|
ADRIAN
|
|
I'll be with you in a second,
|
|
Professor.
|
|
|
|
Adrian walks towards them. Jackson stares at the officer with
|
|
defiance.
|
|
|
|
OFFICER
|
|
... And then you climbed over a posted
|
|
fence? Just like that?
|
|
|
|
NOAH
|
|
I told you.
|
|
|
|
(CONTINUED)
|
|
|
|
19.
|
|
|
|
JACKSON
|
|
Isn't this supposed to be a National
|
|
Park? There shouldn't be fences. What
|
|
are you guys doing around here anyway?
|
|
|
|
ADRIAN (O.S.)
|
|
We're geologists...
|
|
|
|
Jackson turns and sees Adrian standing there.
|
|
|
|
ADRIAN (CONT'D)
|
|
I'll handle this officer. Thank you.
|
|
|
|
The officer reluctantly hands him Jackson's license.
|
|
|
|
JACKSON
|
|
So, where did the lake go?
|
|
|
|
ADRIAN
|
|
That's what we're trying to find out.
|
|
We think this whole area has become
|
|
potentially unstable. I would advise
|
|
you to take your kids and leave, Mr...
|
|
|
|
He throws a look at Jackson's drivers license.
|
|
|
|
ADRIAN (CONT'D)
|
|
... Curtis.
|
|
|
|
He looks up at Jackson with renewed interest.
|
|
|
|
ADRIAN (CONT'D)
|
|
Are you by any chance the Jackson
|
|
Curtis, the author of `Farewell
|
|
Atlantis'?
|
|
|
|
JACKSON
|
|
(SURPRISED)
|
|
Yeah, that's me.
|
|
|
|
Jackson straightens up proudly. Lilly smiles.
|
|
|
|
ADRIAN
|
|
What a coincidence. I'm reading your
|
|
book, as we speak... first third,
|
|
around day 300, when the shuttle loses
|
|
communication with earth and drifts off
|
|
into space.
|
|
|
|
JACKSON
|
|
You're one of lucky 422 who bought it.
|
|
|
|
ADRIAN
|
|
Actually I didn't buy it. My father
|
|
gave it to me.
|
|
|
|
(CONTINUED)
|
|
|
|
20.
|
|
|
|
JACKSON
|
|
Oh, I see.
|
|
|
|
Prof. West waves at Adrian from one of the container labs.
|
|
Adrian hands back Jackson his drivers license.
|
|
|
|
ADRIAN
|
|
Officer, can you return them to the
|
|
campgrounds, please.
|
|
(to Jackson)
|
|
Pleasure to meet you, Mr. Curtis.
|
|
|
|
Jackson and his kids look after Adrian hurrying away.
|
|
|
|
LILLY
|
|
He was very nice.
|
|
|
|
JACKSON
|
|
Yes he was, Lil'bee.
|
|
|
|
|
|
EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - LATER
|
|
|
|
Jackson and the kids walk back to the campgrounds when
|
|
suddenly CHARLIE FROST, 62, a crazy looking guy with
|
|
binoculars around his neck, stands in their way.
|
|
|
|
CHARLIE FROST
|
|
What did the government guys tell you?
|
|
|
|
Jackson looks at him, instinctively picking up Lilly.
|
|
|
|
JACKSON
|
|
They think it's not such a good idea to
|
|
climb over their fences. They feel the
|
|
area is unstable.
|
|
|
|
Charlie bursts out laughing.
|
|
|
|
CHARLIE FROST
|
|
Unstable! Ha-ha! They say its unstable!
|
|
That's funny...
|
|
|
|
With this he turns around and leaves.
|
|
|
|
|
|
EXT. TENT/YELLOWSTONE NATIONAL PARK - DUSK
|
|
|
|
Jackson is sitting on a camp chair, right outside the tent.
|
|
He's on his laptop, looking enquiringly at an aerial picture
|
|
of Yellowstone on Google earth.
|
|
|
|
In the background we see the kids are in the tent.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
21.
|
|
|
|
NOAH
|
|
There are mosquitos in here. Did
|
|
anybody spray the tent?
|
|
|
|
Jackson looks up, remembering he forgot the spray.
|
|
|
|
JACKSON
|
|
We'll get some of that tomorrow. For
|
|
tonight just put your head under the
|
|
blankie.
|
|
|
|
LILLY
|
|
Daddy you said you weren't gonna work
|
|
on your book.
|
|
|
|
JACKSON
|
|
I'm not Honey, I promise. Are you
|
|
wearing your pull-ups?
|
|
|
|
Lilly nods as Jackson walks over and tucks her into bed. He
|
|
kisses her good night. He turns and is surprised to see Noah
|
|
typing a text on his cell phone.
|
|
|
|
JACKSON (CONT'D)
|
|
Did mommy buy you that?
|
|
|
|
NOAH
|
|
No... Gordon gave it to me for my
|
|
birthday.
|
|
|
|
Jackson takes the phone from out of Noah's hands.
|
|
|
|
JACKSON
|
|
Noah. Things like a cell phone have to
|
|
be discussed in the family.
|
|
|
|
NOAH
|
|
(BITTER)
|
|
What family?
|
|
|
|
Jackson reads the message Noah has typed `Hey Gordon, Camping
|
|
Sucks!'. Hurt, Jackson hands back the phone.
|
|
|
|
JACKSON
|
|
Go to sleep guys.
|
|
|
|
|
|
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DUSK
|
|
|
|
Commotion. The base packs up. Adrian and Prof. West duck low
|
|
as they board a chopper. Adrian is on the phone.
|
|
|
|
ADRIAN
|
|
... You have to immediately inform the
|
|
President, Mr Anheuser. The readings
|
|
look much worse than I expected.
|
|
(MORE) (CONTINUED)
|
|
|
|
22.
|
|
ADRIAN (CONT'D)
|
|
Plus Satnam's neutrino figures from
|
|
India confirm...
|
|
|
|
We hear Anheuser, yelling.
|
|
|
|
ANHEUSER (O.S.)
|
|
... But you guys said...
|
|
|
|
ADRIAN
|
|
We were wrong! By five or six months...
|
|
|
|
A second later the chopper lifts off.
|
|
|
|
|
|
INT. LIMO/YELLOWSTONE NATIONAL PARK - DUSK
|
|
|
|
Jackson has his laptop open with the cursor blinking away on
|
|
the words `Chapter Seven'. But he can't concentrate on
|
|
writing after what Noah has said.
|
|
|
|
A chopper flies overhead. Jackson follows it's path over the
|
|
campsite and his eyes fall on an American flag fluttering on
|
|
top of a massive radio antennae. This belongs to an RV truck.
|
|
|
|
Through the RV's window, Jackson sees the silhouette of
|
|
Charlie Frost, the guy with the binoculars, speaking into a
|
|
microphone.
|
|
|
|
Curious, Jackson flicks on the radio and twists the dial.
|
|
|
|
ON THE RADIO
|
|
(Charlie's voice)
|
|
... We have a listener calling in. Bill
|
|
from Cooke City, you're on the Charlie
|
|
Frost Show.
|
|
(Bill's voice)
|
|
I wanted to know, where will this all
|
|
start?
|
|
|
|
Jackson is intrigued. He puts his laptop down.
|
|
|
|
ON THE RADIO (CONT'D)
|
|
(Charlie's voice)
|
|
Well, something like this could only
|
|
originate in Hollywood, Ha-Ha! But
|
|
seriously, they've got the earth
|
|
cracking under their asses already,
|
|
Bill.
|
|
|
|
Jackson climbs out of his car and starts towards the RV. He
|
|
can still hear the radio.
|
|
|
|
ON THE RADIO (CONT'D)
|
|
(Bill's voice)
|
|
Our family believes in the gospel of
|
|
our Lord Jesus.
|
|
(MORE) (CONTINUED)
|
|
|
|
23.
|
|
ON THE RADIO (CONT'D)
|
|
We have nothing to fear, Charlie.
|
|
(Charlie's voice)
|
|
Good for you Bill, good for you!
|
|
|
|
|
|
INT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DUSK
|
|
|
|
Charlie hits a switch. Music starts playing. The Doors, `The
|
|
End'.
|
|
|
|
CHARLIE FROST
|
|
... This is Charlie Frost reporting
|
|
live from Yellowstone National Park,
|
|
soon to become the world's largest
|
|
active volcano.
|
|
|
|
Charlie is about to take a bite of his sandwich, when there's
|
|
a knock on the door. Jackson sticks his head in.
|
|
|
|
JACKSON
|
|
Hi. Mind if I join you?
|
|
|
|
CHARLIE FROST
|
|
I only got a few minutes.
|
|
|
|
Charlie bites into his sandwich as Jackson looks around at
|
|
all the equipment.
|
|
|
|
JACKSON
|
|
I just heard part of your broadcast...
|
|
Mind me asking a question? What exactly
|
|
is it... that will start in Hollywood?
|
|
|
|
CHARLIE FROST
|
|
(CHEWING)
|
|
Actually it's gonna be the whole west
|
|
coast...
|
|
|
|
JACKSON
|
|
What are you talking about?
|
|
|
|
CHARLIE FROST
|
|
The apocalypse, the end of days. The
|
|
Mayans knew it, the I Ching and the
|
|
Bible, kind of...
|
|
|
|
Charlie looks at his watch.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
I got to eat... Just check my blog. You
|
|
can download it for free.
|
|
|
|
Charlie clicks on his laptop.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
... However, we do take donations.
|
|
(CONTINUED)
|
|
|
|
24.
|
|
|
|
A crudely animated film starts to play. Charlie narrates on
|
|
screen in an overly dramatic fashion.
|
|
|
|
CHARLIE'S VOICE
|
|
In the year 2012 a cataclysmic event
|
|
will unfold. Caused by an alignment of
|
|
the planets in our solar system that
|
|
only happens every 640,000 years...
|
|
Just imagine the earth as an Orange...
|
|
|
|
Charlie appears as an animated figure holding an orange.
|
|
|
|
CHARLIE'S VOICE (CONT'D)
|
|
... our sun will begin to emit such
|
|
extreme amounts of radiation, that the
|
|
core of the earth will melt - that's
|
|
the inside part of the Orange, leaving
|
|
the crust of our planet free to shift.
|
|
|
|
On screen the middle of the orange shrinks, now the skin
|
|
moves freely around it.
|
|
|
|
CHARLIE'S VOICE (CONT'D)
|
|
In 1958, Prof. Hapgood named it `Earth
|
|
Crust Displacement'...
|
|
|
|
A faded portrait of a scientist appears on screen.
|
|
|
|
CHARLIE FROST
|
|
... and Albert Einstein endorsed it...
|
|
|
|
The infamous photo of Einstein, sticking out his tongue.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
The forces of mother nature will be so
|
|
devastating it will bring an end to
|
|
this world on winter solstice 12-21-12.
|
|
|
|
The film ends with an image of the whole earth covered with
|
|
water.
|
|
|
|
Charlie shuts the laptop.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
Pretty neat, huh? It's a big hit on
|
|
YouTube. I did the animation myself.
|
|
(PAUSE)
|
|
I know what you're thinking. But all
|
|
the governments know about this.
|
|
|
|
JACKSON
|
|
If they all knew, don't you think
|
|
somebody would tell us?
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
25.
|
|
|
|
CHARLIE FROST
|
|
They can't. Just think about it. First
|
|
the stockmarket would crash...
|
|
|
|
Charlie opens a can of beer. Phsssh!
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
Then the economy... boom. The dollar...
|
|
boom. And then the people in the
|
|
streets...
|
|
(mimicking gun fire)
|
|
Boom, boom! Pandemonium, revolution,
|
|
war! They would never tell us. Beer?
|
|
|
|
Jackson shakes his head still struggling to digest this.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
Only if you're some Sheik, Bill Gates,
|
|
or maybe one of those Russian
|
|
billionaires do you stand a chance to
|
|
buy a seat.
|
|
|
|
JACKSON
|
|
A seat?
|
|
|
|
CHARLIE FROST
|
|
(INTENSELY)
|
|
They're building spaceships, man.
|
|
|
|
JACKSON
|
|
Oh... I see.
|
|
|
|
CHARLIE FROST
|
|
No really... One of my listeners, a
|
|
geography professor at UTSC, has even
|
|
figured out where they're building
|
|
them. He sent me a map.
|
|
|
|
JACKSON
|
|
Well... Charlie, I think I gotta go. My
|
|
kids are sleeping.
|
|
|
|
Charlie looks at him bug eyed.
|
|
|
|
CHARLIE FROST
|
|
Get them out of Yellowstone, man. It's
|
|
gonna get ugly here.
|
|
|
|
JACKSON
|
|
Night, Charlie.
|
|
|
|
As Jackson exits, Charlie gets back on the air.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
26.
|
|
|
|
CHARLIE FROST
|
|
Sorry for the delay, folks. But even in
|
|
times like these, a man has got to
|
|
eat...
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. PARKING LOT OF SUPERMARKET/LOS ANGELES - NIGHT
|
|
|
|
Westwood. The parking lot of Gelson's is nearly empty.
|
|
|
|
Eerie silence. Suddenly some of the cars begin to shift in
|
|
place from an unseen force. A small CRACK creases the asphalt
|
|
and slowly crawls towards the brightly lit supermarket.
|
|
|
|
|
|
INT. BETWEEN AISLES/SUPERMARKET - NIGHT
|
|
|
|
Muzak is playing. Kate and her boyfriend Gordon are shopping
|
|
late. She picks up some pull-ups for Lilly, Gordon steps up
|
|
behind her, wrapping his arms around her waist.
|
|
|
|
GORDON
|
|
Why don't we make a baby?
|
|
|
|
He reaches up and touches her breasts.
|
|
|
|
KATE
|
|
Stop it! We're in public.
|
|
|
|
Gordon lets go of her with mock disappointment.
|
|
|
|
GORDON
|
|
Honey, I created them. And now suddenly
|
|
I can't touch them?
|
|
|
|
Kate pushes him away and moves on.
|
|
|
|
A few customers are paying at the checkout stand.
|
|
|
|
BEHIND THEM: Huge glass windows reveal cars slowly sliding
|
|
into the ever widening crack in the parking lot. Nobody
|
|
inside notices.
|
|
|
|
Gordon catches up with Kate.
|
|
|
|
GORDON (CONT'D)
|
|
You always act strange after he shows
|
|
up?
|
|
|
|
KATE
|
|
Just because I don't care for your
|
|
arrogant humor doesn't mean I'm acting
|
|
strange. He is the father of my kids.
|
|
|
|
(CONTINUED)
|
|
|
|
27.
|
|
|
|
GORDON
|
|
Maybe biologically. Can I remind you
|
|
what that guy did? First you gave up
|
|
med school to have Noah... Then you
|
|
practically raise him and Lilly by
|
|
yourself while he sat glued to a laptop
|
|
writing that junk.
|
|
|
|
KATE
|
|
Some of his stuff is actually... He's
|
|
published Gordon.
|
|
|
|
GORDON
|
|
(MOCKINGLY)
|
|
Yeah, published! You know your mother
|
|
was right. You've always been drawn to
|
|
guys with lofty dreams and empty
|
|
pockets. But not this time right,
|
|
sweetheart?
|
|
|
|
Kate smiles awkwardly and picks up a can of soup. The shelf
|
|
in front of her shakes for a moment.
|
|
|
|
KATE
|
|
Did you see that?
|
|
|
|
GORDON
|
|
See what?
|
|
|
|
Kate slowly puts the cans of soup into her cart and looks
|
|
around. Gordon senses a problem between them.
|
|
|
|
GORDON (CONT'D)
|
|
You know Kate, we have to keep working
|
|
at this... our relationship. Because I
|
|
won't end up being just a re-run of you
|
|
and Jackson.
|
|
(PAUSE)
|
|
I mean Honey, I feel like... something
|
|
is pulling us apart?
|
|
|
|
Before Gordon finishes his sentence--
|
|
|
|
A violent ROAR! From front to back, the entire supermarket
|
|
rips open right between Kate and Gordon.
|
|
|
|
The few customers scream in horror at the sight of the huge
|
|
crevasse forming beneath them. Kate and Gordon are thrown up
|
|
against opposite aisles holding on for dear life.
|
|
|
|
They cling to the columns as the shelves fold into the ever
|
|
widening crack...
|
|
|
|
CUT TO:
|
|
|
|
28.
|
|
|
|
INT. CONVENIENCE STORE/YELLOWSTONE - MORNING
|
|
|
|
Jackson puts down some groceries at the checkout.
|
|
|
|
JACKSON
|
|
Just stop scratching. You'll get them
|
|
infected.
|
|
|
|
He smiles at the female cashier behind the counter who does
|
|
not look friendly.
|
|
|
|
JACKSON (CONT'D)
|
|
Something for Mosquito bites please?
|
|
|
|
CASHIER
|
|
Before or after?
|
|
|
|
JACKSON
|
|
What?
|
|
|
|
The woman looks at Lilly and Noah with their red lumps.
|
|
|
|
CASHIER
|
|
I'd get before and after.
|
|
|
|
She slams two mosquito products on the counter.
|
|
|
|
LILLY
|
|
(POINTING)
|
|
Look! Mrs. Birnbaum, my teacher is on
|
|
TV!
|
|
|
|
On the store's TV: A heavy-set blonde WOMAN, 45, speaking to
|
|
a reporter in front of Gelson's.
|
|
|
|
NOAH
|
|
That's our supermarket.
|
|
|
|
The gap in the ground is enormous now, at least half a mile
|
|
long and 200 feet wide.
|
|
|
|
JACKSON
|
|
(WORRIED)
|
|
Kids, we have to pack up and go find
|
|
mommy.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. HALLWAY/WHITE HOUSE - MORNING
|
|
|
|
President Wilson and Anheuser walk towards the Situation
|
|
Room.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
29.
|
|
|
|
ANHEUSER
|
|
Sir, you have to initiate the boarding
|
|
process immediately.
|
|
|
|
PRESIDENT WILSON
|
|
Is this even possible? What's our
|
|
information from China?
|
|
|
|
ANHEUSER
|
|
They estimate four of the ships will be
|
|
ready for launch.
|
|
|
|
The President is shocked by this news.
|
|
|
|
PRESIDENT WILSON
|
|
Only four?
|
|
|
|
ANHEUSER
|
|
If it's alright with you sir, I'll
|
|
brief the panel about the new
|
|
development.
|
|
|
|
PRESIDENT WILSON
|
|
I'd rather have Adrian do that. They
|
|
trust him. I told him to be in on the
|
|
meeting.
|
|
|
|
Anheuser fumes as they enter the situation room.
|
|
|
|
|
|
INT. SITUATION ROOM/WHITE HOUSE - MORNING
|
|
|
|
Flat screens line the walls. A video conference is under way
|
|
with each of the G8 members represented.
|
|
|
|
PRESIDENT WILSON
|
|
Ladies and Gentlemen, we all knew this
|
|
day would come. But we never imagined
|
|
it would come this soon.
|
|
|
|
He looks over to Adrian.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
I would like to pass this over to my
|
|
science advisor, Adrian Helmsley.
|
|
|
|
Adrian steps up and gathers himself. Anheuser watches.
|
|
|
|
ADRIAN
|
|
I'll make this brief...
|
|
|
|
Pointing to a set of charts.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
30.
|
|
|
|
ADRIAN (CONT'D)
|
|
... According to our latest data from
|
|
Yellowstone, the temperature of the
|
|
subterranean crust of the earth, the
|
|
cement that holds our landmass in
|
|
place, is increasing at a rapid rate,
|
|
much faster than anticipated...
|
|
|
|
All the heads of state are glued to his words.
|
|
|
|
ADRIAN (CONT'D)
|
|
... This causes extreme polar
|
|
instability. The magnetic fields have
|
|
decreased by more than 80% over the
|
|
last 48 hours.
|
|
|
|
The German Chancellor, a woman, interrupts.
|
|
|
|
GERMAN CHANCELLOR
|
|
How much time do we have, Mr. Helmsley?
|
|
|
|
Adrian glances to Professor West, standing in the back.
|
|
|
|
ADRIAN
|
|
Two, maybe three days if we're lucky.
|
|
|
|
The Prime Minister of Italy breaks in, upset.
|
|
|
|
ITALIAN PRIME MINISTER
|
|
How can you speak about luck in such a
|
|
situation?
|
|
|
|
ANHEUSER
|
|
Apologies Prime minster. He's still new
|
|
to the job.
|
|
|
|
President Wilson steps up.
|
|
|
|
PRESIDENT WILSON
|
|
Nevertheless, Mr. Antonioni, we have to
|
|
make an immediate decision.
|
|
|
|
We hear CHEERING and APPLAUSE.
|
|
|
|
BOXING ANNOUNCER (O.S.)
|
|
Introducing the 320 pound muscle
|
|
machine from the Ukraine...
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. BOXING ARENA OF MGM GRAND/LAS VEGAS - NIGHT
|
|
|
|
The arena is filled to its max. The crowd is on its feet.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
31.
|
|
|
|
BOXING ANNOUNCER
|
|
... and tonight's challenger for the
|
|
heavy weight world championship of the
|
|
world. Here he is... Mister Zultan
|
|
Balashin!
|
|
|
|
The crowd ROARS as the boxer and his entourage enter.
|
|
|
|
The CAMERA moves in on a tall man with blonde clean cut hair.
|
|
He is well built, wearing designer clothing from head to toe.
|
|
YURI KARPOV, 45, stereotypical Russian oligarch.
|
|
|
|
He approaches the ringside corner and whistles.
|
|
|
|
YURI
|
|
Zultan!
|
|
|
|
The nervous boxer turns.
|
|
|
|
ZULTAN
|
|
(in Russian)
|
|
Ah, finally, Yuri. I thought I would
|
|
not see you.
|
|
|
|
Yuri hits the boxer's gloves. Zultan is nervous. His coach
|
|
steps in.
|
|
|
|
COACH
|
|
He needs to concentrate now, Mister
|
|
Karpov.
|
|
|
|
YURI
|
|
You shut up... when I talk to my boy,
|
|
understand?
|
|
|
|
COACH
|
|
Yes, Mr. Karpov.
|
|
|
|
YURI
|
|
Good... That is good.
|
|
(in Russian to the
|
|
BOXER)
|
|
Zultan my friend. Do not forget. We are
|
|
fighters. We never go down. We always
|
|
stay on our feet...
|
|
|
|
Zultan just keeps nodding, pumping himself up.
|
|
|
|
YURI (CONT'D)
|
|
... No matter who is hitting us. No
|
|
matter how hard.
|
|
|
|
GONG. First Round. The fight is on.
|
|
|
|
YURI (CONT'D)
|
|
Now, go kill the bastard.
|
|
(CONTINUED)
|
|
|
|
32.
|
|
|
|
Yuri walks to his seat, sitting down next to his trophy:
|
|
|
|
TAMARA, 28, blonde, wears the shortest mini one can imagine,
|
|
designer shoes, handbag, glasses and boobs. In her lap she
|
|
holds CAESAR, a tiny dog wearing a diamond collar.
|
|
|
|
In the ring the boxers maul at each other. Yuri's cell phone
|
|
beeps. It's a text message:
|
|
|
|
START BOARDING PROCEDURE
|
|
|
|
Yuri's whole demeanor changes. Without a word, he gets up and
|
|
walks out of the arena.
|
|
|
|
TAMARA
|
|
Yuri bear... where are you going?
|
|
|
|
Yuri does not respond as he squeezes through the crowd.
|
|
|
|
Zultan, the boxer, notices Yuri leave. In that split second
|
|
distraction, he is hit HARD and goes down for the count.
|
|
|
|
The crowd ROARS!
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. WESTWOOD/LOS ANGELES - SUNRISE
|
|
|
|
Jackson has driven all night. The sun rises, a giant glowing
|
|
orb.
|
|
|
|
PUBLIC RADIO NEWS (O.S.)
|
|
... Caltech believes that the incident
|
|
in the Westwood supermarket has
|
|
released most of the surface tension...
|
|
|
|
|
|
EXT. KATE'S HOUSE/LOS ANGELES - EARLY MORNING
|
|
|
|
Jackson pulls up. The kids are asleep.
|
|
|
|
PUBLIC RADIO NEWS (O.S.)
|
|
... It looks like life in the city will
|
|
soon be back to normal, Mayor Gonzales
|
|
said at an early morning news
|
|
conference from his home in Hancock
|
|
Park.
|
|
|
|
Jackson switches off the radio and wakes his kids gently.
|
|
|
|
JACKSON
|
|
Lilly, we're home sweetie.
|
|
(to Noah)
|
|
Wake up big man.
|
|
|
|
(CONTINUED)
|
|
|
|
33.
|
|
|
|
Kate heads to the car. Still sleepy, the kids grab their
|
|
stuff and run into her arms.
|
|
|
|
KATE
|
|
Oh honey, I'm so glad you're back...
|
|
And you too, darling.
|
|
|
|
JACKSON
|
|
We tried calling but -
|
|
|
|
LILLY (O.S.)
|
|
I'm hungry Mummy.
|
|
|
|
KATE
|
|
At least it looks like the Mosquitos
|
|
ate well.
|
|
|
|
She looks at Jackson and softens.
|
|
|
|
KATE (CONT'D)
|
|
Wanna come in?
|
|
|
|
Gordon appears at the door. Jackson watches painfully as Noah
|
|
runs and gives Gordon a big hug.
|
|
|
|
His cellphone beeps with a message.
|
|
|
|
YURI (O.S.)
|
|
Where are you Curtis?
|
|
|
|
|
|
INT. PRESIDENTIAL SUITE/LAS VEGAS - EARLY MORNING
|
|
|
|
Yuri stands at a huge window overlooking the strip talking
|
|
into his phone.
|
|
|
|
JACKSON (O.S.)
|
|
Back in Westwood, Mister Karpov.
|
|
|
|
YURI
|
|
Good. That is good. I'm sending the
|
|
Gulfstream to pick up Alec and Oleg.
|
|
|
|
Tamara hovers in the background packing her Louis Vuitton
|
|
luggage. Caesar, her little dog, watches from the bed.
|
|
|
|
TAMARA
|
|
(in Russian)
|
|
Tell him to bring Caesar's raincoat,
|
|
it's in the Range Rover.
|
|
|
|
Yuri brushes her off.
|
|
|
|
34.
|
|
|
|
EXT. STREET/BEL AIR - MORNING
|
|
|
|
While talking to Yuri, Jackson is standing in front of the
|
|
open trunk, changing into his chauffeur suit.
|
|
|
|
YURI (O.S.)
|
|
Curtis, make sure you get my boys as
|
|
fast you can.
|
|
|
|
|
|
EXT. MANSION/BEL AIR - MORNING
|
|
|
|
A palatial home. Completely gaudy. The twins, ALEC and OLEG,
|
|
wait impatiently. They are 12 years old and wear identical
|
|
clothing by Dior.
|
|
|
|
ALEC
|
|
Curtis, you are late.
|
|
|
|
Jackson ignores him and starts throwing the luggage into the
|
|
limo. The other twin notices his muddy sneakers.
|
|
|
|
OLEG
|
|
Careful with our stuff. Don't get it
|
|
dirty.
|
|
|
|
|
|
EXT. STREETS/LOS ANGELES - MORNING
|
|
|
|
Ahead of the limo a crowd has formed in the streets, singing
|
|
songs and chanting about the end of days. A SKINNY MAN with a
|
|
ponytail preaches from the scriptures.
|
|
|
|
PREACHER
|
|
... There will be famines, pestilences
|
|
and earthquakes, sayeth the Lord.
|
|
|
|
Jackson has to maneuver through the people. Banners read:
|
|
`Prepare for the End'-- 'You cannot escape his judgement'--
|
|
|
|
Alec looks up from his video game, annoyed.
|
|
|
|
ALEC
|
|
Curtis, can't you go faster?
|
|
|
|
JACKSON
|
|
Are you guys blind? I can't run people
|
|
over.
|
|
|
|
OLEG
|
|
Why not? They're idiots anyway.
|
|
|
|
Jackson shoots these spoilt brats an angry look.
|
|
|
|
35.
|
|
|
|
EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING
|
|
|
|
Jackson stops in front of the Gulfstream. SASHA, 40, Yuri's
|
|
Russian pilot is expecting them.
|
|
|
|
SASHA
|
|
Hey Jackson. Took you a while...
|
|
|
|
Jackson mutters under his breath as he unloads the luggage,
|
|
dropping one of them on Alec's foot on purpose.
|
|
|
|
ALEC
|
|
Ouch! Be more careful!
|
|
|
|
The other twin has noticed Jackson's intensions. He gets into
|
|
his face.
|
|
|
|
OLEG
|
|
Now you're laughing, Curtis. But we are
|
|
going on a big ship.
|
|
(PAUSE)
|
|
We will live... and you will die.
|
|
|
|
Oleg grins back at Jackson as the jet door closes. The
|
|
Gulfstream taxis onto the runway.
|
|
|
|
As Jackson turns back to the car a fine surface crack shoots
|
|
across the tarmac. We hold on his face as it hits him like a
|
|
ton of bricks:
|
|
|
|
THE CRAZY RADIO HOST, CHARLIE FROST WAS RIGHT!
|
|
|
|
Frantically Jackson looks around and spots a MAN in overalls
|
|
working on a twin engine Cessna. He runs to him.
|
|
|
|
JACKSON
|
|
Where can I rent a plane?
|
|
|
|
The man points to a shabby office building.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. KITCHEN/LOS ANGELES - MORNING
|
|
|
|
Kate is in her kitchen cooking breakfast for the kids. Gordon
|
|
watches the Governor on the news.
|
|
|
|
GOVERNOR
|
|
(with Austrian
|
|
ACCENT)
|
|
... just this morning my people at
|
|
Caltech told me that in the last 36
|
|
hours we had basically zero earthquake
|
|
activity in Southern California, which
|
|
is very rare...
|
|
(CONTINUED)
|
|
|
|
36.
|
|
|
|
The phone rings. Kate picks up.
|
|
|
|
|
|
EXT. STREETS/LOS ANGELES - MORNING
|
|
|
|
Jackson drives like crazy.
|
|
|
|
JACKSON
|
|
... Kate, we have to get out of LA!
|
|
I've rented a plane for us. Get the
|
|
kids ready! I'll be there in five.
|
|
|
|
KATE
|
|
The kids have plans today...
|
|
|
|
JACKSON
|
|
Are you kidding me!
|
|
|
|
KATE
|
|
No I'm not! Noah has music at 2 and
|
|
Lil' has Karate.
|
|
|
|
Gordon rolls his eyes and mutters.
|
|
|
|
GORDON
|
|
Not that we'd expect him to remember.
|
|
|
|
JACKSON
|
|
(SCREAMING)
|
|
California is going down! Pack up the
|
|
kids!
|
|
|
|
KATE
|
|
You're crazy! The Governor just said
|
|
we're fine now.
|
|
|
|
JACKSON
|
|
The Governor's a meathead, how would he
|
|
know anything? Kate listen! You gotta
|
|
trust me over some politician. Come on.
|
|
|
|
|
|
INT. KATE'S HOUSE/LOS ANGELES - MORNING
|
|
|
|
Kate slams the phone down. Lilly stops eating.
|
|
|
|
LILLY
|
|
Mommy, why are you so angry with Daddy?
|
|
|
|
LAURA
|
|
Because your daddy is a lunatic,
|
|
darling.
|
|
|
|
On the TV, the interview comes to an end.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
37.
|
|
|
|
GOVERNOR
|
|
... it looks to me, like the worst is
|
|
over.
|
|
|
|
That moment a MASSIVE QUAKE hits Los Angeles.
|
|
|
|
Everybody dives under the table.
|
|
|
|
ON TV: The news casters and the Governor do the same. A few
|
|
seconds later the signal cuts out.
|
|
|
|
Gordon pulls Kate and the kids close as the earth shakes
|
|
violently for 20 seconds.
|
|
|
|
|
|
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
|
|
|
|
Jackson flies into the driveway and runs into the house.
|
|
|
|
|
|
INT. KATE'S HOUSE/LOS ANGELES - MORNING
|
|
|
|
When he enters, Lilly immediately runs into his arms. The
|
|
next tremor hits. Cracks form on the kitchen floor.
|
|
|
|
JACKSON
|
|
We have to leave! Noah, let's go!
|
|
|
|
KATE
|
|
I think we're safer here!
|
|
|
|
JACKSON
|
|
Noah, now! Kate please...
|
|
|
|
The whole house rides up and down like on a wave.
|
|
|
|
GORDON
|
|
I think he's right.
|
|
|
|
Finally Kate pushes her son out from under the table. They
|
|
all scramble out of the house in a panic. Kate is cut on the
|
|
shoulder by falling glass but she hardly notices.
|
|
|
|
|
|
EXT. KATE'S HOUSE/LOS ANGELES - MORNING
|
|
|
|
As they storm out of their front door the house crumbles
|
|
behind them.
|
|
|
|
JACKSON
|
|
Get in the car!
|
|
|
|
The whole street starts to buckle. Left and right the houses
|
|
are shaken and smashed like toys.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
38.
|
|
|
|
Just before the wave of destruction can reach them, Jackson
|
|
tears out of the driveway.
|
|
|
|
|
|
EXT. STREETS/LOS ANGELES - MORNING
|
|
|
|
Jackson maneuver's the limo through the crumbling
|
|
neighborhood. Right in front of their eyes, streets
|
|
disappear, trees fall, electrical lines snap. Sewer pipes
|
|
burst in front of the car.
|
|
|
|
NOAH
|
|
Holy shit!
|
|
|
|
Jackson has to turn on the windshield wipers.
|
|
|
|
|
|
EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING
|
|
|
|
The limo crashes through a gate onto the tarmac, coming to a
|
|
stop in front of a twin engine Cessna.
|
|
|
|
JACKSON
|
|
Damn it! Where's the pilot?
|
|
|
|
Kate turns to Gordon.
|
|
|
|
KATE
|
|
Gordon, you know how to fly.
|
|
|
|
GORDON
|
|
I... had a couple lessons...
|
|
|
|
JACKSON
|
|
Did you cover taking off?
|
|
|
|
GORDON
|
|
Yeah.
|
|
|
|
JACKSON
|
|
That's good enough for me.
|
|
|
|
They start running, when Jackson remembers something and
|
|
heads back to the Limo.
|
|
|
|
He grabs his knapsack from the front seat fumbling to zip his
|
|
laptop back inside it. Kate shouts.
|
|
|
|
KATE (O.S.)
|
|
Jackson, what are you doing?
|
|
|
|
JACKSON
|
|
I'm coming.
|
|
|
|
He jumps out of the car and races back after them. Behind
|
|
Jackson the hangar starts to disintegrate.
|
|
(CONTINUED)
|
|
|
|
39.
|
|
|
|
IN THE DISTANCE
|
|
|
|
A gigantic fissure forms in the earth, shooting towards Santa
|
|
Monica airport.
|
|
|
|
Gordon fumbles with the controls, Jackson yells from the
|
|
copilot seat.
|
|
|
|
JACKSON (CONT'D)
|
|
Come on, come on...
|
|
|
|
GORDON
|
|
(pointing at the
|
|
INSTRUMENTS)
|
|
But I'm supposed to check all these
|
|
first...
|
|
|
|
Jackson reaches over and slams Gordon's hand down and the
|
|
plane lurches forward.
|
|
|
|
As the Cessna speeds onto the tarmac the control tower goes
|
|
down and explodes.
|
|
|
|
Noah discovers the giant crevasse forming behind them.
|
|
|
|
NOAH
|
|
Guys, behind us!
|
|
|
|
As the plane accelerates, the giant crack closes in on them.
|
|
Gordon's hand trembles on the throttle control. Everybody
|
|
screams on top of each other.
|
|
|
|
EVERYBODY
|
|
Gordon! Damn it! Lift off!
|
|
|
|
Gordon gathers his courage and pulls the lever. The plane
|
|
almost rockets into the air just as the ground beneath them
|
|
gives way.
|
|
|
|
They hover for a moment, almost caught in mid-air as the
|
|
widening crevasse beneath them fights to suck them into the
|
|
bowels of the earth. Gordon fights to maintain control but
|
|
they begin to be pulled down.
|
|
|
|
The daylight vanishes. Debris and mud smashes into the plane
|
|
from all sides. The canyon walls erupt.
|
|
|
|
GORDON
|
|
I can't get it up!
|
|
|
|
Taking desperate measures, Gordon nearly rips the control
|
|
stick out of its joint - with a lurch the Cessna lifts out of
|
|
the abyss.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
40.
|
|
|
|
They all take a deep breath only to realize that now they are
|
|
flying directly into the collapsing towers of downtown Los
|
|
Angeles!
|
|
|
|
Like a roller coaster, Gordon manages to weave the little
|
|
plane through the tumbling high rises.
|
|
|
|
They dive one last time to evade the plummeting US BANK
|
|
TOWER, the tallest building on the west coast.
|
|
|
|
All are dead silent as they watch the whole of Los Angeles
|
|
crumble beneath them. Kate covers Lilly's eyes.
|
|
|
|
NOAH
|
|
(in total shock)
|
|
That was amazing, Gordon!
|
|
|
|
Jackson looks at Kate and notices her cut.
|
|
|
|
JACKSON
|
|
Are you okay?
|
|
|
|
KATE
|
|
(brushing it off)
|
|
I'm fine. How did you know this was
|
|
gonna happen?
|
|
|
|
JACKSON
|
|
I didn't.
|
|
(To Gordon)
|
|
Do we have enough fuel to make it to
|
|
Yellowstone?
|
|
|
|
The plane veers off in a northeasterly direction. Behind them
|
|
the destruction of Los Angeles continues.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. FREEDOM OF THE SEAS/PACIFIC - DAY
|
|
|
|
The gigantic cruise ship plows through the Pacific. We hear
|
|
lounge music...
|
|
|
|
|
|
INT. BAR/FREEDOM OF THE SEAS - DAY
|
|
|
|
Adrian's father Harry and his partner Tony are on stage.
|
|
Harry on the piano, singing, Tony playing the bass. A waiter
|
|
brings drinks. Water for Harry, and a brightly colored
|
|
cocktail for Tony.
|
|
|
|
WAITER
|
|
You got fans Tony...
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
41.
|
|
|
|
Tony raises his glass to two old ladies who are sitting at
|
|
the bar.
|
|
|
|
WAITER (CONT'D)
|
|
There's a call for you Harry. Want me
|
|
to take a message?
|
|
|
|
HARRY
|
|
(while still playing)
|
|
I'll be right there.
|
|
|
|
The waiter nods. A few more bars of music, then applause.
|
|
|
|
HARRY (CONT'D)
|
|
(into the microphone)
|
|
Thank you ladies and gentlemen. Let's
|
|
hear it for the one and only Tony
|
|
Delgado... And I'm Harry Helmsley and
|
|
we'll be back after a short pit stop.
|
|
|
|
Applause. Harry rushes off stage.
|
|
|
|
ADRIAN (O.S.)
|
|
Dad... what I have to tell you is very
|
|
serious...
|
|
|
|
|
|
INT. HALLWAY/WHITE HOUSE - DAY
|
|
|
|
Adrian is standing in a dark corner. Behind him people are
|
|
packing up, carrying boxes.
|
|
|
|
ADRIAN
|
|
You remember when I told you about the
|
|
dam in China? Well, it's happening much
|
|
sooner than we anticipated.
|
|
|
|
|
|
INT. GALLEY/CRUISE SHIP - DAY
|
|
|
|
Harry's face has turned serious.
|
|
|
|
ADRIAN (O.S.)
|
|
The President has ordered us to clear
|
|
out the White House.
|
|
|
|
HARRY
|
|
Hah... About time someone cleaned up
|
|
that mess.
|
|
|
|
|
|
INT. HALLWAY/WHITE HOUSE - DAY
|
|
|
|
Adrian fights back the tears.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
42.
|
|
|
|
ADRIAN
|
|
Where are you, dad? What exactly is the
|
|
course of the `Freedom' right now?...
|
|
|
|
HARRY (O.S.)
|
|
It's all good, Adrian. Don't worry
|
|
about your old man. You have more
|
|
important things to do now.
|
|
|
|
|
|
INT. GALLEY/CRUISE SHIP - DAY
|
|
|
|
There's a tremor in Harry's voice.
|
|
|
|
HARRY
|
|
You know, your mom and I, we had a hell
|
|
of a great life... and a hell of a
|
|
great kid too.
|
|
(PAUSE)
|
|
And the `Freedom' is a pretty big ship
|
|
you know... Don't write your old man
|
|
off, just yet.
|
|
|
|
|
|
INT. HALLWAY/WHITE HOUSE - DAY
|
|
|
|
A tear runs down Adrian's face.
|
|
|
|
HARRY (O.S.)
|
|
... Besides, I could never leave Tony
|
|
alone. You know how he can't keep
|
|
decent time by himself.
|
|
|
|
Pause.
|
|
|
|
ADRIAN
|
|
I love you, dad.
|
|
|
|
|
|
INT. GALLEY/CRUISE SHIP - DAY
|
|
|
|
Harry bites his lip.
|
|
|
|
HARRY
|
|
Love you too, son.
|
|
|
|
|
|
INT. BAR/CRUISE SHIP - DAY
|
|
|
|
Back in the lounge, Tony has finished his cocktail. Harry
|
|
walks up and hollers at the barkeeper.
|
|
|
|
HARRY
|
|
Hey Herb. Get me a double Jack on the
|
|
rocks.
|
|
|
|
(CONTINUED)
|
|
|
|
43.
|
|
|
|
TONY
|
|
After twenty-five years on the wagon?
|
|
|
|
HARRY
|
|
Why not? Who cares how long we do
|
|
certain things? How long we drink
|
|
booze, how long we talk to people... Or
|
|
how long we don't talk to people.
|
|
|
|
Harry grabs Tony by his shirt.
|
|
|
|
TONY
|
|
Woah!... Harry, what's the matter with
|
|
you? Let's go. We're back on.
|
|
|
|
Harry pulls him even closer.
|
|
|
|
HARRY
|
|
Call your kid, you stubborn old ass.
|
|
(PAUSE)
|
|
I'm not going back on that stage unless
|
|
you promise to call him.
|
|
|
|
WAITER
|
|
(INTERRUPTING)
|
|
Tony, the ladies are waiting for you.
|
|
|
|
HARRY
|
|
Promise me, Tony... please.
|
|
|
|
Harry stares him down.
|
|
|
|
TONY
|
|
Yeah, maybe I should call him...
|
|
|
|
Harry smiles, downs his bourbon and walks back on stage.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. ADRIAN'S OFFICE/WHITE HOUSE - DAY
|
|
|
|
Adrian enters his office. The TV is on.
|
|
|
|
NEWS ANCHOR
|
|
... There is little we know at this
|
|
point, but the earthquake registered at
|
|
10.1 on the Richter scale. The whole of
|
|
the Western seaboard was hit...
|
|
|
|
Assistants stare at the news in shocked disbelief, some of
|
|
them are crying. Prof. West appears at the door.
|
|
|
|
ADRIAN
|
|
(pointing at the TV)
|
|
Have you seen this?
|
|
(CONTINUED)
|
|
|
|
44.
|
|
|
|
Prof. West silently nods and beckons Adrian, who follows him
|
|
down the hall into a dark control room. They look at a wall-
|
|
sized high def monitor.
|
|
|
|
PROF. WEST
|
|
We have satellite images. Here's the
|
|
sequence we've got so far.
|
|
|
|
On the monitors, detailed satellite imagery displays how the
|
|
monstrous quake unfolds, leaving California sliding into the
|
|
sea.
|
|
|
|
ADRIAN
|
|
Any news from Yellowstone?
|
|
|
|
PROF. WEST
|
|
Anytime now.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
The base is abandoned but for a few structures and the
|
|
enormous drilling tower.
|
|
|
|
Gordon manages to land the plane next to what looks like a
|
|
fueling station. Jackson leaps out checking the pump.
|
|
|
|
JACKSON
|
|
Guys, there's fuel! Fill her up and
|
|
I'll look for Charlie.
|
|
|
|
KATE
|
|
You're sure about this?
|
|
|
|
JACKSON
|
|
Kate, everything this guy said so far
|
|
has happened. I'll be right back.
|
|
|
|
Jackson runs off towards the hills.
|
|
|
|
LILLY
|
|
Daddy wait! I wanna come with you!
|
|
|
|
Lilly runs after him. Jackson picks her up.
|
|
|
|
KATE
|
|
Lilly! Come back!
|
|
|
|
JACKSON
|
|
It's fine! I'll take her.
|
|
|
|
Kate watches as they disappear, worried. Noah and Gordon have
|
|
started to fuel the plane.
|
|
|
|
45.
|
|
|
|
EXT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Jackson and Lilly find Charlie's RV with it's door hanging
|
|
open. They enter. The key is in the ignition. The radio
|
|
transmitters are on, but Charlie is gone. Jackson fiddles
|
|
with the switches and Charlie's voice comes on.
|
|
|
|
CHARLIE'S VOICE
|
|
... I am standing here at the highest
|
|
point on what is the rim of this super
|
|
volcano...
|
|
|
|
JACKSON
|
|
He's got to be close by, Lil'bee...
|
|
|
|
Jackson jumps behind the wheel and turns the ignition.
|
|
|
|
LILLY
|
|
Let's go back, Daddy.
|
|
|
|
JACKSON
|
|
Listen to me. We have to find Charlie.
|
|
He's got a secret map, you know, like
|
|
Jack Sparrow in `Pirates'.
|
|
|
|
That catches her interest.
|
|
|
|
JACKSON (CONT'D)
|
|
Lil', we have to work as a team now,
|
|
okay? You have to help me.
|
|
|
|
Jackson passes her his mobile phone. Lilly nods. He throws
|
|
the RV into gear and they speed off over the bumpy terrain.
|
|
|
|
In their dust, we see the earth fissuring!
|
|
|
|
|
|
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Jackson drives like a bat out of hell.
|
|
|
|
CHARLIE'S VOICE
|
|
... The last time this baby blew, was
|
|
640,000 years ago...
|
|
|
|
JACKSON
|
|
Dial Mommy's number, sweetheart.
|
|
|
|
Jackson tears up the mountain looking for Charlie.
|
|
|
|
|
|
EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Kate's phone rings.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
46.
|
|
|
|
LILLY (O.S.)
|
|
Hi mommy...
|
|
|
|
KATE
|
|
Where are you, honey!?
|
|
|
|
|
|
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Jackson hears the stress in Kate's voice. He hisses at Lilly.
|
|
|
|
JACKSON
|
|
Tell her we'll be back in ten minutes.
|
|
|
|
LILLY
|
|
(EXCITED)
|
|
We're looking for a secret map, mommy.
|
|
|
|
Jackson grimaces.
|
|
|
|
|
|
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Kate tries to keep it together for Lilly.
|
|
|
|
KATE
|
|
Let me speak to your daddy, darling.
|
|
|
|
LILLY (O.S.)
|
|
Daddy can't talk right now, he's
|
|
driving really fast...
|
|
|
|
|
|
INT. RV/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
The RV runs over a boulder. Lilly hits the roof.
|
|
|
|
LILLY
|
|
Ouch!
|
|
|
|
KATE (O.S.)
|
|
LILLY!
|
|
|
|
In the background Kate hears the voice of Charlie Frost.
|
|
|
|
CHARLIE'S VOICE
|
|
... I tell you guys, any minute now...
|
|
any minute the fireworks will start...
|
|
|
|
KATE (O.S.)
|
|
Who's in the car with you? Who's that
|
|
man screaming?
|
|
|
|
LILLY
|
|
He's not in the car. He's on a mountain
|
|
waiting for fireworks.
|
|
(CONTINUED)
|
|
|
|
47.
|
|
|
|
Lilly spots Charlie way up on a ridge. He has erected his ten
|
|
foot radio antenna with the flag fluttering on top.
|
|
|
|
LILLY (CONT'D)
|
|
(to Jackson)
|
|
There he is! Up there!
|
|
|
|
JACKSON
|
|
You're the best, darling. Give Daddy
|
|
the phone...
|
|
(into the phone)
|
|
Kate I am sorry, I can't talk...
|
|
|
|
The road ends just below the mountain peak.
|
|
|
|
KATE (O.S.)
|
|
Bring back my child, Jackson! NOW!
|
|
|
|
Jackson sees Charlie up above, broadcasting. He hangs up the
|
|
phone and jumps out of the RV.
|
|
|
|
JACKSON
|
|
You wait here for me! You watch the
|
|
ship while Captain Curtis talks to the
|
|
pirate. Okay?
|
|
|
|
LILLY
|
|
(UNCERTAIN)
|
|
Okay...
|
|
|
|
Jackson climbs up to Charlie.
|
|
|
|
|
|
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Charlie has his broadcasting equipment strapped to his body.
|
|
The antenna's flag is whipping in the wind.
|
|
|
|
CHARLIE FROST
|
|
(into his mic)
|
|
... I wish you guys at home could see
|
|
this on TV...
|
|
|
|
He notices Jackson and muffles the microphone.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
How did you make it up here? Thought
|
|
you were toast.
|
|
|
|
JACKSON
|
|
The spaceships Charlie, where are they?
|
|
|
|
CHARLIE FROST
|
|
You can't make it there.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
48.
|
|
|
|
JACKSON
|
|
We have a plane. We can get you out of
|
|
here too. Let's go Charlie!
|
|
|
|
All around the landscape begins to collapse. A three mile
|
|
crater forms, revealing the awe-inspiring sight of the super-
|
|
volcano.
|
|
|
|
CHARLIE FROST
|
|
You'll never make it out in time. Just
|
|
stay and enjoy the big bang. That your
|
|
kid?
|
|
|
|
Jackson discovers Lilly standing behind him, staring at
|
|
Charlie with her big brown eyes.
|
|
|
|
Jackson grabs Charlie lifting him off the ground.
|
|
|
|
JACKSON
|
|
Where is that god damn map!
|
|
|
|
CHARLIE FROST
|
|
Easy, easy. Watch the mic... I don't
|
|
know. Somewhere in my camper.
|
|
|
|
A low rumble builds to a rapturous thunder as MILLIONS OF
|
|
BIRDS tear into flight.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
Wow! Look at that!...
|
|
(into his mic)
|
|
Fly birdies fly! This marks the last
|
|
day of the United States of America
|
|
folks and by tomorrow...
|
|
|
|
The mouth of the volcano starts to break apart revealing
|
|
molten lava underneath.
|
|
|
|
CHARLIE FROST (CONT'D)
|
|
... the last of mankind. Soon they'll
|
|
see us from a million miles away, out
|
|
there in the milky way...
|
|
|
|
Jackson grabs his wide eyed daughter and races down the
|
|
mountain.
|
|
|
|
|
|
EXT. BELOW MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Jackson and Lilly jump into the RV and races off, with
|
|
Charlie's broadcast still playing.
|
|
|
|
CHARLIE'S VOICE
|
|
... The ash cloud will travel
|
|
everywhere.
|
|
(MORE)
|
|
(CONTINUED)
|
|
|
|
49.
|
|
CHARLIE'S VOICE (CONT'D)
|
|
First the lights will go out in Vegas,
|
|
then Dallas, St. Louis and then
|
|
Washington DC...
|
|
|
|
Jackson's cell phone rings and he picks up.
|
|
|
|
JACKSON
|
|
We're on our way.
|
|
|
|
|
|
EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
KATE
|
|
Jackson, things are really looking bad
|
|
here!
|
|
|
|
In that instant, the air around them vanishes, as if sucked
|
|
from the landscape into a vacuum.
|
|
|
|
THE BIGGEST EXPLOSION THE WORLD HAS EVER SEEN... At least in
|
|
the last 640,000 years.
|
|
|
|
To them, all this occurs in total silence. The sound of the
|
|
eruption has not reached them yet.
|
|
|
|
They are frozen, unable to comprehend what is happening.
|
|
|
|
|
|
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
The explosion begins to resembles an atomic mushroom.
|
|
|
|
CHARLIE FROST
|
|
... it's beautiful, kids! Just
|
|
beautiful!
|
|
|
|
The sound waves reach Charlie, throwing him to the ground.
|
|
|
|
|
|
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
The RV flies over the rugged terrain. Everywhere the earth is
|
|
cracking, falling apart. Jackson struggles to swerve around
|
|
the disappearing landscape.
|
|
|
|
LILLY
|
|
(SCREAMING)
|
|
It's following us!
|
|
|
|
Lilly has discovered the expanding ASH CLOUD behind them.
|
|
|
|
JACKSON
|
|
Just don't look back, Lil'bee!
|
|
|
|
The THUNDERING sound envelopes them! On the radio, the voice
|
|
of Charlie is getting shrill.
|
|
(CONTINUED)
|
|
|
|
50.
|
|
|
|
CHARLIE'S VOICE
|
|
Majestic!... Oh yeah!
|
|
|
|
|
|
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Charlie slowly tries to stand again, silhouetted against the
|
|
cloud of dust and fire towering above him.
|
|
|
|
Flaming rocks fly towards him. When they hit the ground, they
|
|
detonate like fire bombs.
|
|
|
|
CHARLIE'S VOICE
|
|
Oh baby! It's coming!
|
|
|
|
|
|
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Rocks plummet like comets around the RV as Jackson races over
|
|
a collapsing bridge. On the radio, in his delirious state,
|
|
Charlie begins to sing...
|
|
|
|
CHARLIE'S VOICE
|
|
`This is the end, my friend'...
|
|
|
|
Yellowstone looks like a war zone. The RV dodges the
|
|
bombardment of fire and rock.
|
|
|
|
|
|
EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
Huge tree trunks and glowing boulders fly at Charlie through
|
|
the ashes. He screams at the top of his lungs.
|
|
|
|
CHARLIE FROST
|
|
... Folks, always remember, you heard
|
|
it first from Charlie.
|
|
|
|
A second later, Charlie's radio antenna comes spinning like a
|
|
scythe through the air. It decapitates Charlie in an instant.
|
|
|
|
|
|
EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
The radio cuts out. The forest and the camp grounds are mown
|
|
flat by the extreme force of the ASH CLOUD. In the rear view
|
|
mirror Jackson sees it gaining on them.
|
|
|
|
JACKSON
|
|
LILLY! DOWN!
|
|
|
|
A firebomb hits the RV, ripping half the roof off.
|
|
|
|
Lilly barely makes it under the dashboard.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
51.
|
|
|
|
JACKSON (CONT'D)
|
|
Stay down there, Lil'! We're almost
|
|
there! Just keep looking at daddy.
|
|
|
|
Jackson spots the little Cessna in the distance.
|
|
|
|
|
|
EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY
|
|
|
|
At the entrance to the airstrip a huge crevasse forms,
|
|
cutting the RV off from reaching the plane.
|
|
|
|
Lilly sticks out her head.
|
|
|
|
LILLY
|
|
Mommy!
|
|
|
|
Jackson swerves wildly to miss the crack, sending Lilly
|
|
flying out. Without thinking, he lets go of the wheel,
|
|
lunging after her and pulling her back inside.
|
|
|
|
JACKSON
|
|
Stay down darling.
|
|
|
|
Jackson races the RV alongside the forming crack.
|
|
|
|
Spotting a narrow point in the crevasse, he makes a decision.
|
|
Slamming the accelerator down, he races towards it at full
|
|
speed.
|
|
|
|
Moments later the RV is airborne!
|
|
|
|
Kate watches, too shocked to scream. A few drawn out seconds.
|
|
|
|
Then the RV touches down, crashing 200 feet from the plane.
|
|
|
|
Kate runs towards the wreckage of the camper. Lilly jumps
|
|
out, racing into her mom's arms. Jackson turns and sees the
|
|
cloud approaching.
|
|
|
|
JACKSON (CONT'D)
|
|
You guys go! I'll be right there!
|
|
|
|
Kate pulls Lilly back to the plane.
|
|
|
|
Jackson jumps into the back of the RV scavenging through the
|
|
shelves, looking for Charlie's map.
|
|
|
|
Kate lifts Lilly onto the wing of the plane. Gordon revs up
|
|
the engines.
|
|
|
|
NOAH
|
|
Give me your hand, Lil'.
|
|
|
|
Noah pulls his little sister into the cockpit.
|
|
|
|
(CONTINUED)
|
|
|
|
52.
|
|
|
|
Fiery rocks rain from the sky, detonating to the right and
|
|
left of their plane as Kate climbs in.
|
|
|
|
GORDON
|
|
We have to take off!
|
|
|
|
NOAH
|
|
No!
|
|
|
|
LILLY
|
|
Where's daddy?!
|
|
|
|
GORDON
|
|
Kate, I'm sorry but if we wait we'll
|
|
all die!
|
|
|
|
Gordon pushes the throttle. The plane starts to move. Kate
|
|
screams.
|
|
|
|
KATE
|
|
Gordon! Wait!
|
|
|
|
Back in the RV, Jackson is frantically going through the
|
|
masses of books and papers on the shelves. Finally, a map. He
|
|
unfolds it. But it's only of the London underground system.
|
|
|
|
He throws it to the ground and finds another. This time he's
|
|
lucky! There are markings everywhere.
|
|
|
|
As he races to the door, the ground gives way beneath the RV.
|
|
Kate and the kids watch it disappear from sight.
|
|
|
|
KATE (CONT'D)
|
|
JACKSON! NO!
|
|
|
|
Noah begins to cry and Lilly clings to her mom. Gordon just
|
|
stares, paralyzed.
|
|
|
|
The ASH CLOUD is almost upon them!
|
|
|
|
Gordon takes action and accelerates the plane.
|
|
|
|
Kate turns back. A hand emerges from the crevasse. Then
|
|
another, holding a map. Her face lights up.
|
|
|
|
LILLY
|
|
It's daddy!
|
|
|
|
Jackson pulls himself up and sprints towards them, the map in
|
|
his hand.
|
|
|
|
KATE
|
|
Jackson! Here!
|
|
|
|
Kate leans out of the cockpit reaching for him.
|
|
|
|
(CONTINUED)
|
|
|
|
53.
|
|
|
|
NOAH
|
|
Faster Dad. You can make it!
|
|
|
|
GORDON
|
|
Kate, grab him for god sake. We're
|
|
almost out of runway.
|
|
|
|
Using every last ounce of energy, Jackson leaps onto the wing
|
|
and is yanked into the plane by Kate.
|
|
|
|
Just at that moment, the plane lifts off.
|
|
|
|
Jackson falls into the cockpit, completely out of breath.
|
|
Lilly crawls over and hugs him.
|
|
|
|
JACKSON
|
|
Thanks for waiting guys.
|
|
|
|
Now all eyes are glued to the speedometer. 180... 190...
|
|
|
|
The violent ASH CLOUD is hitting their tail rudder. The plane
|
|
swerves wildly! Gordon gets it back under control.
|
|
|
|
The speedometer finally creeps towards 200 mph and the CLOUD
|
|
slowly falls back. Everybody breathes a sigh of relief.
|
|
|
|
KATE
|
|
So, now that you got your map, where
|
|
are we going?
|
|
|
|
Jackson unfolds it and takes a look. Hundreds of markings
|
|
clutter the map. In the left corner he discovers a large
|
|
letter C followed by H - I - N - A.
|
|
|
|
He looks up.
|
|
|
|
JACKSON
|
|
We're gonna need a bigger plane.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. WEST WING/WHITE HOUSE - LATE AFTERNOON
|
|
|
|
The White House is being evacuated. Amidst the chaos stands
|
|
Anheuser. Adrian puts down a phone and looks at him.
|
|
|
|
ADRIAN
|
|
Just a few minutes ago Yellowstone
|
|
erupted, sir. The ash cloud will reach
|
|
Washington in roughly 7 hours. Maybe 6.
|
|
We have strong easterly winds...
|
|
|
|
ANHEUSER
|
|
And the crustal displacement?
|
|
|
|
(CONTINUED)
|
|
|
|
54.
|
|
|
|
ADRIAN
|
|
No one knows, sir.
|
|
|
|
Anheuser starts walking, Adrian trails behind.
|
|
|
|
ANHEUSER
|
|
Let's get the government airborne
|
|
and... I mean now.
|
|
|
|
|
|
INT. OVAL OFFICE/WHITE HOUSE - LATE AFTERNOON
|
|
|
|
Anheuser and Adrian burst into the Anteroom of the Oval
|
|
Office. The President's secretary, SALLY, 55, is packing.
|
|
|
|
ANHEUSER
|
|
Where is the President, Sally?
|
|
|
|
Sally looks up stone faced.
|
|
|
|
SALLY
|
|
He said he wanted to spend a few
|
|
minutes alone. I think he's over at the
|
|
chapel.
|
|
|
|
ANHEUSER
|
|
The whole North American continent is
|
|
about to perish, and Wilson decides to
|
|
go to church!
|
|
|
|
Adrian shoots an angry look at Anheuser.
|
|
|
|
ADRIAN
|
|
He's praying sir. Which considering the
|
|
circumstances is not a bad idea.
|
|
|
|
ANHEUSER
|
|
Maybe. But right now I need the leader
|
|
of the free world off his knees and on
|
|
Air Force One. Wheels up 1900 hours.
|
|
Can I leave that with you Helmsley?
|
|
|
|
Anheuser walks away. Adrian and Sally exchange a look.
|
|
|
|
SALLY
|
|
I really don't like that man.
|
|
|
|
|
|
INT. CHAPEL/WHITE HOUSE - SUNSET
|
|
|
|
Adrian finds the President standing near the front of the
|
|
chapel.
|
|
|
|
ADRIAN
|
|
Mr. President? We need to get you out
|
|
of Washington immediately.
|
|
(CONTINUED)
|
|
|
|
55.
|
|
|
|
President Wilson stays with his head bowed.
|
|
|
|
PRESIDENT WILSON
|
|
Now matter how idealistic you are
|
|
taking office. You lose your innocence
|
|
behind that desk.
|
|
(PAUSE)
|
|
Laura was right. People have died
|
|
because of the decisions I made.
|
|
|
|
ADRIAN
|
|
That's not your fault sir.
|
|
|
|
He turns to face Adrian.
|
|
|
|
PRESIDENT WILSON
|
|
You sound like Anheuser.
|
|
|
|
This quietly affects Adrian.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
Laura's never looked at me like that
|
|
before. Only once... When I told her,
|
|
her mother had died. You knew the first
|
|
lady?
|
|
|
|
ADRIAN
|
|
A little.
|
|
|
|
PRESIDENT WILSON
|
|
You know what she said to me that night
|
|
we brought her to the hospital?
|
|
(PAUSE)
|
|
`Tommy... I think you should do a
|
|
lottery. Every one should have a chance
|
|
to go'. That's what Dorothy said to me.
|
|
That's what we should have done.
|
|
|
|
ADRIAN
|
|
There would have been chaos, sir.
|
|
|
|
President Wilson looks Adrian in the eyes.
|
|
|
|
PRESIDENT WILSON
|
|
You know what I believe, Adrian. I
|
|
believe nature should choose for
|
|
itself, from itself.
|
|
|
|
Adrian takes this in.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
Don't let her go. You'll regret it if
|
|
you do. Prove to Laura what kind of a
|
|
man you are. And I'll do the same...
|
|
You go now. And watch your back for
|
|
Anheuser.
|
|
(CONTINUED)
|
|
|
|
56.
|
|
|
|
Adrian stares at the President in disbelief.
|
|
|
|
ADRIAN
|
|
But sir?
|
|
|
|
PRESIDENT WILSON
|
|
Go. That's an order Helmsley.
|
|
|
|
A tense moment before Adrian starts to walk away. Just as he
|
|
exits the chapel, Wilson calls after him.
|
|
|
|
PRESIDENT WILSON (CONT'D)
|
|
Would you tell my daughter... there's
|
|
nothing on earth that I cherish more
|
|
than her.
|
|
|
|
We hold on President Wilson's face.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. LAS VEGAS - SUNSET
|
|
|
|
Most of Las Vegas is destroyed. A 200 foot wide canyon now
|
|
divides sin city along its famous strip. The towering casinos
|
|
still teeter along the canyon's rim.
|
|
|
|
All forms of emergency rescue operations are deployed around
|
|
the city.
|
|
|
|
In the FOREGROUND, we see Las Vegas International Airport,
|
|
its runway cut dramatically short. Large pieces of tarmac
|
|
continue to break off into the crevasse.
|
|
|
|
|
|
EXT. AIRFIELD/LAS VEGAS AIRPORT - SUNSET
|
|
|
|
Gordon maneuvers his plane through the chaos. Airplanes are
|
|
strewn about the runway. Passengers everywhere.
|
|
|
|
GORDON
|
|
I told you we should have gone to my
|
|
parents' in the Rockies.
|
|
|
|
KATE
|
|
Gordon's right. Look at this mess.
|
|
|
|
Jackson looks around frantically.
|
|
|
|
JACKSON
|
|
You don't understand, it's our only
|
|
chance.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
57.
|
|
|
|
GORDON
|
|
This isn't one of your crazy stories
|
|
now. How the hell are we gonna make it
|
|
to China?
|
|
|
|
NOAH
|
|
Gordon, without Jackson, we'd never
|
|
have made it out of California.
|
|
|
|
Silence. Noah is right and they know it. They taxi past a
|
|
private jet whose front wheel is stuck in a hole in the
|
|
tarmac.
|
|
|
|
We hear a dog barking and the CAMERA finds Tamara, with
|
|
Caesar in her arms.
|
|
|
|
YURI (O.S.)
|
|
Careful with the landing gear!
|
|
(in Russian)
|
|
Tamara, get the boys out of the way!
|
|
|
|
An airport tow truck attempts to pull Yuri's Gulfstream jet
|
|
out. Sasha, the pilot, helps. A safety announcement echoes
|
|
through the whole area.
|
|
|
|
VOICE
|
|
(over loudspeaker)
|
|
Attention! The US National Guard has
|
|
informed us, that an extremely
|
|
hazardous ash cloud is headed towards
|
|
the city of Las Vegas.
|
|
|
|
Tamara looks scared and secretly reaches for Sasha's hand.
|
|
They share an intimate look, no one else sees.
|
|
|
|
VOICE (CONT'D)
|
|
We strongly advise every one to move
|
|
indoors immediately...
|
|
|
|
The tow truck driver panics and runs inside.
|
|
|
|
We move in on Yuri. For the first time he looks helpless.
|
|
|
|
In the background, Jackson and his family join the panicked
|
|
crowd heading towards the terminal building. Firemen and
|
|
rescue workers usher them forward.
|
|
|
|
FIRE MAN
|
|
Let's move people! Inside the terminal!
|
|
|
|
Jackson and his family are swept along.
|
|
|
|
CUT TO:
|
|
|
|
58.
|
|
|
|
INT. AIR FORCE ONE/ARLINGTON AIRPORT - DUSK
|
|
|
|
Adrian rushes up the stairs of Air Force One, approaching one
|
|
of the flight officers.
|
|
|
|
ADRIAN
|
|
Where's Anheuser?
|
|
|
|
OFFICER
|
|
In the command center, sir.
|
|
|
|
Adrian moves on.
|
|
|
|
|
|
INT. COMMAND CENTER/AIR FORCE ONE - DUSK
|
|
|
|
Adrian enters. Anheuser immediately senses something is
|
|
amiss.
|
|
|
|
ADRIAN
|
|
The President is not coming. I couldn't
|
|
convince him to.
|
|
|
|
Everyone in the room looks up, speechless.
|
|
|
|
ANHEUSER
|
|
So, the captain doesn't want to leave
|
|
his sinking ship?
|
|
(PAUSE)
|
|
Well, Mr. Helmsley, we just learned
|
|
that the Vice President's chopper
|
|
crashed 80 miles north of Atlanta.
|
|
|
|
Adrian is shocked.
|
|
|
|
ADRIAN
|
|
What about the Speaker of the House?
|
|
|
|
ANHEUSER
|
|
In this chaos... I have no idea!
|
|
|
|
ADRIAN
|
|
But she's Commander In Chief now. Sir,
|
|
I just think -
|
|
|
|
Anheuser moves in dangerously close.
|
|
|
|
ANHEUSER
|
|
I don't care what you think, Helmsley.
|
|
|
|
Laura quietly enters the Command Center, as Anheuser and
|
|
Adrian stare each other down.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
59.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Your ass only made it into the White
|
|
House, because your old man knew the
|
|
First Lady... and because of all that
|
|
affirmative action bullshit.
|
|
|
|
Anheuser takes it even further.
|
|
|
|
ANHEUSER (CONT'D)
|
|
There was a white kid, much more
|
|
qualified than you. Just so you know.
|
|
|
|
Adrian's face is ashen.
|
|
|
|
LAURA (O.S.)
|
|
Where is my father?
|
|
|
|
Everyone turns to Laura. Silence.
|
|
|
|
ADRIAN
|
|
He wanted to stay with his people.
|
|
|
|
Suddenly, the engines of Air Force One turn over. Laura
|
|
panics.
|
|
|
|
LAURA
|
|
We have to go back!
|
|
|
|
Adrian tries to hold her close to him. Anheuser sees this
|
|
intimate moment and gives a suspicious, questioning look. A
|
|
second later Laura pushes Adrian away.
|
|
|
|
LAURA (CONT'D)
|
|
Let me get out. Mr. Anheuser - tell the
|
|
Captain.
|
|
|
|
ANHEUSER
|
|
There is a protocol for just this
|
|
situation Ms. Wilson and I'm afraid
|
|
we'll have to follow it to the letter.
|
|
|
|
Anheuser turns to an officer.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Tell the Captain, to take off
|
|
immediately.
|
|
|
|
Laura looks at him incredulously.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. AIRPORT TERMINAL/LAS VEGAS AIRPORT - DUSK
|
|
|
|
Emergency lights illuminate the densely populated terminal.
|
|
|
|
(CONTINUED)
|
|
|
|
60.
|
|
|
|
RESCUE WORKER
|
|
People, stay away from the windows!
|
|
|
|
One of the rescue workers yells, pushing Jackson and his
|
|
family back.
|
|
|
|
Frustrated, Jackson turns to Kate and Gordon.
|
|
|
|
JACKSON
|
|
We can't get stuck here.
|
|
|
|
Suddenly a voice...
|
|
|
|
VOICE (O.S.)
|
|
Dr. Silberman? What are you doing here?
|
|
|
|
They all turn and stare at Tamara, holding her little dog
|
|
against her plump breasts.
|
|
|
|
Kate gives Gordon a look.
|
|
|
|
GORDON
|
|
(EMBARRASSED)
|
|
She's a patient, honey.
|
|
|
|
JACKSON
|
|
(SARCASTICALLY)
|
|
Nice work.
|
|
|
|
But when Jackson discovers Yuri behind her, his tone suddenly
|
|
changes. He gets in Yuri's face.
|
|
|
|
JACKSON (CONT'D)
|
|
You bastard. You knew it all along!
|
|
(at the twins)
|
|
You and those spoiled rotten sons of
|
|
yours...
|
|
|
|
Sasha comes running in and cuts through this.
|
|
|
|
SASHA
|
|
I found us a plane, an Antonov. They
|
|
were just about to take off, but the
|
|
tower didn't let them.
|
|
|
|
YURI
|
|
Can you still fly that thing?
|
|
|
|
SASHA
|
|
Sure... But I need a copilot.
|
|
|
|
Lilly chimes in.
|
|
|
|
LILLY
|
|
Gordon is a pilot.
|
|
|
|
(CONTINUED)
|
|
|
|
61.
|
|
|
|
Before Gordon can protest Jackson picks up Lilly.
|
|
|
|
JACKSON
|
|
Let's go!
|
|
|
|
They burst through the emergency exit, setting off an alarm.
|
|
Emergency personnel yell after them.
|
|
|
|
RESCUE WORKER
|
|
Hey! Stop! You can't go out there! Come
|
|
back!
|
|
|
|
But they keep on running. Sasha now leads the way.
|
|
|
|
|
|
EXT. AIR FIELD/LAS VEGAS AIRPORT - DUSK
|
|
|
|
They race around the corner and come to a halt. Before them,
|
|
a Russian freight plane of enormous size--
|
|
|
|
The ANTONOV 225, the biggest aircraft in the world.
|
|
|
|
NOAH
|
|
Wow, that is a big plane.
|
|
|
|
YURI
|
|
(PROUDLY)
|
|
It's Russian.
|
|
|
|
Sasha, who has run ahead turns back and sees:
|
|
|
|
A MASSIVE GREY WALL OF ASH moving towards the airport.
|
|
|
|
SASHA
|
|
Guys, follow me!
|
|
|
|
They all run after him up the stairs.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
Sasha enters the cockpit and puts on the headset while
|
|
readying the plane for takeoff.
|
|
|
|
SASHA
|
|
(into the mic)
|
|
You'll find folding seats on each side
|
|
of the cargo hold...
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DUSK
|
|
|
|
SASHA (O.S.)
|
|
... Sit down and buckle up!
|
|
|
|
They all scramble to get into their seats.
|
|
(CONTINUED)
|
|
|
|
62.
|
|
|
|
NOAH
|
|
Wow! Look at those!
|
|
|
|
They discover the cargo they are carrying--
|
|
|
|
Sports cars, SUV's, concept cars and luxury models, some of
|
|
them are labeled `Las Vegas Auto Show 2012'.
|
|
|
|
YURI
|
|
We had VIP tickets for that.
|
|
|
|
The six engines of the Antonov come roaring to life.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
The plane is starting to move. Gordon sits uncomfortably in
|
|
the copilot's seat.
|
|
|
|
SASHA
|
|
You check the main bus for the
|
|
hydraulics. I'll balance the tanks.
|
|
|
|
GORDON
|
|
Uh... What?
|
|
|
|
Sasha reaches over and does it himself.
|
|
|
|
SASHA
|
|
Work the radio and keep an eye on the
|
|
fuel, okay?
|
|
|
|
Gordon nods and puts on the headset, trying to focus.
|
|
|
|
|
|
INT. TERMINAL/LAS VEGAS AIRPORT - DUSK
|
|
|
|
People start SCREAMING, when they discover the menacing WALL
|
|
OF ASH racing towards them.
|
|
|
|
RESCUE WORKER
|
|
Move back, people... down on the floor!
|
|
|
|
|
|
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
|
|
|
|
The nose of the Antonov turns onto the runway. This humongous
|
|
plane suddenly looks small against the wall of ash.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
Gordon is panicking.
|
|
|
|
GORDON
|
|
We have to get going!
|
|
(CONTINUED)
|
|
|
|
63.
|
|
|
|
Sasha hits the throttle.
|
|
|
|
SASHA
|
|
(CALM)
|
|
We're going, we're going.
|
|
|
|
A deafening THUNDER emanates from the engines.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DUSK
|
|
|
|
Everybody grabs their seat as the vibration of the aircraft
|
|
builds.
|
|
|
|
|
|
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
|
|
|
|
The Antonov steadily gains speed as it rumbles down the
|
|
cracked and uneven runway.
|
|
|
|
The canyon that has swallowed half the city looms ahead. And
|
|
behind them the volcanic cloud bears down.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
Sasha stares down the gap ahead, determined. Gordon's face is
|
|
as white as a sheet.
|
|
|
|
GORDON
|
|
We're not gonna make it!
|
|
|
|
SASHA
|
|
Shut up! We will!
|
|
|
|
|
|
INT. TERMINAL/LAS VEGAS AIRPORT - DUSK
|
|
|
|
The violent cloud has finally reached the airport. The
|
|
terminals are hit by flying debris.
|
|
|
|
Seconds later, Yuri's Gulfstream is whipped through the air,
|
|
shattering the huge windows into a thousand pieces.
|
|
|
|
People are thrown like rag dolls as the jet explodes in a
|
|
massive fireball.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DUSK
|
|
|
|
Kate and Jackson hold their kids tight. Tamara clings to
|
|
little Caesar and Yuri to his twins.
|
|
|
|
64.
|
|
|
|
EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK
|
|
|
|
The Antonov lumbers heavily towards the inevitable drop off
|
|
on the horizon. The runway is way too short...
|
|
|
|
And to make matters worse, the ground begins to move again,
|
|
slowly arching the tarmac upwards, creating a crooked ramp at
|
|
the end of it.
|
|
|
|
|
|
INT. COCKPIT/LAS VEGAS AIRPORT - DUSK
|
|
|
|
A drop of sweat trickles down Sasha's forehead as he pulls
|
|
back the wheel.
|
|
|
|
Gordon holds on for dear life as the huge plane barely lifts
|
|
off, veering sideways.
|
|
|
|
|
|
EXT. CANYON/LAS VEGAS - DUSK
|
|
|
|
The Antonov is on a collision course with the crumbling
|
|
casino towers along the other side of the rim.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
SASHA
|
|
GOVNO! (shit). Help me pull!
|
|
|
|
Gordon grabs the wheel on his side, helping Sasha pull up the
|
|
beast of a plane.
|
|
|
|
|
|
EXT. CANYON RIM/LAS VEGAS - DUSK
|
|
|
|
Very slowly the plane starts to rise and Sasha's face lights
|
|
up. They barely make it over a casino called `Paris; Las
|
|
Vegas'.
|
|
|
|
But the plane clips its wheels on a high metal structure
|
|
right behind it, ripping away part of the landing gear.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DUSK
|
|
|
|
After some struggle, Sasha manages to steady the Antonov.
|
|
Gordon's face is green as he looks back.
|
|
|
|
GORDON
|
|
Was that the Eiffel Tower?
|
|
|
|
Sasha looks over and grins. He grabs the microphone.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
65.
|
|
|
|
SASHA
|
|
Ladies and gentlemen, we are on our way
|
|
to China.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. YAK LA MONASTERY/TIBET - DAY
|
|
|
|
An ancient monastery built atop a solitary mountain rock. In
|
|
the distance, the sun glistens off the peaks of the
|
|
Himalayas.
|
|
|
|
NENG PANG, a young monk, 20, sits with his superior and
|
|
teacher LAMA YAK LA, 65. They have tea beneath a huge bronze
|
|
bell.
|
|
|
|
LAMA YAK LA
|
|
(in Chinese)
|
|
Do not believe in anything simply
|
|
because you have heard it, Neng.
|
|
|
|
NENG
|
|
But Lin is my brother. He is working
|
|
inside the big tunnels, where the ships
|
|
are made.
|
|
|
|
The Lama remains silent.
|
|
|
|
NENG (CONT'D)
|
|
What is in your wisdom for us to do,
|
|
great Lama... if Lin is right, if our
|
|
world is indeed coming to an end?
|
|
|
|
Instead of answering, the Lama serves him more tea.
|
|
|
|
When the cup is full, the Lama doesn't stop pouring. Neng
|
|
watches the tea overflow until he can no longer restrain
|
|
himself.
|
|
|
|
NENG (CONT'D)
|
|
It's full, great Lama. It can hold no
|
|
more!
|
|
|
|
The Lama stops pouring and looks at Neng.
|
|
|
|
LAMA YAK LA
|
|
Like this cup, Neng, you are full of
|
|
your own opinions and speculations. How
|
|
can I show you wisdom unless you first
|
|
empty your cup?
|
|
|
|
Neng bows his head in embarrassment.
|
|
|
|
The Lama smiles to himself and takes a chain from around his
|
|
neck. On it hangs a set of rusty car keys.
|
|
(CONTINUED)
|
|
|
|
66.
|
|
|
|
LAMA YAK LA (CONT'D)
|
|
Be careful with the clutch. It tends to
|
|
slide.
|
|
|
|
The Lama throws him the keys and the young monk catches them,
|
|
smiling from ear to ear. They bow to each other and Neng runs
|
|
off.
|
|
|
|
Lama Yak La looks after him as a father would. He gets up and
|
|
strikes the bronze bell with a wooden mallet.
|
|
|
|
|
|
EXT. HOUSING PROJECT/TIBET - DAY
|
|
|
|
As far as you can see is a series of identical little houses.
|
|
The house in the foreground has a chicken coop in the garden.
|
|
|
|
Mrs. Pang enters the coop. We last saw her when the village
|
|
was being evacuated. She grabs one of the hens. She places
|
|
its head on a woodblock and picks up a rusty hatchet.
|
|
|
|
Just about to strike, she hears a strange RATTLING noise.
|
|
|
|
An old truck comes driving towards the house. Behind the
|
|
wheel sits her son Neng. She puts down the hatchet, yelling.
|
|
|
|
MRS. PANG
|
|
(in Chinese)
|
|
Bata! Neng is coming!
|
|
|
|
The young monk jumps out, quickly bowing.
|
|
|
|
NENG
|
|
Mother, I got a message from Lin. He
|
|
wants us to meet him in Cho Ming, at
|
|
the west gate. He says he can get us on
|
|
one of the ships he is working on.
|
|
|
|
Mrs. Pang is still holding the chicken by its throat.
|
|
|
|
MRS. PANG
|
|
I thought Lin is working on the dam?
|
|
|
|
NENG
|
|
The dam is a ship, Mother. The
|
|
government lied to us. There will be a
|
|
big flood.
|
|
|
|
The chicken hangs limp in Mrs. Pang's hand.
|
|
|
|
MRS. PANG
|
|
Not here in the mountains... Let's eat
|
|
first.
|
|
|
|
The hen panics as she puts its head back on the block,
|
|
raising the hatchet again.
|
|
(CONTINUED)
|
|
|
|
67.
|
|
|
|
NENG
|
|
No mother! We must pack up right away.
|
|
|
|
NENG'S MOTHER
|
|
We took a trip with the Laem Song ferry
|
|
once. Your father was throwing up the
|
|
whole way.
|
|
|
|
The door opens and Mr. Pang appears.
|
|
|
|
MR. PANG
|
|
Neng, I did not know you were coming
|
|
for dinner.
|
|
|
|
At that moment the hatchet drops with a THUD!
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. ANTONOV/OVER THE PACIFIC - NIGHT
|
|
|
|
The majestic Antonov is flying high in the Pacific skies.
|
|
|
|
OLEG (O.S.)
|
|
Look, the new Bentley.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - NIGHT
|
|
|
|
The boys are exploring the huge freight deck. Caesar, the
|
|
little dog, is traipsing along.
|
|
|
|
Alec, Oleg and Noah marvel at a stylish mixture of luxury and
|
|
performance cars.
|
|
|
|
ALEC
|
|
Our dad had one on order. We were
|
|
supposed to get it next year.
|
|
|
|
OLEG
|
|
But then he cancelled it again, because
|
|
of the ships.
|
|
|
|
Noah points to a 2012 Aston Martin parked further back.
|
|
|
|
NOAH
|
|
If I was rich, I'd get one of those.
|
|
|
|
OLEG
|
|
We have one. How many cars does your
|
|
family have?
|
|
|
|
NOAH
|
|
My Mom's boyfriend has a Porsche, a
|
|
Carrera 4.
|
|
|
|
(CONTINUED)
|
|
|
|
68.
|
|
|
|
ALEC
|
|
Our parents are divorced too.
|
|
|
|
The boys share a moment of understanding.
|
|
|
|
NOAH
|
|
Nothing we can do about that.
|
|
|
|
Noah reaches for the door of the Bentley. To his surprise, it
|
|
opens.
|
|
|
|
NOAH (CONT'D)
|
|
Wow... look at this.
|
|
|
|
Noah jumps into the car.
|
|
|
|
KATE (O.S.)
|
|
Be careful, Noh'!
|
|
|
|
Kate and Lilly are still belted in next to Tamara. Jackson
|
|
and Yuri sit on the other side of the Antonov.
|
|
|
|
TAMARA
|
|
How did you meet Dr. Silberman? He's
|
|
great, isn't he?
|
|
|
|
KATE
|
|
I think for the same reasons you did.
|
|
You know, after breast feeding two
|
|
kids...
|
|
|
|
Kate looks at Tamara.
|
|
|
|
KATE (CONT'D)
|
|
Did your husband ask you to get your's
|
|
done?
|
|
|
|
TAMARA
|
|
We are not married. And we probably
|
|
never will... But he paid for them.
|
|
|
|
KATE
|
|
I bet he did.
|
|
|
|
They laugh.
|
|
|
|
LILLY
|
|
What did the man pay for mommy?
|
|
|
|
KATE
|
|
Nothing, Lil'bee.
|
|
|
|
Kate looks over at Jackson who's trying to make sense of
|
|
Charlie's map. Tamara catches her looking.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
69.
|
|
|
|
TAMARA
|
|
What's your situation?
|
|
|
|
Kate lets out a sigh.
|
|
|
|
KATE
|
|
Way too complicated...
|
|
|
|
On the other side of the plane, Yuri has been watching the
|
|
two women talk.
|
|
|
|
YURI
|
|
They seem to like each other.
|
|
|
|
JACKSON
|
|
I guess... So tell me Mr. Karpov - how
|
|
much did you pay?
|
|
|
|
YURI
|
|
One billion euro, per seat.
|
|
|
|
JACKSON
|
|
That's disgusting.
|
|
|
|
YURI
|
|
You know Curtis, I wasn't always
|
|
businessman. I am a boxer. Was my only
|
|
playing when I was a boy, back in
|
|
Murmansk. My coach...
|
|
(SMILING)
|
|
... his name also Yuri... He always
|
|
said: `Someone wants to beat you... he
|
|
has to kill you first'.
|
|
|
|
Yuri puts his hand on Jackson's shoulder.
|
|
|
|
YURI (CONT'D)
|
|
What would you have done, if you rich
|
|
like me? Just look at your gorgeous
|
|
kids. And call me Yuri...
|
|
|
|
Yuri offers his hand but Jackson doesn't shake it.
|
|
|
|
Sasha's voice comes over the radio.
|
|
|
|
SASHA (O.S.)
|
|
Hi guys. The plan is to refuel in
|
|
Hawaii. So, buckle up... Gordon and I
|
|
will do the rest.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - NIGHT
|
|
|
|
Gordon turns to Sasha.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
70.
|
|
|
|
GORDON
|
|
Let's get this straight, Sasha. I'm not
|
|
a pilot. I'm a plastic surgeon. I just
|
|
took some lessons to overcome my fear
|
|
of flying.
|
|
|
|
SASHA
|
|
Why did you give up?
|
|
|
|
GORDON
|
|
It didn't work.
|
|
|
|
Gordon points to the declining altimeter.
|
|
|
|
GORDON (CONT'D)
|
|
What about the wheels we lost at take-
|
|
off?
|
|
|
|
SASHA
|
|
There's 14 on each side. Some of them
|
|
must still be there.
|
|
|
|
With that, Sasha commences the landing procedure.
|
|
|
|
|
|
EXT. ANTONOV/OVER HAWAII - NIGHT
|
|
|
|
The Antonov dives into a thick layer of clouds.
|
|
|
|
SASHA (O.S.)
|
|
Still nothing from the tower?
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - NIGHT
|
|
|
|
Gordon shakes his head.
|
|
|
|
The two pilots stare ahead watching as the clouds slowly
|
|
change color, from yellow... to orange.
|
|
|
|
They stare out the window in disbelief.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - NIGHT
|
|
|
|
Gordon comes climbing down the metal ladder whispering to
|
|
Jackson and Yuri.
|
|
|
|
GORDON
|
|
Guys, you really oughta take a look at
|
|
this.
|
|
|
|
Jackson and Yuri follow Gordon back into the cockpit. The
|
|
women exchange a worried glance.
|
|
|
|
71.
|
|
|
|
INT. COCKPIT/ANTONOV - NIGHT
|
|
|
|
When Jackson and Yuri enter, they don't believe their eyes.
|
|
|
|
YURI
|
|
What is that?
|
|
|
|
SASHA
|
|
The State of Hawaii!
|
|
|
|
YURI
|
|
Not good. That is not good.
|
|
|
|
|
|
EXT. ANTONOV/OVER HAWAII - NIGHT
|
|
|
|
From above we watch as the Antonov flies over an endless
|
|
ocean of fiery red lava. The Islands of Hawaii have turned
|
|
into one big volcano.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - NIGHT
|
|
|
|
JACKSON
|
|
How much fuel do we have?
|
|
|
|
SASHA
|
|
Not enough. We'll have to make a water
|
|
landing somewhere in the South China
|
|
Sea.
|
|
|
|
GORDON
|
|
At least we won't need our landing
|
|
gear.
|
|
|
|
Yuri wonders.
|
|
|
|
YURI
|
|
What about it?
|
|
|
|
GORDON
|
|
We lost it all... in Vegas.
|
|
|
|
|
|
EXT. ANTONOV/OVER HAWAII - NIGHT
|
|
|
|
The damaged landing gear slowly retracts into the vast belly
|
|
of the Antonov as it veers off to the east.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. PRESIDENTIAL CABIN/AIR FORCE ONE - NIGHT
|
|
|
|
Adrian knocks quietly and sticks his head around the door.
|
|
Laura is sitting in her father's chair.
|
|
(CONTINUED)
|
|
|
|
72.
|
|
|
|
ADRIAN
|
|
Can I come in?
|
|
|
|
LAURA
|
|
I've got nothing to say to you.
|
|
|
|
ADRIAN
|
|
But I do...
|
|
|
|
Adrian enters. He has his travel bag in one hand. He looks at
|
|
Laura and gathers himself.
|
|
|
|
ADRIAN (CONT'D)
|
|
Your Dad and I... we were trying to
|
|
protect you.
|
|
|
|
LAURA
|
|
(EXPLODING)
|
|
I'm a big girl Adrian. I don't need
|
|
protection. You used me. You guys had
|
|
me gallivanting around the world, as
|
|
part of your little cover-up.
|
|
|
|
ADRIAN
|
|
But you were doing a good job.
|
|
|
|
LAURA
|
|
Sure, if your name's Da Vinci or
|
|
Picasso. But if you're some young
|
|
talent in Podunk, Texas, sorry you're
|
|
not famous enough. People like you and
|
|
Anheuser and my father - you think you
|
|
can play God.
|
|
|
|
Adrian takes a moment, he's desperate to make her see.
|
|
|
|
ADRIAN
|
|
You know what your father believed.
|
|
That nature will choose itself from
|
|
itself.
|
|
|
|
LAURA
|
|
That's bullshit and you know it. It's
|
|
the fittest, the richest and the
|
|
strongest that survive.
|
|
|
|
ADRIAN
|
|
That's not true.
|
|
|
|
Adrian glances down and spots Jackson's book poking out of
|
|
his bag.
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
73.
|
|
|
|
ADRIAN (CONT'D)
|
|
What would you say were the chances of
|
|
a first time, middle-aged writer, who
|
|
barely sold 500 copies of his novel
|
|
making it on board this plane?
|
|
|
|
LAURA
|
|
Zero. What's your point?
|
|
|
|
Adrian pulls out the book from his bag. He shows her.
|
|
|
|
ADRIAN
|
|
It's called `Farewell Atlantis' and
|
|
it's a fantastic read. It's part of our
|
|
legacy now.
|
|
|
|
Laura takes this in. The plane's intercom cuts through the
|
|
moment.
|
|
|
|
INTERCOM (O.S.)
|
|
Mr. Helmsley, Prof. West requests your
|
|
presence immediately.
|
|
|
|
Adrian takes a breath, but before he leaves -
|
|
|
|
ADRIAN
|
|
What if I tried to sort some of this
|
|
mess out? I need to know you can
|
|
forgive me...
|
|
|
|
Laura looks at him sadly, but with a little hope.
|
|
|
|
LAURA
|
|
I need to know that too, Adrian.
|
|
|
|
Adrian moves for the door. He stops.
|
|
|
|
ADRIAN
|
|
One more thing. Your father told me you
|
|
were the most precious thing to him in
|
|
the whole world... You are to me too.
|
|
|
|
As Adrian exits, we hold on Laura's conflicted face.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. WHITE HOUSE/WASHINGTON D.C. - NIGHT
|
|
|
|
The cloud from the Yellowstone eruption has hit Washington
|
|
D.C. hard. Pennsylvania Avenue resembles a war zone. A ten
|
|
inch layer of ash lies on the ground.
|
|
|
|
The gates of the White House are wide open, with ash-covered
|
|
rescue workers running about, resembling ghosts.
|
|
|
|
74.
|
|
|
|
INT. WEST WING/WHITE HOUSE - NIGHT
|
|
|
|
The President has turned the whole West Wing into a shelter.
|
|
He walks through the packed rooms assisting where he can.
|
|
|
|
An old African-American LADY holds a crying young girl.
|
|
President Wilson kneels down to her.
|
|
|
|
OLD LADY
|
|
She can't find her mother.
|
|
|
|
PRESIDENT
|
|
Why don't you two girls make yourself
|
|
comfy on that big couch? I'll see what
|
|
I can do.
|
|
|
|
The child nods. The President gets up.
|
|
|
|
PRESIDENT WILSON
|
|
Sally, can you take care of them. I'll
|
|
go check with the Red Cross...
|
|
|
|
As he leaves, the old lady looks up at Sally and smiles.
|
|
|
|
OLD LADY
|
|
No wonder the First Lady fell for him.
|
|
I knew Miss Dorothy Jones long before
|
|
the President, when she was still
|
|
singing jazz down in Atlanta with Harry
|
|
Helmsley.
|
|
|
|
SALLY
|
|
I know, she was amazing.
|
|
|
|
|
|
EXT. FRONT LAWN/WHITE HOUSE - NIGHT
|
|
|
|
The President walks up to the Red Cross tents placed on the
|
|
front lawn. He stops one of the Red Cross volunteers.
|
|
|
|
PRESIDENT WILSON
|
|
Who can help me with missing persons?
|
|
|
|
Without looking up, the young guy responds.
|
|
|
|
RED CROSS VOLUNTEER
|
|
Sorry man, I'm busy right now.
|
|
|
|
He then recognizes who he's talking to.
|
|
|
|
RED CROSS VOLUNTEER (CONT'D)
|
|
I mean, of course sir. I didn't
|
|
realize... What can I do for you, Mr.
|
|
President?
|
|
|
|
The President pats him on the shoulder.
|
|
(CONTINUED)
|
|
|
|
75.
|
|
|
|
PRESIDENT WILSON
|
|
Don't worry about it. You're doing a
|
|
great job son...
|
|
|
|
A deep, low rumble begins, stopping everybody in place.
|
|
|
|
As it builds, the President grabs onto a tent pole to secure
|
|
himself. He looks out over Washington D.C. His eyes grow
|
|
wide...
|
|
|
|
The National Mall bends like rubber. The towering Washington
|
|
Monument breaks into pieces.
|
|
|
|
An even more deafening sound makes him turn--
|
|
|
|
The Capitol Building rises from behind the trees, lifted up
|
|
by earth's incredible force.
|
|
|
|
As the whole building breaks apart, the President is thrown
|
|
to the ground.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. COMMAND CENTER/AIR FORCE ONE - DAY
|
|
|
|
All the officers and scientists are glued to monitors that
|
|
show satellite images from all over the globe. Adrian and
|
|
Prof. West stare in disbelief.
|
|
|
|
SCIENCE OFFICER
|
|
The capitol was hit by a 9.4.
|
|
|
|
Laura enters the command center unnoticed.
|
|
|
|
COMMUNICATIONS OFFICER
|
|
We lost communication with the White
|
|
House, sir.
|
|
|
|
She stands there frozen, emotionless. She looks over to
|
|
Anheuser, who is shouting orders. Another officer hands him a
|
|
phone.
|
|
|
|
LIEUTENANT #2
|
|
President Makarenko for you sir. He's
|
|
just entered Chinese air space.
|
|
|
|
Anheuser takes the phone and after a beat answers.
|
|
|
|
ANHEUSER
|
|
That's affirmative, Mr. President.
|
|
Until communication is restored, I am
|
|
in command.
|
|
|
|
Adrian and Laura look to each other baffled.
|
|
|
|
(CONTINUED)
|
|
|
|
76.
|
|
|
|
ANHEUSER (CONT'D)
|
|
... It seems all other Heads of State
|
|
are en route, however there are
|
|
unconfirmed reports that the Italian
|
|
Prime Minister has also decided to stay
|
|
behind and trust in prayer rather than
|
|
action...
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. ST. PETER'S SQUARE/ROME - DAWN
|
|
|
|
Pope Benedict XVI holds mass in St. Peter's Basilica.
|
|
Millions of followers flood Vatican City. It's a sea of
|
|
candles.
|
|
|
|
Amidst the mass of believers we see the Italian Prime
|
|
Minister Antonioni with his family clinging to him. They all
|
|
are praying.
|
|
|
|
A low RUMBLE. People look around frightened. In the distance
|
|
we hear SCREAMING.
|
|
|
|
|
|
INT. SISTINE CHAPEL/CEILING - DAWN
|
|
|
|
A few cardinals huddle together in silent prayer under
|
|
Michelangelo's famous fresco. Most prominent above them is
|
|
`The Creation of Adam'.
|
|
|
|
The cardinals look up in horror as the rumbling intensifies.
|
|
A crack forms on the ceiling, shooting straight through God
|
|
touching the finger of Adam.
|
|
|
|
Then the whole fresco breaks apart.
|
|
|
|
|
|
EXT. ST. PETER'S SQUARE/ROME - DAWN
|
|
|
|
The people in St. Peter's square begin to panic--
|
|
|
|
The entire Vatican is lifted up in the air. We hold on the
|
|
Prime Minister and his family, as the basilica collapses onto
|
|
the fleeing masses.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. MOUNT CORCOVADO/RIO DE JANEIRO - DAY
|
|
|
|
The giant statue of `Christ the Redeemer' on Mount Corcovado.
|
|
Behind it, we see Rio de Janeiro being obliterated by violent
|
|
quakes.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
77.
|
|
|
|
The famous statue of Jesus Christ begins to topple over and
|
|
crashes down the mountain.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. MOUNTAIN PASS/TIBET - NIGHT
|
|
|
|
Neng Pang, the young Tibetan monk drives his truck up a bumpy
|
|
mountain pass. His parents huddle in the back of the pick-up.
|
|
|
|
The steering wheel is vibrating badly in his hands as he
|
|
slides the clutch and downshifts. As the vehicle slows on the
|
|
steep incline, the vibrations become much worse. Neng worries
|
|
that the truck may be breaking down.
|
|
|
|
He pulls up and switches off the engine but to his surprise
|
|
the steering wheel continues to vibrate.
|
|
|
|
Looking out the windshield, he sees the whole earth shaking
|
|
violently.
|
|
|
|
NENG
|
|
(in Chinese)
|
|
Hold on back there!
|
|
|
|
Rocks fall all around them.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. THE ANTONOV - NIGHT
|
|
|
|
Jackson sits inside one of the luxury cars and tries the
|
|
radio. Kate opens the passenger door and gets in.
|
|
|
|
JACKSON
|
|
Couldn't sleep huh? Me neither.
|
|
|
|
KATE
|
|
Anything?
|
|
|
|
JACKSON
|
|
Nothing, just static. Not even an
|
|
emergency signal.
|
|
|
|
KATE
|
|
I can't think about what's going on
|
|
down there.
|
|
|
|
Jackson switches off the radio.
|
|
|
|
KATE (CONT'D)
|
|
I wanted to thank you. For coming back
|
|
for us.
|
|
|
|
(CONTINUED)
|
|
|
|
78.
|
|
|
|
JACKSON
|
|
I couldn't have left you...
|
|
|
|
Silence. They both look out through the front windshield at
|
|
Lilly and Noah curled up together.
|
|
|
|
KATE
|
|
Do you think people change?
|
|
|
|
JACKSON
|
|
By `people' are we talking about me?
|
|
|
|
KATE
|
|
Do you think you've changed since we
|
|
separated?
|
|
|
|
JACKSON
|
|
Well I certainly eat a lot more cereal
|
|
now...
|
|
|
|
KATE
|
|
You know, you always had tunnel vision.
|
|
You could always just block things out
|
|
and write. You blocked all of us out
|
|
Jackson.
|
|
|
|
He thinks about this and can't help asking.
|
|
|
|
JACKSON
|
|
Do you love him? Gordon...
|
|
|
|
KATE
|
|
I love him enough.
|
|
|
|
Kate gets out of the car and shuts the door. He watches her
|
|
go.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. COMMAND CENTER/AIR FORCE ONE - DAY
|
|
|
|
The computers buzz with the incoming data.
|
|
|
|
COMMUNICATIONS OFFICER
|
|
... Cho Ming reports the first tremors,
|
|
however none higher than 5.0.
|
|
|
|
Anheuser looks relieved. Then the big news hits.
|
|
|
|
SCIENCE OFFICER #1
|
|
The crust has begun to shift, Prof.
|
|
West.
|
|
|
|
PROF. WEST
|
|
By what degree?
|
|
(CONTINUED)
|
|
|
|
79.
|
|
|
|
SCIENCE OFFICER #1
|
|
1.2 percent, but still moving.
|
|
|
|
ANHEUSER
|
|
Any clue what to expect next,
|
|
Professor?
|
|
|
|
PROF. WEST
|
|
Once the movement of our land masses
|
|
comes to a halt, we expect the
|
|
formation of tidal waves, sir...
|
|
proportional to the magnitude of the
|
|
corresponding quakes.
|
|
|
|
Adrian looks distressed as he turns to one of the officers.
|
|
|
|
ADRIAN
|
|
Do we have any news from the Japanese
|
|
seaboard?
|
|
|
|
Laura notices Adrian's concern.
|
|
|
|
SCIENCE OFFICER #2
|
|
We've recorded two quakes averaging
|
|
8.3.
|
|
|
|
She grabs Adrian's hand. Anheuser sees this and his
|
|
suspicions about them are confirmed. A cold little smile
|
|
appears on his face.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. SALON/CRUISE SHIP - NIGHT
|
|
|
|
Tony is watching TV with a group of passengers. Harry has
|
|
just entered and stands near the back of the room.
|
|
|
|
A TEENAGE BOY with bad acne searches for an available channel
|
|
that is still broadcasting. He finds a news program with
|
|
lousy reception.
|
|
|
|
NEWSCASTER
|
|
... Tokyo seems to have taken the
|
|
severity of the hit... Unconfirmed
|
|
reports indicate that the entire island
|
|
of Japan is below water...
|
|
|
|
The signal gets weaker.
|
|
|
|
Harry watches Tony slowly stand up. As he turns to his
|
|
friend, his knees begin to buckle. His face is pale.
|
|
|
|
TONY
|
|
I called... But I never got through.
|
|
|
|
(CONTINUED)
|
|
|
|
80.
|
|
|
|
HARRY
|
|
I'm so sorry.
|
|
|
|
Tony only stares back at him.
|
|
|
|
Behind them, the TV rolls to the side, as the whole room
|
|
begins to tilt.
|
|
|
|
Harry grabs on to the door frame, as the passengers along
|
|
with Tony fall like dominoes.
|
|
|
|
HARRY (CONT'D)
|
|
Tony!!
|
|
|
|
As the ship rolls to the side, Harry finds himself hanging
|
|
from the door frame now 20 feet off the ground. He's barely
|
|
able to pull himself up and roll onto the middle deck.
|
|
|
|
|
|
EXT. MIDDLE DECK/CRUISE SHIP - NIGHT
|
|
|
|
On his back, Harry is shocked to see the star field and the
|
|
moon shifting across the sky.
|
|
|
|
An eerie sound fills the air. A gigantic swell has formed off
|
|
to his right. It's a mountain of water.
|
|
|
|
Harry turns to see another gargantuan swell close in from the
|
|
other side of the `Freedom of the Seas'.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. SHIBAM/YEMEN - DAY
|
|
|
|
The old walled city of Shibam is in ruins. The 2,000-year-old
|
|
towers lie on the desert ground. Hundreds of believers have
|
|
gathered to pray towards Mecca.
|
|
|
|
As they raise their hands to heaven in unison, they slow
|
|
their motion and the chanting dissipates.
|
|
|
|
They stare into the distance not knowing if what they see is
|
|
reality or only a mirage.
|
|
|
|
A monstrous tidal wave rises from the desert sands thundering
|
|
towards them.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. WHITE HOUSE/WASHINGTON DC - NIGHT
|
|
|
|
President Wilson's body lays between the rubble. As he slowly
|
|
regains consciousness, all he can hear is the flapping sound
|
|
of the collapsed Red Cross tents.
|
|
(CONTINUED)
|
|
|
|
81.
|
|
|
|
As President Wilson gets to his feet, he sees--
|
|
|
|
A tidal wave come sweeping over the remains of the Washington
|
|
Mall and it carries with it the battleships of the 14th Fleet
|
|
of the US Navy that were anchored in Chesapeake Bay.
|
|
|
|
The President looks ahead, calm and peaceful.
|
|
|
|
PRESIDENT WILSON
|
|
I'm coming home Dorothy...
|
|
|
|
The CAMERA follows the aircraft carrier `USS John F. Kennedy'
|
|
as it slams broadside into the White House.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. COMMAND CENTER/AIR FORCE ONE - DAY
|
|
|
|
Hushed voices. Anheuser, Adrian and Prof. West stand amongst
|
|
a group of officers and analysts.
|
|
|
|
COMMUNICATIONS OFFICER #1
|
|
All global ground communication has
|
|
ceased sir.
|
|
|
|
COMMUNICATIONS OFFICER #2
|
|
The only signal our satellites are
|
|
picking up are coming from the vessels
|
|
in Cho Ming.
|
|
|
|
ANHEUSER
|
|
At least some good news.
|
|
|
|
Anheuser turns to Adrian.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Would our science advisor care to give
|
|
us his assessment?
|
|
|
|
ADRIAN
|
|
We expect enormous tsunamis to reach
|
|
landfall in every continent. The Cho
|
|
Ming area will be impacted in
|
|
approximately six hours.
|
|
|
|
He nods to one of the analysts, who types in a couple of
|
|
commands.
|
|
|
|
ADRIAN (CONT'D)
|
|
... and it looks like the crust has
|
|
shifted by nearly 23 degrees in a south-
|
|
westerly direction. Here's the computer
|
|
simulation.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
82.
|
|
|
|
Everybody stares as the graphic illustrates what happened to
|
|
planet Earth.
|
|
|
|
ADRIAN (CONT'D)
|
|
Our data also shows, that our earth's
|
|
poles have reversed their magnetic
|
|
fields...
|
|
(POINTING)
|
|
... These are their new positions.
|
|
|
|
Anheuser looks at the monitor, then turns to Adrian.
|
|
|
|
ANHEUSER
|
|
So Helmsley, what you're telling us
|
|
here is that... the north pole is now
|
|
somewhere in Wisconsin?
|
|
|
|
Silence. Adrian clears his throat.
|
|
|
|
ADRIAN
|
|
It's the south pole, sir.
|
|
|
|
An ALARM SIGNAL goes off--
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DAWN
|
|
|
|
A red light blinks on the plane's instrument panel.
|
|
|
|
YURI (O.S.)
|
|
What's that?
|
|
|
|
SASHA
|
|
Engine failure. GOVNO! Two of six are
|
|
down. We must get ready.
|
|
|
|
Yuri and Jackson are standing behind the pilots.
|
|
|
|
JACKSON
|
|
Let's go wake up the kids.
|
|
|
|
Yuri nods and they make their way back to the lower deck.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DAWN
|
|
|
|
Jackson's family are all asleep in their seats, Lilly in her
|
|
mom's lap. She looks like a little angel. Jackson can't bear
|
|
to wake them. He caresses Lilly's face.
|
|
|
|
NOAH (O.S.)
|
|
Why do you hate Gordon?
|
|
|
|
Jackson turns to see Noah is awake.
|
|
(CONTINUED)
|
|
|
|
83.
|
|
|
|
JACKSON
|
|
What are you talking about? I don't
|
|
hate Gordon.
|
|
|
|
NOAH
|
|
But you don't like him either.
|
|
|
|
JACKSON
|
|
I don't know him that well.
|
|
|
|
NOAH
|
|
But I know him. He's really nice. You
|
|
should talk to him more often. You guys
|
|
would get along really well.
|
|
|
|
This breaks Jackson's heart. He pulls Noah tightly to his
|
|
chest.
|
|
|
|
JACKSON
|
|
I'll give it a try, Noah. I promise.
|
|
|
|
Kate opens her eyes.
|
|
|
|
KATE
|
|
Is it time?
|
|
|
|
Jackson nods.
|
|
|
|
KATE (CONT'D)
|
|
Wake up Lil'bee. We're getting ready to
|
|
land.
|
|
|
|
On the opposite side of the aircraft, Yuri and Tamara help
|
|
the twins get into their life vests. Noah is suspicious.
|
|
|
|
NOAH
|
|
What's wrong?
|
|
|
|
Jackson looks at his kids. They both look scared.
|
|
|
|
JACKSON
|
|
Sasha told us, it could get a little
|
|
bumpy... and wet.
|
|
|
|
The Antonov jerks to the side. Two more engines out. Alarm
|
|
signals flash.
|
|
|
|
|
|
EXT. ANTONOV - DAWN
|
|
|
|
The remaining two engines barely hold the plane in the air as
|
|
it dives into the clouds.
|
|
|
|
84.
|
|
|
|
INT. CARGO HOLD/ANTONOV - DAWN
|
|
|
|
Jackson and his family huddle together. He puts his arms
|
|
around Lilly and Noah.
|
|
|
|
JACKSON
|
|
Your daddy has to tell you something.
|
|
|
|
In the background, Gordon climbs down from the cockpit. He is
|
|
about to speak when he hears Jackson's voice.
|
|
|
|
JACKSON (CONT'D)
|
|
I know that with my writing and work I
|
|
didn't have a lot of time for you
|
|
both...
|
|
|
|
Jackson glances at Kate.
|
|
|
|
JACKSON (CONT'D)
|
|
I wasn't there for you, the way I
|
|
should have been.
|
|
|
|
Jackson looks Kate directly in the eyes.
|
|
|
|
JACKSON (CONT'D)
|
|
... And I am so very sorry for that.
|
|
|
|
Gordon watches as Kate pulls the kids and Jackson tight. For
|
|
the first time, they seem a little like the family they once
|
|
were.
|
|
|
|
GORDON (O.S.)
|
|
Jackson, Yuri... I think you guys
|
|
should come back up here.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DAWN
|
|
|
|
First Jackson and then Yuri enter the cockpit. Sasha points
|
|
out of the window.
|
|
|
|
SASHA
|
|
Don't ask me how that happened.
|
|
|
|
Behind them Yuri and Jackson stare at the snow covered
|
|
mountains of the Himalayas.
|
|
|
|
SASHA (CONT'D)
|
|
There's no more ocean, and it looks
|
|
like we're pretty close to where we
|
|
wanted to go.
|
|
|
|
GORDON
|
|
It's as if the whole earth shifted by
|
|
1500 miles...
|
|
|
|
(CONTINUED)
|
|
|
|
85.
|
|
|
|
JACKSON
|
|
No shit.
|
|
(BEAT)
|
|
It's called 'Earth Crust Displacement'
|
|
Gordon... Prof. Hapgood, 1958.
|
|
|
|
Jackson brims with joy.
|
|
|
|
JACKSON (CONT'D)
|
|
Way to go Charlie!
|
|
|
|
A JOLT!
|
|
|
|
SASHA
|
|
We lost our last two engines.
|
|
|
|
The plane drops rapidly, nearly scraping the tip of a
|
|
mountain. Sasha and Gordon are doing all they can to keep the
|
|
Antonov in the air.
|
|
|
|
A vast glacier spreads out in front of them.
|
|
|
|
SASHA (CONT'D)
|
|
I'll shoot for that glacier. Drain the
|
|
brake fluids. It's going to get
|
|
rocky... There, the blue levers!
|
|
|
|
The plane plummets, loosing altitude fast.
|
|
|
|
SASHA (CONT'D)
|
|
Listen up guys! This may sound a little
|
|
crazy, but here's what you got to do...
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DAWN
|
|
|
|
Jackson and Yuri come running. Yuri yells at his boys.
|
|
|
|
YURI
|
|
(in Russian)
|
|
Get up! Follow me!
|
|
|
|
TAMARA
|
|
Yuri bear, what are we doing?
|
|
|
|
YURI
|
|
We're taking the Bentley!
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DAWN
|
|
|
|
Sasha is struggling with the gyrating wheel. The glittering
|
|
snow field comes flying towards them.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
86.
|
|
|
|
SASHA
|
|
CHTO ZA... Gordon! We're still too
|
|
fast!
|
|
|
|
Sasha pulls the Antonov back up.
|
|
|
|
SASHA (CONT'D)
|
|
Now! Open it!
|
|
|
|
Gordon yanks with all his might. A loud NOISE.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DAWN
|
|
|
|
The cargo door drops open. The Antonov is extremely close to
|
|
the glacier's surface.
|
|
|
|
Jackson tries to start the Bentley, but nothing happens.
|
|
Everyone screams in panic.
|
|
|
|
YURI
|
|
SHUT UP EVERY ONE!
|
|
|
|
They all go quiet, except for a few muffled barks from
|
|
Caesar. Yuri speaks towards the dashboard, slowly and
|
|
clearly.
|
|
|
|
YURI (CONT'D)
|
|
Engine... start...
|
|
|
|
The motor revs to life. Yuri looks at Jackson.
|
|
|
|
YURI (CONT'D)
|
|
Voice control... Sold me on it.
|
|
|
|
|
|
INT. COCKPIT/ANTONOV - DAWN
|
|
|
|
Sasha barely holds on. He yells at Gordon.
|
|
|
|
SASHA
|
|
Your turn Gordon! Go! Make sure that
|
|
they make it out of here before I touch
|
|
down!
|
|
|
|
GORDON
|
|
What about you?!
|
|
|
|
SASHA
|
|
I'll be fine! I have to land this
|
|
thing!
|
|
|
|
Gordon hesitates.
|
|
|
|
SASHA (CONT'D)
|
|
What are you waiting for!
|
|
(CONTINUED)
|
|
|
|
87.
|
|
|
|
Sasha nods at him reassuringly. Gordon bolts out.
|
|
|
|
|
|
INT. CARGO HOLD/ANTONOV - DAWN
|
|
|
|
The cargo door scrapes against the glacier, hurling ice
|
|
everywhere. The Bentley roars.
|
|
|
|
YURI (O.S.)
|
|
Push it Curtis!
|
|
|
|
JACKSON
|
|
We're waiting for Sasha and Gordon.
|
|
|
|
Noah turns and sees Gordon.
|
|
|
|
NOAH
|
|
Tamara! Open the door!
|
|
|
|
Gordon jumps in. Tamara yells at him in desperation.
|
|
|
|
TAMARA
|
|
Where's Sasha?
|
|
|
|
GORDON
|
|
He said he'll be fine and we should get
|
|
out of here before he touches down.
|
|
|
|
Yuri notices Tamara's distress as she keeps looking back to
|
|
the cockpit. Jackson slams the pedal down trying to gain as
|
|
much speed as possible to soften their landing.
|
|
|
|
LILLY
|
|
Daaadddy!
|
|
|
|
The Bentley shoots out the back of the plane. As it hits the
|
|
snow, the air bags deploy cushioning the passengers.
|
|
|
|
The Antonov hits the ice and catapults the rest of the luxury
|
|
cars out of the back cargo hold. They barrel past the Bentley
|
|
like skittles, narrowly missing it as they fly off in
|
|
opposite directions.
|
|
|
|
The plane skids across the glacier, clipping its wing and
|
|
causing the aircraft to break apart.
|
|
|
|
Sasha has no control anymore and watches helplessly as he
|
|
shoots towards the ledge in the Antonov, plunging into the
|
|
deep.
|
|
|
|
The plane crashes and explodes.
|
|
|
|
88.
|
|
|
|
EXT. GLACIER/TIBET - DAWN
|
|
|
|
As the snow settles we see that the glacier is scattered with
|
|
luxury cars tomb-stoned in the snow.
|
|
|
|
The Bentley is half buried. We hear Caesar barking.
|
|
|
|
JACKSON (O.S.)
|
|
Everybody okay back there?
|
|
|
|
KATE (O.S.)
|
|
We're all fine.
|
|
|
|
The door opens and Jackson climbs out, looking around. Just
|
|
above the wind, he hears the SOUND OF HELICOPTER BLADES.
|
|
|
|
One by one the others appear behind Jackson and stare at a
|
|
surreal sight--
|
|
|
|
Several Chinese Mil-26 choppers airlift animals over the
|
|
mountain pass.
|
|
|
|
GIRAFFES, ZEBRAS, EVEN ELEPHANTS hang by huge straps from
|
|
these flying machines.
|
|
|
|
One of the smaller helicopters veers from the transport fleet
|
|
and lands near the Bentley.
|
|
|
|
Armed soldiers jump out. Their Commander speaks to them in a
|
|
sharp tone.
|
|
|
|
CHINESE COMMANDER
|
|
Welcome to the People's Republic of
|
|
China.
|
|
|
|
Jackson nods to them.
|
|
|
|
JACKSON
|
|
Thank you...
|
|
(to Lilly and Noah)
|
|
Say thank you, kids.
|
|
|
|
The others acknowledge the soldiers as well. Hi... Hello...
|
|
|
|
CHINESE COMMANDER
|
|
What color are your passes?
|
|
|
|
Jackson stands dumbfounded. The Commander repeats.
|
|
|
|
CHINESE COMMANDER (CONT'D)
|
|
What color are your boarding passes?
|
|
|
|
Still no answer. He yells an order. The soldiers point their
|
|
guns at them.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
89.
|
|
|
|
YURI (O.S.)
|
|
I have green card.
|
|
|
|
Surprised, Jackson turns to Yuri who's holding up three green
|
|
plastic cards.
|
|
|
|
YURI (CONT'D)
|
|
For my boys and me.
|
|
|
|
Tamara can't believe what she's hearing.
|
|
|
|
TAMARA
|
|
It's a joke... a mistake...
|
|
(LAUGHING)
|
|
Right Yuri?
|
|
|
|
Yuri shrugs. Tamara lunges at him.
|
|
|
|
TAMARA (CONT'D)
|
|
(in Russian)
|
|
You disgust me. You pig.
|
|
|
|
Yuri brushes her off, coldly. And then speaks so they can all
|
|
understand him.
|
|
|
|
YURI
|
|
You think I did not know about you and
|
|
Sasha? May god rest that poor bastard's
|
|
soul.
|
|
|
|
With that Yuri turns to the others.
|
|
|
|
YURI (CONT'D)
|
|
I am sorry guys. Good luck. And Jackson
|
|
remember, if someone wants to beat
|
|
you... he has to kill you first. Come
|
|
boys!
|
|
|
|
The twins grab Caesar and climb into the helicopter. The dog
|
|
barks furiously, wanting to stay with Tamara.
|
|
|
|
The next moment, the helicopter takes off.
|
|
|
|
GORDON
|
|
What!... Did that just happen!?
|
|
|
|
They're stranded.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. AIRFIELD IN CHO MING VALLEY/TIBET - DAWN
|
|
|
|
Air Force One is in the background as Laura, Anheuser, and
|
|
other members of the crew are rushed towards a group of
|
|
waiting helicopters.
|
|
(CONTINUED)
|
|
|
|
90.
|
|
|
|
Adrian is a little way back in the middle of the pack. A
|
|
Chinese Officer with a list shouts over the noise.
|
|
|
|
CHINESE OFFICER
|
|
(POINTING)
|
|
Mr. Anheuser - you're in Chopper 1. Dr.
|
|
Wilson the same.
|
|
|
|
Laura and Anheuser reach the chopper. An authoritative Naval
|
|
Officer greets them, and raises his voice.
|
|
|
|
CAPTAIN MICHAELS
|
|
I'm Captain Richard Michaels. I'm the
|
|
skipper of the American boat sir. After
|
|
you!
|
|
|
|
Anheuser nods and climbs in the chopper. Captain Michaels
|
|
helps Laura in. Adrian arrives just as the Chopper door
|
|
slides shut and it lifts off.
|
|
|
|
|
|
INT. HELICOPTER/CHO MING VALLEY/TIBET - DAWN
|
|
|
|
Laura catches Adrian's look of unease before they soar away.
|
|
|
|
CAPTAIN MICHAELS
|
|
My sincerest condolences Dr. Wilson,
|
|
for your father...
|
|
|
|
Laura's look thanks him for this. He turns to Anheuser.
|
|
|
|
CAPTAIN MICHAELS (CONT'D)
|
|
Your party is the last to arrive.
|
|
|
|
ANHEUSER
|
|
I've been told of damages?
|
|
|
|
CAPTAIN MICHAELS
|
|
We haven't completed the assessment but
|
|
it looks like we lost Number 4 when the
|
|
crust shifted.
|
|
|
|
Captain Michaels looks up and points into the distance.
|
|
|
|
CAPTAIN MICHAELS (CONT'D)
|
|
There it is!
|
|
|
|
|
|
EXT. CHO MING VALLEY/TIBET - DAWN
|
|
|
|
The CAMERA follows the choppers revealing--
|
|
|
|
Nine gigantic oval gates that measure at least 60 stories,
|
|
built into the face of a mountain.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
91.
|
|
|
|
In front of every gate there is a line of huge `Y' shaped
|
|
metal support structures, which are the launching towers for
|
|
the ships. They are each at least 800 feet high. It's an
|
|
unparalleled feat of engineering.
|
|
|
|
|
|
EXT. CHOPPER/CHO MING VALLEY - DAWN
|
|
|
|
The lead chopper descends onto a platform in front of one of
|
|
the gates, dwarfed against this majestic setting.
|
|
|
|
The door slides open and Anheuser jumps out. Laura follows.
|
|
She looks around in awe.
|
|
|
|
Even the utility entrances that lead into the mountain are
|
|
immense. The Captain guides them into the hollow mountain.
|
|
|
|
In the BACKGROUND we see an angry Yuri scream and argue with
|
|
military personnel, waving his tickets.
|
|
|
|
YURI
|
|
What do mean we can't board Number 4? I
|
|
want to speak to your supervisor.
|
|
|
|
SOLDIER
|
|
I am the supervisor! Now get in line
|
|
with all the others while we make
|
|
arrangements.
|
|
|
|
YURI
|
|
I want your name!
|
|
|
|
SOLDIER
|
|
(pointing to his
|
|
BADGE)
|
|
Can you read? Now get the hell back
|
|
with the other green cards, or I'll
|
|
have you detained.
|
|
|
|
The twins stand nearby, holding Caesar. They look afraid.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. THE GLACIER/CHO MING - DAWN
|
|
|
|
Jackson and his group are small specks in a barren landscape.
|
|
They have made it down the glacier and are now walking over a
|
|
scree field.
|
|
|
|
It is hard going. Jackson carries Lilly.
|
|
|
|
JACKSON
|
|
Keep thinking warm thoughts sweetheart.
|
|
You're doing great.
|
|
|
|
(CONTINUED)
|
|
|
|
92.
|
|
|
|
Kate holds Noah by the hand. Gordon and Tamara trail behind.
|
|
She's still very upset.
|
|
|
|
TAMARA
|
|
I should have listened to you, Dr.
|
|
Silberman. I actually liked the way I
|
|
looked before that monster talked me
|
|
into it.
|
|
|
|
GORDON
|
|
Did you know he asked for a discount...
|
|
and he paid in installments?
|
|
|
|
TAMARA
|
|
Cheap bastard.
|
|
|
|
GORDON
|
|
You're better off without him. What he
|
|
said about you and Sasha, is it true?
|
|
|
|
Tamara nods silently.
|
|
|
|
TAMARA
|
|
Now that he's gone I think he was worth
|
|
a hundred times a man like Yuri.
|
|
|
|
Suddenly they hear the PUTTERING of an engine.
|
|
|
|
JACKSON
|
|
You guys hear that?
|
|
|
|
In the distance, an old rusty truck comes bumping down the
|
|
dirt road. Jackson puts down Lilly and chases after it.
|
|
|
|
|
|
EXT. DIRT ROAD/NEAR CHO MING - DAWN
|
|
|
|
Neng and his parents drive past, billowing a huge cloud of
|
|
dust just as Jackson reaches the road.
|
|
|
|
JACKSON
|
|
(out of breath)
|
|
Hey! Help! Wait for us!
|
|
|
|
But Neng doesn't hear him over the rattling truck. Jackson,
|
|
pissed, kicks at the rocks on the road.
|
|
|
|
JACKSON (CONT'D)
|
|
Shit! Shit!
|
|
|
|
Just then, Neng's mother, sitting in the back of the truck,
|
|
turns and sees his tantrum. She bangs on the rear window of
|
|
the cabin.
|
|
|
|
Neng looks in the mirror and hits the brakes. Jackson can't
|
|
believe his luck.
|
|
(CONTINUED)
|
|
|
|
93.
|
|
|
|
The others show up and they all run towards the truck.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. INSIDE MOUNTAIN/CHO MING - DAWN
|
|
|
|
Anheuser and Laura follow Captain Michaels and a Chinese
|
|
Steward over one of the many boarding bridges erected inside
|
|
the cavernous mountain that lead to one of the monstrous
|
|
arks. Laura stops halfway, gazing in awe--
|
|
|
|
Deep down below, thousands of workers are swarming over the
|
|
ship, readying it for launch.
|
|
|
|
Laura looks up and sees the contrast, spotting the SHEIK we
|
|
met in the Dorchester Hotel as he boards comfortably with his
|
|
huge family.
|
|
|
|
Laura points down at the workers.
|
|
|
|
LAURA
|
|
Captain Michaels? What happens to all
|
|
those people?
|
|
|
|
The Captain doesn't know what to say. Anheuser turns.
|
|
|
|
ANHEUSER
|
|
Dr. Wilson, there's a protocol for all
|
|
that. You just stick to your art. We'll
|
|
handle the rest.
|
|
|
|
Laura hates him in that moment.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Captain? Where is the Bridge?
|
|
|
|
Anheuser and Captain Michaels move away as Laura stands and
|
|
watches the frantic workers who are now boarding the animals
|
|
we saw being airlifted over the mountains.
|
|
|
|
CHINESE STEWARD (O.S.)
|
|
Dr. Wilson? Your cabin is this way.
|
|
|
|
Laura has a look of guilt as she follows the steward.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE
|
|
|
|
Thousands are on the march up the mountains. Behind them a
|
|
valley stretches into the horizon. Plumes of smoke rise from
|
|
destroyed cities in the distance.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
94.
|
|
|
|
Amongst the refugees, we discover Satnam, the young
|
|
astrophysicist, holding his little son. The rest of Satnam's
|
|
family trails behind.
|
|
|
|
Distant WARNING SIRENS pierce the silent march, coming from
|
|
the cities below.
|
|
|
|
People start to scream and run, but Satnam stands there
|
|
frozen. He fumbles for his satellite phone, then hits a
|
|
number on its speed dial.
|
|
|
|
|
|
INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE
|
|
|
|
Adrian is unpacking. He lays down his copy of `Farewell
|
|
Atlantis' just as his cell phone rings.
|
|
|
|
ADRIAN
|
|
Satnam?
|
|
(CONFUSED)
|
|
Where are you?
|
|
|
|
SATNAM (O.S.)
|
|
On the Nampan Plateau...
|
|
|
|
Adrian's face goes pale.
|
|
|
|
ADRIAN
|
|
What?!
|
|
|
|
SATNAM
|
|
There's a tidal wave coming from the
|
|
East! It's huge!
|
|
|
|
ADRIAN
|
|
Satnam, what happened?
|
|
|
|
SATNAM (O.S.)
|
|
We never got picked up, Adrian, the
|
|
airlift never came!
|
|
|
|
Adrian closes his eyes.
|
|
|
|
|
|
EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE
|
|
|
|
Satnam swallows hard. He stares out into the valley.
|
|
|
|
SATNAM
|
|
I have to go!
|
|
|
|
A wall of undulating foam and debris comes rolling towards
|
|
him. A tidal wave of gigantic height.
|
|
|
|
Everybody panics and scratches for a higher elevation. But
|
|
for Satnam it is clear, they do not stand a chance.
|
|
(CONTINUED)
|
|
|
|
95.
|
|
|
|
He picks up his little son, squeezing him tightly to his
|
|
chest, humming an Indian lullaby for the scared child.
|
|
|
|
|
|
INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE
|
|
|
|
Adrian hears SCREAMING on the phone and the deafening sound
|
|
of the approaching wave. He tenses up, desperate but unable
|
|
to do anything.
|
|
|
|
As the noise reaches its height, the line goes dead. Adrian
|
|
is left breathless.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - SUNRISE
|
|
|
|
Adrian storms onto the bridge. Many officers and analysts are
|
|
at work under Captain Michaels.
|
|
|
|
ADRIAN
|
|
Do we have the latest satellite images
|
|
of Napam, India?
|
|
|
|
SCIENCE OFFICER
|
|
One moment, sir.
|
|
|
|
Anheuser and Prof. West step over and join him.
|
|
|
|
ANHEUSER
|
|
Helmsley, what's going on here?
|
|
|
|
ADRIAN
|
|
Looks like our model was wrong.
|
|
|
|
They all stare at the monitor showing several tidal waves
|
|
coming in from the south.
|
|
|
|
ADRIAN (CONT'D)
|
|
Satnam was talking about a wave from
|
|
the East.
|
|
|
|
A science officer selects a different quadrant on the
|
|
satellite display. They all stare at the new tidal wave
|
|
that's coming from the East of the Cho Ming valley.
|
|
|
|
PROF. WEST
|
|
Jesus!
|
|
|
|
Anheuser is shocked.
|
|
|
|
ANHEUSER
|
|
What does this mean?
|
|
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
96.
|
|
|
|
ADRIAN
|
|
The flooding will happen earlier.
|
|
Bobby, can you plug in the new data
|
|
please?
|
|
|
|
As the officer does this, Prof. West looks at Adrian with
|
|
questioning eyes.
|
|
|
|
ADRIAN (CONT'D)
|
|
Satnam didn't get picked up.
|
|
|
|
Prof. West is horrified.
|
|
|
|
SCIENCE OFFICER (O.S.)
|
|
Ready sir.
|
|
|
|
Adrian turns back to the monitor and sees the new tidal wave
|
|
that is coming towards the Cho Ming valley.
|
|
|
|
ADRIAN
|
|
This one is at least 1500 meters high!
|
|
|
|
ANHEUSER
|
|
Talk to me Helmsley. What does this
|
|
mean for us?
|
|
|
|
ADRIAN
|
|
Bobby, plug in the new data and adjust
|
|
the count down?
|
|
|
|
Every one on the bridge stares at a display. It reads--
|
|
|
|
02hrs - 09min - 07sec
|
|
|
|
The science officer nervously hits a few keys and the display
|
|
changes to--
|
|
|
|
00hrs - 28min - 10sec... and counting.
|
|
|
|
We see the shock on Anheuser's face.
|
|
|
|
ANHEUSER
|
|
Get me the other Heads of State.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. GATE/CHO MING SITE - EARLY MORNING
|
|
|
|
Neng's truck, loaded with Jackson and the others, creeps up
|
|
to the service entrance of the launch site.
|
|
|
|
A lone figure awaits them. This is Neng's older brother Lin,
|
|
who we saw signing up for the 'Chinese Dam Project'.
|
|
|
|
Lin notices the strangers in the pick-up truck.
|
|
(CONTINUED)
|
|
|
|
97.
|
|
|
|
LIN
|
|
(in Chinese)
|
|
Who are they?
|
|
|
|
Neng answers hesitantly.
|
|
|
|
NENG
|
|
We found them by the side of the road,
|
|
my brother.
|
|
|
|
LIN
|
|
You must send them back.
|
|
|
|
NENG
|
|
I am a follower of the great Lama Yak
|
|
La. You know I cannot do that.
|
|
|
|
The others watch the interaction but do not understand.
|
|
Jackson senses a problem. He grabs Lilly and Noah.
|
|
|
|
JACKSON
|
|
Come with daddy.
|
|
|
|
Gordon and Tamara stare perplexed as Jackson approaches Lin
|
|
with his kids.
|
|
|
|
JACKSON (CONT'D)
|
|
At least take our children with you.
|
|
Please.
|
|
|
|
Lin answers in broken English.
|
|
|
|
LIN
|
|
Why should I do that?
|
|
|
|
JACKSON
|
|
For the same reason you sent for your
|
|
parents.
|
|
|
|
Lin stares at him stone faced. In desperation, Kate turns to
|
|
Mrs. Pang.
|
|
|
|
KATE
|
|
I have no clue if you understand what
|
|
I'm saying, but I ask you as a mother,
|
|
please take my kids with you!
|
|
|
|
Silence. A beat. The old Chinese lady turns to Lin.
|
|
|
|
MRS. PANG
|
|
(in Chinese)
|
|
We are all children of this earth.
|
|
|
|
LIN
|
|
My plan will not work for so many,
|
|
mother.
|
|
(CONTINUED)
|
|
|
|
98.
|
|
|
|
She looks up at her son, determined.
|
|
|
|
MRS. PANG
|
|
We will take them all. Bata?
|
|
|
|
Mr. Pang nods and reluctantly, Lin motions to Jackson to
|
|
follow. Kate bows to Mrs. Pang.
|
|
|
|
KATE
|
|
Thank you ma'am. Thank you so much.
|
|
|
|
Jackson and the others acknowledge what Kate has done.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. SHIP BAY/CHO MING - EARLY MORNING
|
|
|
|
We finally reveal the unbelievable magnitude of this ship
|
|
yard, built into the hollow belly of the mountains.
|
|
|
|
Nine gargantuan vessels are lined up next to each other.
|
|
Their size is at least four times that of the `Freedom of the
|
|
Seas'. However, they look more like spaceships than anything,
|
|
having been built aerodynamically to withstand the full force
|
|
of nature.
|
|
|
|
But only three of these monstrous ARKS are complete. Number 4
|
|
is being repaired, all the others are still under
|
|
construction, surrounded by scaffolding.
|
|
|
|
Suddenly SIRENS goes off!
|
|
|
|
The boarding bridges to the finished vessels begin to
|
|
retract. There's growing confusion among the thousands of
|
|
workers and security personnel.
|
|
|
|
|
|
INT. PLATFORM, SHIP BAY/CHO MING - EARLY MORNING
|
|
|
|
Opposite the boarding bridges, on a large platform, Yuri and
|
|
his boys sit in line with the other waiting passengers.
|
|
|
|
They watch as massive stern gates begin to close. Yuri jumps
|
|
up and yells to the others.
|
|
|
|
YURI
|
|
They're leaving without us!
|
|
|
|
The soldier from earlier points his gun at him.
|
|
|
|
SOLDIER
|
|
What did I tell you!
|
|
|
|
Caesar barks at the guy.
|
|
|
|
(CONTINUED)
|
|
|
|
99.
|
|
|
|
YURI
|
|
(POINTING)
|
|
Look! Idiot! They are leaving you
|
|
behind too!
|
|
|
|
The soldier turns to the ships and Yuri knocks him out. He
|
|
grabs his boys and runs towards the closing gates. All the
|
|
other passengers surge forward with him.
|
|
|
|
In the distance, on the bow side of the ships, the huge
|
|
mountain gates of the bay open, revealing a stunning view of
|
|
Cho Ming Valley.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. MOUNTAIN RIDGE/CHO MING - MORNING
|
|
|
|
Lin leads his group over a ridge. In front of their eyes--
|
|
|
|
The gates to the mountain open!
|
|
|
|
LIN
|
|
(in Chinese)
|
|
We have to hurry!
|
|
(to Jackson)
|
|
They launch! We run out of time!
|
|
|
|
They follow Lin rushing down the hill, towards one of the
|
|
many Y-shaped launch structures towering in front of the
|
|
gates. Neng and Kate help Mr. and Mrs. Pang down the rocky
|
|
terrain.
|
|
|
|
|
|
INT. SHIP BAY/CHO MING - MORNING
|
|
|
|
A screeching and thundering noise!
|
|
|
|
THE THREE COMPLETED VESSELS BEGIN TO INCH FORWARD on metal
|
|
girders connecting the Y-shaped launch towers.
|
|
|
|
|
|
INT. LIVING QUARTERS/AMERICAN SHIP - MORNING
|
|
|
|
Laura feels a jolt. She rushes out of her small cabin and
|
|
into a swarm of people moving down a crammed endless
|
|
corridor. She struggles to fight her way through.
|
|
|
|
A digital voice blares over the speakers.
|
|
|
|
COMPUTER VOICE
|
|
Countdown to departure. Launch in 17
|
|
minutes - 42 seconds.
|
|
|
|
Laura bumps into one of Adrian's Science Officers.
|
|
|
|
(CONTINUED)
|
|
|
|
100.
|
|
|
|
LAURA
|
|
Where can I find Adrian Helmsley?
|
|
|
|
SCIENCE OFFICER
|
|
He's in the Technical Command Centre.
|
|
Follow me.
|
|
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - MORNING
|
|
|
|
The three gigantic vessels emerge from the mountain, into the
|
|
open. Support helicopters swarm around them like flies.
|
|
|
|
|
|
EXT. BENEATH A LAUNCHING TOWER/CHO-MING - MORNING
|
|
|
|
Lin and his group look like ants as they scale the metal
|
|
ladders of one of the launch towers.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - MORNING
|
|
|
|
Verbal commands fly back and forth. Anheuser watches the
|
|
preparations from a large window.
|
|
|
|
He looks over to the command bridges of the other vessels as
|
|
they continue to be pulled into place.
|
|
|
|
|
|
INT. COMMAND BRIDGES/OTHER SHIPS - MORNING
|
|
|
|
We cut to the various Heads of State, all at their command
|
|
posts.
|
|
|
|
|
|
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
|
|
|
|
A hatch opens at the top of the launch tower. Lin is the
|
|
first to climb out.
|
|
|
|
Right before his eyes, the hull of the American Ship slowly
|
|
creeps towards him. He's but a speck against this man-made
|
|
behemoth.
|
|
|
|
Lin hastily pulls the others up.
|
|
|
|
LIN
|
|
(in Chinese)
|
|
Faster, Neng! Help father! Mother, give
|
|
me your hand.
|
|
|
|
It's a race against time. The huge ship's hull closes in
|
|
fast. Lin and his family crawl up the side arm while Jackson
|
|
hurries to pull up the rest of the group.
|
|
|
|
Lilly freezes at the sight of the approaching ship.
|
|
(CONTINUED)
|
|
|
|
101.
|
|
|
|
JACKSON
|
|
Move Lil'bee!
|
|
|
|
Jackson rips her out of harm's way, just in time. In a
|
|
frenzy, he pushes her up the support arm where the others are
|
|
already huddled on a small platform.
|
|
|
|
As the towering wall of steel passes by them, inches from
|
|
their faces, Mr. Pang loses his balance. Jackson and Lin both
|
|
see this, but Jackson is closer--
|
|
|
|
He grabs the old man by his arm, saving him from falling to
|
|
his death.
|
|
|
|
For the first time, Lin acknowledges Jackson with a nod.
|
|
|
|
|
|
EXT. SHIP BAY/CHO MING SITE - MORNING
|
|
|
|
The three completed ships are half way out, grinding to their
|
|
final launching position.
|
|
|
|
A mob of passengers led by Yuri has fought their way to the
|
|
ship. More and more people join them, including soldiers.
|
|
|
|
|
|
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
|
|
|
|
Lin, Jackson and the group are huddled on the platform.
|
|
|
|
The sound of SCREAMING PEOPLE makes them turn. The storming
|
|
masses have arrived at the access platform. There is now a
|
|
huge drop off between them and the tails of the ships.
|
|
|
|
TAMARA
|
|
(POINTING)
|
|
Oh my god, that's Yuri!
|
|
|
|
Next to Yuri are his twins, holding Caesar. She yells!
|
|
|
|
TAMARA (CONT'D)
|
|
Caesar!
|
|
|
|
|
|
EXT. ACCESS PLATFORM/CHO MING SITE - MORNING
|
|
|
|
The little dog hears Tamara and jumps out of Oleg's arms,
|
|
leaping onto one of the thick cables, that connects the
|
|
platform with the launching towers.
|
|
|
|
Alec and Oleg attempt to run after Caesar, but Yuri grabs
|
|
them by their necks.
|
|
|
|
YURI
|
|
Let that stupid dog go!
|
|
|
|
(CONTINUED)
|
|
|
|
102.
|
|
|
|
He's panicked. The arriving masses are pushing them to the
|
|
drop off at the edge of the platform.
|
|
|
|
|
|
EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING
|
|
|
|
The ship has reached its targeted position. A small hatch
|
|
lines up directly in front of Lin and his group.
|
|
|
|
LIN
|
|
(in Chinese)
|
|
Okay. Now!
|
|
|
|
One by one they all climb into the hatch. Jackson being the
|
|
last in, notices that Tamara has stayed back.
|
|
|
|
JACKSON
|
|
Tamara! Come on! Get in!
|
|
|
|
She doesn't move, anxiously waiting for her beloved dog
|
|
darting towards her.
|
|
|
|
|
|
EXT. ACCESS PLATFORM/CHO MING SITE - MORNING
|
|
|
|
The mob pushes at Yuri and his boys. Passengers on either
|
|
side tumble off the platform.
|
|
|
|
Yuri watches one of them fall, hitting his head against a
|
|
tiny ledge 8 feet below. To his right, he sees a small ladder
|
|
leading down.
|
|
|
|
YURI
|
|
(in Russian)
|
|
Down there! Oleg, you go first!
|
|
|
|
As they hurry down the ladder, people keep tumbling into the
|
|
deep. Reaching the ledge, Oleg discovers Caesar running
|
|
towards Tamara.
|
|
|
|
OLEG
|
|
Daddy look, Tamara!
|
|
|
|
Yuri cannot believe his eyes.
|
|
|
|
|
|
EXT. TOP OF LAUNCHING TOWER/CHO MING SITE - MORNING
|
|
|
|
The hatch behind Tamara begins to move. The hydraulic
|
|
supports are being lifted, sealing up the vessel.
|
|
|
|
TAMARA
|
|
Caesar darling!
|
|
|
|
Jackson reaches out from the closing hatch.
|
|
|
|
(CONTINUED)
|
|
|
|
103.
|
|
|
|
JACKSON
|
|
Tamara! Get in!
|
|
|
|
Tamara climbs inside the hatch and turns.
|
|
|
|
TAMARA
|
|
Come to mommy!
|
|
|
|
Caesar leaps into her arms only seconds before the hatch
|
|
seals. As a last gesture, Tamara sticks out her arm and gives
|
|
Yuri the finger.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - MORNING
|
|
|
|
Lin leads the group into a long and narrow chamber where the
|
|
hydraulics for the tail gate are located.
|
|
|
|
He opens a tool cabinet, retrieving a giant electrical power
|
|
drill, almost too big to be carried by one person.
|
|
|
|
Lin climbs to a hatch near the ceiling and begins to unscrew
|
|
the huge bolts. He looks at Jackson.
|
|
|
|
LIN
|
|
I need your help.
|
|
|
|
|
|
INT. TECHNICAL COMMAND CENTER/AMERICAN SHIP - DAY
|
|
|
|
Laura and the Science Officer enter the Technical Command
|
|
Center. She finds Adrian staring at a wall of monitors
|
|
showing the horrifying scenario on the platforms.
|
|
|
|
People are falling to their deaths in large numbers in their
|
|
desperation to board the ship.
|
|
|
|
LAURA
|
|
What in god's name is happening Adrian?
|
|
|
|
ADRIAN
|
|
Anheuser convinced them all to launch.
|
|
|
|
Outside, panicking workers, screaming for their life!
|
|
Deserted passengers waving their green cards!
|
|
|
|
Adrian makes a decision and rushes out.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Anheuser turns hearing Adrian storming onto the bridge.
|
|
|
|
ADRIAN
|
|
Anheuser! We have to stop this madness.
|
|
|
|
(CONTINUED)
|
|
|
|
104.
|
|
|
|
With that, Adrian turns to the Communication Officer.
|
|
|
|
ADRIAN (CONT'D)
|
|
Bobby, make sure the other bridges can
|
|
hear this.
|
|
|
|
The officer hesitates as Laura enters in the background.
|
|
|
|
ANHEUSER
|
|
What do you think you're doing?
|
|
|
|
ADRIAN
|
|
I know exactly what I'm doing.
|
|
(To Bobby)
|
|
Turn it on!
|
|
|
|
Bobby flicks a switch. Adrian's voice echoes through all the
|
|
ships.
|
|
|
|
ADRIAN (CONT'D)
|
|
This is Adrian Helmsley, science
|
|
advisor to President Wilson...
|
|
|
|
|
|
INT. BRIDGE/EUROPEAN SHIP - DAY
|
|
|
|
The German Chancellor turns to one of the technicians on the
|
|
bridge of the European Ship.
|
|
|
|
GERMAN CHANCELLOR
|
|
Can you please turn up the volume, Mr.
|
|
Hoffmann?
|
|
|
|
Next to her stand the British and French Prime Ministers.
|
|
|
|
ADRIAN (O.S.)
|
|
I know we've all been involved in
|
|
making difficult decisions... to save
|
|
our human civilization...
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Anheuser looks on stoney faced.
|
|
|
|
ADRIAN
|
|
... But to be human means to care for
|
|
each other, and civilization means to
|
|
work together to create a better life.
|
|
If that's true there is nothing human
|
|
and nothing civilized about what we're
|
|
doing here. Ask yourselves ... Can we
|
|
really stand by and let all those
|
|
people out there die?
|
|
|
|
Laura watches him proudly.
|
|
(CONTINUED)
|
|
|
|
105.
|
|
|
|
ADRIAN (CONT'D)
|
|
A civilization that allows that, does
|
|
not deserve to survive.
|
|
(PAUSE)
|
|
Or at least I don't want to be part of
|
|
it.
|
|
|
|
Anheuser cuts in with sarcasm.
|
|
|
|
ANHEUSER
|
|
We'll miss you Helmsley but somehow
|
|
we'll get by. Officer switch that off.
|
|
|
|
The Communications Officer looks at Adrian.
|
|
|
|
ANHEUSER (CONT'D)
|
|
That's an order soldier.
|
|
|
|
ADRIAN
|
|
Don't do it!
|
|
|
|
|
|
INT. BRIDGE/ASIAN SHIP - DAY
|
|
|
|
The Russian President, together with the heads of state from
|
|
China and Japan, listen in as Adrian responds.
|
|
|
|
ADRIAN (O.S.)
|
|
We have to open our gates and let these
|
|
people in. All of them.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Anheuser has had enough.
|
|
|
|
ANHEUSER
|
|
Have you lost your mind? Look at the
|
|
countdown. We have less than five
|
|
minutes left... And none of our ships
|
|
have the resources to feed those
|
|
people. If you save them today we all
|
|
starve tomorrow.
|
|
|
|
He's almost screaming now.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Do you wanna be responsible for the
|
|
extinction of the human race? Can you
|
|
handle that, Adrian?!
|
|
|
|
Silence.
|
|
|
|
Adrian's battle seems lost. But he doesn't give up, and
|
|
instead speaks softly now.
|
|
|
|
(CONTINUED)
|
|
|
|
106.
|
|
|
|
ADRIAN
|
|
There is a young astrophysicist from
|
|
India who is the reason we are all
|
|
here, trying to give mankind a second
|
|
chance. He's the one who discovered it
|
|
all, the one who connected the dots. We
|
|
all owe him our lives.
|
|
|
|
All eyes are glued to Adrian.
|
|
|
|
ADRIAN (CONT'D)
|
|
I just learned that he was killed with
|
|
his family by a tsunami in eastern
|
|
India. You know why?
|
|
|
|
Adrian stares Anheuser in the eyes as he continues.
|
|
|
|
ADRIAN (CONT'D)
|
|
He died because we forgot to pick him
|
|
up.
|
|
(PAUSE)
|
|
I beg you... whatever our future holds
|
|
don't let us start it with an act of
|
|
cruelty. What will you tell your
|
|
children... and their children?
|
|
|
|
Silence. Laura steps up alongside Adrian.
|
|
|
|
LAURA
|
|
If my father were here, he would open
|
|
the gates.
|
|
|
|
Adrian and Laura share a look.
|
|
|
|
RUSSIAN PRESIDENT (O.S.)
|
|
The people of Russia along with...
|
|
|
|
|
|
INT. BRIDGE/ASIAN SHIP - DAY
|
|
|
|
His Asian colleagues nod in approval.
|
|
|
|
RUSSIAN PRESIDENT
|
|
... China and Japan agree to open the
|
|
gates.
|
|
|
|
|
|
INT. BRIDGE/EUROPEAN SHIP - DAY
|
|
|
|
The German Chancellor speaks up.
|
|
|
|
GERMAN CHANCELLOR
|
|
The United Kingdom, Spain, France and
|
|
Germany, and I believe I can also speak
|
|
for the Italian Prime Minister...
|
|
|
|
107.
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
GERMAN CHANCELLOR (O.S.)
|
|
... We vote to open the gates.
|
|
|
|
Laura and Adrian watch Anheuser shaking his head in defeat.
|
|
Bobby, the Communications Officer smiles with relief. Adrian
|
|
turns to the Captain.
|
|
|
|
ADRIAN
|
|
Captain Michaels, you heard them.
|
|
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
|
|
|
|
One by one the gigantic gates at the stern of the three ships
|
|
begin to creek open.
|
|
|
|
The masses gathered on the platform CHEER wildly!
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Lilly crawls through the CONNECTING TUNNEL meeting up with
|
|
Kate in a large bay on the other side.
|
|
|
|
LILLY
|
|
Phew... It stinks in here.
|
|
|
|
Together with Neng and his parents, they all look up in
|
|
DISBELIEF--
|
|
|
|
A Giraffe, chewing her cud, smiles down at them. Caesar barks
|
|
at her.
|
|
|
|
TAMARA
|
|
Sssh...Caesar.
|
|
|
|
A second later, hundreds of different ANIMALS RESPOND. They
|
|
are in the zoological bay.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Gordon helps Noah up the small ladder leading to the
|
|
connecting tunnel.
|
|
|
|
Just as he goes to hand him Jackson's backpack, the HYDRAULIC
|
|
MOTORS begin to GROWL! Lin looks up in panic. He screams.
|
|
|
|
LIN
|
|
They're opening the gate! It will crush
|
|
us!
|
|
|
|
The whole ceiling begins to lower towards them. From down
|
|
below, Jackson sees his son about to be hit by it.
|
|
(CONTINUED)
|
|
|
|
108.
|
|
|
|
JACKSON
|
|
Noah! Watch out!
|
|
|
|
Gordon makes a split second decision. With all his strength,
|
|
he shoves the boy into the tunnel.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
From the other side of the tunnel, Kate watches as the metal
|
|
ceiling misses Noah by a hair, but catches Gordon, wiping him
|
|
off the ladder.
|
|
|
|
KATE
|
|
No!
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson watches helplessly as Gordon falls past him. He
|
|
survives his landing and desperately tries to grab on to the
|
|
sloping surface, but he can't. He slips.
|
|
|
|
Gordon is crushed between the gears, sharing his last look
|
|
with Jackson before he dies.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Kate helps a trembling Noah out of the tunnel.
|
|
|
|
NOAH
|
|
Something happened, mom.
|
|
|
|
Kate pulls him close and shuts her eyes tightly. She fights
|
|
back the tears.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson and Lin know they're running out of time, their
|
|
remaining space is shrinking every second.
|
|
|
|
JACKSON
|
|
We have to stop it!
|
|
|
|
Lin grabs the huge electrical power drill nearby and attempts
|
|
to jam it between the hydraulic arm and the wall.
|
|
|
|
As it digs deeper into the metal, the hydraulic starts to
|
|
slow down.
|
|
|
|
109.
|
|
|
|
EXT. ACCESS PLATFORM/CHO MING - DAY
|
|
|
|
Still on the ledge, Yuri and the boys watch as the huge
|
|
boarding gate lowers towards them. They are trapped.
|
|
|
|
Just then, the gates begin to slow, but surely they will be
|
|
crushed.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Back in the chamber, Lin still struggles with the drill.
|
|
Suddenly he slips.
|
|
|
|
Jackson manages to catch his fall. But in the process Lin's
|
|
foot gets caught between the gears, mangling it.
|
|
|
|
He screams in pain as the hydraulic slowly grinds towards a
|
|
halt.
|
|
|
|
JACKSON
|
|
You did it, man. You did it.
|
|
|
|
In great pain, Lin grins back at him.
|
|
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
|
|
|
|
The gates of the ships hit the access platform with a
|
|
thundering noise. People begin to rush on board.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Alarm signals go off. The Captain turns to one of his
|
|
officers.
|
|
|
|
CAPTAIN MICHAELS
|
|
What's wrong with the gate?
|
|
|
|
OFFICER
|
|
I don't know. Maybe there's something
|
|
jamming it, sir.
|
|
|
|
The countdown on the monitor reads 2 min. 40 sec. Laura and
|
|
Adrian share a worried look.
|
|
|
|
We hear a HOLLOW BELL ring!
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. YAK LA MONASTERY/TIBET - DAY
|
|
|
|
Lama Yak La rings the large bronze bell of his monastery.
|
|
|
|
(CONTINUED)
|
|
|
|
110.
|
|
|
|
The booming sound echoes through the Cho Ming valley. As a
|
|
gentle wind catches the Lama's clothes, he looks up--
|
|
|
|
A tidal wave of immeasurable proportion crests the mountains.
|
|
|
|
The Lama continues to strike the bell as the monastery is
|
|
wiped clean from the earth.
|
|
|
|
CUT TO:
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
The technicians desperately try to figure out what's wrong.
|
|
An officer waves Adrian over.
|
|
|
|
SURVEILLANCE OFFICER
|
|
Sir, we have a breach in the zoological
|
|
bay.
|
|
|
|
ADRIAN
|
|
Can you zoom in?
|
|
|
|
The video camera moves in on Kate, Noah and Lilly. Adrian
|
|
can't believe his eyes. He turns to Laura.
|
|
|
|
ADRIAN (CONT'D)
|
|
I know those kids. Remember the book I
|
|
told you about? Their father wrote it.
|
|
|
|
Captain Michaels shouts across the room.
|
|
|
|
CAPTAIN MICHAELS
|
|
We're loaded. We can close the gates
|
|
sir.
|
|
|
|
ANHEUSER
|
|
Do it!
|
|
|
|
Anheuser looks nervously at the countdown. It reads 1:34
|
|
|
|
|
|
EXT. ACCESS PLATFORM/CHO MING SITE - DAY
|
|
|
|
Above Yuri and the boys, people are leaping from the access
|
|
platform onto the stern gate of the American ship.
|
|
|
|
Yuri looks for a hole in the flow of people before seizing
|
|
his chance and lifting the first of his boys up.
|
|
|
|
YURI
|
|
(in Russian)
|
|
Pull yourself up!
|
|
|
|
Oleg manages to reach up and hold onto the gate.
|
|
|
|
(CONTINUED)
|
|
|
|
111.
|
|
|
|
Inside the ship, officers yell.
|
|
|
|
DECK OFFICER (O.S.)
|
|
To the lower decks people!
|
|
|
|
The gates suddenly screech back into life and begin to close.
|
|
Yuri doubles his efforts lifting Alec higher, but Alec cannot
|
|
quite reach.
|
|
|
|
Yuri strains with all his effort before deciding.
|
|
|
|
YURI
|
|
Oleg! Catch your brother!
|
|
|
|
Yuri leaps forward holding Alec out in his arms.
|
|
|
|
Oleg manages to grab his brother's hands as Yuri lets go and
|
|
falls into the deep crevasse below. He makes no noise until
|
|
he hits the rocks beneath.
|
|
|
|
Oleg pulls his brother from above.
|
|
|
|
|
|
INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY
|
|
|
|
A SIREN blasts. Both of Yuri's sons are now on deck. A
|
|
loading officer pulls them back, away from the gate.
|
|
|
|
DECK OFFICER
|
|
Boys, you gotta move.
|
|
|
|
ALEC
|
|
We wait for our father! He's still down
|
|
there!
|
|
|
|
The loading officer attempts to comfort them.
|
|
|
|
DECK OFFICER
|
|
There's no one down there.
|
|
(GENTLE)
|
|
Come on boys, come...
|
|
|
|
The Officer and the boys look back as the stern gate slowly
|
|
closes. But with a SCREECHING sound it grinds to a halt.
|
|
|
|
The gate is jammed open leaving a twenty foot gap.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
ALARMS sound. Anheuser and the Captain stare at the monitors.
|
|
|
|
ANHEUSER
|
|
Why is the stern gate not closing?
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
112.
|
|
|
|
CAPTAIN MICHAELS
|
|
Something's wrong with the hydraulics,
|
|
sir.
|
|
|
|
ADRIAN (O.S.)
|
|
Captain, over here.
|
|
|
|
They race over. Adrian points to a monitor.
|
|
|
|
ADRIAN (CONT'D)
|
|
I think we found the problem.
|
|
|
|
On the monitor, they see Sarah and the others desperately
|
|
waiting for Jackson and Lin.
|
|
|
|
ADRIAN (CONT'D)
|
|
How did they get in there?
|
|
|
|
SURVEILLANCE OFFICER
|
|
They must have come through the
|
|
hydraulic chamber. There...
|
|
|
|
Bobby, the Surveillance Officer, selects a different camera
|
|
and we now see inside the tunnel in which Jackson is pulling
|
|
along a wounded Lin.
|
|
|
|
LAURA
|
|
That guy is injured. Something must
|
|
have gone wrong.
|
|
|
|
ANHEUSER
|
|
You're damn right something went wrong!
|
|
Congratulations Helmsley, you may have
|
|
just killed us all but as long as your
|
|
conscience is clean...
|
|
|
|
Adrian tries to ignore this.
|
|
|
|
ADRIAN
|
|
Let's get an emergency crew there right
|
|
now. I'll meet them at the Hydraulic
|
|
Chamber.
|
|
|
|
Anheuser sneers him, shooting a look to Laura.
|
|
|
|
ANHEUSER
|
|
You think you're the main man now, just
|
|
because your fucking the President's
|
|
daughter?
|
|
|
|
Without thinking, Adrian turns and punches Anheuser hard in
|
|
the face. He drops to the floor, out cold.
|
|
|
|
Everyone stands in stunned silence. Laura smiles. Adrian
|
|
looks around.
|
|
|
|
(CONTINUED)
|
|
|
|
113.
|
|
|
|
ADRIAN
|
|
What are you all waiting for?
|
|
|
|
They speed off. The countdown reads 0 min. 53 sec.
|
|
|
|
CUT TO:
|
|
|
|
|
|
EXT. AIRFIELD/TIBET - DAY
|
|
|
|
Further down in the valley, the tidal wave has reached the
|
|
Cho Ming airfield, blasting away the planes with overwhelming
|
|
force.
|
|
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
|
|
|
|
The massive propellers of the ships begin to turn. However,
|
|
the props of the American ship don't move.
|
|
|
|
In the background, the huge tidal wave comes thundering
|
|
towards them.
|
|
|
|
|
|
INT. HALLWAY/AMERICAN SHIP - DAY
|
|
|
|
An IMPACT WARNING sounds as Adrian and Laura race through the
|
|
crammed hallways with members of the rescue crew. One of the
|
|
officers explains.
|
|
|
|
TECHNICAL OFFICER
|
|
If we can't close the stern gate, then
|
|
the engines won't start.
|
|
|
|
ADRIAN
|
|
There's no way to override it?
|
|
|
|
TECHNICAL OFFICER
|
|
No sir, it has to be done manually.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Kate, Noah and Lilly watch as Jackson nears the end of the
|
|
tunnel with Lin. Neng comforts his brother who's about to
|
|
pass out.
|
|
|
|
NENG
|
|
(in Chinese)
|
|
Almost there, Lin...
|
|
|
|
CUT TO:
|
|
|
|
114.
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
|
|
|
|
THE WAVE FINALLY HITS!
|
|
|
|
All three vessels are now engulfed in churning water.
|
|
|
|
They rock back and forth. Only the huge support towers
|
|
they're resting on, keep them anchored.
|
|
|
|
|
|
INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY
|
|
|
|
A new ALARM sounds as water begins to shoot through the open
|
|
stern gate of the American ship.
|
|
|
|
The people on the loading bay panic, among them we see Alec
|
|
and Oleg.
|
|
|
|
|
|
INT. HALLWAY/AMERICAN SHIP - DAY
|
|
|
|
The same ALARM rings out in the hallways of the ship. Laura,
|
|
Adrian and their party are all braced against the corridor,
|
|
as the vessel undulates back and forth.
|
|
|
|
SURVEILLANCE OFFICER
|
|
Water has penetrated the stern!
|
|
|
|
Laura looks unsure.
|
|
|
|
LAURA
|
|
What now?
|
|
|
|
SURVEILLANCE OFFICER
|
|
The rear of the ship will start sealing
|
|
itself up one compartment at a time.
|
|
|
|
Adrian looks at him.
|
|
|
|
ADRIAN
|
|
Then how will we get to the hydraulic
|
|
chamber?
|
|
|
|
SURVEILLANCE OFFICER
|
|
If we don't hurry, we won't be able to.
|
|
|
|
Despite the violent movement of the ship, Adrian pushes on
|
|
down the corridor towards the back of the boat. They follow.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Water is also now rushing into the Zoological Bay and only
|
|
the giraffe can manage to keep her head dry.
|
|
|
|
Jackson is not yet out of the tunnel with an unconscious Lin.
|
|
(CONTINUED)
|
|
|
|
115.
|
|
|
|
Kate shouts across to Tamara.
|
|
|
|
KATE
|
|
Tamara! Take Lilly and Noah.
|
|
|
|
Kate reaches in to help Jackson as Tamara begins to move with
|
|
Lilly. Noah remains back with his mother.
|
|
|
|
Jackson finally makes it through with Lin. Kate is almost
|
|
tearful with relief to see him.
|
|
|
|
KATE (CONT'D)
|
|
I was so worried about you.
|
|
|
|
Suddenly the Zoological bay begins to seal itself off.
|
|
|
|
Lilly, already in the next compartment with Tamara and her
|
|
dog, screams out as a chamber door quickly slides up, from
|
|
the floor to the ceiling. It separates Lilly from her family.
|
|
|
|
LILLY
|
|
Mummy!
|
|
|
|
Jackson and Kate turn but it's too late. They only catch a
|
|
glimpse of Lilly before they are sealed in. The water level
|
|
continues to rise.
|
|
|
|
|
|
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Panicked, Tamara turns and looks around. Down the corridor,
|
|
in the distance, she sees Adrian, Laura and the rescue crew
|
|
approaching.
|
|
|
|
But between them she spots the next chamber door rising
|
|
quickly.
|
|
|
|
TAMARA
|
|
Lilly run!
|
|
|
|
Lilly starts moving as Tamara turns and picks up Caesar.
|
|
|
|
Moving quickly, Lilly is able to climb up and over the fast
|
|
rising door. But as she dangles from the other side, she
|
|
looks down and is too scared to jump.
|
|
|
|
TAMARA (O.S) (CONT'D)
|
|
Lilly! Take him.
|
|
|
|
Lilly looks up and sees two hands straining to hold Caesar
|
|
above the quickly narrowing gap.
|
|
|
|
In a courageous move, Lilly grabs the little dog before he
|
|
gets crushed and together they fall to the ground.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
116.
|
|
|
|
Back on the other side of the chamber door, Tamara looks
|
|
around. She is trapped now as the water continues to rush in.
|
|
|
|
|
|
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
|
|
|
|
Laura picks Lilly up and comforts her. Adrian realizes they
|
|
are too late. He turns to the rescue crew.
|
|
|
|
ADRIAN
|
|
Is there any way to talk to them?
|
|
|
|
Lilly is close to tears.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
The water continues to flood in as Jackson helps Neng with
|
|
his unconscious brother.
|
|
|
|
JACKSON
|
|
We have to move him higher.
|
|
(looks around)
|
|
Over there!
|
|
|
|
Suddenly, a VIOLENT SHAKE throws them all off balance,
|
|
pitching them into the water.
|
|
|
|
|
|
EXT. LAUNCH PILLAR/UNDER WATER - DAY
|
|
|
|
In the debris-filled, murky waters we see that the fuselage
|
|
of Air Force One has slammed against the first of the ship's
|
|
launch towers.
|
|
|
|
Slowly it begins to bend, finally giving way. The other
|
|
launch towers follow like dominos.
|
|
|
|
The ship is ripped from its anchorage and sent drifting
|
|
sideways, rudderless.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Chaos. Fear. Everybody holds on for dear life.
|
|
|
|
|
|
EXT. LAUNCH SITE/CHO MING VALLEY - DAY
|
|
|
|
The vessel is swept away, over the mountain ridge.
|
|
|
|
|
|
INT. HALLWAY/AMERICAN SHIP - DAY
|
|
|
|
Alec and Oleg scream, desperately trying to hold on as the
|
|
whole ship capsizes.
|
|
|
|
117.
|
|
|
|
EXT. DARJEELING VALLEY/HIMALAYA - DAY
|
|
|
|
The giant ship drifts upside down and rudderless - smashed
|
|
around by the debris and raging waters.
|
|
|
|
But then, as it hits another ridge, it rolls right side up
|
|
and seems to steady itself.
|
|
|
|
However, the strong currents continue to force it through the
|
|
mountain ranges of the Himalayas.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
The officers try to regain some control.
|
|
|
|
NAVAL OFFICER
|
|
Moving at 34 knots, sir.
|
|
|
|
CAPTAIN MICHAELS
|
|
What is our position?
|
|
|
|
NAVIGATION OFFICER
|
|
Darjeeling valley, heading south east,
|
|
sir.
|
|
|
|
The Captain's face drops.
|
|
|
|
CAPTAIN MICHAELS
|
|
You must be kidding!
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
The water rises fast as Kate sees the severity of Lin's wound
|
|
for the first time.
|
|
|
|
KATE
|
|
We need something to stop the bleeding
|
|
or he'll die.
|
|
|
|
A split second later Noah holds out his belt.
|
|
|
|
NOAH
|
|
Mum, will this do?
|
|
|
|
Suddenly Jackson hears a voice over a speaker.
|
|
|
|
ADRIAN
|
|
(Over a speaker)
|
|
Mr. Curtis... I'm Adrian Helmsley. We
|
|
met once before. Your daughter is with
|
|
me.
|
|
|
|
Kate screams with relief.
|
|
|
|
(CONTINUED)
|
|
|
|
118.
|
|
|
|
KATE
|
|
Lilly!
|
|
|
|
|
|
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
|
|
|
|
Adrian is using an emergency wall intercom, with Laura next
|
|
to him, holding Lilly.
|
|
|
|
LILLY
|
|
I'm alright Mom!
|
|
|
|
Caesar barks.
|
|
|
|
|
|
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Tamara hears Caesar over the speaker in her compartment and
|
|
smiles with relief. She is struggling to stay afloat though,
|
|
and is running out of air.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Jackson discovers the wall speaker. He moves closer to it.
|
|
|
|
ADRIAN (O.S.)
|
|
We can't get to you. Whatever you did,
|
|
jammed the hydraulics. If you can't get
|
|
it out... None of us will make it.
|
|
|
|
|
|
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
|
|
|
|
All eyes are on Adrian as he speaks.
|
|
|
|
ADRIAN
|
|
You're our only hope.
|
|
|
|
Adrian looks at Laura.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
JACKSON
|
|
I'll go back. I'll try my best.
|
|
|
|
NOAH
|
|
I'll go with you.
|
|
|
|
JACKSON
|
|
You stay with Mommy.
|
|
|
|
Jackson looks at Kate.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
119.
|
|
|
|
JACKSON (CONT'D)
|
|
I'll be right back...
|
|
|
|
The water is up to their chest now. Jackson takes a breath
|
|
and disappears underwater.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Back on the bridge, Anheuser regains consciousness and gets
|
|
to his feet. His nose is bleeding. He looks around him.
|
|
|
|
ANHEUSER
|
|
Captain, what's happening?
|
|
|
|
The Captain looks at him annoyed.
|
|
|
|
CAPTAIN MICHAELS
|
|
What's happening?...
|
|
(PAUSES)
|
|
We're heading straight for the north
|
|
face of Mount Everest, Mr. Anheuser.
|
|
|
|
Anheuser looks at him dumbfounded as he stumbles to the
|
|
window and sees the massive rock face of Mount Everest in the
|
|
distance.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson swims down into the dark chamber and reaches the
|
|
jammed power tool, pulling at it. But it doesn't budge.
|
|
|
|
|
|
INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
The water level in Tamara's compartment is at its height now
|
|
and she goes under.
|
|
|
|
She struggles below the surface for a moment, looking around
|
|
desperately for a way out but there is none.
|
|
|
|
Tamara drowns.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson manages to find an air pocket. He fills up his lungs
|
|
with air and thinks hard.
|
|
|
|
As he strips off his jacket, he seems to have a plan. He
|
|
dives under again.
|
|
|
|
120.
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Lin is being held up in the water by his brother and parents.
|
|
|
|
Kate has wrapped the belt around his lower leg and now pulls
|
|
it tight. Lin screams.
|
|
|
|
Noah uses this as the moment to dive underwater, unnoticed,
|
|
to go and help his father.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Back under water, Jackson is using the extension cord of the
|
|
power drill to pull himself down to the tool cabinet.
|
|
|
|
Jackson opens it, retrieving a giant crowbar. He begins to
|
|
use it to dislodge the tool but it's hard work.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Anheuser and everybody on the bridge stares as the north face
|
|
of Mount Everest is almost upon them.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Kate and the Pangs are desperately close to running out of
|
|
air now, but despite this, Kate still tends to Lin.
|
|
|
|
After a moment she turns and is first confused then horrified
|
|
to see that Noah is nowhere to be found.
|
|
|
|
KATE
|
|
Noah!
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson pulls with all his might, but he can't quite shift
|
|
the drill.
|
|
|
|
To his surprise, a pair of young hands join his on the handle
|
|
of the crowbar. Noah is alongside him now, helping.
|
|
|
|
Working as father and son, they manage, little by little, to
|
|
loosen it before finally the drill comes free.
|
|
|
|
Adrian gives Noah the thumbs up and the boy heads back to the
|
|
surface. Jackson goes to follow but in the last moment he
|
|
spots the knapsack containing his laptop.
|
|
|
|
He dives back down for it.
|
|
|
|
121.
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Noah emerges from the water.
|
|
|
|
NOAH
|
|
Mom, we did it!
|
|
|
|
Kate pulls him to her, relieved he is safe. Noah smiles and
|
|
calls out towards the nearly submerged speaker.
|
|
|
|
|
|
INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY
|
|
|
|
Lilly and Laura wait nervously. They hear a muffled voice.
|
|
|
|
NOAH (O.S.)
|
|
We got it free. Can you hear me? We did
|
|
it!
|
|
|
|
Adrian leaps up when he hears this. He flicks a button on the
|
|
intercom.
|
|
|
|
ADRIAN
|
|
Captain Michaels - close the gate!
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Hearing this, the Captain yells the eagerly awaited order.
|
|
|
|
CAPTAIN MICHAELS
|
|
That's affirmative. Close the gate!
|
|
|
|
TECHNICAL OFFICER
|
|
Ay, ay, Sir.
|
|
|
|
|
|
EXT. DARJEELING VALLEY/HIMALAYAS - DAY
|
|
|
|
We hear a BOOMING sound as the tail gate finally seals.
|
|
|
|
|
|
INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY
|
|
|
|
Jackson reaches his knapsack, but when sees Noah's cell phone
|
|
lying next to it, he makes a decision and reaches for that
|
|
instead.
|
|
|
|
He hears the muffled sound of the engines and smiles. But as
|
|
he turns to swim back, his face freezes--
|
|
|
|
He's looking into the lifeless eyes of Gordon, who floats
|
|
inches from his face.
|
|
|
|
122.
|
|
|
|
EXT. PROPELLERS/AMERICAN SHIP - DAY
|
|
|
|
The gigantic propellers fight against the current, hitting
|
|
rock at the base of the mountain.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
The battle seems hopeless. Captain Michaels yells at the top
|
|
of his lungs.
|
|
|
|
CAPTAIN MICHAELS
|
|
Engage starboard stabilizers!
|
|
|
|
OFFICERS
|
|
One is engaged... two is engaged...
|
|
number three is out, sir!
|
|
|
|
The vessel scrapes against the rocks, throwing Anheuser to
|
|
the floor.
|
|
|
|
|
|
EXT. DARJEELING VALLEY/HIMALAYA - DAY
|
|
|
|
The giant ship escapes the mountain with an inch to spare.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Everyone on the bridge watches in awe as Mount Everest,
|
|
earth's highest peak, drifts slowly past.
|
|
|
|
After a long beat, they begin to holler and cheer.
|
|
|
|
|
|
INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY
|
|
|
|
Kate hears the CHEERING coming from the speakers. The water
|
|
level stops rising but she still looks around in panic.
|
|
|
|
KATE
|
|
Noah! Where is he?
|
|
|
|
Noah begins to cry.
|
|
|
|
NOAH
|
|
He was just behind me...
|
|
|
|
Finally! Jackson bursts out of the water and takes a lungfull
|
|
of wonderful air.
|
|
|
|
Kate and Noah are overjoyed. The Pangs smile to one another.
|
|
|
|
Jackson looks Kate squarely in the eyes.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
123.
|
|
|
|
JACKSON
|
|
If you would ever consider to give me
|
|
another chance... I promise, I'll
|
|
always be there when you need me.
|
|
|
|
Kate embraces him tightly.
|
|
|
|
KATE
|
|
Whatever you do... I will never let you
|
|
go again.
|
|
|
|
Noah is all smiles.
|
|
|
|
FADE TO BLACK
|
|
|
|
|
|
2013
|
|
|
|
|
|
We hear a voice.
|
|
|
|
ADRIAN (O.S.)
|
|
... Day 988. No one is waiting for
|
|
anything to happen...
|
|
|
|
FADE UP
|
|
|
|
The CAMERA moves over the last lines of Jackson's novel.
|
|
|
|
|
|
INT. SLEEPING QUARTERS/AMERICAN SHIP - DAY
|
|
|
|
Adrian sits in his cabin, his copy of `Farewell Atlantis' in
|
|
his lap.
|
|
|
|
ADRIAN
|
|
... and all we can hear is the sound of
|
|
our own breathing that reminds us we
|
|
are still sharing our memories, hopes
|
|
and ideas.
|
|
|
|
Opposite him, Laura sits listening to him read.
|
|
|
|
ADRIAN (CONT'D)
|
|
... And funny, just today we found out
|
|
that the entire crew of the Atlantis,
|
|
somehow or another, has relatives in
|
|
Wisconsin.
|
|
(PAUSE)
|
|
The end.
|
|
|
|
Adrian closes the book. There's a moment of silence.
|
|
|
|
LAURA
|
|
How many copies did you say that sold?
|
|
|
|
(CONTINUED)
|
|
|
|
124.
|
|
|
|
ADRIAN
|
|
Less than 500.
|
|
(with a smile)
|
|
It's what you might call a cult
|
|
classic.
|
|
|
|
Laura looks at him grinning.
|
|
|
|
LAURA
|
|
It seems we have very different tastes
|
|
Mr. Helmsley?
|
|
|
|
ADRIAN
|
|
(PLAYFUL)
|
|
Well that's healthy Dr. Wilson.
|
|
Something we could maybe explore...
|
|
unless you have other pressing
|
|
engagements.
|
|
|
|
LAURA
|
|
Actually my diary's pretty open.
|
|
|
|
The intimate moment is cut short.
|
|
|
|
OFFICER (O.S.)
|
|
(over loudspeaker)
|
|
Mr. Helmsley to the bridge please.
|
|
|
|
|
|
INT. HALLWAY/AMERICAN SHIP - DAY
|
|
|
|
Adrian and Laura make their way to the bridge.
|
|
|
|
CAPTAIN MICHAELS (O.S.)
|
|
Ladies and gentlemen, this is Captain
|
|
Michaels speaking. In a few minutes, I
|
|
will be giving the orders to unseal the
|
|
decks.
|
|
|
|
|
|
INT. FRONT DECK/AMERICAN SHIP - DAY
|
|
|
|
Jackson and his family stand amongst thousands of other
|
|
people who are gathering in anticipation.
|
|
|
|
CAPTAIN MICHAELS (O.S.)
|
|
Please be careful when you step out and
|
|
of course... enjoy the fresh air.
|
|
|
|
Jackson kneels down and zips up Lilly's jacket. She is
|
|
holding Caesar, whose still wearing his diamond collar.
|
|
|
|
LILLY
|
|
Daddy? When can we go back home?
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
125.
|
|
|
|
JACKSON
|
|
There's nothing we can go back to
|
|
Lil'bee. Whatever's out there, that's
|
|
our home now. Don't be scared.
|
|
|
|
LILLY
|
|
I'm not Daddy. No more pull-ups.
|
|
|
|
JACKSON
|
|
(PROUDLY)
|
|
That's my big girl.
|
|
|
|
Jackson squeezes Lilly's shoulder.
|
|
|
|
OLEG (O.S.)
|
|
Can we pet him?
|
|
|
|
Lilly turns to see Yuri's boys standing next to her.
|
|
|
|
LILLY
|
|
Of course you can. He's your doggie.
|
|
|
|
The boys both smile at her.
|
|
|
|
|
|
INT. BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Adrian and Laura enter the bridge.
|
|
|
|
ADRIAN
|
|
You called for me, sir?
|
|
|
|
CAPTAIN MICHAELS
|
|
Prof. West has something to show you,
|
|
Mr. Helmsley.
|
|
|
|
The Captain directs him to a monitor.
|
|
|
|
CAPTAIN MICHAELS (CONT'D)
|
|
Looks like your scientific projections
|
|
are way off again.
|
|
|
|
The Captain grins at Prof. West.
|
|
|
|
PROF. WEST
|
|
The water is receding much faster than
|
|
we projected, Adrian...
|
|
|
|
A monitor reveals an image of the African continent, however
|
|
its shape changed dramatically. The image of the southern tip
|
|
is enlarged.
|
|
|
|
LAURA
|
|
What's that?
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
126.
|
|
|
|
PROF. WEST
|
|
It's hard to believe, but the Himalayas
|
|
are no longer the roof of the world.
|
|
It's now the Drakensberg mountains of
|
|
Kwa-Zulu Natal. The whole African
|
|
continent has risen several thousand
|
|
feet and most likely, never even
|
|
flooded.
|
|
|
|
CAPTAIN MICHAELS
|
|
Our European colleagues have already
|
|
set course for it.
|
|
|
|
Captain Michaels hands Adrian a short wave radio.
|
|
|
|
CAPTAIN MICHAELS (CONT'D)
|
|
Here, somebody wants to talk to you.
|
|
|
|
Adrian curious, grabs the mic.
|
|
|
|
ADRIAN
|
|
This is Helmsley.
|
|
|
|
We hear a muffled, raspy voice through the speakers.
|
|
|
|
|
|
INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY
|
|
|
|
Harry Helmsley stands beside the cruise ship's Captain.
|
|
|
|
VOICE
|
|
No, this is Helmsley.
|
|
|
|
ADRIAN (O.S.)
|
|
Dad!... Is that you?
|
|
|
|
|
|
INT. COMMAND BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Adrian is ecstatic. Captain Michaels explains.
|
|
|
|
CAPTAIN MICHAELS
|
|
We should have a visual of the `Freedom
|
|
of the Seas' shortly.
|
|
|
|
ADRIAN
|
|
Dad. We're coming to pick you guys up.
|
|
How's Tony?
|
|
|
|
|
|
INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY
|
|
|
|
Harry looks over at Tony who's listening, smiling.
|
|
|
|
HARRY HELMSLEY
|
|
He's fine, son. We're all fine.
|
|
(CONTINUED)
|
|
|
|
127.
|
|
|
|
ADRIAN (O.S.)
|
|
See you guys soon. Bye dad.
|
|
|
|
Harry hangs up. He picks up Tony, embracing him wildly.
|
|
|
|
|
|
INT. COMMAND BRIDGE/AMERICAN SHIP - DAY
|
|
|
|
Adrian, still excited from speaking with his dad, grabs Laura
|
|
and kisses her on the lips. She squeals.
|
|
|
|
ANHEUSER (O.S.)
|
|
Put that woman down Helmsley.
|
|
|
|
Adrian looks at Anheuser, unsure of what he might say.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Young guys like you with your
|
|
idealistic dreams, you think you can
|
|
change the world...
|
|
|
|
Adrian and Laura exchange a look.
|
|
|
|
ANHEUSER (CONT'D)
|
|
I just pray to God, that you keep on
|
|
making the right calls... in this new
|
|
world of ours.
|
|
|
|
Adrian nods and with a smile to Laura turns to leave.
|
|
|
|
ANHEUSER (CONT'D)
|
|
Mr. Helmsley, one more thing.
|
|
|
|
Adrian turns back.
|
|
|
|
ANHEUSER (CONT'D)
|
|
There was no one.
|
|
|
|
ADRIAN
|
|
Pardon me?
|
|
|
|
ANHEUSER
|
|
There was no white kid better than you.
|
|
I'm terribly sorry I said that.
|
|
|
|
Anheuser puts out his hand. Adrian takes it.
|
|
|
|
|
|
INT. FRONT DECK/AMERICAN SHIP - DAY
|
|
|
|
CAPTAIN MICHAELS (O.S.)
|
|
This is your Captain speaking. Standby
|
|
to open Deck 1.
|
|
|
|
OFFICER
|
|
Standing by Sir.
|
|
(CONTINUED)
|
|
|
|
128.
|
|
|
|
Neng pushes his brother Lin in a wheelchair onto the deck
|
|
next to his parents. Mrs. Pang turns to her husband.
|
|
|
|
MRS. PANG
|
|
(in Chinese)
|
|
I wonder will the clouds look the same
|
|
and the stars?
|
|
|
|
MR.PANG
|
|
Do not fear. Some things will never
|
|
change.
|
|
|
|
The old Chinese man forces a little smile. Closer to the
|
|
front of this crowd Jackson approaches Noah.
|
|
|
|
JACKSON
|
|
I thought you might want this.
|
|
|
|
He takes Noah's cell phone from his pocket and hands it to
|
|
him.
|
|
|
|
NOAH
|
|
Do you think I'll still get a signal
|
|
... Dad?
|
|
|
|
Jackson is touched to hear him use that word. He smiles and
|
|
hugs him. Adrian, Laura and Anheuser arrive alongside them.
|
|
|
|
ADRIAN
|
|
I finally finished your book Jackson.
|
|
|
|
KATE
|
|
Really? You may well be the first
|
|
person who ever got to the end.
|
|
|
|
Jackson looks at her, smiling playfully.
|
|
|
|
JACKSON
|
|
Excuse me, I believe he's addressing
|
|
the author. Well, what did you think?
|
|
|
|
Adrian smiles.
|
|
|
|
ADRIAN
|
|
I'd say... those astronauts of yours
|
|
would be shitting themselves, if they
|
|
knew all their relatives are now stuck
|
|
in the South Pole.
|
|
|
|
Suddenly a horn sounds and the sealed deck doors let off a
|
|
burst of pressurised air. A murmur goes through the crowd.
|
|
|
|
Everyone is silent as the huge deck doors slowly begin to
|
|
roll back and light streams in.
|
|
|
|
|
|
(CONTINUED)
|
|
|
|
129.
|
|
|
|
The Pang family try to see over people's heads, even Anheuser
|
|
looks hopeful. Jackson pulls his family close as the first
|
|
rays of daylight hit their faces.
|
|
|
|
|
|
EXT. AMERICAN SHIP/SOMEWHERE IN THE HIMALAYAS - DAY
|
|
|
|
Hatches unseal all around the ship. Sun streams through the
|
|
clouds. Everywhere people emerge outside, into the light of
|
|
day. A majestic moment.
|
|
|
|
|
|
EXT. FRONT DECK/AMERICAN SHIP - DAY
|
|
|
|
They all stare in awe at the waters receding against the ice-
|
|
covered mountain peaks. Caesar lets out a YELP of joy.
|
|
|
|
Almost as soon as the doors have opened, the ship's
|
|
HELICOPTERS take off, flying towards a stunning site--
|
|
|
|
The `Freedom of the Seas' is perched on a mountain peak,
|
|
surrounded by calm waters. Behind it, they see the most
|
|
beautiful rainbow. This is the new world.
|
|
|
|
And again we hear Mozart's Adagio...
|
|
|
|
|
|
|
|
THE END
|