CARBON

by

Anthony Michael Whitfield

Cell: 562.355.0432SWUnlimited@charter.net

Copyright (c) 2013 This screenplay may not be used or reproduced without the express written permission of the author." 

FADE IN:

OUTER SPACE

This part of space is aglow with the remnants of what was once a thriving planetary system. Rock and mineral varying in shape and girth are scattered like so much debris awash in plasmic gas. Before long the rapid approach of a spacecraft’s elliptical shape grows ever monstrous as it escapes the eye of this fragmented piece of universe. Its sleek body, a study in geometric abstractions, overpowers as it flees the halo’s hub. Propelled by MASSIVE TURBINES the craft’s SURGE in VELOCITY flings it through the striated shower of glowing debris as a nacreous halo holds its place-

-until it brightens dangerously. Expanding. Intensifying like a supernova, releasing with all the impetus of a runaway freight, it discharges a PARTICLE STORM that BELLOWS from its blinding core.

All around the PARTICLE STORM ROARS. The enormity of each rock is riveting. However, our main focus is on five in particular. Five monolithic chunks of blasted planet exceeding one hundred and fifty meters each. But as ominous as these migrating mountains may be, another is following –

- LUMBERING pass with actual dimensions rivaling the most liberal of guesses. In fact, one hundred thousand tons, with a diameter of ninety-seven kilometers would be just about right.

PRINTED ON SCREEN: Thirty Light Years From Earth… FADE OUT:

ON BLACK SCREEN:

EMERALD (V.O.)One o’clock. I promise

TONY (V.O.)(exasperated)

Hold still, would you!

FADE IN:

EXT. MODEST RESIDENTIAL NEIGHBORHOOD - DUSK

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The street of neatly manicured with lawns laid out before stylish homes. The SOUNDS of SPRING permeate as a medium size car pulls up to the curb of the SHAW’s well lit home.

TONY (V.O.)Kathy! Get out of the way.

INT. SHAW LIVING ROOM

Poised in a fashionable gown, seventeen year old EMERALD SHAW stands beaming beatifically as her mother KATHERINE (Kathy) SHAW, fusses about, pulling and tugging at the girl’s formal wear as her father, TONY SHAW, whose patients dangles precariously tries repeatedly to take the girl’s picture only to find Kathy’s maternal stirrings hindering his objective.

TONY(stamps a foot)

Kathy!

KATHERINEYou’re going to give yourself a stroke, you know that.

Katherine steps back proudly as Emerald does a slow turn for her mother’s admiring inspection.

KATHERINE You are absolutely beautiful.

Emerald’s eyes roll with abashment.

TONYShe’s beautiful. You’re beautiful.Everybody’ s beautiful. Now, pleaseget the hell out of the way?

Katherine and Emerald pantomime exaggerated shock.

KATHERINE And you expect to kiss me withthat mouth?

TONYYou never complained before.

KATHERINEThat’s because you’re my littlestud muffin.

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EMERALDEeewww, who says that!

Katherine joins her husband wrapping a loving arm around his waist. Tony raises the camera and snaps off several quick shots. Abruptly he stops. Lowering the camera his eyes locked on the girl’s face.

EMERALD(apprehensively)

What?…

TONYSomething’s wrong.

EMERALDOh-my-god, what?

TONYI’m not sure.

By now Emerald is more than just a little uneasy with fingers fluttering over gown and hair.

TONYI know what it is.

Surreptitiously Katherine slips a jewelry case from Tony’s back pocket.

EMERALD What?!

TONYWhere’s your necklace?

EMERALDMy…

The girl’s fingers fly to her bare throat, resting there as suspicion clouds her eyes.

EMERALDI don’t have one. You know Idon’t like wearing them.

TONYYou do now, and I promise, you’re gonna love it.

With an exaggerated flourish Katherine brandishes the jewelry case.

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KATHERINETa-daaaaaa!…

Emerald eyes the case.

KATHERINEGo ahead. It’s not poisonous.

The girl’s eyes shift from one parent to the other before finally opening it with measured uncertainty-

-inside is a silver necklace with an Emerald pendant attached; its perfect facets shimmering brilliantly.

Emerald looks at both parents. An accepting smile highlights her features.

KATHERINE All of our prayers went into youjust liking it.

EMERALDAre you kidding? I love it!

TONYSo, you’ll wear it?

EMERALD It depends.

KATHERINEOn what?

Emerald relishes an exaggerated moment of preponderance.

EMERALDWhat are the chances of you guys extending tonight’s curfew.

Clearing his throat rather loudly, Tony’s attention immediately turns to the camera in his hands.

KATHERINE(to Tony)

Honey, would you give us a few?

TONYConsider me gone.

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Tony quickly plants a kiss on Emerald’s cheek.

TONY(to Emerald)

Take it easy on her, will you.

EMERALD It’ll be okay. Bye, dad.

Ton EXITS after giving his wife a discerning smile. Katherine takes a seat on the sofa, lightly patting the opposite cushion.

EMERALD I was kidding.

KATHERINEI know. But that’s not what I want to talk to you about.

Looking at her daughter Katherine‘s eyes soften, weighing the moment.

KATHERINE Prom night…

EMERALDMom, I promise you I will notbe engaging in any activitiesspecifically prohibited by state, federal, or county laws.

Katherine smoothes an errant strand on her child’s head.

KATHERINEIn all of your seventeen yearsyou have never given me or yourany reason to worry about you.

EMERALDExcept when I was twelve. God, I was sick for like a wholeyear.

KATHERINEAnd what valuable lesson didwe learn?

EMERALDAlcohol is definitely not

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for everyone.

KATHERINEEspecially, twelve year olds withchronic bronchitis. But other thanthat, you’ve been a pretty decentkid and we’re both quite proud of you.

EMERALDAnd I’m quite proud of you guys, too.

Katherine takes the jewelry case from Emerald’s hand. Removing the necklace she studies its design before asking-

KATHERINE Are you still a virgin?

EMERALD(unruffled)

Is that what you want to talk about?

After a studied silence Katherine stands with necklace poised. Emerald rises to her feet allowing Katherine to fasten the jewel around her neck. DOORBELL.

KATHERINEThere.

Emerald faces her mother for inspection…

KATHERINEI like it.

In a sudden show of affection Emerald gathers her mother in her arms.

KATHERINEYou be careful tonight.

EMERALDI will.

Tony ENTERS.TONY

Your date’s here.

With some haste he EXITS.

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EMERALDBefore I go, I would like to state for the record that I think parents put too much emphasis on the negativitiesof peer pressure.

KATHERINE(taken aback)

Huh?…

EMERALDI’m answering your question.

KATHERINE(pause)

You didn’t have to, you know.

EMERALDI know. But since my moral integrity hasn’t been compromised I figure what the heck. Besides, dad does have a right to know.

KATHERINE(smiles)

You think you’re so smart, don’tyou?

EMERALDSmart, no. Astute, definitely.

KATHERINEGo on. Get out of here.

Katherine gives Emerald a playful shove.

INT. FOYER

- as the two woman ENTER. Emerald’s date, TOMMY, looking dapper in a black tux, is looking a bit cornered and embarrassed as Tony snaps off a few shots of him with the camera.

KATHERINETony, leave the boy alone.

TONYHell, he’s the only one I canget to stand still around here.

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EMERALDHi, Tommy.

TOMMYHey, Emmy. You ready?

EMERALDAs ready as I’m gonna be.

TONYOkay, you two, one more for theroad.

EMERALD(clearly annoyed)

Daaaaad…

KATHERINEYou’ll never get out of here ifyou don’t.

Emerald rolls her eyes and stands by her date, both facing Tony’s intrusive lens as he snaps off one more shot.

EMERALDCan we go now?

TONYGo.

Emerald opens the door allowing Tommy to bolt for freedom.

KATHERINE

(to Tony)And you wonder why we never havecompany over.

TONYProm pictures are a tradition.

(to Emerald)I want you have the best night of your life.

Reaching into shirt pocket Tony pulls out folded dollars offering them to his daughter.

EMERALDWhat’s this?

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TONYMad money.

EMERALDCould you be any more primitive?

KATHERINEPut it away.

TONYBut, what if she –

KATHERINETony, I said, put it away.

Reluctantly he shoves the bills back into his pocket as Emerald quickly plants a kiss on his cheek.

EMERALDIt was sweet though.

TONYCould you mind telling your mother that before you leave.

Emerald kisses her mother.

EMERALDNo fighting you two. Promise.

KATHERINEPromise.

TONYCan we get that in writing?

KATHERINEShut up, Tony.

(to Emerald)If you need us for anything.

EMERALDI’ll be fine.

TONYTell that kid I know what helooks like -

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- ominously indicating the camera. EMERALD(smiling)

I will.

Before stepping outside Emerald turns to her parents.

EMERALDAbout that curfew?

KATHERINEI think we’ll let you decidethis one.

EMERALDThanks.

KATHERINEJust don’t let us down.

CAR HORN

INT./EXT.

Emerald races from the house where her date stands gallantly holding the passenger door open. Her parents look on arm in arm.

TONY… So, what’d she say?

KATHERINEAbout?

TONYYou know.

KATHERINE(after somereflection)

Are you aware that parents generally view peer pressureas some sort of insidious thing?

TONYCome again?

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KATHERINEYou can’t deny we do tend to blame it for everything that’swrong with our kids, instead ofacknowledging it for everythingthat’s right with them… I thinkit’s the word ‘pressure’ thatthrows us off. What do you think?

The CAR HORN BLARES as it pulls away.

TONYShe really laid into you, didn’t she?

KATHERINEYes… Yes she did.

TONY(proudly)

That’s my baby.

They enter the house.

INT. SHAW LIVING ROOM (SAME)

Katherine lands a playful punch on Tony’s arm.

TONYHey! No fighting, remember?

KATHERINEI don’t recall you getting that in writing.

TONYWould it help if I apologized?

KATHERINENot at all.

Rushing him with a mischievous tackle, both land on sofa in a tangle of limbs and LAUGHTER.

OUTER SPACE

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At a distance of ten thousand miles, planet Earth is a clouded jewel, opal and lapis, a natural peaceful beauty, the target of our spacecraft’s TRAJECTORY.

EXT. SHAW HOME – NIGHT

INT. KATHERINE’S STUDY

The room is in shadows with the only source of light being her computer’s monitor. Wrapped in bathrobe she ENTERS heading for her workstation. Switching on a nearby lamp she reveals areas of the room where posters of constellations; solar systems; nebulas, and planetary maps adorn the walls, as an impressive Zeiss telescope stands sentry at bay windows. It’s all too clear that the owner of this tastefully designed room has a profound knowledge of astronomy.

In front of her computer she slips easily into a chair, and after a deliberate sip from her cup, begins typing.

INSERT – MONITOR

Printed in the header we read: THE ORIGINS OF INTERSTELLAR PHENOMENON, by KATHERINE L. SHAW, M.Sc., Ph.M., B.Sc.

RHYTHMIC TYPING ensues as the screen’s text begin to steadily flow as additional letters compile new words to the accompaniment of Katherine’s steady V.O. –

KATHERINE (V.O.)… wandering through space manyof these stars travel in groups,but the majority travel along assolitary interstellar vagabonds.With millions of stars wanderingblindly for millions of years itseems quite plausible thatoccasionally two stars might comeinto proximity with one another oreven meet in head-on collisions,which brings us back to our ownhypothesized beginnings.

BACK TO SCENE

Tony ENTERS switching on the overhead lights revealing the full scope of the room’s dedication to science and its counterparts. Although actual items of true science coincide with those of models and posters depicting images of “Star

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Trek”, “Aliens”, “Blade Runner”, etc; and a slew of fanciful science fiction memorabilia, the room is nevertheless in a state of stellar balance.

Non-stop Katherine’s fingers fly across the keyboard as Tony, crouching eye level, plants a kiss on her cheek.

TONYHow’s it going?

KATHERINEOn the creative spectrum, I’dsay somewhere between the X-files and Jurassic Park.

TONYIs that good or bad?

KATHERINEConsidering this piece is not about dinosaurs, I’m having ahard time not imagining them.

TONYI imagine them everyday, ifthat’ll help.

KATHERINEIt doesn’t. Now, go away.

Continuing her TYPING, Tony make his way around the room stopping at a display cabinet where numerous facsimiles of actual space voyages rest on top and within. Picking up a replica of Apollo 13 he studies it.

TONYSometimes I feel so out ofplace.

TYPING STOPS.

Tony looks up to find Katherine approaching. Gently she takes the replica from his hands and returns it to its resting place. Pausing long enough to compose her thoughts, she finally meets his questioning eyes.

KATHERINETony, there isn’t a woman onthis planet who wouldn’t dieto have a man like you. You’re

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a fine husband; and an excellentfather, to boot. And in my book,

that is a pretty decent place to be.

TONYBut haven’t you ever wondered what your life might’ve been like if you had married someonea little more your type?

KATHERINEAnd what type would that be?

TONYYou know… Brainy.

KATHERINEIs that how you think of me?

TONYWell – Yeah. God knows I’m not the one with the smartsin this family.

KATHERINEFYI buster, the way you are is exactly why I fell in love with you in the first place.

TONYStill, sometimes I think youdeserve better than this.

KATHERINEBetter than this?… Baby, there’s nothing better thanthis. Not for me anyway?

TONYI meant more.

KATHERINE Like what? Maybe a beautifulchild I adore? Or were youthinking more on the lines ofsecurity?... A car, perhaps? How about a charming home? Are these the things I deservemore of? If so, look around,Tony. I already have more and

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I don’t need anything else.

TONYYou know what I’m saying.

She traps his face between gentle palms, forcing him to feel her sincerity.

KATHERINEI hear you, but you’re wrong. We have a good home and adecent life. You have a daughterwho adores you and a wife who isthankful each and everyday foryou being in her life. You feelme?

This coaxes a smile from him. They embrace. She squeezes him a little tighter with an escaping SIGH of contentment.

TONYWhat about your work?

KATHERINEWhat about it?

TONYWhat if you had to make a choice?

KATHERINEpause)

Are you being serious?

TONYMaybe I am.

Disengaging herself she takes him by the hand. Leading him back to the computer she doggedly types away.

INSERT – MONITOR

- as message prompt inquires: Delete Files? Are You Sure?

BACK TO SCENE

With an easy smile on her lips Katherine looks to Tony, winks, then jabs a determined finger at the keyboard –

ON KEYBOARD

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- as Tony’s hand quickly encircles hers, preventing her from making the final execution.

BACK TO SCENE

Guiding her hand away from the keyboard he presses her fingers to his lips.

TONYI apologize.

(pause)Besides, if you didn’t have your work you’d only use thetime to make my life miserable.

On the keyboard Tony taps the ESC key allowing the ‘delete’ prompt to instantly vanish.SPACE – EARTH’S UPPER ATMOSPHERE – DAY

The alien ship arrives hovering above the planet with sleek body in a state of flux; a flickering conversion not unlike a mirage viewed through heat waves rising from asphalt. A warping, dissolving effect that accelerates until quite abruptly the craft winks from existence.

EXT. OVER THE PACIFIC OCEAN

PRINTED ON SCREEN: Pacific Ocean, 64,186,300 Sq. Miles.

With no land in sight the Pacific’s expanse is tranquil. Overhead the sky abruptly erupts in a roiling FIREBALL that stretches for miles as our invisible spacecraft RIPS through the stratosphere accompanied by an IONIZING SONIC BOOM that introduces its arrival.

INT. MILITARY COMMAND / RADAR ROOM

PRINTED ON SCREEN: National Military Command Center / The Pentagon.

TWO military WATCH DOGS seated at individual sonar terminals simultaneously snap to full attention.

ON RADAR SCREEN

- as a persistent BLIMP abruptly vanishes.

WATCH DOG 1 (O.S.)What the hell was that?.

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EXT. PACIFIC OCEAN

A MASSIVE SURGE of ocean water is propelled skyward as our invisible spacecraft DIVES below the surface -

UNDER PACIFIC OCEAN

HURLING through ocean depths, its cloaking shield undulating and dissolving, the spacecraft once again becomes a solid, sleek study of geometric symmetry.

INT. MILITARY COMMAND / RADAR ROOM

Watch Dog 1 hastens towards COMMANDER.WATCH DOG 1

Sir, we have a situation.

UNDER PACIFIC OCEAN

With high-intensity beams slicing through the ocean’s vast darkness the spacecraft dives easily to the ocean floor deftly evading jagged, kilometer-high mountains that loom before it like the Rocky Mountains; while far, far below, the maw of a great trench widens.

PRINTED ON SCREEN: The Mariana Trench, 35,838 ft in depth…

EXT. FARM PASTURE – LATE MORNING

PRINTED ON SCREEN: Oregon, One Week Later.

The pasture is bustling with county law enforcement, news vans, and local bystanders as a dark, unmarked sedan winds it way through a throng of spectators kept at bay by strategically placed crime tape.

Crawling to a stop parallel to a sheriff’s cruiser, SPECIAL AGENT NIGEL leaves the sedan to solemnly take in the gawking locals before making his way to a group of lawmen, miffed and perplexed, by what lay at their feet.

As Nigel approaches, SHERIFF EMERY, being the first to spot him, breaks from the group.

NIGELSheriff Emery?

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Nigel displays his FBI credentials as Emery offers a greeting hand.

EMERYYes, sir. An’ you must be the one who done went an’ drew himself the shortest straw.

NIGELSomething like that.

Emery eyeballs him suspiciously.

EMERYNow, don’t tell me you wentan’ volunteered for this.

NIGELI didn’t.

EMERYThat’s right nice to hear ‘cause there’s some folk around here who trust youpeople about as much as iceskatin’ on a thawin’ pond,know what I’m sayin’?

NIGELCan’t say I do.

EMERYI’m only sayin’ there’s somefolk - and I might be one of ‘em - who’d swear on the good

baby Jesus the gov’ment knows ’xactly what’s goin’ on here.

Which also means, we don’t want some pantywaist bureaucrat

showin’ up down here coveringup whatever the hell it is youboys are covering up this week.Catching my drift now, son?

NIGELI believe I do.

EMERY

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Fine. Now I hope we ain’t gonna be getting off on thewrong foot by some fancy words (MORE)

EMERY(CONT’D)and slick talkin’, so why don’tyou just cut to the point andtell me just what in the hell

did happen down here.

NIGELSheriff, with all due respect, I can think of a whole lot of things I’d rather be doingthan standing here listeningto some half-baked bigot chewme a new one in the middle ofsome fucking field. But sinceI am here, and since I do havea job to do, do you, or do younot, have any viable informationsupporting this alleged government

conspiracy of yours?

Stunned by his miscalculation Emery can only shake his head in response.

NIGELThen I suggest you turn yourauthority in that direction

(indicating groupof officers)

and move those people away from the evidence.

With some resignation, Emery hitches his trousers summoning all the authority he can at this point. After giving Nigel the once-over he storms off.

EMERYAlright people, everybody stand clear. Time to let theFederal boy here have a look see… You too, Slim. Go on, now!

Following Emery’s wake Nigel nods his greetings as the officers make way.

NIGEL’S POV

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At his feet lay the emaciated carcass of a young cow with a surgical incision, seared with accurate precision, running the full length of its gapping underbelly; and although its belly has been slit, the ground around it is bone dry.

EMERY (O.S.)What’d you reckon happened to all the blood?

BACK TO SCENE

Removing a pair of surgical gloves from a pocket, Nigel slips one on each hand.

NIGELYou believe in vampires, sheriff?

EMERYYou funnin’ me, boy?

Emery’s question hangs as Nigel pulls a penlight from the same pocket and kneels –

- running its light along the charred edges of the incision. With measured deliberation, and the use of one finger, he pries apart the wound as far as it will go letting the light penetrate into the cavity.

NIGELEmpty… Have you checked theother side?

EMERYI was told not to touch nuttin’‘til you got here.

NIGELI’m going to need some help.

EMERYSlim’ll be more than happy tooblige seeings its his landyou’re fiddlin’ with and all.

(calling out)Hey, Slim, you care to lend usa hand?

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SLIM, a gangly fellow in filthy overalls and dingy thermal steps from the group of onlookers. Limping over to the men, his eyes drilling into Nigel’s, it’s clear his disdain for the agent is close to hostile.

NIGELI’m going to need you to liftthe head so I can get a lookat the other side.

SLIM(pause)

You talkin’ to me?

NIGELOnly if you’re here to help.

SLIMI am. But I ain’t helpin’ you.

EMERYJust do want the man seys sowe can all get the hell outtahere.

After a bit of hesitation Slim places a foot on either side of the slain bovine’s head in order to straddle it.

SLIMI’m only doin’ it ‘cause you told me to, sheriff.

EMERYAnd I certainly appreciate it.Now lift the damn thing, willyou.

Bending at the waist Slim takes hold of the bovine’s head and lifts with surprising ease.

NIGELWait.

(beat)Do that again.

SLIMWhat?

NIGELThe head. Lift it again.

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SLIM(suspiciously)

You queer, boy?

EMERY(frustrated)

Christ sake, slim, just do it.

NIGELBut this time, try it with onehand.

Letting the head drop to the ground, Slim takes hold of an ear and braces himself for the expected weight; but again, the head comes up with ridiculous ease. Nigel crouches low to view its underside -

- like a festering wound, the eye socket, crusted with suppuration, lays barren.

BACK TO SCENE

- as Nigel stands pulling off the surgical gloves.

NIGELOkay, Slim.

The head FLOPS to the ground.

SLIMThat’s Mister Peterson toyou, boy.

NIGELFair enough. I only haveone question I hope youwouldn’t mind answering.

SLIMIs answerin’ it gonna git youto pay for this here heifer?

NIGELI’ll see what I can do.

SLIMThen I’ll see what I can do ‘bout answerin’ -

EMERY

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(interrupting)Calm down there, Slim.

SLIM(fuming pause)

Ask your damn question.

NIGELSomething the sheriff said about this being your property.

SLIMWhat’s it to you?

NIGELHe didn’t mention anything about this being your cow.

Pause.

SLIMThat’s ‘cause it ain’t none of my cow. B’longs to the feller down the road.

EMERYBout five and half miles down the road.

NIGELHow do you suppose it got here?

SLIMIf we knew that, what the hell would we need you for?

EMERYWatch your manners now, Slim,and that’s the last time I wanna have to tell you, youhear?

Fed up with the whole mess slim scowls at Nigel before storming off.

EMERYHe’s one of those folks I wastalkin’ ‘bout.

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NIGELI gathered.

EMERYSo, what’s your next step?

NIGELYou can have your peopleremove it but don’t destroyit. If you can, put it onice and post a guard. I’llsee to it someone takes it off your hands by morning.

Nigel heads for the sedan.

EMERYHey, hold on there minute.

Nigel stops as Emery approaches.

EMERYLook, I really didn’t meanto ruffle your feathers noneback there.

NIGELSure you did.

EMERYYeah, okay, you got me there. But hell, since we’re practicallyon the same side, what’d yousay we call it a truce?

Emery extends a contrite hand. A brief pause before Nigel finally accepts it.

EMERYNow, that’s right nice of you.

NIGELI can use all the friends I can get.

EMERYYou have yourself a safe trip back now, you hear?

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NIGELLoud and clear.

Again, Adam heads for the sedan.

EMERYYou might want to do yourselfa favor and loosen up a little.A fella ought not be so dangserious, it just ain’t natural.

Emery watches Nigel’s departure. Slim joins him.

SLIMSumabitch. Who in hell doeshe think he is?

EMERYSlim, I’m gonna need anotherfavor from you.

SLIMSure, sheriff, you know me.

EMERYThat’s a fact. That’s why I’mgonna have to ask you to pleaseshut the fuck up.

Slims jaw hangs slack as Emery walks off.

INT. FBI DIRECTOR’S OFFICE – AFTERNOON

PRINTED ON SCREEN: FBI Field Office, Salem, Oregon. Nigel hands over a folder bearing the FBI seal to the DIRECTOR.

NIGELIf you ask me, I think the locals are screwing with us.One in particular but I’mnot sure he’s bright enoughto pull off something like this by himself. Maybe thewhole damn town’s in on it.

FBI DIRECTORYou could be right.

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Opening a desk drawer the Director extracts an identical folder.

NIGELWhat’s this?

FBI DIRECTORYour next assignment. If you’regoing to prove the locals arescrewing with us, first you’llneed to prove at least one ofthem was in Spanish Harlem aboutthe time our cow showed up here.

NIGELWhat the hell is a cow doingin Spanish Harlem?

FBI DIRECTORYou’re assuming.

The Director hands over the file. Adam flips it open, stares briefly, then –

NIGELJeezzus…

FBI DIRECTORAnd it’s all yours.

Filling with disbelief Adam’ eyes stray back to the folder’s contents.

INT. MORGUE CORRIDOR

PRINTED ON SCREEN: New York, County Morgue.

FOOTSTEPS ECHO as Nigel and the county PATHOLOGIST, his surgical smock stained with remnants of his occupation, stride the length of an oppressive green tiled hall.

PATHOLOGISTThere’s not much to tell youat the moment. We’re mostlywaiting on lab results to giveus some indication on what we’redealing with here… Here we are.

Both men push through the double doors of an autopsy lab.

INT. AUTOPSY LAB

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Hunched over one of the steel examination tables the CORONER works attentively on the body of an adult female.

PATHOLOGISTDoc, this here is Agent NigelAgent Nigel, meet the good doc.

CORONERYou boys are quick, I’ll giveyou that.

Nigel’s eyes instantly lock on the woman’s corpse -

- whose torso is slit from neck to pelvis with flaps of skin pulled to either side exposing the glistening organs inside. But even more appalling are the legions of infectious furuncles: raw, swollen, and suppurating thickly over desecrated cyan tinged flesh.

NIGEL(O.S.)Radiation.

CORONER (O.S)If you can prove it the nextround’s on me.

BACK TO SCENE

NIGELAre you telling me I’m not looking at a someone who’s been exposed to radiation?

CORONERAgent Nigel, most of my peerswill tell you I am a fool, butnone will ever tell you I amincompetent. If there wasthe remotest possibility thiswoman was exposed to radiation,

I assure you, someone else would be standing here in my stead.

NIGELI didn’t mean –

CORONER(interjecting)

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I’m sure you didn’t. But the point being, whatever else maymay have caused this woman’sdemise, it most certainly was not caused by radiation exposure.

Nigel studies the woman’s swollen face with its many lesions.

NIGELI’ve seen this before.

CORONERNo doubt you have. And I’llbet a year’s salary radiation was the culprit.

NIGELIt was.

CORONERWhich is why can’t get your head around what your eyesare telling you.

With scalpel in hand the Coroner resumes his postmortem exam.

NIGEL(to Pathologist)

Then what the hell happened to her?

PATHOLOGISTThe few marks we found on herbody were all postmortem. Nothingsuggestive of defense injuries; no broken nails, no vaginal or anal trauma. We took samples justto be on the safe side, includingoral and ocular. We have, however, determined all her abrasions werethe direct result of discardingthe body. And like the thing yougot going on in Oregon, no one knows who she is, where she came from, or how she ended up in a dumpster in the middle of Spanish Harlem.

CORONER

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In essence, what we have hereis a woman who appears to have

died willingly.

NIGELSedation?

CORONERNegative for Roofies, PCP, crack,heroin, cocaine, Ecstasy, Ritalin;or anything else their smoking, snorting, shooting or drinking these days. This woman’s system is one of the cleanest I’ve seenin the living, or the dead, in

quite someti -

- the Coroner stops short.

CORONERMatt. You might want to comehave a look at this.

The Pathologist joins the Coroner who steps aside permitting the man an unobstructed view.

CORONER(pause)

What’d you see?

After peering into the torso’s lower half the Pathologist looks at Nigel a bit disturbed.

PATHOLOGISTShe’s undergone extensivereproductive surgery.

NIGELYou want to be more specific?

PATHOLOGISTSpecifically, everything thatclassifies this body as a femalehas been meticulously removed.

Nigel’s gaze wanders back to the woman’s rigor-ed face.

ADAM(to self)

30

What happened to you?…

INT. SHAWS’ LIVING ROOM – AFTERNOON

Sunlight baths the room as Katherine tends to a pitiful reproduction of potted plants the world over; being merely a twig with several desperate leaves hanging on tenaciously. Adding water to her victim she inexplicably loses herself in a BURST of LAUGHTER.

EMERALD (O.S.)What’s so funny?

Emerald ENTERS.

KATHERINEHave you ever heard that people who can’t raise houseplants shouldn’t be allowed to raise children?

EMERALDWell, you’ve never been goodwith plants. But you’ve donepretty good by me.

KATHERINEThanks… I think.

EMERALDYou should take a class orsomething. You know, brushup on skills.

KATHERINEMy skills are fine. It’s theplants with the problem. Now,did you come here to criticizemy horticultural talents, oris it something your father canhelp you with?

EMERALDThat was subtle. But I’d rathertalk to you about it.

KATHERINEOkay, shoot.

EMERALD

31

It’s about sex.

Katherine pauses.

EMERALDI’m not sure where to begin.

KATHERINETry the beginning.

EMERALDHow old were you when you first… You know?

Setting the watering can she looks directly at Emerald.

KATHERINEHad sex?

Emerald nods.

KATHERINEGod Emmy, when I said, at the beginning, I meant yourbeginning, not mine.

EMERALDAll I mean is, were you younger than I am now?

KATHERINE…There’s a possibility.

EMERALDThis isn’t easy for you either,huh?

KATHERINEYou have no ideal.

Katherine makes her way to the sofa. Emerald follows.

KATHERINEI may be ill-prepared, but I am glad you came to me instead of looking for answerssomewhere else.

Having reached the sofa they sit.

32

EMERALDYou’re being evasive.

KATHERINEAlright then, I was sixteen.

EMERALDKind of young, weren’t you?

KATHERINEI suppose, but things were different back then. In fact,they were a lot different.

EMERALDSo, it was okay with grandmom?

KATHERINENot really.

EMERALDWhat does, ‘not really’, mean?

KATHERINEIt’s my way of saying they didn’t know. Anyway, I thoughtthis was going about you.

EMERALDIt is.

KATHERINEThen why the sudden interestin what can only be describedas one of those things I’d rather not remember?

EmeraldBecause you’re the most liberalperson I know.

KATHERINELiberal?

(suspiciously)What are you up to?

EMERALDAbout fifty six words.

33

KATHERINEWhy, you little sneak.

EMERALDYou do want me to get into the best college possible.

KATHERINEOf course I do. But I don’tlike the ideal of my sexualtransgressions being thebasis for which a review boarddecides your future, either.

EMERALDSo, what I’m hearing is, you’reembarrassed by what could beconsidered a shameful past?

KATHERINENo. I’m embarrassed by yourshameless straightforwardness.

TONY (O.S.)What are you two up to?

Tony ENTERS.KATHERINE

Just the person I needed to see.

Katherine stands and guides Tony to her vacated seat.

KATHERINEHere, have a seat. I believeyour child has something toask you.

TONYSure, baby, what is it?

EMERALDHow old were you when youfirst had sex?

Tony’s smile flounders. His eyes cut to Katherine.

KATHERINE(mischievously)

34

Have fun. And just remember,it’s for a good cause.

Lightheartedly Katherine practically skips from the room. TONY(O.S.)

Is this some kind of joke?...

EMERALD (O.S)Well, how old were you?...

INT. KATHERINE’S STUDY – LATE NIGHT

In bathrobe she ENTERS. Taking her seat at the computer she quickly calls up her manuscript and begins TYPING -

KATHERINE (O.S)Given the number of systems with planets, the probabilityof life arising is infinite. So, why no word of theirexistence?

(pause)One reasonable explanation is that other intelligent lifeis just that - intelligent.Keeping silent and willfullydetermined not to draw any attention. If this is the case, what does that say about us asa race and what –

- abruptly the overhead lights and computer monitor BLAZE so bright they bathe the room in blinding white just before pitching the room in total darkness.

KATHERINE (O.S.)(mild panic)

Toonnnyyy!

We HEAR her rise from the chair and making her way through the darkness she BUMPS into something solid which is followed by the THUMP of something else STRIKING THE FLOOR which is promptly CRUSHED UNDERFOOT.

KATHERINEShit!

As suddenly as they went out, lights and monitor STATICALLY return to life. Near the display cabinet Katherine is understandably startled -

35

- until the sudden CHATTER OF PRINTER snatches her back to the here and now. Her eyes zero in on the computer where a page of data pours from the PRINTER with script that fills it from margin to margin.

KATHERINE’S POV

- as she moves towards the computer her vision filling with a kaleidoscopic array of colorized letters and numbers that interchange sporadically from border to border.

BACK TO SCENE

With unavailing keystrokes she enters commands but the quick sequence of numbers and letters are in total defiance as the printer CHATTERS endlessly, filling page after page with enigmatic data. On the monitor, the interchanging succession of script quickens, building momentum until finally reaching blurred speeds that are impossible to follow. Step by step she inches away. Easing toward the door when unexpectedly all commotion stops plunging the room once again into darkness…

…the SPUTTER of overhead lights; an abrupt FLICKER of the monitor, and all is restored to normalcy. All except Katherine, who stands more awestruck than stunned. Summoning a measure of equanimity she forces herself to move, guardedly, to the silent printer and its surfeit of printed data.

Unsteadily she lifts a sheet from the printer’s tray and scrutinizes its convoluted text.

KATHERINE’S POV

From border to border and top to bottom with no spaces indicative of individual words or symbols we see -

0.15.9994XE131.30F18.99840.159994CH4CH3NH200.15.9994KR83.80C6CH3CH3CH3CLAR39.948C12.011CL35.453015.9994C6C6RN222.00C12.011CO20015.99940150.9994C6015.9994N2ON02NH3C12.011N:C.:NC6C12.011HE4.0026015.9994CH3BRC12,011H1.00797C6COC12.011H25COC12015.9994C6NE20.179N14.0067015.9994015.9994C6C60.15.9994XE131.30F18.99840.159994CH4CH3NH20…

- repeated continuously…

DEPTHS OF THE PACIFIC OCEAN

36

A giant squid glides through the water on a predestined course. Descending deeper, we encounter a spectacle of life that captivates by the array of species and legions of organism patrolling, evading and consuming in their relentless cycles of life and death. But all too soon, the ocean’s tranquility is shattered as mutual preservation induces instantaneous DISBURSEMENT of sea life all around -

- as a towering shadow slithers toward us; obliterating everything in its path like an atramentaceous wall wiping the ocean clean.

INT. UNITED STATES MILITARY SUBMARINE

At the radar screen a subdued ENSIGN is barely concealing his boredom when his SONAR BEEPS unexpectedly.

ENSIGN Sweet Jeezus!

In a flurry of panic the Ensign SLAMS his fist down on the console’s emergency button setting the sub’s interior lights to red and KLAXONS BLARING. An immediate bustle of SHOUTS and restrained activity ensues as all hands man their stations.

SUB COMMANDERWhat’s your status?

ENSIGN(slight trepidation)

Mountain range. Straight ahead,sir!

SUB COMMANDERImpossible! We’re nowhere nearthe bottom.

ENSIGNThat maybe true, sir, but the bottom is definitely near us.

Sub Commander casts eyes on sonar screen.

ON SONAR SCREEN

- as its sweeping dial BEEPS each time it highlights the enormity of the approaching obstruction.

SUB COMMANDER (O.S)

37

What the hell!!!BACK TO SCENE

- as Sub Commander snatches up handset -

SUB COMMANDERThis is the Captain speaking,engine room set immediate coursefor topside? I repeat – immediatecourse for topside!

DEPTHS OF THE PACIFIC OCEAN

The specter of the massive shadow passes over the sub engulfing it entirely.

INT. UNITED STATES MILITARY SUBMARINE

Chaos as the crew abandons protocol and sheer panic takes over. The sub’s interior is plunged in darkness riddled with the STACCATO of HISSING SPARKS as miniature FIRES erupt indicative of the sub’s electrical system malfunctioning.

Through SPARKS, FLAMES and billowing smoke, pandemonium winks in and out of view as all hands desperately seek purchase within the sub’s roiling hull.

A SERIES OF SHOTS

a) Three crew men cling on to one another as the fourth inexplicably vanishes.

b) Navigational officer manning his post disappears instantaneously. c) In the galley a COOK, SCREAMING in sheer agony, waves a spatula frantically at the air before dissolving into nothing.

d) Spatula CLATTERS to the deck.

e) Infirmary, bedridden seamen look on hysterically as one of their numbers blinks out of existence –

f) – followed by another –

g) – and another. And another…

BACK TO SCENE

38

DEPTHS OF THE PACIFIC OCEAN

The insidious ‘wall’ continues onward leaving the sub’s battered hull plummeting far beyond safe depths until its pressure hull finally gives up emitting cascades of AIR BUBBLES through fissures of TEARING METAL.

With the last scintilla of AIR POPPING from it shattered bulk, the sub SHUDDERS and TORQUES until STRIKING a mountainside. Bouncing and rolling in an undersea ballet that carries it down into a stygian canyon where it finally comes to rest as a heap of twisted, mangled steel.

EXT. THE WHITE HOUSE – NIGHT

ADMIRAL (O.S.)With all due respect, Mr.President, it’s not a mistake.

INT. OVAL OFFICE

The ADMIRAL, the SECRETARY OF DEFENSE (SOD), and the PRESIDENT are seated throughout the room.

PRESIDENT(livid)

You lost an entire submarine (MORE)

PRESIDENT (CONT’D)and you don’t call that amistake?!

SODWe didn’t lose it, Sir, itvanished, reappeared, then –

PRESIDENT(interrupting)

You lost it again. I’ve heardthis tune before, gentlemen, and no matter how many timesyou sing it, I’m still notgoing to like it. We’re TheUnited States of America, forchrist’s sake, we don’t getto screw up!

ADMIRALI’m aware of that, Sir, but

(MORE)

39

ADMIRAL (CONT’D)the fact remains, it’s gone, and it could be related towhatever’s in the trench.

PRESIDENTAnd that’s another thing. Youwant to explain to me just howthe hell it got past billionsof dollars of defense hardware?

ADMIRALThat’s something we’re lookinginto.

PRESIDENTBy the end of this day, I wantto know what the fuck is wrong

with our tracking system andwhat the hell you’re doing tofix it! Do I make myself clear?

ADMIRALYes, Sir.

EXT. STRETCH OF BEACH – EARLY MORNING

PRINTED ON SCREEN: Santa Monica, California, One Month Later.

The ravaged carcass of a killer whale is sourrounded by somber onlookers as a team of Oceanographers take pictures and notes amid a SWARM of FLIES.

Repelled by the stench a teenager breaks from the crowd accidentally bumping into Nigel who is approaching one of the OCEANOGRAPHERS.

OCEANOGRAPHERThis isn’t the sort of thing I’d think the FBI’d be interested in. Name’s Gary. I’d shake your hand but I’vebeen all over this thing.

NIGELNigel. Thanks for the heads up.

Nigel bats at the irritating SWARM.

40

OCEANOGRAPHERAn eviscerated Orcinus Orca.Female. Although you wouldn’tknow it simply by relying on

knowledge of its reproductiveorgans.

NIGELI’m not following.

OCEANOGRAPHERLook for yourself.

Without prejudice the Oceanographer lifts back a flap of the animal’s severed underbelly revealing the insides of its empty fat-lined cavity.

OCEANOGRAPHERStripped clean. All that’s leftis some fatty tissue, and theyeven took some of that.

NIGELWhat do you think happened?

OCEANOGRAPHERSince we have yet to identifya species of fish with the exacting skills of a certifiedsurgeon, you wouldn’t be remissin reporting this as an act ofunlawful poaching.

NIGELHow long has it been here?

OCEANOGRAPHERWashed up early this morning.But I’d say it’s been deadapproximately two, maybe three

weeks. Which is why I can’tfigure out why it wasn’tspotted long before this.

NIGELUnderwater shelves could haveheld it down for awhile.

OCEANOGRAPHERThat’s what I guessed.

41

NIGELSo, what’s bothering you.

OCEANOGRAPHERWhen it finally pop up, thegulls feeding on this thingshould have attracted

` somebody. And as far as I know no alerts were received by the Coast Guard or theOceanic Institute.

NIGELIs that unusual?

OCEANOGRAPHERWhen something this big showsup out of nowhere, I’d say that’s pretty unusual. It’slike it walked out of the ocean and decided this was far enough.

NIGELWhich didn’t happen.

OCEANOGRAPHERThen maybe you’d like my othertheory better.

NIGELTry me.

OCEANOGRAPHERIt’s called the theory of: Something kept it down there long enough to do this to it then brought it up here for disposal.

Nigel meets this with dubious countenance.

OCEANOGRAPHERI have an active imagination.

NIGELLong as you keep it to yourself you should be okay.

DEEP SPACE

42

With its five smaller companions leading the way, the monolithic slab RUMBLES PASS with the spiral nebula of Andromeda, large and awesome, in the background.

PRINTED ON SCREEN: Andromeda Galaxy, 2,310,000 Light Years From Earth.

INT. COLLEGE LECTURE HALL – MORNING

Standing before a class of rapt coeds is PROFESSOR BOBBY McMILLIAN, an anachronistic individual whose unkempt beard calls to mind pot-smoking academicians of the sixties.

McMILLIANPeople, you simply cannot referto good and evil in regards tothe serial killer, and yet that’sexactly what you do when you make appeals to his or her“conscience”. To them moral judgment does not apply. To them conscience is irrelevant because, children, they are simply without one.

KATHERINE (O.S.)(calling out)

Then why have so many of themtried to hide their crimes?Surely, there’s conscienceat work there.

All heads turn toward the hall’s entrance, Katherine, with a thick file in hand, makes her way to a vacant seat where she sits with an unabashed smile on her face.

McMILLIAN Mrs. Shaw, again you are late,and again you presume toundermine my establishedcredentials.

One part of the student body finds humor in this exchange while others shift uneasily in their seats.

KATHERINEI’m sorry, Professor, it’llnever happen again. But whatdoes the psychological profile

(MORE)

43

KATHERINE (CONT’D)of serial killers have to dowith the origins of organism.

McMILLIANThat’s precisely why it’s important we show up on time,Mrs. Shaw. It saves valuabletime by not having to cover terrain that has already beentreaded. Now, if you have anymore questions please savethem until after the lecture,which should be –

McMillian consults his watch –

McMILLIANWell - would you look at that.Class dismissed. And I wouldlike to thank those of you whoarrived on time, for being on time.

SNICKERS as some students move out leaving the main body lingering long enough to witness the inevitable confrontation between Katherine and McMillian who approach one another; smile affably , then hug like two friends who truly missed each other. The disappointment of students is not missed as they gather belongings and file from lecture hall cheated out of what should have been an altercation worthy of weeks of derisive gossip.

KATHERINEI thought you’d forgotten me.

McMILLIAN(barks merrily)

You! Never! I may look senilebut I’m still as sharp as cheese.

KATHERINEIt’s good to see you’ve survivedthe Sixties.

MCMILLIANHell, that was the easy part. It was the damn Nineties

(MORE)

44

MCMILLIAN (CONT’D)that had me spooked.

(reflecting)Man, what I wouldn’t give for some good smoke right about now.

KATHERINEI gave that up twenty years ago.

McMILLIAN(conspiratorially)

The Man?

KATHERINEMy man.

McMILLIANAlways the sensible one. As I recall that’s the reason wewe went splitsville.

KATHERINENo. You went to Woodstock and I went to college.

McMILLIANAh, but I caught up.

KATHERINEAcademically.

McMILLIANTouché, mon cherie.

KATHERINEI didn’t come here to offend you.

McMILLIANDon’t let it bother you. Whenyou’re right, your right. So,other than marring my ego, whatelse brings you to these parts.

KATHERINEThis.

She hands him the file.

45

McMILLIANWhat’s this?

KATHERINELook for yourself.

McMILLIANShould I be interested?

KATHERINEIt was emailed to me during atotal blackout.

McMillian fans through the pages stopping at intervals and looking up at Katherine with each glance.

McMILLIANI hear they’re growing somegood shit these days.

KATHERINEStay focused, Bobby.

McMILLIANI could say the same to you.

KATHERINEI know how it sounds, but I’m the sensible one, remember? I’ve check witha dozen people and each of them have assured me thereis no way in hell you should

be holding that because therewas no power at the time itwas sent.

McMILLIANWell, if your not high, maybe you should be talking to Mulder and Scully.

KATHERINEMaybe you’re not taking me seriously.

McMILLIANWould you?

46

KATHERINEI wouldn’t be here if I didn’tthink you could help.

After studying her face -

McMILLIANWhat did you have in mind?

EXT. UNITED STATES POLAR EXPEDITION CAMP – NIGHT

PRINTED ON SCREEN: United States Polar Exploration Station, McMurdo.

Through the Arctic’s raging Blizzard ANXIOUS SHOUTS are lost to the wind as barley discernable forms, snug within anoraks, struggle with a cumbersome load near the compound’s largest building. The door is thrown open, spilling light across snowy ground, the group with its load rush inside.

INT. ARTIC RESEARCH LAB

Doors BURST OPEN ahead of an agitated BIOLOGIST leading the way to the examining table as five figures in snow encrusted anoraks struggle with a large mass of white fur.

BIOLOGIST Easy, now…

The five figures: MANNY, RICHARD, SHARON, MAN 1 and MAN 2 heave the mass onto the table offering a view of a polar bear so malnourished it seems impossible its matted tangle of fur still finds purchase.

As the team remove face coverings the Biologist presses lightly on the bears torso checking several areas before moving to its glazed eyes.

MAN 1Is it like the others?

BIOLOGISTThis one’s been dead longer.

MAN 1Why the hell aren’t they eating?

BIOLOGIST

47

Do I need to open this one up,too?

MAN 2I don’t see how we can avoid it.

BIOLOGISTHow about I don’t, and we sayI did.

MAN 2How about you do, and we watch.

BIOLOGISTYou know as well as I do thisbear ate her own offspring, just like the others. I don’tneed to see that again.

SHARONWe can’t assume that.

BIOLOGISTThe hell we can’t.

MANNYI’m siding with the doc on this one. Nine dead from obvious starvation, eight of which resorted to cannibalism. I’d say the chances of this one eating its cubs are justas good.

MAN 2I’m not so sure cannibalism was an adverse reaction. Atleast not here.

SHARONYou want to run that by me again?

MAN 2Think about it a minute. If something goes wrong with the

(MORE)MAN 2 (CONT’D)

48

food chain and there’s justno getting around dying fromstarvation. What’d you do?...If I were an animal I’dprobably consume one cub ata time. Maybe to muster thestrength to hunt. maybe to ease the pain of the weakest. Instinctively I would do it because infanticide would bea natural reaction to whateveraction is upsetting the balance.

The group contemplates.

SHARONOkay, it’s obvious how they’re dying. Now, whatabout the why?

BIOLOGISTDon’t you numbskulls ever pay attention? The why has already been pointed out.

MANNYNot to me.

MAN 1I never claimed to be allthat observant.

BIOLOGISTLook at it this way. Whatwould happen to the rest ofus if you both suddenly diedfrom, say, heart attacks?

MAN1At the same time?

BIOLOGIST(sarcastically)

Sure. Why not?

MAN 1Well, since the rest of you clowns wouldn’t know a pot

(MORE)MAN 1 (CONT’D)

49

of chum from a pot of stew,you’d starve to death in pretty short order, I’d say.

BIOLOGISTWhich means we depend on youfor our sustenance.

MANNYYou could probably wing it until rations ran out. Butif those generators go -

BIOLOGISTYou, my friend, would be missed most of all.

MAN 2Are you telling me whatever’sgoing on out there, it’sbecause something’s dead?

BIOLOGISTThat’s one way of putting it.

RICHARDBullshit. Those bears caught something and it’s your responsibility to find out what.

RICHARDDon’t tell me you really believe the Arctic’s ecosystemis falling apart.

BIOLOGISTBelieve what you damn well please, but the problem’snot in this bear, it’s outthere.

RICHARD

What proof do we have? Whatproof do you have?

BIOLOGIST

50

A MA from Stanford. Several degrees from Harvard. A PhD from Cornell, and enough grant money to keep me in JackDaniels long after the nextthree Administrations have long gone.

RICHARDCute.

SHARONStay cool you two. Doc, where’s the best placeto start?

BIOLOGISTThe ocean, of course.

RICHARDI repeat, there’s nothinggoing on down there.

The doors BURST OPEN and a SIXTH MAN in snow covered parka rushes in cradling a seal in his arms. Like the bear, the seal, too, is nothing more than an emaciated carcass.

SIXTH MANThey’re all dying, man! All of them!

The group gathers around the Sixth Man who hands the limp seal over to Manny who in turn hands it right back.

SHARONWhere?

SIXTH MANOutpost two.

SHARONHow many?

SIXTH MANBy now… Every last one of them.

SPACE

51

The ADVANCING asteroids RESOUND across a field of gaseous space riddled with a sea of clustered stars. PRINTED ON SCREEN: Large Magellanic Cloud.

INT. HELICOPTER – AFTERNOON

PRINTED ON SCREEN: Off The Florida Coast.

Strapped in the passenger seat above the Atlantic, Nigel’s attention is on the ocean’s surface.

NIGEL’S POV

Across the surface a brownish-red stain stretching four square miles drifts unhindered as Coast Guard vessels keep a respectable distance.

PILOTThat’s the biggest one I’ve seen yet.

NIGELI see why they call it a red tide.

PILOTYep, and she could verywell be the cause of allthe marine life washingup around here.

NIGELADAMWhy is the Coast Guard keeping their distance.

PILOTFor the time being there’sa hands off policy effect.They’re here only to observe.

NIGELExcept for the color, there’smuch to observe.

PILOTUsually when plankton fromLike this it’s more of a

nuisance than anything else. Most of the time you get a

52

(MORE)PILOT (CONT’D)

lot of dead fish because thetide has a nasty habit of using up all the oxygen in the surrounding water. Butwhen you have paralyzedfish washing up all over theplace, the plankton is most likely Dinoflagellata. Andthis tide happens to be avery toxic form of it.

NIGELWhat makes it populate likethat?

PILOTAdd that to your list of God’s-Little-Mysteries.

INT. UNITED STATES POLAR EXPLORATION CAMP (LAB)

Alone in the lab Richard is bent over a microscope. Wearily he looks away to rub vigorously at tired eyes before returning to the task at hand. Adjusting the scope’s magnification he grows increasingly alarmed. He adjusts the viewer one final time. Panic overtakes him -

RICHARD(shouting)

We’ve got a problem!!!

SPACE

The six asteroids THUNDER across space on a trajectory towards a group of planets with one blazing sun. This is the unmistakable image of our own solar system which still lies at a great distance.

PRINT ON SCREEN DIGITAL COUNTER: rapidly counting down what amounts to: Event Minus 0336 HRS 50 MINS 19 SECS 0120 Fractions…

CLOSE ON TELEVISION

- as ANCHORWOMAN with prominent graphics depicting sweltering temperatures reports -

53

ANCHORWOMAN… a year for record breakingtemperatures. The NationalWeather Bureau has issued aHazardous Health Advisory across the board. Those wholive closest to ocean areas should ensure pets have plentyof fresh water due to extreme

levels of humidity. Also, we are being advised to keep aclose eye on our seniors and small children, especially when venturing outdoors.

INT. SHAWS’ LIVING ROOM – NIGHT

The room’s AIR CONDITIONER billows. Emerald, propped on sofa with dark crescents under each red, watery eye, pulls deeply from an asthmatic inhaler. Her sweaty brow and RASPS from LABORED BREATHING confirm the air quality is dangerously oppressive.

ON LIVING ROOM WINDOW / POTTED PLANT

What was once a deteriorating plant struggling for survival is now a flourishing bounty; lush and verdant, with leaves that obscure pot and overflow the sill.

INT. KATHERINE’S STUDY Sweaty and frustrated Tony SLAMS an open palm on the side of a malfunctioning air conditioner; fidgets with the controls, then WHACKS it again.

TONYPiece of crap!

KATHERINE (O.S.)Keep that up it’ll nevercooperate.

TONYThree hundred dollars, forwhat?!

And again, WHACK. This time the appliance gives up the ghost with a GRINDING of MOTOR followed by escaping plumes.

54

KATHERINE (O.S.)Satisfied?

Hastily, and bit irate, he snatches the plug from the outlet as the last wisps of smoke climb to the ceiling.

Tony joins Katherine and McMillian at a makeshift worktable designed to accommodate stacks of printouts and graphs. McMillian is scribbling on one of the printouts with Katherine looking on.

Finishing his notations McMillian lets the pen drop and stretches leisurely.

McMILLIANIt’s certainly repetitive.

KATHERINEWith one exception.

Katherine aligns several pages of side by side.

KATHERINEWhat do you see?

McMILLIANI see the exact same thing I’ve been seeing for the pastfour hours.

KATHERINELook again, Bobby.

McMILLIANIt might help if I had alittle something to jogthe old imagination, ifyou know what I mean.

KATHERINEI’m sure I do. But for nowI need you look again; exceptthis time, filter out the lesser of the whole.

McMILLIANHuh?

KATHERINE

55

Trust me.McMillian trains his eyes on the aligned sheets and points to each element reciting its name -

McMILLIANLet’s see. Here’s the ever-present Oxygen. And Xenon. Fluorine. Oxygen again. Carbon –

McMILLIAN’S POV

As with the original printouts the numerous elements and their corresponding atomic numbers are represented, except this time, the numbers and lettered symbols have been separated to form individual elements. McMillian’s finger traces through the list –

McMILLIAN (O.S.)Methane. Methylamine. Oxygen.And something Superman canrelate to, Krypton. Here’s Carbon again and…

McMillian’s finger pauses, backs up, then quickly glides through the list stopping repeatedly at two symbols and their atomic numbers: C6 and 080.15.9994, with each pause bringing the elements into fuller relief.

BACK TO SCENE

McMILLIANOxygen. Carbon. Oxygen. Carbon.Carbon… Carbon…

McMillian Looks to Katherine.

McMILLIANI’ll be damned.

KATHERINEThey’re the only two representedmore than the others. But Carbonis the only element representedby its number placement on the chart, but not by its atomic number.

McMILLIANSmart girl.

56

TONYThat’s why I married her.

McMILLIANYou married her because I wasa fool.

TONYIf I were a few years youngerI’d say you’re still a fool.

KATHERINEPlay nice, boys.

(pondering) Why would Oxygen and Carbon

be so prevalent? I mean, especially since Oxygen onlymakes up about twenty percentof our atmosphere and Carbonpractically one hundred percent

of everything else?

McMILLIANIf I were so inclined to playthe Devil’s Advocate I wouldimagine; theoretically, the less of something you have, the easier it’d be to get ridof.

TONYGet rid of! What? Oxygen?

McMILLIANI’m just an advocate, remember.

Both men turn to Katherine for support.

McMILLIANWell?…

Katherine’s mouth parts in reply just as the PRINTER’S STACCATO TAPPING punctuates the silence. Three heads turn in time to see the monitor’s brightness flare as its viewing field rapidly fills with nonsensical data. Tony and and McMillian are rooted to their spots transfixed by the printer’s outpouring data. Katherine slips into her chair and attempts to interrupt the monitor’s rambling sequence

57

with a series of key strokes; however, the more she types, the quicker the stream of data accelerates.

Abruptly the monitor goes blank –

- only to FLICKER back to life with one questioning word printed at its left margin: KATHERINE?

McMillian moves in closer.

McMILLIANLast time I checked that wasyour name.

After a deep breath of resolution she repiles.

INSERT – MONITOR

[COMPUTER]: Katherine?

KEYSTROKES.

[KATHERINE]: Yes.

[COMPUTER]: Who?

Pause. KEYSTROKES.

[KATHERINE]: I don’t understand.

[COMPUTER]: Else?

McMILLIAN (O.S.)Who else is with you?

[KATHERINE]: My husband and a friend. Who are you?

Pause.

McMILLIAN (O.S.)Ask again.

[KATHERINE]: Who are you?

[COMPUTER]: Also a friend.

[KATHERINE]: What do you want? [COMPUTER]: Show you.

[KATHERINE]: Show me what?

58

[COMPUTER]: An error in judgment.

BACK TO SCENE

McMILLIANA fanatic?

TONYI think you should disconnect.

KATHERINEGive me a sec.

McMILLIANYou can’t play around with this guy. He’s gotten past your security and that couldmean he’s fixated on you.

KATHERINEAll the more reason why I have to find out who it is.

TONYHow can you always be so damn rational.

KATHERINEIt’s a gift, babe. So, Please,trust me.

TONYWhat the hell.

INSERT – MONITOR

[COMPUTER]: An error in judgment.

[KATHERINE]: Whose error?

[COMPUTER]: Ours.

[KATHERINE]: Who are you?

Pause.

TONY (O.S.)He’s not going to fall forthat.

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[KATHERINE]: How are you going to show me if I don’t know who, or what, I’m looking for?

[COMPUTER]: You will see.

[KATHERINE]: How?

BACK TO SCENE

- a BLAST of RESOUNDING WIND throws the room into complete turmoil as a WHIRLING VORTEX opens a FUNNELING aperture near the ceiling that stretches, melds, and twists the study and all of its contents beyond physical limitations, much like the surreal figures and landscapes of El Greco and Salvador Dali.

Katherine, Tony and McMillian are transformed into three caricatures trapped in the gyral eye of the VORTEX amid the room’s ESCALATING GALES and dissipating dimensional boundaries:

A SERIES OF SHOTS

a) Katherine’s stretched and twisted body, still seated in a now abstract chair, melts like wax over an open flame.

b) McMillian’s pain wretched face concaves and shrivels like rapidly dehydrating fruit.

c) Tony’s lower jaw stretches to the point of SNAPPING from the hinges of his mummified face.

d) McMillian’s wizened legs buckle as SWIRLING WHIRLWINDS scoop up his rag-dolled body.

e) Katherine’s dissolving body breaks into gobbets of flesh and snatched up by the MOUNTING FORCE of the VORTEX.

f) McMillian’s powdery remains scatter in clouds of dust that are sucked up by the funnels currents.

g) With partial face and shriveling body, Tony, in a last ditch effort makes a futile leap for the FUSING window.

h) Tony’s SPLINTERING FEMUR RIPS THROUGH the CLOTH of his trousers yielding a spray of blood in configurations of surrealistic bubbles that drift pell-mell on their on current.

BACK TO SCENE

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In an area that would appease Hell’s nefarious imagination,droplets of blood rebound from rubberized surfaces as the room’s SWIRLING contents are systematically SUCKED THROUGHthe eye of the MAELSTROM.

Complete UPHEAVAL dominates until an EXPLOSION of LIQUID PITCH studded with beads of shimmering stars BACKFIRES from the churning eye of the vortex bathing this absurd landscape in the plenary silence and absolute darkness of all encompassing space.

What begins as free floating orbit suddenly erupts in SPEEDS that cover light years in fractions only to bring our unbridled journey to an abrupt stop at the threshold of the expanding universe.

Only in the peripheries can we make out the familiarity of inky, star encrusted space, while dead ahead, like an extraterrestrial projection, lies the galaxy of the two suns with its vibrant red planet PULSING and INFLATING until its VIOLENT and OVERWHELMING EXPLOSION fills the firmament with a WAVE of SEARING BRIGHTNESS –

- that rapidly recedes until all that remains is a spectacular aureole of stellar dust and debris embedded in a vast gaseous cloud. Complete calm returns only to be smashed by five mammoth rocks that CRASH THROUGH cloaks of gaseous dust, BARRELING overhead, and THUNDERING to either side, and moving on to allow silence to return to this region of space. Silence in all its totality until -

- from a dense section of the aureole a monolithic stone TEARS THROUGH, and like its predecessors, it too ROARS towards us; however, unlike its predecessors, its trajectory is truer. Mile by mile it swiftly covers the distance. Moving ever closer. And closer. And yet closer, filling vision with its pockmarked girth and ears with a SONIC BOOM as its IMPACT overtakes us.

INT. KATHERINE’S STUDY

The study and its contents SNAP BACK to normal relief.

Katherine’s materializing body drops from somewhere above to utterly SHATTER the display cabinet and its prized effects.

Laying curled on the floor amid remnants of cabinet and space commemorations she shivers uncontrollably with particles of crystallized ice clinging to every inch of her body…

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EXT. SHAW HOUSE

Tony’s plunging body SLAMS into roof -

- rolls over the edge -

- and drops unconscious to the lawn, dusted in a veneer of glimmering frost…

INT. SHAW LIVING ROOM

McMillian is hurled from the ether into the television, its picture tube IMPLODES discharging ELECTRIC CURRENTS that course through his pinned body -

- on the sofa, Emerald SCREAMS.

EXT. ARCTIC REGION – DUSK

Mountains of THAWING BERGS CRUMBLE into the sea.

INSERT – MAGNIFIED WATER SAMPLE

The sample is teeming with common microorganism and bacteria.

INT. UNITED STATES POLAR EXPEDITION CAMP (LAB)

With Sharon and Manny breathing over his shoulder, the Biologist, his eye glued to microscope, MUTTERS incoherently as Richard, anxious and distraught, paces nearby. OUTSIDE, IN THE DISTANCE, the SOUNDS of COLLAPSING GLACIAL MOUNTAINS REVERBERATES like a waking beast causing the lab to TREMBLE with each AFTERSHOCK.

BIOLOGISTWhatever I’m suppose to be looking for, I don’t see it.

RICHARDI was so use to it being thereI totally blanked it out. You can’t blame me for that.

MANNYQuit jabbering and tell us

62

what we’re missing.

RICHARDIt’s the plankton! Its gone! All of it!

BIOLOGISTI see nothing that suggestsWhat you’re talking about?

RICHARDThat sample and every sampleI’ve tested in the past twentyfour hours has yielded negativeresults for phytoplankton.

BIOLOGISTThat can’t be.

RICHARDLook, you were the one who pointed out something might be wrong with the food chain,right? So I started at the base and figured I work my way up. And what do you thinkI found?... Nothing. That’swhat. The damn base wasn’tthere!

BIOLOGISTThen what am I seeing here?

RICHARDWhat you’re seeing is zooplankton. It’s the phytoplanktonic organismsthat have disappeared. Andin case any of you areinterested, that means we’regonna have a hell of a lotmore to worry about than a couple of dead seals.

MANNYHow worse?

RICHARDLet me explain a little known

63

fact about Mother Earth theenvironmentalist never seem to get around to when lobbyingfor the preservation of ourgreat forests. The factsbeing that all the forests

in the world don’t equal a fraction of the oxygen outputplankton produces. In reality,we could literally destroy every forest at our disposaland humanity would get alongjust fine. Of course, it’ll take some time, but I guaranteeyou our lungs will adapt.

SHARONYou should try listening to yourself?

RICHARDBelieve me, I know what it sounds like.

MANNYI don’t think you do.

RICHARDListen to me, will you; our survival on this planet isdependant upon eco-balance, and at the moment, the freaking balance is shifting.

SHARONYou’re dead serious, aren’t you?

RICHARDYou’re damn right I am, andif we don’t get our headsaround this - and I do meanpretty damn quick - somethingas simple as breathing isgonna become a much soughtafter commodity.

MANNYThat’s a little extreme,

64

even for you.

RICHARDThen how is it that aftercenturies of demolishingforests we’re still livinglives to the fullest?... If we’re eradicating ourPrecious jungles at such an alarming rate, why aren’t we succumbing toasphyxiation?... Why do you suppose that is, Manny?

MANNYLook, I’m no scientist.

RICHARD(to Sharon)

Care to try?

SHARONMy knowledge of plankton stops at food.

RICHARDBecause forests are nothingmore than a backup systemto our primary source of oxygen.

BIOLOGISTPlankton… I never thought –

RICHARD(interrupting)

Then it’s time you did. I’mnot trying to insult yourintelligence, but do we reallyneed to hold class on the importance of photosynthesis.

MANNYHow can you be so sure?

RICHARDWe’ve heard the reports.

(MORE)RICHARD (CONT’D)

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Temperatures are alreadyrising. Until today I just blew it of as more fodderfor the almanacs, but I have since come to realize we may be headed for some real trouble.

SHARONI pray like hell you’re wrong.

Biologist reaches for the phone; picks up receiver; and in afterthought, searches Richard’s face.

BIOLOGISTIf I place this call you’llhave every ear in Washingtonlistening. Are you ready forthat?

SHARONI say, wait. Let’s give it day.

BIOLOGISTConvince me not to makethis call.

SHARONJust one more day, Richard.I really don’t relish having my livelihood placed on the line.

RICHARD(to Manny)

What’s your take.

MANNYIt’s your call.

RICHARD(to Biologist)

Start dialing.

EXT. HOSPITAL EMERGENCY ENTRANCE – NIGHT

DISCOMPOSED ACTIVITY is at full throttle. Hospital staff receive an influx of medical and civilian vehicles as

66

relatives and friends with VOICES RAISED close to HYSTERIA, compete with the equally ELEVATED VOICES of attending PHYSICIANS and WAILING SIRENS.

Another SIREN SCREAMS to a WOBBLE. An ambulance SCREECHES to a dead stop.

Two PARAMEDICS bolt from the cab racing for the back doors. No sooner do they get the doors open that Katherine, sweaty and disheveled, leaps from the van. Together both paramedics grab hold of the occupied stretcher and lower it to the ground. With Katherine at their side the trio wound their way toward the emergency room doors.

Stopping short of the hospital’s congested entrance the paramedics confer with a harried DOCTOR.

With soft eyes turned on the stretcher’s unconscious body, Katherine’s tears pour freely.

KATHERINE’S POV

With face obscured by oxygen mask and the rest the pallor of death, Emerald STRUGGLES FOR EVERY BREATH.

A tear tumbles to dock gently on the life sustaining mask.

DOCTOR (O.S.)Doctor Shaw?

BACK TO SCENE

The night’s sweltering temperature has Doctor dabbing atdamp brow with an already saturated cloth.

KATHERINEYes.

DOCTORI have to be honest withyou. We’re running well beyond legal capacity, and all I can promise, is we’llcontinue to monitor her condition as best we can.But because of her ageshe’ll be considered low

(MORE)DOCTOR (CONT’D)

priority. Small children

67

and the elderly are at thetop and everybody elsewill simply have to bear with us. I hope you canappreciate the position we’re in.

KATHERINEShe’s asthmatic.

DOCTORI understand that, but I also need you to understandthere’s no one available that can be assigned to herpersonally.

KATHERINEPlease don’t leave her likethat.

DOCTORIf her condition worsens Iassure you she’ll be givenimmediate attention. Sodon’t worry, she’s in verycapable hands. I understand your husband’s in intensivecare.

KATHERINEYes.

DOCTORHe’s not one of mine. Mindtelling me what happened?

KATHERINEHe fell off a roof.

DOCTORI see. Sounds to me like maybe you should pay him a visit. I know it’s afterhours, but I think I couldmanage to get you at least half an hour.

KATHERINEI’d appreciate that.

68

DOCTORThen it’s agreed.

Doctor raises a hand catching the paramedics’ attention.

DOCTOR(to paramedics)

Stay with the girl until I get back.

PARAMEDICSNo problem, doc.

DOCTORDoctor Shaw, if you’ll followme.

INT. INTENSIVE CARE CORRIDOR

Katherine and Doctor circumnavigate RAUCOUS ACTIVITY centered on attending staff administering aid to stretchered patients in varied states of misery.

DOCTORHere we are.

At the doors leading into the Intensive Care Unit (ICU).

KATHERINEThank you.

DOCTORNo problem. Now, if you’llplease excuse me there’sa young lady downstairsin need of my attention.

Doctor hurries off. Katherine pushes through the IC doors –

- into a ward crammed with beds, cots, litters, and SUBDUED GROANS. She easily locates Tony’s bed with its overhead collection of ropes and pulleys supporting the cast on his elevated leg.

With earphones on Tony’s eyes are closed, his mouth moving silently in song. Katherine places a gentle hand on his shoulder.His eyes flutter open with a lassitude indicative of pharmaceutical relief. She removes his earphones.

69

KATHERINEHi, there.

TONYYou look like I feel.

KATHERINEDo you feel like hell?

TONYIt wouldn’t be so bad if it wasn’t for all this damn heat.

Silence. Tony searches her face.

TONYKathy, it’s after visitinghours.

KATHERINEI know.

Silence.

TONYHe didn’t make it, didhe?

KATHERINENo.

TONYI’m sorry. I know he meanta lot to you.

KATHERINEHis family is flying him back to Michigan.

TONYWhat about the police?

KATHERINENobody’s blaming us for His accident.

Pause. Tony reaches for her hand.

70

TONYWhy are you really here?

KATHERINEEmerald is…

What little equanimity she holds onto openly crumbles under the weight of anguish as she collapses in his arms.

KATHERINEOh, God, Tony, we’re going to lose her!

TONYIs she here?

KATHERINEYes.

TONYAsthma.

KATHERINEI think so. But it’s never been this bad.

TONYI have to see her.

KATHERINETony, you can’t.

TONYThe hell I can’t.

KATHERINEYou’ve been here a over aweek. You don’t know howbad things have gotten.

TONYI don’t want to see things. I want to see my daughter.

Straightening up to look him square in the eyes, she leans in closer.

KATHERINENobody’s come right out and

71

said it, but they’re lettingpeople die.

Pause.

TONYI wouldn’t be saying that too loud.

KATHERINEIt’s the truth… Something’swrong with the planet.

TONYJeezus, Kath, tell meyou’re not losing it.

KATHERINEI don’t know what happenedto us, but I do know it was a message, and I want

to know what it means.That’s why I have to go back.

TONYBack where?

KATHERINEWould you believe me if I told you, the edge ofthe universe?

Pause.

KATHERINEI know how it sounds, but every part of me is tellingme it’s true.

TONYI have one good leg. Youmay not want to pull itso hard.

KATHERINEThis is me being serious.

TONYOkay, then what about that

72

planet?

KATHERINEThe one that exploded?

TONYThat’d be the one.

KATHERINEI’ve been thinking the reasonI didn’t recognize it isbecause it wasn’t a partof the universe yet.

TONYYet?

KATHERINEThis is going to sound crazierthan anything I’ve already said, but I think it was partof a planetary system underconstruction.

TONYI swear I just heard youuse planets and underconstruction in the samesentence.

KATHERINEWhat if that whole area wasjust sitting there waitingfor our universe to sweepit up.

TONYAnd this is the part whereyou convince me aliens do exist.

KATHERINEIf that’s what you want tocall them.

TONYWhat’d you call ‘em?

KATHERINEI don’t. But I do know that

73

theories based on creationand evolution will now have

to reflect an added element.

TONYThat aliens do exist andthey’re alive and wellbuilding planets andcrap?

KATHERINEYes. And they’re not asevolved as we tend tothink.

TONYI beg to differ.

KATHERINEI say it because we witnessedan accident. That’s what they’re trying to tell us.

TONYAn error in judgment.

KATHERINEExactly.

Pondering she frowns deeply.

TONYWhat is it?

KATHERINETony, why would it matter tous what takes place billionsof trillions of light yearsaway?

TONYIt wouldn’t matter to me.

KATHERINEAnd why contact me? Why notNASA or Roscosmos for thatmatter.

TONYCould be you know a little

74

something about evolution.

KATHERINEI know a lot about evolutionbut whatever’s beyond ouruniverse is science fictionto me.

TONYWhat about the rocks?

She contemplates…

KATHERINEOh, my god… If we were facingoutward that means they’recoming straight at us.

TONYYou said billions oftrillions of lightyears.

KATHERINEBut I don’t know when ithappened; or how fast they’re coming.

She plants a kiss on his lips.

KATHERINEI have to go, it’s reallyimportant.

TONYWhen are you coming back?

KATHERINEI just need to find out something.

TONYYou didn’t answer my question.

KATHERINESoon, I promise.

She picks up the headphones -

75

TONYI’ll hold you to that.

KATHERINEThat’s why I love you.

- and places them over his ears.

TONYLove you, too.

She heads for the door.

EXT. THE WHITE HOUSE – AFTERNOON

INT. OVAL OFFICE

Sharon, Richard and Biologist are seated before the President. The Presidential ADVISOR stands nearby.

PRESIDENTAnd you can prove this?

RICHARDEvery word.

PRESIDENTThe problem I’m having withthis is based on your reasonfor why the planet is heatingup. I’m sure you’ll afford meopportunity to seek a secondopinion.

BIOLOGISTFair enough. Sharon.

SHARONAll tests were repeated extensively and returned the same yield each time.I’ll vouch for the validityall results.

PRESIDENTBut this business of planktondepletion –

RICHARD(interjecting)

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Phytoplankton.

PRESIDENTPhytoplankton –

RICHARDAnd it’s not depleting it’sdepleted as in missing asin gone. Hell, overthrown for all we know, the point being: it’s not there.

PHONE RINGS. President snatches up receiver and listens followed by –

PRESIDENTSend him in.

SHARONMr. President, I know –

President holds up a silencing hand as Nigel ENTERS.

PRESIDENTGood to see you, boy.

Nigel acknowledges the Advisor before sitting.

PRESIDENTThis is Special Agent Nigel.He heads our Department ofSensitive Intelligence.

BIOLOGISTNever heard of it.

PRESIDENTOutside of this room, you never will.

SHARONWhy is he here?

PRESIDENTBecause his opinion is the only one I value at timeslike these. Now, would you please indulge us and

(MORE)PRESIDENT (CONT’D)

explain, once again, what

77

it is you think you’ve discovered.

RICHARD(exasperated)

I don’t know what Sensitive Intelligence has to do with

the planet’s biosphere, but the more time I waste repeating myself to everysuit that walks through the

door, the shorter our windowof opportunity becomes. Provided we still have an opportunity. Now, what thehell are we going to do aboutit?

NIGELDoes this have anythingto do with plankton?

Sharon, Richard and Biologist are stunned.

RICHARDHow do you know?

Nigel ignores this and turns attention to the President.

NIGELOff the coast of Floridais something they’recalling a red tide. Dino-something-or-a-

RICHARDDinoflagellate.

PRESIDENTDinoflagellate?

NIGELA form of phytoplankton.

PRESIDENT(pause)

I see…

NIGELI believe you should give

78

serious consideration toeverything they’re telling you. Something is going on, and whatever it is, itsgoing on at the bottom of the Pacific.

PRESIDENTThat’s an issue you and I will discuss at a later time, Agent Nigel.

(to scientists)How much time do you needto gather your data?

RICHARDA few hours.

PRESIDENTGood. Before I even think about bringing this beforethe Joint Chiefs I’ll need

collaborating evidence, andI do mean hard evidence.

BIOLOGISTWhat about addressing the Nation?

PRESIDENTOne step at a time.

RICHARDWe can’t afford to waitmuch longer.

PRESIDENTWe’ll have you back here in two days. That’ll giveus plenty of time to determine the severity –

RICHARDWith all due respect couldyou knock off the politicalcrap and look outside yourdamn window! People are

(MORE)RICHARD (CONT’D)

dying right now. All the

79

evidence you need is herein this very room and I’lleven volunteer my own head if that’s what it’ll take to get you moving on this thing.

PRESIDENTDo you know what you’reasking me to do? You’reasking me to do somethingthat will undoubtedly draw the attention of Home Land Security and Irefuse to put myself in that kind of predicamentbecause you say I should.Now bring me some solid evidence and I’ll gladlyput myself in any kind of predicament you deemnecessary. You followingwhat I’m saying?

Richard sits back in resignation.

BIOLOGISTSo, that’s it?

PRESIDENTThere’s not much more wecan do at this point. I’llsee you here in two days.

Nigel and the scientists head for the door.

PRESIDENTOne moment, Nigel.

Scientists EXIT.

NIGELSir?

PRESIDENTWhat do you make of them?

NIGELThey believe what they’re

80

saying.

PRESIDENTAnd I tend to agree. Butwhat I really want toknow is, can we count on them to keep quiet aboutit.

NIGELWhy should they?

PRESIDENTAt least until we figure out a way to deal withthe subsequent outcome.

NIGELIf what they’re sayingis true, no matter howlong you delay, it’s oneof those things we’rejust not prepared tohandle.

PRESIDENTI’m banking on them being wrong.

NIGELThen you’re banking at the wrong branch.

Silence. Nigel EXITS. The President turns to his Advisor.

EXT. PACIFIC COAST HIGHWAY – NIGHT

A lone car SPEEDS by.

INT. CAR

Her brow and hair damp by moisture, Katherine, with determined eyes locked on the road reaches for the air conditioner and CRANKS UP THE POWER.

FLASHBACK

INSERT – KATHERINE’S COMPUTER MONITOR[COMPUTER]: Welcome back, Katherine.

81

Katherine TYPES.

[KATHERINE]: Will you answer one question?

[COMPUTER]: Of course.

[KATHERINE]: How bad is it going to get?

[COMPUTER]: The beginning.

[KATHERINE]: The beginning?

[COMPUTER]: Yes.

[KATHERINE]: The beginning of what?

[COMPUTER]: Life.

Pause.

[KATHERINE]: WHAT HAVE YOU DONE?

[COMPUTER]: We erred.

[KATHERINE]: THEN HELP US.

[COMPUTER]: We are.

[KATHERINE]: How?

[COMPUTER]: Come. Let us show you.

Pause.

[KATHERINE]: Where?…

END FLASHBACK

EXT. BEACH COVE – NIGHT

With full moon high above the horizon nestled in a clear, shimmery sky, POWERFUL WAVES hammer the seascapes’ jutting rocks as Katherine’s car pulls up close to the deserted beach. Cutting the engine she exits the car and heads straight for the POUNDING SURF.

Standing close to the lapping waterline her eyes scan the ocean’s vast surface in expectation of the unknown.ON WATERLINE

82

Where ocean melds with beach a sinuous sheet of black shadow slips from below the surface.

BACK TO SCENE

With eyes searching turbulent waters Katherine is unaware of the deep shadow spreading across the sand like a predatory stingray stirring sandy sediment.

ON SHADOW

- as it slithers across sand reaching for her feet.

Startled she looks down.

KATHERINE’S POV

With her legs held fast in its grip the shade slips easily above her knees.

BACK TO SCENE

As the stealth intruder slinks higher she attempts to scream; but in the flash of an instant, her entire body is encapsulated in a veiny membrane as the apparition instantly adheres to every inch of her like a sheath of airtight Saran Wrap.

With Katherine rooted and completely immobile the membrane’s METAMORPHOSIS is rapid: clouding with cataractic fluid that conceals her within a PULSING embryonic cocoon.

The cocoon TOPPLES. Rolls toward the LAPPING SURF and rides the current for some distance before sinking below the surface.

FADE TO BLACK

A THUD, HEAVY and MOIST.

A BURST of SPOTLIGHT and like an enormous maggot caught in its circular beam, the SQUELCHY cocoon WRITHES in a puddle of water on a gun-metallic floor.

The gelatinous shell UNDULATES intermittently until finally SPLITTING allowing Katherine’s HUNGRY LUNGS to GULP for air as hysterical hands bat away the adipose cleaving to face and hair.

ASIAN MALE(O.S.)You’re going to hurt yourself.

83

Her panic escalates. With sheer determination she fights with her all until freeing herself from the lifeless fascia.

AFRICAN FEMALE (O.S.)Lights, please.

At the sound of this second voice Katherine’s struggle lessens. Her eyes try to pierce the darkness beyond the spotlight’s circumference.

The spotlight is abruptly extinguished -

ON BLACK SCREEN

A DISTANT HUM. A POWERFUL SURGE from MASSIVE GENERATORS –

- and the receiving chamber is fully illuminated. A dark gray chamber with no distinctive characteristics. A perfectly symmetrical octagon illuminated by exaggerated lighting.

Four human beings look upon Katherine’s entangled body. All doctors: NADEL (African female), TAKAHASHI (Asian male), LUNDQVIST (Swedish female), and ABENDROTH (German male).

Abendroth and Nadel help Katherine to her feet. Takahashi offers a towel.

TAKAHASHII’ll never get use to that.

His smile is broad as Katherine accepts the towel and wipes at the cohering goo.

KATHERINE(to Takahashi)

I know you.

TAKAHASHII know you, too, Doctor Shaw. First name Katherine. Recognized as thee leading authority on Anthropology.Published Your first articleIn American Scientific

(MORE)TAKAHASHI (CONT’D)

Journal as a freshman. A well respected humanitarian,

84

and an all around champion of Mother Earth. Now, you try.

KATHERINEDoctor Kimoto Takahashi, PhD. Tenured at Harvard-Smithsonian’s Center forAstrophysics. Leadingfigure in Astrodynamics;

but considered by most to be some sort of CelestialClown. Does that about cover it?

TAKAHASHIJealousy. Pure and simple.

KATHERINE(to Lundqvist)

Doctor Lundqvist?

LUNDQVISTDoctor Shaw.

KATHERINEDoctor Nadel.

NADELWelcome, Doctor Shaw.

KATHERINE(to Abendroth)

I have no ideal who you are.

NADELNeither did we.

ABENDROTHAbendroth’s the name.

NADELA psychiatrist.

KATHERINEI thought I was beginning

(MORE)KATHERINE (CONT’D)

to understand why we’re here.

85

LUNDQVISTShe was thinking each of Us exemplifies a branch of true science.

TAKAHASHISo, what’s wrong with this picture, huh?

KATHERINEI didn’t mean to offend anyone.

ABENDROTHYou’re referring to me, and I assure you, DoctorShaw, none was taken.

KATHERINEThen why are you here?

ABENDROTHI was invited. Same as you.

TAKAHASHIThey invited him to keep tabs on us. It turns outwe all have two things incommon.

KATHERINEWhat things?

TAKAHASHIThing number one: We have all surpassed expectationsin our chosen fields. Andthing number two: which bythe way, I personally believe to be the mostimportant of the two, each one of us is capable of exacting enormous influence.

KATHERINEOn whom?

86

TAKAHASHITAKAHASHI

Our respective governments, of course.

LUNDQVISTCollectively we represent the four corners of the globe.

Katherine’s eyes shift to each staid face.

KATHERINEWhat the hell is going on?

ABENDROTHPerhaps we should start with the reason for yourbeing here, Doctor Shaw.

KATHERINESuddenly I’m not so sureI want to be here.

TAKAHASHIAwe, come on. It’ll be a gas.

Again her eyes scrutinize their earnest faces.

KATHERINEOkay… Lead the way.

INT. ALIEN SPACECRAFT (TUNNEL)

Like the receiving chamber, the tunnel is gunmetal with small halogen lights spaced evenly down its extraordinary length of odd and foreboding dimensions. The group dwarfed by its measurements traverse in silence.

Approaching an illuminated keypad with esoteric chirography the rest of the group continues on as Katherine stops; studies it, then extends an inquisitive finger.

ON KATHERINE’S HAND

NADEL (O.S.)Doctor, Shaw!

BACK TO SCENE

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NADELThat’s not a very good ideal.

KATHERINEWhat’s behind there?

Nadel looks to Abendroth who weighs his decision.

ABENDROTHI trust her sensibilities.

Reluctantly Nadel steps back, and in a not so comedic gesture, the rest of the group follow suit.

Katherine presses her palm firmly against the keypad. A FAINT MECHANICAL WHIRL follows as a seamless stretch of wall, directly in front of her, starts to lower.

A WHISTLING BREEZE flutters her hair. Her hands fly to her mouth and nose warding off the breeze’s repugnant stench as the wall easily withdraws into a slit in the flooring.

Her eyes streaming with tears as COUGHING SPASMS overtake her. Blindly backing away from the opening she is steadied by Lundqvist who is shielding her own face with a free hand.

Abendroth offers her a handkerchief.

ABENDROTHI should have warned you about the methane.

KATHERINE(quivering)

My god! What is that!?

ABENDROTHSee for yourself.

Katherine hesitates.

LUNDQVISTIt’s okay. Nothing in therecan hurt you.

ABENDROTHBut brace yourself just the same.

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After wiping at damp eyes purpose guides her back to the opening where WIND echoing through a vast canyon becomes increasingly clearer.

KATHERINE’S POV

Beyond the opening is a shadowed canyon of incomprehensible enormity. A massive chamber with flooring that drops for hundreds of feet. At the threshold of this indistinct chamber Katherine’s approach halts but her eyes continue searching the darkness until they veer down… and down… and down until touching upon a cesspool of putrefying fish and flesh immersed in a sebaceous residuum of jellyfish, sea snails and urchins:

A SERIES OF SHOTS

a) The rotting bulk of a blue whale entangled in the putrid tentacles of a giant squid

b) The decomposing remnants of a great white stewing in an oily soup of flounder, grouper, salmon and walrus

c) Rancid eel

d) Fetid marlin and catfish

BACK TO SCENE

Katherine’s eyes roll back exposing their whites as her knees buckle.

ABENDROTHCatch her!

Abendroth and Takahshi grab hold of her collapsing body a split second before it plummets over the edge.

Lundqvist SLAMS a palm against the keypad ACTIVATING the hidden wall to conceal the abominable refuse.Propelling Katherine against the opposite wall, Abendroth quickly cracks open an ammonia ampoule and passes it under her nose. Katherine instantly snaps awake startled and unsure of her surroundings.

ABENDROTHHow do you feel?

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KATHERINE(shaking off the fog)

Please tell me I’m dreaming.

TAKAHASHIOkie-dokie, your dreaming.

ABENDROTHPlease, Doctor Takahashi.

(to Katherine)I’m afraid you are not dreaming, Doctor Shaw.

Katherine attempts to stand but stumbles into Nadel’s steadying arms.

Her eyes fall on the concealed doorway. She takes a step towards it, catches herself, and stops.

KATHERINEIt’s a garbage disposal, isn’t it?

ABENDROTHActually, it is a silo.

She looks him square in the eyes.

KATHERINEFood?

TAKAHASHI(beaming)

Sea food!

KATHERINEFor who… For what?

LUNDQVISTThe future.

ABENDROTHIf we could continue, I’m sure all of Doctor Shaw’squestions will be laid torest. Doctor Lundqvist, if

you wouldn’t mind.LUNDQVIST

Not at all.

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With Lundqvist leading, the scientists continue through the tunnel.

EXT. UNITED STATES POLAR EXPLORATION CAMP – NIGHT

A steady snow fall tattoos the landscape as a military helicopter waits near the Research Lab with ROTOR BLADES slicing the chilled air.

INT. LAB

Excited activity as Manny, Richard, Biologist and Sharon race through the lab packing everything transportable.

MANNYI would like to be airborne before the next millennium,people.

At the door the Advisor sticks his head in.

ADVISORWind’s picking up. How much longer?

BIOLOGISTGive us ten minutes.

ADVISORMake it five.

EXT. RESEARCH LAB

The Advisor pulls the hood of his parka over his head and works his way through snow flurries to a stack of snow covered oil drums with the words: PETROLEUM, HIGHLY FLAMMABLE stenciled on each one.

Removing a small black box from the inside of his parka and magnetically attaching it to one of the barrels, Advisor throws a toggle switch activating the box’s red warning beacon.

INT. POLAR EXPLORATION CAMP (KITCHEN)

Nigel looks on amused as Man 1 and Man 2 stuff one item after the next in a single duffle bag already crammed with the unnecessary. Man 2, who sports an assortment of culinary utensils strapped to his back, continues scanning the kitchen in search of forgotten gems.

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EXT. POLAR EXPLORATION CAMP (KITCHEN)

Through the window Man 1 and Man 2 bustle about inside. Under the window the Advisor affixes a second box and flips its toggle switch. As he walks away another red beacon winks in the surrounding darkness very close to a group of propane tanks.

INT. POLAR EXPLORATION CAMP (KITCHEN)

The Advisor ENTERS.

ADVISORHow’s it –

He’s cut short by the sight of Man 2 with his culinary armor and arm load of pans and skillets.

ADVISORIs all that necessary?

MAN 2I can’t leave my babies behind, man. They don’tmake this kind of crapanymore.

ADVISORI See. Let me give you a hand then.

Advisor plucks a frying skillet from Man 2’s laded arms.

ADVISORTurn around. Let’s see if we have some room back there.

MAN 2Thanks a lot, pal.

Furtively slipping one of the black boxes from a pocket the Advisor attaches it firmly to the skillet’s frying surface; flips the toggle, then wedges the skillet firmly into the stockpile of utensils strapped to the man’s back.

ADVISORHow’s that?

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MAN 2Great. Thanks.

ADVISORNo problem at all.

(to Nigel)May I have a word with you?

NIGELGo Ahead.

ADVISORAlone, please.

Shrugging, Nigel EXITS the kitchen with the Advisor close on his heels.

MAN 1We’ll be right out.

ADVISORTake all the time you need.

EXT. POLAR EXPLORATION CAMP

Exiting the building Advisor takes hold of Nigel’s arm and quickly guides him to the waiting helicopter.

ADVISORGet in.

ADAMWhat about-

ADVISOR(interjecting menacingly)

I said, get in.

Nigel weighs the circumstances then ducks under the rotors.

ADAMYou’re the boss.

Both men climb aboard with the Advisor instructing the pilot to lift off.Manny, Richard, Sharon and Biologist rush from the Research Lab just in time to see the helicopter take off.

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SHARONHey!!!

RICHARDWhat the hell are you doing!?

ADVISOR(shouting overthe wind)

Please accept my apologies for your unfortunateaccident!

BIOLOGISTWhat accident!?

Advisor brandishes detonator, flips one of three toggles that illuminates one of three green lights.

The MASSIVE EXPLOSION that erupts brightens the dusky fabric of the Artic with SUCCESSIVE FIREBALLS that claw at the sky, climbing and spreading until fully DISINTEGRATING the Research lab with its four unsuspecting environmentalist.

Through a hail of snow and debris, Man 1 and Man 2 charge from the kitchen CLANGING with culinary chattel.

The helicopter SWERVES overhead. Both pairs of eyes follow its passage –

- Man 2 EXPLODES fractions before propane tanks MUSHROOM in CONSECUTIVE COMBUSTIONS that effectively eliminate all remains of the United States Polar Exploration Camp…

INT. HELICOPTER

- as Nigel looks on the Advisor’s unperturbed visage.

INT. SPACECRAFT

High above the ship’s flooring on a narrow stretch of catwalk that emphasizes the vessel’s tremendous dimensions, Katherine and the scientists walk with FOOTSTEPS BOUNDING and REBOUNDING from unseen surfaces; while far below, shafts of amber light pierce the stubborn darkness. Lights that hint of a prodigious pile of discarded wreckage and equipment: ships, planes, twisted superstructures, jumbles of components and wires, valves, gears, pipes, and cable – all heaped in a graveyard of metallic carnage.

94

CLOSE ON

Looming face of an adolescent life form. With iridescent skin stretched taunt over human shaped head and the black vacant eyes of a great white. This hybrid is curiously more akin to mankind than marine life in spite of the slit gills of a stingray working effortlessly on both sides of its neck.

Katherine and the Scientists look upon the encased hybrid who in turn looks upon them.

Finally tiring of their blatant scrutiny the hybrid casually swims off in its mammoth environment of Caribbean clear water. As it maneuvers through the tank it becomes increasingly clear this mysterious creature was conceived, in part, by following the blueprint of a human female.

Watching it slip through water is much like watching the easy grace of a trained porpoise. There is absolutely nothing menacing about this hairless organism. Even its oversized black eyes evoke a certain sadness.

Displaying a sinuous somersault the hybrid is propelled high toward the tank surface where a little more than a dozen translucent spheres, approximately thirty-six inches in diameter, ride the eddies. Each sphere is an egg. Un-hatched yet PULSING with life. All except one looking very much like huge walnut covered in patches of mangy hair. This one draws our hybrid’s attention, and much like a nurturing mother, she delicately pries loose a chunk of the woody casing to display the smooth, translucent egg inside.

In utter fascination the scientist watch as the hybrid’s delicate handling frees the egg completely.

BACK TO SCENE

- to reveal thousands of identical tanks in which a Hybrid swims among a cluster of eggs. In this colossal nursery, bathed eerily by blue waters, the nursery’s serenity is so complete that minute SOUNDS of WATER LAPPING is all that’s heard…

INT. OVAL OFFICE – LATE AFTERNOON

Looking out the window with hands clasped behind his back the President is unfazed as Nigel BURSTS through the doors with an overly apologetic SECRETARY on his heels.

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SECRETARYI’m sorry, Mister President,but he insisted.

PRESIDENTIt’s quite alright, Melissa.

She vacillates.

PRESIDENTReally, no harm done.

Easing the door shut She EXITS. The President, indifferent to Nigel’s presence, remains focused on the outside world.

NIGELThose people trusted you.

PRESIDENTBut we couldn’t trust them, now could we?

NIGELYou had a responsibilityto hear them out.

The President turns on him.

PRESIDENTResponsibility my ass. My only responsibility is tosee to it this damn countryremains a tremendous force;and if you or anybody elsethinks differently, the lotof you can go to hell.

NIGELDon’t you want to know what the hell’s going onout there?

PRESIDENTI already know. In fact, I knew three days before they

(MORE)PRESIDENT (CONT’D)

contacted this office. Youseem to forget who I am.

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NIGELI know who you are.

PRESIDENTThen why don’t you humorme, and tell me who am I.

NIGELThe President.

PRESIDENTOf what?

NIGELThe United States.

PRESIDENTSo, in theory, that makes me the most powerful manin the world. Would youagree?

NIGELIn theory.

PRESIDENTBut in practice, I must work to keep that illusionalive. And it’s every red-blooded American’s patriotic duty to assistme in maintaining thisdeception. Anything shortof that is treason.

NIGELSo, I was sent to the Artic on a pretense.

PRESIDENTI sent you there because you’re thorough. You havea good eye for detail, andjudging by the way you barged in here, I’d say

(MORE)PRESIDENT (CONT’D)

things went according toplan.

97

The President makes his way to the wet bar.

PRESIDENTDrink?

ADAMNo. But I would like toknow what they told you.

PRESIDENTWho?

NIGELLa Jolla.

PRESIDENTThorough and perceptive.

NIGELI know people in powerdon’t deliberatelydestroy an advantage; andyou doing so tells me youalready had most of theanswers. And the only place you can get thosekind of answers from isLa Jolla.

The President pours a drink. Downs it. Pours another.

PRESIDENTThis business aboutdisappearing planktonisn’t altogether true.

NIGELThen what’s going on outthere?

PRESIDENTI said, not altogether true.It is disappearing.

Downs second drink.

PRESIDENTRight into the Marianna Trench.

98

NIGELDo they know why?

PRESIDENTNot one freaking clue.

NIGELDoes it have anythingto do with my case?

PRESIDENTI don’t know.

NIGELJust what the hell do you know?

After pouring a third drink the President makes his way back to the window.

PRESIDENT(solemnly)

I know everything I do from this moment on willbe backed by our entirearmed forces.

NIGELAre we in contact with other nations?

President sips leisurely.

NIGELChina?... Russia?...

PRESIDENTWhat about them?

NIGELHave they been apprised of our current status?

PRESIDENTNo. And they won’t be.

NIGELWhy the hell not?

99

PRESIDENTWar, Agent Nigel.

NIGELWar?

PRESIDENTUntil I’m absolutely positive this isn’t someform of aggression, I will not divulge anything that could, or would, compromisethe American way of life.It’s my obligation, and Ido take all obligations quite seriously.

NIGELYou’ve been spouting thatpatriotic bullshit so longthe red on your neck isstarting to show.

With unhurried grace the President turns to Nigel and delivers a stinging SLAP to the Agent’s face.

PRESIDENTYou insufferable little bastard. Ungrateful andpretentious just likeyour mother.

NIGELYou didn’t think so thirtyyears ago.

PRESIDENTDon’t you dare talk to melike that!

NIGELMaybe I should talk to theFirst Lady, instead. Youthink she’d get a kick outof the real story about the good old days on the campaign

trail?The President steps closer, menacingly.

100

PRESIDENTYou threatening me, boy?

Silence…

PRESIDENTDon’t make me ask you again.

Tension…

The President’s hand raises to strike. Stops. Thinks. Then LAUGHS good naturedly.

PRESIDENTStubborn, too. Just like your old man. What do you say we have us a drink?

NIGELYou drink. I have a job to do.

The President heads for the wet bar as Nigel heads for the door.

PRESIDENTSon.

Nigel pauses.

PRESIDENTThose things I said about Your mother. You know I didn’t mean anything bythem, don’t you?

NIGEL(ponders)

I use to be proud of you.

Nigel EXITS leaving the President tending his drink.

ON WHITE SCREEN

A MOUNTING RUMBLE. The SPLITTING, TEARING, RIPPING of FABRIC. The screen SHREDS into tatters of confetti as our five asteroids push through revealing -OUTER SPACE

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PRINTED ON SCREEN: The Kniper Belt. EVENT MINUS 0215 HRS: 0057 MINS: 0036 SECS: 0019 FRACTIONS and rapidly counting down –

- as our rogue asteroids PLOW THROUGH a collection of icy bodies to enter our solar system with Earth and Sun prominent in the distance. Following close behind, the cumbersome monolith THUNDERS BY.

EXT. FUNERAL HOME – EARLY MORNING

The front door opens. An elderly funeral director, dressed in the resplendent fashion of his trade, steps from the building wiping a handkerchief across his tired face. Stopping long enough to daintily fold the cloth, his hands cease their work as his eyes lock on something at his feet.

FUNERAL DIRECTOR’S POV

The wizened corpse of a woman with withered arms locked in rigor around the bundle of desiccated child is curled inches from his elegant shoes. Scorched roses lay beside the woman’s mummified head; a folded scrap of paper, pinned to the child’s clean shirt.

BACK TO SCENE

Carefully placing the handkerchief in breast pocket he stoops to retrieve the note.

INSERT – NOTE

Shaky lettering on stained page reads: Please do what you can. I have nowhere else to take them. God bless you.

BACK TO SCENE

With note clutched in hand he surveys his property to finally reveal the dead. A great many bodies decked out in their best, and not so best, laid out in various stages of rigor and decay. The DISTANT WAILING of COUNTLESS SIRENS throughout the city finally reach us.

INT. ALIEN SPACECRAFT (BIRTHING CHAMBER)

Katherine’s anger is trained on Lundqvist with the other scientists on edge.

KATHERINEAnswer me!

102

LUNDQVISTWe’re not going to survivethe impact, plan and simple.Oh, some of us will manageto hang on by sheer luck,but will definitely succumbto atmospheric poisoningin the long run.

NADEL We’re already experiencingthe first stage of oxygen depletion, and you see whatthat’s doing.

TAKAHASHIIt’s gotten worse.

NADELA lot worse.

KATHERINEWhat are they doing to us?

TAKAHASHIIt’s not intentional. It’sa catch-22.

KATHERINEWhat do you mean?

NADELWhat happened in space wasan accident.

KATHERINEI figured that much out.What I haven’t figured out is why are they here?

NADELRedemption.

KATHERINE(disbelievingly)

How the hell do you redeem (MORE)

KATHERINE (CONT’D)yourself for annihilating

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life on an entire planet?

TAKAHASHIWe’re not talking totalextinction. What you seehere is mankind intendedto exist in primal seaslong enough to evolve again.

KATHERINEI don’t believe this… Ican’t believe this.

LUNDQVISTDoctor Shaw, Earth is going to regress by some threehundred and sixty million years, and you not believingwon’t keep it from happening.

KATHERINEThat’s more than a regression.It’ll send us right back tothe heart of the Paleozoic era.

ABENDROTHThe Carboniferous periodto be exact.

KATHERINE(to self; inrevelation)

Carbon…

TAKAHASHISee what I mean aboutcatch-22.

KATHERINEWould somebody please justtell me what the hell’s going on!

NADELWe are on a spaceship andit needs fuel.

TAKAHASHIA lot of fuel.

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NADELAnd the only resource wehave in abundance that can get it back to thestars thrives in our oceans.

KATHERINE(guardedly)

Fish?…

LUNDQVISTPhytoplankton.

Katherine contemplates, weighing the implications, then –

KATHERINEOh, my dear god…

(pause)They’re suffocating us.

LUNDQVISTIt’s not intentional. Youreally need to keep thatin mind.

ABENDROTHAn unfortunate necessity.

KATHERINE(indicating tanks)

And them?

ABENDROTHOur descendants.

TAKAHASHIHistochemistry at its finest.

Nadel turns to one of the birthing tanks reverently.

NADELSay hello to the futureof mankind. Can you imagine never catchinga cold? Never having to

(MORE)NADEL (CONT’D)

worry about dying or

105

disease… I know I shouldn’tbe saying this, but I kind of envy them.

KATHERINEAre you saying they’lllive forever?

NADELI’m saying the only thingthey can catch is old age.

TAKAHASHIThanks in part to the roachgenome. Which, by the way,was my idea.

KATHERINEIs that why you’re here? Are you helping themcustomize these things?

TAKAHASHII’m here because I care. As a scientist I understandwe’re no more than blightson this planet. Only becauseI understand we just don’trespect it like God’s moresensible creatures.

LUNDQVISTIt was never written in stone we’d reign forever.At least this way we’re being given a chance totry again. And just maybe,hopefully, by then, we will have gotten our acts together.

KATHERINEBut they’re the ones who are killing us. You can’tbe that blind!

ABENDROTHAs a scientist whose life

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has been dedicated to understanding the pre-Adamic history of man, I would think you could appreciate what is tryingto be accomplished here.

KATHERINEWell, you’re wrong. What Iappreciate knowing is thatwith all of our faults westill had choices.

(to Takahashi)And I do understand that most of those choices havecaused a great deal of suffering. But I also knowthis planet and its people.We’re resilient. We havebeen overcoming our own stupidities since our first coherent grunt. And now, what all of you are so callously trying to avoidis the fact that we no longer have a choice.

LUNDQVISTNot avoiding. Accepting. And so should you.

KATHERINEI can not accept my husband and child dying becausesome interstellar yahoos fucked up!

ABENDROTHYou are losing control, Doctor Shaw.

KATHERINEThat’s because I’m the only one here with enough senseto do so.

NADELThat is unfair.

KATHERINESo is getting fried by an

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errant meteor or suffocatingfrom unnecessary asphyxia.

ABENDROTHNevertheless, it is a realityyou are going to have to convey to the people of theUnited States.

KATHERINEAnd just how do I convey To people they’re about toDie in the biggest holocaustsince the disappearance ofthe dinosaur?

ABENDROTHYou’re not making this easy.

KATHERINEYou think it’s going to be easy getting people toaccept this?

TAKAHASHIGive or take thirty minutesthose asteroids will start popping up on satellites all around the world. I’mbetting somebody will believe you.

KATHERINEI have a better ideal. Let the guilty bear the responsibility.

ABENDROTHI’m afraid that could makematters worse.

KATHERINE(acerbically)

Matters couldn’t be anyworse.

NADELIt takes three of them

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to run this ship. should something happen to just one of them they’ll be marooned.

KATHERINESo, where’s the problem?

NADELThey’re no good to us ifthey’re stranded.

Pause…KATHERINE

I want to see them.

ABENDROTHI wouldn’t advi-

KATHERINENow, If you wouldn’t mind.

ABENDROTHIf you are certain.

KATHERINEOh, I’m certain.

Abendroth starts to undergo a physical transmutation that distorts body and face into a gangly creature. Something with tubular legs, cowled head, and a knobby body prickly with antennae. Completely transformed it seems to shiver before her with a face that glistens with thick fluids dripping from improbable openings.

In sheer defiance to the creature standing before her, Katherine delivers a STINGING SLAP to the Alien’s face before collapsing to her knees in great anguish.

KATHERINEYOU’RE KILLING MY FAMILY!

ON RADAR SCREEN

ALERTING BEEPS as sweeping dial highlights five mobile images with each passing.

MALE 1 (O.S.)Cheyenne’s reporting the

109

same.

MALE 2 (O.S.)How long before we get afix on trajectory?

MALE 1 (O.S.)Approximately twenty-two minutes.

EXT./INT. HOSPITAL

Complete PANDEMONIUM as hospital staff scurry among clusters of occupied stretches. Katherine, Takahashi, and Nadel hurry down a corridor packed with the dead and dying; working their way to a bank of elevators where Katherine calls for the next car.

INT. ICU

With persistence and purpose, Katherine hurries to the ward’s only empty bed leaving Takahashi and Nadel posted at the entrance.

KATHERINE’S POV

Approaching the bare mattress her steps slow as a large blood stain covering most of it grows increasingly clearer.

BACK TO SCENE

- as she plows through Takahashi and Nadel hurrying from the ward.

INT. ICU NURSES’ STATION

A frazzled CANDY STRIPER juggles a phone conversation and stacks of medical charts as the three scientists quickly approach.

KATHERINEWhere is she?

CANDY STRIPER(into phone)

Could you hold, please.

KATHERINEWhere have they taken her?

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CANDY STRIPERWho?

KATHERINEMy daughter. Emerald Shaw.

CANDY STRIPER(into phone)

I’m sorry, but could youplease call back.

Hanging up abruptly the girl is immediately sympathetic.

CANDY STRIPERYour daughter was removed from the ward earlier thismorning.

KATHERINERemoved!?… Why?

CANDY STRIPERSh–she passed away at six- fifteen this morning.

Katherine’s knees buckle. Takahashi and Nadel rush to steady her.

TAKAHASHI(to Candy Stripper)

Where would they take her?

CANDY STRIPERTo the morgue. It’s in the basement.

TAKAHASHI(to Katherine)

Can you make it?

Katherine can only nod.

HOSPITAL BASEMENT (CORRIDOR)

Entering the corridor Katherine, Takahashi and Nadel theonly beings alive, are momentarily staggered by the profusion of shrouded gurneys. Spurred on by an overpowering sense of urgency the three begin a systematic search of

111

covered bodies; yanking sheets back, exposing faces locked in grisly death.

NADELHere’s one!

Katherine bravely joins Nadel and immediately shakes her as tears swell.

KATHERINE’S POV

The face of a dead girl is distended, diseased and speckled with ruptured blisters.

KATHERINE (O.S.)It’s not her.

BACK TO SCENE

NADELHow can you be sure?

KATHERINEIt’s not her.

The search continues with Katherine uncovering more of the dead before snatching back a sheet that causes her to freeze in mid motion. Takahashi takes notice.

TAKAHASHIYou found her.

KATHERINE’S POV

Although the lineaments are obscured by leaking pustules and swollen tissue the silver necklace with Emerald pendant around her neck is proof positive.

BACK TO SCENE

Katherine abruptly turns her back, gripped by warring anguish.

TAKAHASHIWe should be going.

Takahashi covers the girl’s face then scoops up the limp body.

TAKAHASHI

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Please, Doctor Shaw.

With a measure of self-control Katherine follows as the two doctors lead the way.

INSERT – MEDICAL CHART

A rubber stamp HITS home imprinting the word: DECEASED in center of page. At the top of the chart the name, Anthony Shaw, looms prominent.

INT. ICU

The ward is stiflingly crammed yet silent. All are dead. Including Tony Shaw whose leg remains in traction. TRANQUIL MUSIC emits from the earphones on his head. Music that’s been a comforting companion through death. Music that has left a smile touching the corners of his cracked, distended lips.

EXT. SIDE STREET – LATE EVENING

PRINTED ON SCREEN: Downtown Los Angeles

HAZMAT teams work efficiently within a cordoned area of skid row. Dressed in Level 4 bio-containment suits the sedate team seal body after body of the homeless into the anonymity of red body bags.

ON SUPINE REFRIGERATOR BOX

A BIO-MEMBER directs his helmet light into the box.

BIO-MEMBER’S POV

Helmet light illuminates the remains of one of the homeless. Male or female is interchangeable due to rancid flesh and tattered clothing on which a surfeit of maggots feast among legions of SWARMING FLIES.

BIO-MEMBER (O.S.)(calling out)

Got another one!

BACK TO SCENE

Another member of the decontamination team approaches. With two cylinders strapped to back and nozzle in hand he

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DISCHARGES a powdery stream into the box until it billows with plumes of obstinate fog.

EXT. CALIFORNIA COASTLINE – DUSK

The ocean WAVES protest below a full moon punctuating the darkening sky. Takahashi, with Emerald’s shrouded body in arms, Katherine, and Nadel rendezvous with Abendroth at the water’s edge.

KATHERINEBe good to her.

Abendroth accepts the girl’s body with ease.

ABENDROTHI give you our word.

Abendroth kneels laying the body on the sand.

Instantly his body begins a SUPERIMPOSING transference that alters between human and alien, converging and diverging with smooth transitions that find him LIQUEFYED and POOLING on the sand like blackened gel that extends LASHING, fleshy ropes -

- that cling to the girl’s body; pulling it towards itself to cover it completely in an airtight sheath that osmotically EXPELS the shroud through its membranous covering.

Mournfully Katherine watches as her daughter’s encased body rolls out to sea where it’s swallowed up by the depths…

EXT. CITY DUMP - MORNING

Mirroring gruesome images of mass extermination, Hazmat crews stand by as BULLDOZERS shove massive piles of human remains in a tremendous communal grave already replete with the dead; and with the AFFLICTED BABBLE of an ENTIRE CITY permeating the DISTANCE, no time else is the state of hopelessness more evident than at this very moment.

INT. WHITE HOUSE (OVAL OFFICE)

At his desk the President nervously fires up a cigarette as the SECRETARY OF DEFENSE (SOD) briefs him.

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SODYou could pick five randomspots and be about as preciseas anyone else at this point.

PRESIDENTFive of them.

SODActually, Sir, there are six.

COUGHING spastically the President literally demolishes the cigarette in the ashtray.

PRESIDENTSince you’ve left this little surprise for last,I suppose what you’re about to tell me next isn’t going to make myfreakin’ day any better,now, is it?

SOD It’s considerably larger than the others.

The President ponders.

PRESIDENTWell, If we can deal withfive, we sure as hell candeal with one more.

SODWe’ll, Sir, we’re notsure we can. There’s astrong probability thelarger one will come down somewhere in the South Pacific.

PRESIDENTFor a minute there I thought you were aboutto tell me it was goingto land right here ingoddamn Washington.

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SODYou’d think an ocean strike would be to ouradvantage, but it won’tbe. There’s already wordspreading that this couldbe what some are callingan annihilative event.

PRESIDENTYou got to be kidding me!

SODI wish I were.

SOD goes to the door and opens it.

SODWould you please come in.

Damp, tired and bit dingy Katherine ENTERS.

SODMister President. Doctor Shaw.

PRESIDENTDoctor Shaw.

SODAn Anthropologist. Shecontacted the Secretaryof State who in turncontacted the Departmentof Defense. We believe

You should listen to what she has to say.

PRESIDENTBy all means.

Wearily Katherine drops in a vacant chair.

KATHERINEI have it on good authoritythat in less than seven daysthe human race will be wipedfrom the planet.

116

PRESIDENTI beg your pardon.

The President’s scowl is aimed at the SOD.

SODShe’s been checked out.

Hesitation.

PRESIDENTOkay. I’m listening.

KATHERINEHow much do you know aboutwhat’s going on out there?

PRESIDENTReports seem to suggestthere may, or may not, besomething wrong with theoceans.

KATHERINE(sharply)

The oceans are fine. Youand I both know that. Pardon me when I say Iwas under the impressionyou were an intelligent man.

PRESIDENTWho the hell do you -

KATHERINE- Did you not hear me? I said, in less than sevendays that pompous horse your riding on is going

to be eradicated. So stopjerking me around and atthe very least pretend to hear me out and I won’t insult you by pretendingI foresee a happy endingbecause there isn’t one.

PRESIDENTThen why are you here.

117

KATHERINEBecause I don’t seem to have a choice.

SODThat’s not altogether true, Sir.

KATHERINEThen, if you’ll both excuseme.

Katherine stands and makes her move for the door but her path is effectively barred by the SOD.

KATHERINEWhat the hell do you call that?

SODPlease, Doctor Shaw, theasteroids.

KATHERINEThen I’m free to go?

SODI give you my word.

After a bit of scrutiny she returns to her seat.

KATHERINEMister President, are youfamiliar with what happenedIn Siberia in 1908?

PRESIDENTThere was some kind of explosion in the Tunguska region.

KATHERINEAn explosion released theenergy of thirty milliontons on TNT. Not only was the shockwave felt twentysix miles from impact, the heat literally destroyedeverything in a fifteen hundred mile radius.

118

PRESIDENTYour telling me this was caused by a meteor?

KATHERINEMeasuring ninety-eight feet in diameter, traveling at hypersonic speed.

PRESIDENTAnd we can expect the samekind of devastation?

KATHERINEI’m not finished.

PRESIDENTForgive me.

KATHERINEThere’s a hole in the groundone hundred and fifty milesin diameter by half a miledeep in Wilkes Land, Antarctica. A crater thatsize was made by a meteoriteweighing fourteen pointthirty-three billon tons, traveling at forty-four thousand miles per hour.

PRESIDENTImpressive.

KATHERINEHardly. Four thousand andfifty feet in diameter byfive hundred and seventyfive feet deep is impressive.It’s the exact measurements of a crater in Winslow,Arizona. You may find thesestats impressive, Mister President, but I find themfrightening because the one that left the Arizona holewas two point two million tons of nickel-iron.

119

PRESIDENTI’m a patient man, DoctorShaw, but I need you toget to the point. Whatthe hell is really goingon?

KATHERINEWhen that meteor hits the Pacific our atmosphere isgoing to be converted intosuperheated steam. Now, Idon’t know about you, but boiling to death kind ofhas me edge.

Pause. The President picks up the phone.

PRESIDENT(into phone)

This is the President ofthe United States, inapproximately one hourI’ll be addressing the Nation regarding ourmutual concerns. Initiatethe Emergency BroadcastSystem and standby forfurther instructions fromthis office.

(listens) No, there are no immediateplans for evacuation atthis time.

Presses a phone button.

PRESIDENTThis is the President ofthe United States. Allmilitary personnel arehereby ordered to activeduty. Any no shows withinthe next hour will beconsidered AWOL and treatedas such.

Another button.

120

PRESIDENTDefcon Two has been activate. Escort the FirstLady to the helipad andand standby for liftoff.

Another button.

PRESIDENT(into phone)

Would you please join us.

The President hangs up and rounds the desk.

PRESIDENTCongratulations, DoctorShaw, I believe you.

KATHERINESo, I’m free to go?

PRESIDENTNot exactly.

KATHERINE(indicates SOD)

He said I could.

PRESIDENTPoint taken, but this is my office and I can’t have you running aroundconvincing anyone else.

KATHERINEWhy not!?

PRESIDENTYou are familiar with letting sleeping dogs lie?

KATHERINEYou sorry sonofabitch.

PRESIDENTAmongst other things. But believe me, it’s for the best.

121

Still barring her way the SOD is suddenly overtaken by a flurry of preservation that pivots Katherine’s entire body to deliver a well placed kick that doubles him over right into her rising knee -

- his head SNAPS back with such momentum the back of it CRACKS against the door.

As the SOD drops to the floor Katherine throws open the door in a bid for freedom only to run smack into Nigel’s restraining arms.

MONTAGE

a) INSERT – TELEVISION SCREEN

Speaking in JAPANESE before hordes of reporters, Doctor Takahashi illustrates his point by referring to an animated graphic chart displaying six meteors aimed at Earth.

b) INSERT – DIFFERENT TELEVISION SCREEN

- depicting Takahashi and reporters before throngs of ogling Japanese watching through department store windows with all TVs tuned to the Asian press release. c) INSERT – ANOTHER TELEVISION SCREEN

- delineating Doctor Nadel speaking AFRICAN DIALECT to her own Nation with same meteor-Earth visual dominating the background.

d) INSERT – DIFFERENT TELEVISION SCREEN

- with meteor-Earth graphic on display Doctor Lundqvist SPEAKS to the NORDIC Nation about the imminent danger. e) INSERT – FINAL TELEVISION SCREEN

- of the American Emergency Broadcast Symbol (EBS) and its PIERCING SIGNAL.

MAN (O.S.)Somebody call the damn cable company!

f) INT. LIVING ROOM

- disheveled man in ratty recliner trains remote on TV flipping through channel after channel of the EBS and its ALERT SIGNAL.

122

g) INT. CONVALESCENT HOME

The ailing and wheelchair bound stare blankly at mounted Television broadcasting its own EBS logo and SCREECHING SIGNAL.

END MONTAGE

EXT. PARK – NOON

A SERIES OF SHOTS

- with the EBS’s SHRILL SIGNAL pouring from every available radio.

a) A transistor radio.

b) Walkman earphones as a teen snatches them from his head.

c) A Boom box.

d) EXT. BUSY FREEWAY – SAME

EBS SIGNALS DRONING from every vehicle on the road.

e) High above an American metropolis HUNDREDS OF THOUSANDS of EBS SIGNALS SCREAM uninterrupted…

END SERIES OF SHOTS

INT. WHITE HOUSE PRESS ROOM

The Presidential seal hangs mute behind a vacant podium as restless reporters wait anxiously for the President’s arrival.

EXT. WHITE HOUSE (HELIPAD) – LATE AFTERNOON

Katherine in defiant tow is pulled along by the President and Nigel who quickly approach one of two military helicopters awaiting takeoff. The President’s Advisor and a flustered FIRST LADY, clutching a Japanese spitz close to her bosom, wait under the SPINNING BLADES of the second copter.

PRESIDENT(to Nigel)

I’ll join you in a minute.

123

Nigel helps Katherine into the first copter as the Present heads for his wife and Advisor.

FIRST LADYWhat’s going on, Steven? Are we at war?

PRESIDENTI’ll explain later. Just go with John for now anddon’t you worry none.

Kissing his wife goodbye the President and Advisor help the First Lady into the helicopter.

Stepping back the President waves to his wife as her transport takes off.

ADAM(shouting)

Sir!

The President finds Nigel pointing towards the White House where a group of reporters are racing toward them.

Quickly hopping into the last helicopter the President signals for take off.

EXT. MILITARY HANGAR – NIGHT

PRINTED ON SCREEN: Fort Benning, Georgia. A full dressed battalion of over three hundred infantrymen and woman arranged in perfect rows of platoons and squads stand at full attention as a stern LIEUTENANT GENERAL (LG) makes his way down the center of the hangar to an awaiting dais.

At the podium the LG salutes and receives a unified salute by the entire battalion.

LG At ease.

Battalion snaps to parade rest.

LG People, Defcon Two is no longer an obscurity. It-is-a-fact.

MILD MURMURS fill the hangar.

124

ANONYMOUS (O.S.)(shouts)

When the hell’d that happen!?

LG(unfazed)

At approximately fourteen hundred hours the Presidentof the United States orderedthe dispatch of military troopsthroughout the UnitedStates for the soul purposeof enforcing Marshal Law. Squads will cover specificareas of the IndustrialMidwest, South Atlantic, Mid Atlantic, And New England. Any questions?

ANONYMOUS (O.S.)(shouts)

Yeah, When the hell’d that happen!?

LGIn the event of civil unrest you will providesupplemental support tolocal law enforcement.That is our only objective. Do I make myself clear?

ENTIRE BATTALIONYes, Sir!!!

LGDeparture is at oh-one-hundred hours, and we will be on time, people. Dis-missed!

SPACE

Close behind its five companions the megalith RUMBLES past with PRINTED DIGITAL COUNTER continuing its rapid countdown: EVENT MINUS 0168 Hrs: 0010 MINS: 0002 SECS: 0011 Fractions, 0010, 0009, 0008…

INT. PRESIDENTIAL HELICOPTER

125

Across from Nigel and Katherine the President calmly absorbs her smoldering glare.

KATHERINEI voted for you.

PRESIDENTYou have no idea theposition you’ve put mein.

KATHERINE(long pause)

You’re going to kill me,aren’t you?

Nigel brandishes his revolver; trains it on Katherine’shead, and COCKS the hammer.

KATHERINENo matter how far you thinkyou can go, it still won’tbe far enough.

PRESIDENTThat’s a chance I’m willingto take.

The President nods consent and the revolver DISCHARGES. Katherine SCREAMS…

EXT. CHEYENNE MOUNTAIN – EARLY EVENING

PRINT ON SCREEN: North American Air Defense

INT. SPACE COMMAND

PRINT ON SCREEN: Space Command – 1,750 ft. Beneath Colorado.

Hooded consoles spread dapple pools of light where Air Force men and women monitor individual screens.

Dominating an entire wall is the Big Board, a HD display screen, fifteen feet wide and eight feet tall, on which an azimuthal equidistant projection concentrated on Earth from space is overlaid by an additional eight by six foot window projecting a live feed transmission of six blinking triangles in the vicinity of Uranus, heading toward Earth.

126

Standing several feet away CHEYENNE CDR and his MAJOR hold counsel with eyes riveted on projection.

MAJOR…four miles across, ninety feet in diameter, and we’rein its way.

(solemnly)We can’t handle that kind of collision.

CHEYENNE CDRHow the hell did they get so close?

MAJORBasically, if you can see

something approaching atninety-two percent light speed,it’s no longer whereyou see it when you saw it.In our case, by the time we saw they were headedthis way - they were already here.

CHEYENNE CDRWhat a fuckin’ mess.

MAJORYou open to suggestions?

CHEYENNE CDRSuggestions. Innuendoes. Hell, I’ll even settle forrandom speculations. What’dyou got?

MAJOROff the record?

CHEYENNE CDRCompletely.

MAJORSince there’s no way of stopping them we shouldconsider knocking themoff course.

127

CHEYENNE CDRThat’s one hell of an imagination.

MAJORI know it’s a wild hair, butwe owe it to ourselves to atleast consider the option.

CHEYENNE CDRNot knowing what happens after deflection is the problem.

MAJORThe problem is, they’re notgoing away.

CHEYENNE CDRAgreed. But we’re dealingwith the speed of soundhere.

MAJORMultiplied by forty. That’swhat the larger one willbe coming in at, and that’swhat’s worrying me. Evenif we could safely divertit, by the time we get itin our crosshairs the damnthing’ll be here.

CHEYENNE CDRThen we meet it head on.

MAJORWith what? There isn’t a land based missile capableof reaching space in the time we need it to.

CHEYENNE CDRWho said anything aboutmissiles?

Major locks cognitive eyes with CDR.

MAJORI was under the impression

(MORE)

128

MAJOR (CONT’D)all projects of that naturewere dissolved.

CHEYENNE CDRWho said they weren’t?

MAJORShould I be hearing this?

CHEYENNE CDROff the record. Will it work?

MAJOR

Their paths’ need to stabilize before we can be certain we won’t miss.That’s a marginal windowof roughly four minutesfrom impact.

CHEYENNE CDRThere is an alternative.

MAJORWhat’s that?

CHEYENNE CDRWe do nothing at all.

INT. PRESIDENTIAL HELICOPTER

- as Nigel’s revolver FIRES. Katherine SCREAMS. The bullet SLAMS into the President’s forehead.

ON PILOT

Whipping around to find Nigel’s gun inches from his nose.

NigelKeep flying.

EXT. FEDERAL EMERGENCY MANAGEMENT AGENCY – NIGHT

INT. DATA CENTER

PRINT ON SCREEN: FEMA. In this sterile room of mainframes and supercomputers, the Data Center’s careworn personnel

129

work feverishly compiling and correlating reels and pages of data. GRIFF, head of the operation, flips through pages of printout as an anxious COMP-TECH delivers update.

COMP-TECH…half the speed of lightplus three hundred andsix million miles leaves us six days ‘til impact.

GRIFFWhy hasn’t the Presidentcalled?

(shouting)Anybody hear from the President?

NIGEL (O.S.)Forget it.

Nigel and Katherine ENTER.

GRIFFNigel?

INT. FEMA CONFERENCE ROOM

Seated at the conference table Katherine sips tiredly from a coffee mug as Nigel stands at the window with back to room. Griff, at the other side of the room stands slack-jawed with eyes darting from one to the other.

GRIFFAliens?…

NIGELWould you stop repeating yourself.

GRIFFSorry, but I’m having a hardtime wrapping my head aroundlittle green men causing youto kill the fucking President.

KATHERINEI’m sorry.

GRIFFSo seys the accomplice.

130

NIGELIt couldn’t be helped.

GRIFFI hope you’re right.

SPACE

Five meteors RESONANT cutting a swath for the sixth, it’s pockmarked girth large and ominous. PRINTED ON SCREEN: EVENT MINUS 0166 HRS: 0012 MINS: 0048 SECS: 0001 Fractions, 0000, 9999, 9998, 9997…

MONTAGE – MILITARY DISPATCH

a) Confused town folk look on from sidewalks as a platoon of National Guardsmen march down center main. b) TIME SQUARE

Military troops amidst civilians patrol the parameters of Rockefeller Center.

c) New York subway entrance as infantrymen stretch lengths of chain across it’s opening prohibiting entrance to a protesting crowd of rush hour commuters.

d) HOLLYWOOD BOULEVARD

Military troop standby as LAPD herd groups of runaways, loiters, and the generally downtrodden into the back of paddy wagons.

e) WASHINGTON D.C.

Military personnel patrol deserted streets around Pennsylvania Avenue.

f) DOWNTOWN PHILADELPHIA

With an ever vigilant William Penn prominent atop City Hall the military guard nothing but empty streets.

g) RODEO DRIVE

In front of every storefront an infantry solider stands posted as the jaded rich continue with ‘business as usual’.

END MONTAGE

131

EXT. FEMA

Military forces patrol the grounds.

INT. FEMA CONFERENCE ROOMKatherine, freshly scrubbed and wearing an odd sort of civilian and military clothing dries her hair vigorously with a damp towel while holding Nigel’s rapt attention.

NIGEL…DNA?

KATHERINEDNA.

NIGELDoctor Shaw –

KATHERINEKatherine; and again, thankyou.

NIGELI did it because he was atraitor.

KATHERINEWhatever the motive, I do thank you.

NIGELNo need to. But I’m still confused on one point.

KATHEINEWhich is.

NIGEL A species that’s advancedenough to create planetarysystems to their liking; and manipulate DNA, can’t destroy,or at the very least, push a meteor off course?

KATHERINENot can’t - Won’t.

NIGEL

132

That only adds to my confusion.KATHERINE

It’s called faith.

NIGELWhat?...

KATHERINEAs humans we think of God in selfish terms like something we alone own orpossess. But it turns outthat God has left His markon every intelligent beingin existence.

NIGELAre you telling me they’rereligious?

KATHERINEI’m telling you they believe – as we do – when God seesfit to do something, thatsomething is usually for apretty good reason.

NIGELBut this goes beyond –

KATHERINE(cutting him off)

Even if that something is death of a child.

NIGEL…Pretty ironic we’ve beenkilling ourselves forcenturies over religiousbeliefs, never knowing themother of all beliefs hasbeen waiting in the wings.

KATHERINEThey’re Beings just like us.

NIGELNot an Atheist in the bunch?

133

KATHERINENot a one.

EXT. COMPTON CALIFORNIA – AFTERNOON

PRINTED ON SCREEN: South Central Los Angeles.

A brigade of armed troops march up rutted streets as families of unfazed African Americans and Hispanics look on from windows, doorways, and lawns.

EXT. MOUNTAINOUS PASS - SAME

PRINTED ON SCREEN: Montana.

A SERGEANT and his troops face off with MILITIA LEADER backed by armed men and women in the sweltering heat. Behind them wild foliage obscures rising mountains as two 4X4s block the road’s access.

SERGEANT(exasperated)

We’re not looking for weapons.

MILITIA LEADERYou still ain’t steppin’ foot on my property.

SERGEANTLook, pal –

MILITIA LEADERI ain’t none of your pal,neither.

SERGEANT(snapping)

Fine! You’re not my pal, I’m not yours. But I stillhave orders to protect yoursorry ass and that’s whatI’m going to do!

Militia Leader scratches his head then surveys the surroundings.

MILITIA LEADERFrom what?

134

SERGEANTFrom…

It becomes ever clearer the Sergeant is stumped.

SERGEANT(with regainedauthority)

It’s a matter of NationalSecurity, so how about juststepping the fuc-

A hand falls on the Sergeant’s shoulder.

SERGEANT WHAT!

A CORPORAL beckons him to one side.

CORPORAL Don’t you find it just alittle crazy we’re intruding on these peoplewithout knowing why?

SERGEANTOur orders are to hold thisposition and were going tofollow those orders to the letter. Do you have a problemwith that?

CORPORALThe Nazis followed a few ordersto the letter and look what it got them.

SERGEANT(offended)

You want to repeat that?

CORPORALAll I’m saying is, something’snot right about this entire operation. I’ve been in constantcontact with every unit acrossthe state and I’m telling younothing is making sense. It’s like we’re chasing smoke.

135

SERGEANTAre you telling me somebody’splaying games with the god-damn military?

CORPORALThen why are we here?

After some thought Sergeant storms off heading for military jeep and snatches up the radio’s mic.

SERGEANT(into mic)

Sergeant Montgomery to DeltaFive. We are relinquishing hold on Montana position. Doyou copy?

RADIO STATIC…

SERGEANTI repeat. Montana position deemed non-threatening. Copy?

STATIC…

Sergeant drops the mic and heads straight for the Militia Leader who unsure of the situation JACKS A ROUND into the chamber of his shotgun causing all weapons to snap at the ready.

MILITIA LEADERI’ve had just about all the talk I’m gonna take from you, boy.

SERGEANTWe’re moving out.

MILITIA LEADER…Just like that?

SERGEANTTurns out somebody got theirwires crossed. Sorry aboutthe misunderstanding.

136

MILITIA LEADERThat’s about the smartest thing you’ve said all day.

Sergeant offers his hand. Militia Leader eyes it before accepting.

MILITIA LEADERIf you boys need some honest work, y’all come on back andsee me.

SERGEANTWill do.

(shouting to troops)

Head out!

MUSIC: PLAY ON – Beginning strains of Soundgarden’s “BLACK HOLE SUN”.

ON BLISTERING SUN

It’s molten circumference shimmers with liquid heat as its glaring center persuades the eye to turn away…

EXT. HOSPITAL EMERGENCY ENTRANCE – MORNING

- minus the chaotic tempo of days past. Its collective aggregate of vehicles and stretchers, even it brick structure, have all succumbed to clusters of adhering vegetation that has bullied its way through dirt, pitch and cement.

The WHIRLING BLADES of a HELICOPTER WASH OVER the MUSIC drowning it out completely. MUSIC: PLAY OFF.

Helicopter sleds touch down on the shriveled husk of a human CRUSHING most of it into a powdery ash that takes flight on gales of wind.

At the helicopter’s fuselage, physically ragged and mentally wasted, Nigel and Katherine assess the lush jungle before he leads her through overgrown brush to the emergency room’s hanging doors where they stop to allow the eye a moment to adjust to the hospital’s decrepit interior.

NIGEL

137

You won’t reconsider?KATHERINE

What’s to consider? EverythingI am is in there and I reallycan’t think of anyplace else I’d rather be. I hope you canunderstand that?

NIGELNo… Not really.

KATHERINENo… I guess you wouldn’t.

Awkward silence.

NIGELThere’s a lot of death in there.

KATHERINEDeath I can handle. It’s being alive that’s startingto scare me.

A TREMENDOUS THUNDERCLAP RATTLES the hospital’s foundation causing Nigel and Katherine to look to the sky –

- in time to witness the arrival of the first meteor with its bright fan-shaped coma larger and more magnificent than Haley’s rather disappointing apparition. With its newborn cloak of BURNING GAS hiding its solid center the clouds below it race toward the horizon with unnatural speed fleeing the meteor’s SUPERSONIC passage.

Katherine and Nigel track the passing comet.

KATHERINEIt’s really going to happen.

NIGELI have to go.

KATHERINEWait.

She surprises him with a hug and gentle squeeze.

KATHERINEThanks for everything.

138

Climbing into the copter’s pilot seat Nigel offers a departing wave as the machine takes to the sky.

SKY – LATE AFTERNOON

A sleek jet bearing the Presidential Seal heads west. PRINTED ON SCREEN: Air Force Two.

INT. AIR FORCE TWO

In the jet’s lavish cabin the Vice President’s (VP) PERSONAL SECRETARY (PS) reads from a laptop perched on her lap.

PS…and pilot were both found…

(eyes shift to VP)… shot.

VP (O.S.)(female voice)

Do we know who’s responsible?

PSNo, ma’am.

ON VICE PRESIDENT

An immaculate black woman of forty-eight years of age with a refined disposition reflecting not one of great power, but one who could weld it nevertheless.

VPI will be the first to admit,life behind the scenes was becoming quite comfortable.

PS(with comfortingsmile)

You’ll do just fine, Madam Vice President.

A SONIC BOOM fills the sky locking the jet in streams of TURBULENCE as cabin and exterior are washed in an amber glow that soon fades.

VP(frazzled)

My, God, what was that!

139

SPACE

The first meteor to enter Earth’s atmosphere smolders and IGNITES into a MASSIVE BALL OF FLAMES -

- but its movement through space is merely a close call that skirts the planet and propels its cooling surface towards Venus.

INT. SPACE COMMAND

All personnel have apprehensive eyes trained on the Big Board’s multi-screen projections of the first meteor’s entrance. As its passage through the upper atmosphere is displayed as a near hit COLLECTIVE SIGHS fill the room.

A TECHIE approaches with some urgency.

MAJORLet’s hear it.

TECHIEIt wasn’t a comet, sir.

CHEYENNE CDR(perplexed)

Wasn’t a… Just what the hellwere you watching, son?

TECHIEAn asteroid, sir.

CHEYENNE CDR(riled)

For the love of God, what the hell’s the difference. It missed, didn’t it?

MAJORThe difference is how much burn off we can expectbefore impact. If it hadbeen a comet we’d be talkingice that would burn offsubstantially upon entry.

TECHIEWe’ve determined nickel-ironas the main composition.

140

The Major turns portentous eyes to the Big Board and its multiple screens projecting various positions of space with our moon prominent in most.

CHEYENNE CDR(to Techie)

Allowing for reduced mass, what kind of damage are we talking?

TECHIEAny prediction worth its weight in accuracy isn’t assimple as Hollywood makes it out to be. There arejust too many variables.

CHEYENNE CDRVariables aside.

TECHIEIt’s the variables that makeEarth the last place I wantto be when it gets here.

EXT. DULLES AIRPORT – LATE AFTERNOON

Air Force Two TOUCHES DOWN and taxis toward an open hangar where a military helicopter is poised for takeoff.

INT. CASINO

PRINTED ON SCREEN: Atlantic City, New Jersey.

Amid the casino’s BOISTEROUS CHATTER, LAUGHTER, BELLS and SLOT MACHINE PAYOFFS armed military soldiers patrol the crowds.

EXT.

REVERBERATIONS build to DEEP RUMBLES as patterns of LIGHTENING streak through ROILING gray clouds. The second meteor sounds its arrival with THUNDERCLAPS of collapsing air.

EXT. ATLANTIC CITY BOARDWALK

Over the horizon the sky CRACKLES with LIGHTENING and RUMBLES like a locomotive attracting pedestrian eyes as the FLAMING meteor EXPLODES through cloud covering –

141

- SLAMMING into the Boardwalk obliterating everything under the weight of an ATOMIC EXPLOSION.

INT. MILITARY HELICOPTER

In flight, the VP, her PS and the SOD listen intently as a MARINE STAFF OFFICER (MSO)wearing insulated headphones and mobile data command center (MODAC) in hand relays incoming information –

MSOThere was concern a warheadwas launched but there’sno evidence to substantiatethat, ma’am.

Pause.

SOD(solemnly)

My god, she was right.

VPWho was right?

SODKatherine Shaw.

VPThe geneticist?

SODYes.

VPWhat did she say?

SOD grows noticeably uneasy.

VPWhat did she say, Steven?

SOD…Nothing good.

The MODAC BEEPS. MSO raises an anticipative finger.

MSO(pause for info)

It’s Moscow.

142

After a deep cleansing breath VP reaches for the MODAC.

EXT. CHEYENNE MOUNTAIN – NIGHT

Major and Cheyenne Cdr standby as the VP’s helicopter touches down.

Tall and confident the VP approaches the two men.

VP(in greeting)

Major. General.

MAJORMadam Vice President.

CHEYENNE CDRWelcome aboard, ma’am.

VPCan either of you explainhow things got so out ofhand?

CHEYENNE CDRIt’s a bit complicated.

VPI’d be disappointed if itwasn’t.

CHEYENNE CDRFor the time being I think it’s best if no one else knew you were here. At least,not until we’ve figured outwhat we’re going to do aboutour little problem.

VPThen we better get started.

EXT. FEDERAL EMERGENCY MANAGEMENT AGENCY – NIGHT

The buildings and parking structure are by now completely deserted and overrun by tropical vegetation and creeping vines. Griff, puffing absently on the end of a short cigarette, stands in silhouette by the building’s only burning light.

143

Flicking the finished butt he turns to enter the building when suddenly he’s buffeted by the winds of a DESCENDING HELICOPTER that lands smoothly near by.

Cutting the engine Nigel jumps from the cockpit and joins his friend in silhouette.

GRIFFI thought you were headedfor Cheyenne.

NIGELSomething about a mandatorydeath sentence wasn’t sittingtoo well with me.

GRIFFKilling a president would have dreadful consequencesI would imagine.

NIGELI was thinking, if you didn’thave anything better to do,there’s a lady sitting in ahospital that could use alittle company.

Griff completes a slow, steady survey of the area before –

GRIFFNope… Can’t say there’s anything else I could be doing.

NIGELYou want to take her up?

GRIFFNot this trip. I believe I’ll just sit back and enjoy what sights we haveleft, my friend.

Both head for the copter.

GRIFF(continuing)

There’s just so much moreof it to see of late.

144

INT. SPACE COMMAND

- as STEEL DOORS, being the only access point, SLIDES OPEN admitting the VP, her PS, SOD, Cheyenne Cdr and Major.

Cheyenne Cdr leads the group straight for the Big Board where multiple screens show maps of different portions of the Northern Hemisphere, with a centralized screen exhibiting a Mercator projection with scattered red lights marking troubled spots that include everything along the East Coast lying between Halifax and Savannah, and as far West as Pittsburgh.

MAJORPhotos are about fourminutes behind real time.We should be receiving –

The Big Board FLICKERS erasing all screens.

MAJOR(continuing)

Right on schedule.

ON BIG BOARD

- as thick white iridescent lines trimmed in red and splintering branches of blue-green hair lines snake across its screen. Immediately the lines are overlaid by a 3D grid with numeral labels lending optical sense to what is obviously a mountain range.

MAJOR (O.S.)This configuration is of thebottom of the North Atlantic.Bluish-green lines are stabletrenches and midocean ridges.Fault lines are in red; and whites are heat residue fromrecent thermonuclear explosionsalong the ocean floor.

Again the Big Board FLICKERS instantly replacing current image with a high altitude, true image map of Central Pacific waters churning violently around the Hawaiian Islands.

BACK TO SCENE

145

MAJORApproximately two hoursago tsunamis began anall out assault on theHawaiian islands due tonumerous fault line ruptures.

Big Board FLICKERS transmitting a diagram of Alaska down through California with overlaying grid lines that converge from the Pacific and fanning up and down the coast line.

MAJOR There’s a lot of energy beingreleased by undersea explosionswhich means weather patternsaround Alaska and Californiaare about to change for theworse. And we’re not the onlyones feeling the effects. Seismicstations all over the world arereporting heavy anomalisticfault behavior.

Big Board FLICKERS displaying Europe, Asia and Northern Africa with several grid lines blinking insistently.

CHEYENNE CDRThese are the areas we’reconcerned about.

VPHow is it that something striking one side of theplanet causes havoc onthe other?

CHEYENNE CDRThe collision triggered a ripple effect. Another hitlike the one in New Jerseycould… Well, it could…

VPGentlemen, anything you need to tell me should be told quickly. Wouldn’tyou agree?

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MAJORMadam Vice President, thoseincoming meteors havethe potential to set offthe Earth’s core.

The PS stiffens noticeably.

VPI don’t think I want to know what you mean by, ‘set off’ Major, but if it’s what I think it is, your telling me we arecurrently occupying thethird bomb from the sun.

CHEYENNE CDRAffirmative.

EXT. ATLANTIC CITY, NEW JERSEY – MORNING

Pillars of smoke rise throughout the partially submerged city resting beneath the TURBULENT Atlantic ocean. Remnants of tourist trappings and endless square miles of paper currency ride the foaming crests.

EXT. SOUTHEASTERN UNITED STATES – LATE MORNING

PRINTED ON SCREEN: Little Rock, Arkansas.

A FULL FLEDGE RIOT is underway between Guardsman and police against an indignant civilian mob. Fire hoses are turned FULL BLAST as lawmen brave the furious wrath while dodging a menagerie of construction ware and consumer products.

A helmeted patrol officer wielding a night stick on a felled civilian is shocked to find his protective helmet suddenly snatched from his head -

- whipping around and prepared for battle the patrol officer encounters a rather tough looking thug displaying a crooked little smile and offering him the return of his headgear -

- furious the patrol officer snatches the helmet only to find himself felled by a bottle SMASHED across his head by the sudden appearance of a distinguished business woman carrying a briefcase as if heading home from the office -- with the patrol officer laid out at their feet the thug and woman bump fifts.

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Through the mob’s DISSONANT REVOLT a SERIES OF GROUND JARRING PERCUSSIONS RESONATE. Unanimously the melee desists.

The crowd searches the sky as the THUNDEROUS ECHOES RECEDE.

Without warning sudden gusts of VIOLENT WINDS HURDLE through the streets striking with such force it sends people, vehicles, light posts, and mailboxes somersaulting helter-skelter into each other; store fronts and solid walls until the WINDS die leaving behind destruction and overwhelming confusion.

Clearing muddled heads survivors look after the dead and dying when all too soon LOW RUMBLES BUILD forcing all to suspend aid and cast anxious eyes to the sky –

- as the third meteor enters the atmosphere with a SPEED so great its BLAZING perimeter passes overhead in seconds. The survivors CONVERSE animatedly in collective gestures of relief and puzzlement.

The GROUND TREMBLES –

VIBRATIONS ESCALATE by degrees. All heads turn to the skies in time to see the fourth meteor PLOW through clouds all AFLAME and HISSING PROFOUNDLY with a VELOCITY that inclusively wipes Little Rock, Arkansas from the face of the Earth…

INSERT – BIG BOARD (SPACE COMMAND)

Its map of North America is riddled with red distress signals throughout Houston, Austin, San Antonio, Midland, Odessa, El Paso, Albuquerque, Phoenix, and Yuma, Arizona.

Abruptly large groups of red distress signals blink relentlessly centered on Little Rock and scattered along the Eastern coast line.

INT. SPACE COMMAND

At communications console Cheyenne Cdr slams phone receiver in cradle and hurriedly approaches VP, her PS, SOD, and Major.

CHEYENNE CDRMadam Vice President, maybe we sho-

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VPThe time for secrets is over, general. Please geton with it.

Clearing his throat Cheyenne Cdr addresses the entire room.

CHEYENNE CDROkay everybody, listen up. As you can see from theBig Board Arkansas is inpretty bad shape. There’seven word it may not existanymore.

A few MURMMERS.

MONTAGE

a) EXT.

A smoldering, cavernous indentation in the ground expanding the dimensions of an entire city.

CHEYENNE CDR (V.O.)(continuing)

There’s more. The meteorwe hoped would lose momentumdidn’t -

b) EXT. GRANGE - NIGHT

Firefighters battle FLAMING PYRES of main house and outbuildings as ranch hands struggle with STAMPEDING HERDS; all the while, the GROUND stirs with an onslaught of MINOR TREMORS.

CHEYENNE CDR (V.O.)(continuing)

It skipped across Texasthrough New Mexico -

c) EXT. HOUSTON SHIP CANAL – NIGHT

- as QUAKES send the Jesse H. Jones Memorial Bridge CRUMBLING.

CHEYENNE CDR (V.O.)(continuing)

- and right into Arizona

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devastating each of those areas… The way things standnow, there isn’t anything wecan do for them.

END MONTAGE

A PHONE BUZZER alerts them to an incoming call. A subordinate approaches and hands him a receiver.

CHEYENNE CDR(into receiver)

Go ahead.

Listens. SNAPS FINGERS to get the room’s attention, then points firmly at the Big Board.

CHEYENNE CDRWe’re ready on our end.

The Big Board ripples with FREQUENCY STATIC just before projecting a picture of magnificent clarity of outer space just outside Earth’s atmosphere.

CHEYENNE CDRWe’re good.

Hanging up, Cheyenne Cdr joins VP and her group which has now swelled to include a few of the mountain’s personnel at the Big Board.

CHEYENNE CDR(respectfullyblunt)

Madam Vice President, what you’re about to see is asclassified as it gets.

VPHow classified?

CHEYENNE CDRI’ll deny it ever happened.

VPGeneral, get us out of thisand I’ll deny it.

CHEYENNE CDR(appreciative smile)

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Thank you, ma’am. But that won’t be necessary.

The Big Board’s picture rotates thirty degrees bringing into proximity an impressive cylindrical apparatus of gleaming steel with no discernible markings. But it becomes evident this is some form of advanced weaponry as the war machine’s massive barrel swings into view.

SOD(alarmed)

Is that what I think it is?

CHEYENNE CDRDepends on what you think it is. Now, if you’ll excuseme, I’m needed somewhere else. Major.

Cheyenne Cdr and Major head for the steel doors.

INT. THE PIT (CHEYENNE MOUNTAIN)

PRINTED ON SCREEN: 1,850 ft. Beneath Colorado.

STEEL DOORS SLIDE OPEN admitting Cheyenne Cdr and Major into this shadowy nook of viewing monitors covering most of an entire wall. On raised consoles THREE MILITARY-TECHS man three identical control panels with eyes trained on monitors displaying the gleaming war machine from many angles.

They are met by a COMM-TECH whose salute is met in kind.

COMM-TECHVerification from Arkansas prove the meteors are typicalmesosiderites; part rock, partmetal with traces of pyroxeneand plagioclase as well as olivine crystals. That much was expected but we didn’t expect the cores to be eighty four percent nickel. But we have a bigger problem.

CHEYENNE CDRLet’s hear it?

COMM-TECH

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It’s coming in faster thanwe expected.

CHEYENNE CDRSpeed?

COMM-TECHEleven point two miles a second.

CHEYENNE CDRHow soon before it breaches established perimeters?

COMM-TECHLess than four minutes.

CHEYENNE CDR(urgently to entirepit)

Listen up people, this is it! The chance of blowing that thing apart is remote, not tomention, stupid and dangerous.For those of you who were considering something along the lines of any number ofscience fiction plots, forgetabout it – it will not work. We only want to nudge the Sonofabitch and send it spinning somewhere other thanhere. We get one shot, andone shot only.

MILITARY-TECH 1Sir, it’s been determineda second shot may be needed.

CHEYENNE CDRSon, everything you know about Hiroshima gets that times a million. There willbe no second chances.

A delay as slower calculators sum up mental tallies before the three Military-Techs lock sights on monitors with hands positioned over controls awaiting their next orders.

CHEYENNE CDR

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Okay, bring those views around, maximum magnification, and let’s get a good look atwhat we’re up against.

INT. SPACE COMMAND

Eyes are glued to the Big Board as its picture shifts as relay satellites rotate away from gleaming war machine.

ON BIG BOARD

The threat of approaching meteor is a mere speck compared to the mammoth crescent of the moon easing into view.

INT. THE PIT

CHEYENNE CDRPosition and set.

EXT. SPACE (ABOVE EARTH’S UPPER ATMOSPHERE)

Three identical war machines of gleaming steel maneuver into triangular formation; a gauntlet, through which the great meteor must pass.

ON CRESCENT MOON AND METEOR

The meteor’s ROARING assault through space is clarion as it barely scrapes pass the moon with ASTOUNDING SPEED –

INT. THE PIT

All monitors relay the meteor’s approach. Personnel are poised as the monolith enters firing perimeters.

CHEYENNE CDRStinger One, track…

SPACE

- as one of the three gleaming war machines track the breaching rock with barrel glowing, readying for discharge.

INT. THE PIT

CHEYENNE CDRLock…

Readouts on each monitor confirm acquired target –

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CHEYENNE CDROn my mark…

SPACE

The magnificent swell of the moon slips from view as an ELECTRICAL HUM BUILDS to GYRO FREQUENCIES within the steel unit. Components POWER UP and PULSATE causing it’s barrel to heat like iron exposed to flames -

- a series of TOGGLED CLICKS and near deafening REVERBERATIONS are immediately annihilated by the fifth meteor’s abrupt arrival –

- SMASHING into the steel war machine DEMOLISHING it utterly in a FANTASTIC EXPLOSION of RENDING STEEL and SHORT CIRCUITING components -

INT. THE PIT

CHEYENNE CDR(seconds to late)

FIR –

All monitors are reduced to signals of interference filling the Pit with WHITE NOISE. Cheyenne Cdr’s jaw hangs on its hinges.

MAJORFIRE!!!

SPACE

The second steel unit releases a SEARING BEAM that manages to PULVERIZE the back end of the THUNDERING MONOLITH BLASTING it into chunks and pebbles that disperse harmlessly into the vacuum of space –

- as the main body plows on. NEAR EARTH

In the quietude of space a stationed communications satellite orbits peacefully –

- until the fifth meteor BULLDOZES through the satellite’s path DETONATING it in its wake.

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The sixth monolith TUMBLES toward Earth: bypassing remains of the communications satellite, now a buoyant, meaningless tangle of wires, chips, twisted metal and circuit boards.

PRINTED ON SCREEN: EVENT MINUS 0000 HRS: 0001 MINS: 0046 SECS: 0003 FRACTIONS, 0002, 0001, 0000…

INT. THE PIT

All monitors are dead. All eyes locked on silent screens.

MAJORWe’re blind!

CHEYENNE CDRFire anyway.

MAJORAt what?

CHEYENNE CDRForget rationality, man, just do it!

MAJOR…Stinger Two and Three,recalibrate.

CHEYENNE CDRFire at your discretion.

SPACE

PRINTED ON SCREEN: EVENT MINUS 0000 HRS: 0000 MINS: 0003 SECS: 9210 FRACTIONS and counting as Stinger Two PIVOTS into position.

Through the first war machines displaced debris Stinger Two FIRES a SEARING BEAM in the general direction of the retreating meteor –

- as an errant steel plate drifts in the line of fire deflecting the BEAM; sending it back to its source, where it heats up the second war machine’s outer shell in mere seconds. From RED HOT to WHITE HEAT the unit DETONATES –

ON STINGER THREE

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Its LASER BLASTS the fifth meteor into a thousand fragments seconds before the TUMBLING monolith SLAMS into it making its own EXPLOSION a mere spark against the rock’s monstrous girth.

PRINTED ON SCREEN: EVENT MINUS 0000 HRS: 0000 MINS: 0046 SECS: 8620 FRACTIONS, 8619, 8618, 8617…

INT. SPACE COMMAND

Standing before the Big Board’s dark screen the VP lowers her head in silent prayer. All around her are looks of sadness, uncertainty and even a few of embarrassment, before all present follow her in prayer.

INT. HOSPITAL INTENSIVE CARE (TONY’S WARD)

Nigel and Griff stand easily at the large window with hands clasps behind backs looking out on a verdant jungle teeming with strange and immense vegetation that hasn’t existed for three million years. Just outside the window, tangled in dense greenery, the Presidential helicopter hangs suspended like a gigantic insect trapped in a Silurian flytrap.

Katherine, tucked into bed weeps as she cradles Tony’s head. Her lips move lyrically to the MUSIC seeping from the headphones on her head.

EXT. TAKAHASHI’S APARTMENT (JAPAN)

Lounging on the balcony of his high-rise, partly obscured by the brush of lush potted plants, Doctor Takahashi sips from the straw of a very tall and fancy drink as his apathetic eyes read from the pages of a latest bestseller.

INT. NADEL’S LIVING ROOM (AFRICA)

Doctor Nadel is embraced in a slow dance with her own husband, moving easily in his arms to the STRAINS of VIOLINS.

INT. LUNDQVIST’S HOME (STOCKHOLM)

At the stove, Doctor Lundqvist in satin robe stirs a sauce pan with one hand while sipping champagne with the other.

DINING ROOMAlthough set for one, the table is replete with a bouquet of roses, burning candles, and a chilled bottle of champagne.

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Lundqvist ENTERS with steaming serving dish, sets it on the table, and takes her seat in front of the lone plate. Bowing her head she WHISPERS GRACE while letting her own tears flow free.

INT. ALIEN SPACECRAFT (CONTROL ROOM)

This vast and circular room of drab ambiance is occupied by three creatures identical to Abendroth’s changeling. Seated back-to-back in arabesque chairs, gangly fingers work three separate control panels with HYDRAULIC DRONES PERMEATING from deep within the ship’s belly.

With ENGINES WHIRLING and METALLIC CLANKING of ENORMOUS GEARS CATCHING the control room’s miles of encircling wall LOWERS on what is essentially the largest aquarium ever designed filled with the clearest of blue waters and teeming with a thriving world of human/fish hybrid.

SPACE

At EVENT MINUS 0000 HRS: 0000 MINS: 0002 SECS: 0085 FRACTIONS the megalith ENTERS Earth atmosphere instantly IGNITING with ROARING FLAMES… 0084, 0083, 0082…

EXT. HOLLYWOOD, CALIFORNIA – DAY

With PRINTED COUNTDOWN at: EVENT MINUS 0000 HRS: 0000 MINS: 0001 SECS: 0073 FRACTIONS the sky over the Sunset Strip shimmers between Tyrian purple and infusing grays as THUNDERING RUMBLES ADVANCE –

EXT. SEATTLE WASHINGTON

- 0001 SECS: 0050 FRACTIONS purple and grays roil across the sky like a brewing storm.

The populace gape awestruck at the sky as clouds over the Space Needle ripple with lightning followed by RESOUNDING THUNDER.

EXT. CATTLE RANCH

PRINTED ON SCREEN: Montana, EVENT MINUS 0000 HRS: 0000 MINS: 0000 SECS: 0038 FRACTIONS –

- as HERDS of cattle and horse STAMPEDE aimlessly, frightened by the sky’s vacillating colors and CONVERGING RESONANCE.

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EXT. APPLE ORCHARD

PRINTED ON SCREEN: Utah, EVENT MINUS 0000 HRS: 0000 MINS: 0000 SECS: 0026 FRACTIONS –

- RUMBLING INTENSIFIES shaking loose scores of apples from their branches -

EXT. LAS VEGAS

PRINTED ON SCREEN: Nevada, EVENT MINUS 0000 HRS: 0000 MINS: 0000 SECS: 0019 FRACTIONS –

- and still the RUMBLING ESCALATES forcing crowds of gamblers from casinos to mingle with gawking military personnel… :0007, 0006…

INT. THE PIT

The entire mountain QUAKES –

CHEYENNE CDR(stating fact)

We missed…

EXT. CALIFORNIA COASTLINE

PRINTED ON SCREEN: Long Beach, California… 0003, 0002, 0001, 0000, and the meteor’s arrival is like a BARRELING FREIGHT –

- for miles the sky darkens with ROILING CLOUDS filled with streaks of twisting light that Rupture into MASSIVE ELECTRICAL DISCHARGES.

Anxious clouds catch blue and burnt yellow PULSES and relay them like countless transformers, capacitors and voltage drops as if carrying STACCATO messages laced with CRACKLING PUNCTUATIONS.

CALIFORNIA COASTLINE

PRINTED ON SCREEN: Long Beach, California… 0003, 0002, 0001, 0000, and the meteor’s arrival is like a BARRELING FREIGHT. The sky RIPPLES with heat LIGHTENING and GREAT ivory FLASHES as the meteor TEARS THROUGH a mass of AGGRAVATED clouds, an INFERNO that turns darkened sky to eerie twilight -

- heading for the Pacific’s TURBULENT WATERS. A mammoth stone that casts a mile long shadow on the ground below;

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it’s bulk a massive CONFLAGRATION wrapped in smoke dripping SPARKLETS of iridescent motes. It curves downward to meet the ocean’s surface head-on. Cool water engulfs it. Flames are extinguished; and the sea is transformed into a CHURNING mint-green froth HISSING with twisted pillars of vapor that reach toward the angry sky.

BENEATH PACIFIC OCEAN

- as the BOILING meteor SLAMS into the ocean floor -

- FISSURES RIP and MOLTEN LAVA and curtains of hot vapor are released.

BELOW EARTH’S CRUST

PRINTED ON SCREEN: The San Andreas Fault Line –

- as tiers of TECTONIC PLATES SHIFT and SNAP.

EXT. SURFACE OF PACIFIC OCEAN

From beneath the water comes the SOUND of TREMENDOUS BUBBLING like the heating contents of some grand cauldron. The BUBBLING STEADILY AMPLIFIES until quite aggressively great plumes of ash, smoke, and magma PUNCH through the surface in deadly columns.

EXT. DOWNTOWN LOS ANGELES

The streets are filled with the stunned as accumulating smoke fight the sun’s rays painting the landscape in shades of shadow and gray. On the horizon, columns of black smoke rise to meet soot filled clouds punctuated by rippling lines of sporadic lightening.

One homeless man drops to his knees and offers up prayer as others around him panic, and some others run; but most are rooted in place, listening earnestly to the APPROACHING SEISMOGRAPHIC MOVEMENTS of Earth -

- until SHIFTING TECTONIC PLATES cause the ground to SWELL like a ROLLING TIDE toppling buildings, people and vehicles causing all to disappear under PUFFS of RUBBLE.

INT. SPACE COMMAND (The Pit)

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With DISTANT AFTERSHOCKS and VOLCANIC ERUPTIONS supplying the soundtrack, a snowy broadcast is all the Big Board displays.

PS (to VP)You should know there are a lot of us who believethis country would havebeen in good hands withyou at the helm.

(fighting tears)I for one admirer yougreatly.

Personal Secretary offers a discomfited salute as tears flood her eyes.

Smiling affectionately the VP beckons PS into her comforting arms.

The Pit QUAKES in earnest causing restrained panic as overhead lights FLICKER shortly before the Big Board EXPLODES -

- leaving behind total darkness and the mountain’s MANY CREAKS, SNAPS and finally a CRUMBLING of TONS of COLLAPSING EARTH that abruptly extinguish the life of Space Command’s valiant inhabitants.

A SERIES OF SHOTS

MUSIC: PLAY ON – “GRAVITY” by A Perfect Circle

a) The crown of the Empire State Building CRUMBLES as a forty foot wall of RAGING WATER bears down on fleeing New Yorkers -

b) The Eiffel Tower SCREECHES painfully as its mass of steel topples CRUSHING all at its base –

c) Egyptian pyramids SINK into SIFTING SANDS –

d) Kitchen of an English castle TREMBLES as uniformed cooks and liveried servants cower under large wooden tables.

e) Letter by letter the Hollywood sign SUCCUMBS –

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f) Actors, camera crew, and stage hands promptly abandon their shoot as the sound stage around them is SHAKEN TO PIECES –

g) The Ross ice shelf surrenders in its entirety, setting loose a COLOSSAL WAVE of displaced water –

h) HURRICANE WINDS ravage a stretch of Florida’s palm treed streets –

i) POUNDING WAVES toss and SHATTER docked vessels -

j) On the open sea WINDS and MOUNTAINOUS WAVES batter a limping ocean liner as passengers jump braving RESTLESS CURRENTS –

k) Beneath the streets of Bangkok SEISMIC WAVES ROLL TOPPLING buildings that CRUSH throngs of citizens –

l) In the African wilds STAMPEDES of wildlife bolt blindly as brush and trees go up in FLAMES –

m) The Taj Mahal CRUMBLES –

n) China’s Great Wall relinquishes chunks of mortar as the GROUND TREMBLES –

o) No longer a symbol of invincibility the White House dome CAVES IN –

p) PRINTED ON SCREEN: Oki Archipelago / Sea of Japan

- as a RAGING STORM decimates small islands -

q) A FAULT LINE CRACKS seething with lava –

r) A HUGE SWELL of RUSHING WATER advances like ROLLING THUNDER -

s) The Library of Congress DISINTEGRATES –

t) A shopping mall is swallowed building by building as the GROUND LIQUEFIES under the assault of RATTLING TREMORS –

BACK TO SCENE

MONTAGE

Patches of ceiling and rich wood paneling SPLITTER WITH LOUD REPORTS –

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SPARKS SCUDDING from a TOPPLING power line –

Live wires land in a recreational lake ELECTROCUTING snared swimmers –

A billboard CREAKS and SPLINTERS giving up its perch atop a FRAGMENTING office complex –

Philadelphia’s City Hall where William Penn’s statue SEPARATES at the knees and CRASHES through the dome on its way to the ground –

An assemblage of tourists at a Grecian ruin are CRUSHED by KEELING Corinthian pillars –

An ERUPTING VOLCANO releases a pyroclastic cloud that BARRELS toward us until its ROILING cumulonimbus engulfs us utterly –

END MONTAGE

MUSIC: PLAY OFF

FADE TO BLACK

EXT. YOSEMITE NATIONAL PARK

MUSIC: PLAY ON: “Ordinary World” by Duran Duran

PRINTED ON SCREEN: On The Seventh Day…

Over the ROAR of TWIN WATERFALLS the air itself GRUMBLES with complaints. Looking down from atop Yosemite Falls, valleys and canyons lie under newly formed lakes with treetops barely breaking surface. In the far distance, beyond the mountains and spaced at irregular intervals, pillars of thick, achromatic smoke climb from the horizon to blanket the sky with gray epitaphs of Earth’s cruel devastation.

A lone swallow FLUTTERS into view; hovers, then soars off.

EXT. METROPOLITAN AREA

Under sooty skies masses of decomposed human and animal remains lay crushed and mangled. Throughout this graveyard of demolished, battered and drenched superstructures and vehicles, hundreds of rats foray through the dense debris.

162

A clump of weeds RUSTLE. Pushing through a tangle of blight ridden foliage; past nests of CHITTERING rats, right up to a SWARMING COLONY of argentine ants picking clean the putrescent remains of a human torso.

MONTAGE

So complete is the world’s landscape of desolation that even coast lines have lost their familiarity –

- from smoke filled skies the complete destruction of the United States is evident -

- the Ruination of Moscow, total –

- the Death of China, complete –

- the eradication of Europe, absolute…

BACK TO SCENE

BOTTOM OF THE PACIFIC OCEAN

A group of thermonuclear vents SPEWING their heated poison abruptly stops. All is still…

…The floor RUMBLES –

- sand SIFTS –

The WHINE of MASSIVE TURBINES are heard just before the sea floor SWELLS with the rise of the alien spacecraft from beneath the sediment.

EXT. SURFACE OF PACIFIC OCEAN

Above the ocean’s steamy surface the smoldering sky CRACKLES with tendrils of ELECTRIC CHARGES. Halogen lights illuminate the depths as the spacecraft rises, spreading its incandescence for miles.

The spacecraft approaches the surface and the ocean’s radiance intensifies beneath its adhering steam.

The spacecraft breaks surface and hovers some feet above it while water POURS, DRIPS, and TRICKLES from its oblique circumference.

MUSIC: PLAY OFF

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The alien craft looms as a GREAT BUBBLING amasses. A vast GURGLING of PERCOLATION of escaping gases BILLOWING toward the surface until the first, then another, and yet others – a multitude of others – BREAK SURFACE, large and translucent, rising inches into the air only to settle back down on the surface while still others BURSTS from the depths.

With marine condensation caressing their ovoidal surfaces their numbers continue to rise filling the ocean with the ovum of our successors; for each ‘bubble’ contains the fetal organism of a human/fish hybrid feebly struggling to free itself from its gelatinous capsule.

Their numbers continue to well forth taking their places to bob on the surface when in the DISTANCE, the unmistakable CRY of a NEWBORN rings out…

EXT. BEACH

Miles from shore the demolished skeletal remains of a dead, smoldering city is the backdrop for two Alien Travelers standing over a beached egg that has recently hatched new life.

ON CHILD

Inside the egg’s ruptured shell it lies WAILING as helpless as a human newborn with tears coursing from unblinking eyes; shark eyes too large for its humanoid head, but will serve their purpose in the deep. Coated in the viscous placenta of afterbirth and its argentite skin glistening with tiny scales, raw gills lining the sides of its neck flutter as the child/fish struggles for every breath. With the exception of these attributes and the extreme digits webbed for aqua propulsion not much else separates it from the human race.

BACK TO SCENE

The two Travelers gracefully step aside as the child, now free of the remnants of its gelatinous incubator, WHIMPERS sadly as it crawls instinctively towards the steamy ocean on uncertain limbs.

At the shoreline where ocean meets beach, a female, the same species as the infant but having the full maturity of adulthood, walks with great poise from beneath the surf and makes her way to the frightened child.

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Lifting the frightened child tenderly and holding it close to her full bosom the nestled child/fish is calmed.

MUSIC: PLAY ON – “Ordinary World” by Duran Duran

The woman/fish looks to the Travelers and seems to stretch her lips into a tight grateful smile; and for the first time since her appearance, hanging around her gilled neck, we finally notice the silver necklace with an Emerald pendant attached.

With child/fish held in the safety of her arms she turns toward the ocean taking determined steps that carrying them both back home…

ON ALIEN SPACECRAFT

- as the ENGINE’S GYRATING WHINE ESCALATES the ship glides forward just before BLASTING skyward where it vanishes into the dreary cloud covering of the unknown…

MUSIC: PLAY OFF

SPACE

MUSIC: PLAY ON – “Black Hole Sun” by Soundgarden

With the Sun’s blazing circumference hanging in the background like the great eye of RA, the spacecraft PLOWS through the aura of Earth’s dull covering.

HURTLING past us at LIGHT SPEEDS it leaves behind what was once a resplendent jewel in the eye of heaven, a scorched and primitive blight thoroughly blanketed by the ashen gases of volcanic eruptions.

The Sun slips behind Earth casting a diamond-rind of solar photosphere around its diameter; it is here, we have reached the dawning of an uncertain era…

BEGIN END CREDITS

THE END

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