SPHERE
by Stephen Hauser
based on the novel, SPHERE, by Michael Crichton
March 5, 1996
EXT. STREET IN GEORGETOWN -- MIDDLE OF THE NIGHT
Fog hangs above the street, amongst the streetlamps. Apartment
buildings line the curb, it is very quiet. In one building, six floors
up, a bedroom light is on. WE SEE the silhouette of Norman's WIFE
looking out the window.
WIFE (O.S.)
What kind of a crash was it?
NORMAN (O.S.)
You seen my suitcase?
WIFE (O.S.)
There's nothing on the news about a
crash. Did he say what airline?
NORMAN (O.S.)
He didn't say much at all. Honey --
WIFE (O.S.)
In the closet. I don't understand,
Norman -- why would they call you?
NORMAN (O.S.)
Don't be so supportive, honey.
WIFE (O.S.)
Well, I can't imagine five years of
unemployment --
NORMAN (O.S.)
Four. Four years --
WIFE (O.S.)
Four years of unemployment would
look too good on a resume.
NORMAN (O.S.)
Keep watching the news. Are you
watching the news?
WIFE (O.S.)
How are you getting to the airport?
You need money for the bus?
A tinted-window black SEDAN travels down the street, pulls up in front
of the apartment building. A U.S. NAVY decal is on the door.
WIFE (O.S.)
There's a U.S. Navy car outside,
Norman.
NORMAN (O.S.)
What?
WIFE (O.S.)
Was it a military crash?
NORMAN (O.S.)
I don't know.
WIFE (O.S.)
They never used to send a Navy car.
CUT TO:
THE LOUD, HARD CHOPPING OF A HELICOPTER PROPELLER
EXT. PACIFIC OCEAN -- DAY
Blinding sunlight, as the helicopter WHIPS by, speeding above the
Pacific Ocean.
INT. HELICOPTER -- DAY
Norman, 53, disheveled, unshaven, sits in the back. He studies a
pamphlet in his hand: "AIRCRASH SURVIVAL: HOW TO COPE". The PILOT, in
the cockpit, turns to him.
PILOT
What kinda work you in, Dr. Johnson?
Norman quickly stuffs the pamphlet into his dufflebag.
NORMAN
I'm in psychology. Was. Still am
really, just been a while.
(beat)
I treat aircrash survivors.
PILOT
Oh, so you're that Dr. Johnson.
NORMAN
You've heard of me?
PILOT
Well, everybody's been talking about
that report you wrote.
NORMAN
What report?
PILOT
Huh?
NORMAN
What report?
PILOT
You mean you don't know?
NORMAN
Know what?
The pilot glances back at him again.
PILOT
Must be another Johnson then. Been
flying so many scientists out here
-- can't keep everyone straight.
NORMAN
Who's everyone?
PILOT
Physicists, mathematicians,
geologists, you name it.
NORMAN
Geologists? At a plane crash?
PILOT
Strange, isn't it? In the middle of
the ocean no less.
NORMAN
What the hell would a geologist be
doing at a plane crash?
Norman looks out the window and sees a group of ships circling in the
water.
EXT. SHIP DECK -- DAY
The helicopter descends down onto the helipad, wind gusting about. A
young, female OFFICER -- holding her hat to her head -- rushes to
greet Norman, as he climbs out of the helicopter.
She looks down crudely at his shotty, nylon dufflebag.
OFFICER
Any other bags, Dr. Johnson?
NORMAN
Just that. Careful, it's heavy.
She lugs it over her shoulder, no problem.
OFFICER
No other equipment? Scientific
instruments?
NORMAN
No, they didn't say --
OFFICER
This way, sir.
Norman follows the officer away from the helipad.
INT. SHIP
She leads Norman down a flight of stairs.
OFFICER
Captain Barnes wants to see you
right away, sir.
NORMAN
Captain who?
OFFICER
Barnes. He's very eager to meet you.
Been calling us every half hour to
see if you're arrived.
NORMAN
Really?
As they march down a hallway, Norman looks down at his wrinkled suit,
tries to smooth it out.
OFFICER
By the way sir, I've read your
report. I think it's brilliant.
NORMAN
What report?
OFFICER
You mean they haven't told you yet?
NORMAN
Told me what?
She staightens up, like she might have said too much.
OFFICER
This way, sir.
INT. BARNES' OFFICE
CAPTAIN HAROLD BARNES, 60s, immaculate, proud of who he is, talks on
the phone.
BARNES
How's he look?... Well, we can't all
be officers, can we?
(laughs)
They tell me he's brilliant.
EXT. BARNES' OFFICE
Norman stands in front of the door. The doorplate reads: PROJECT
COMMANDER -- CAPTAIN HAROLD BARNES. Norman straightens his big-knotted
tie. Deep breath.
INT. BARNES' OFFICE
As the door opens, Barnes is putting down the phone, rises from his
desk, as Norman steps inside.
BARNES
Dr. Norman Johnson. Welcome aboard.
They shake hands.
NORMAN
Thank you, Colonel.
BARNES
Captain.
NORMAN
Captain. Right, forgive me.
Barnes looks at Norman, sizing him up. An akward silence.
NORMAN
Well, thanks for the opportuninty
here -- my wife appreciates it.
BARNES
Don't thank me, Dr. Johnson. You
weren't my choice. The Pentagon made
me take you.
NORMAN
(smiling)
The Pentagon? I didn't know I had
friends in Washington.
Norman tries to laugh as Barnes ushers him to the door...
BARNES
Come with me. The team's already
waiting.
NORMAN
What team?
INT. HALLWAY
Barnes leads Norman down the corridor, lined with OFFICERS and GUARDS.
BARNES
What have you been told so far?
NORMAN
The usual. Plane crash. Survivers
unknown. Routine stuff really.
BARNES
Anything else?
NORMAN
Nothing else.
A GUARD unlocks a large, steel door.
GUARD
Captain Barnes. Dr. Johnson.
NORMAN
Hello.
Norman looks at the guard as they proceed through the doorway,
wondering how the guard knows his name.
BARNES
You talk to any reporters? Any
press?
NORMAN
Press? No, I haven't.
The steel door shuts loudly behind them.
BARNES
Good. Security's been our biggest
worry. Now that you're here we can
shut this thing down tight.
NORMAN
From what? What's with all the
security?
BARNES
Well, we don't have all the facts
yet.
Another GUARD opens up another large steel door...
INT. TECH ROOM
Barnes leads Norman through the room, crammed with video monitors,
screens, and grids. Officers talk into radios. Technicians work on
computers.
BARNES
We're moving fast considering the
storm.
NORMAN
Storm? What storm?
BARNES
A cyclone's on it's way in. I
thought they would have told you on
the phone.
NORMAN
They didn't tell me anything.
Norman tries to keep pace...
BARNES
We've had divers working around the
clock. Take a look at this...
ANGLE ON a large VIDEO SCREEN -- shows a diver walking on the ocean
floor, holding a bright artificial flashlight.
NORMAN
How deep is he?
BARNES
A thousand feet.
NORMAN
A thousand? An airplane crashes into
a thousand feet of water -- I don't
want to sound pessimistic here, but
I assume there are no survivors.
BARNES
Survivors? No, I wouldn't think so.
NORMAN
Then why am I here?
BARNES
What?
NORMAN
What do you need me for?
ON THE VIDEO SCREEN -- the diver shines his light on a large, metallic
OBJECT.
BARNES
What crashed wasn't an airplane, Dr.
Johnson. It's a bit larger than
that.
Barnes walks toward a TECHNICIAN, sitting at a keyboard.
BARNES
(to technician)
Bring up the grid, would you?
ANGLE ON THE MONITOR as an IMAGE OF THE CRAFT begins to form.
NORMAN
What is it? A military spacecraft?
Like a shuttle or satellite?
BARNES
Something like that.
(beat)
That doesn't surprise you?
NORMAN
Not really, no. Something of the
military crashes in the ocean -- it
explains why there was nothing on
the news, why you've kept everything
a secret... When did it crash?
BARNES
As best we can estimate, it crashed
four hundred years ago.
A beat.
NORMAN
Four hundred? You're kidding, right?
ANGLE ON THE MONITOR -- showing a grid depicting an image of the craft
and a small layer of ROCK above it.
BARNES
See this? Coral. Geologists measured
the coral growth on top of the craft
to be over five meters thick.
NORMAN
Geologists?
BARNES
Coral grows at a rate of two and a
half centimeters a year --
NORMAN
-- Wait a second --
BARNES
-- dating the crash at least that
old.
NORMAN
Hold on --
BARNES
Maybe older --
NORMAN
-- there's got to be some mistake
here -- a four hundred year old
military spacecraft? There's no such
thing... our space program isn't even
forty years old.
BARNES
Extraordinary, isn't it?
NORMAN
It's impossible.
BARNES
I'm afraid it is Dr. Johnson...
because it's sitting on the bottom
of our ocean floor.
INT. STAIRWELL
Barnes and Norman shuffle down the stairs.
BARNES
Off the record, I don't mind telling
you, this thing scares the shit out
of me.
NORMAN
It doesn't make any sense.
BARNES
We think it might. That's why we
brought you here. We've assembled
your team -- they're waiting for us
now.
NORMAN
What team?
BARNES
The one you recommended. In the ULF
report you wrote for the Bush
administration.
NORMAN
ULF report? Nobody's mentioned that
in years. You mean someone actually
read it?
As they head down a hallway, Barnes pulls the ULF REPORT out from
under his arm, hands it to Norman.
Norman looks at it, almost embarrassed to be holding it.
BARNES
Your report's become our bible down
here, Dr. Johnson. We've been
carrying out each of your
recommendations -- one by one -- to
the smallest detail.
NORMAN
But sir, I don't understand. This
report -- these recommendations...
they're for an encounter with extra-
terrestrial life.
INT. BRIEFING ROOM
ON A VIDEO SCREEN -- sonar video of the spacecraft.
BETH (O.S.)
How big is this spacecraft?
BARNES (O.S.)
Of what we're able to measure,
roughly twenty-six hundred feet.
TED (O.S.)
A half a mile long?
BARNES
The wing dimension alone is larger
that any aircraft we've seen.
The team members sit around the conference table:
TED FIELDING, 41, geologist, boyish and happy to be here. BETH
HALPERIN, 36, biochemist, mother of three who's never worn an apron.
ARTHUR LEVINE, 54, marine biologist, pudgy and quiet. HARRY ADAMS, 32,
mathamatician, African-American, wire-glasses, no bullshit.
HARRY
How much damage?
BARNES
To the craft? None. Not a scratch.
HARRY
Right. So you're saying it survived
a high speed impact with water
without a scratch?
BARNES
I'm not saying anything, Harry, I'm
just stating the facts.
(continuing)
The outer metal is made of a
titanium alloy, built into an epoxy-
resin honeycomb. The necessary
technology to bond this type of
metal has never been invented.
TED
Never invented?
ON NORMAN, watching the team...
BETH
In basic English, what does all this
mean?
BARNES
Basic English? There's no way this
spacecraft was constructed on our
planet.
A LOUD MECHANICAL WHIRR
INT. TESTING ROOM -- LATER
A large, X-Ray APPARATUS moves to the side, revealing Norman's FACE.
ON BETH -- standing next to him.
BETH
Five years. No phone calls. What am
I -- a leper?
Norman sits up...
NORMAN
Beth, look, can I trust you with a
little secret?
BETH
I love secrets.
NORMAN
That ULF report everybody's patting
me on the back about?
BETH
I've read it twice, Norman. It's
brilliant.
NORMAN
It's bullshit. The report's a joke.
BETH
(beat)
That's quite a secret.
NORMAN
I spent a week reading Sagan and
watching re-runs of the Twilight
Zone. Seriously. I was just trying
to pay the mortgage on my house -- I
had no idea --
ANGLE ON TWO NAVY CORPSMEN, standing behind glass in the next room,
monitoring Beth and Norman.
BETH
Do yourself a favor, Norman. Are you
listening? Don't tell anyone what
you just told me.
NORMAN
C'mon, Beth -- that report's like
the blind leading the blind.
BETH
Because when we get down there --
NORMAN
Wait -- down where?
BETH
To the spacecraft. To investigate.
NORMAN
Underwater?
BETH
What do you expect? For them to
bring it up here?
NORMAN
We can't go down there. We're not
prepared. That deep? That takes
years of training, Beth. We're just
scientists. Lab scietists. We wear
ties and lab coats to work -- not
oxygen tanks.
BETH
Well, you must have realized the
chances an encounter like this would
happen here. In the ocean.
(off his look)
70 percent of the earth's surface is
water, Norman. That's first grade
geography.
NORMAN
It never occurred to me.
BETH
Well, let's pray that's the only
mistake you made. Have you said
anything to Barnes about this?
NORMAN
The timing has never seemed quite
right.
BETH
Just keep your mouth shut, alright?
This could mean everything to our
careers, you know that? Don't
jeopardize this.
NORMAN
(nervous laughter)
What -- are you threatening me?
EXT. SHIP -- LATE AT NIGHT
THE SKY -- clouds looming on the horizon.
ANGLE ON ARTHUR LEVINE, leaning against the railing, looking out at
the water.
ON NORMAN, approaching him. Arthur never looks at Norman, he just
stares out at the water.
ARTHUR
I don't know you, but I'll be honest
with you. I don't like this. I don't
like any of this. Especially, the
water.
NORMAN
Seasick? A marine biologist?
ARTHUR
I don't belong here. None of us
belong here. Look at that.
ANGLE ON THE WATER, an ocean of seemingly endless, choppy waves.
NORMAN
Makes you feel pretty small, doesn't
it?
ARTHUR
It scares the shit out of me.
CUT TO:
CLOSE ON NORMAN, lying on a cot. It is dark. His eyes are open. He
stares at the ceiling.
CUT TO:
INT. DESCENT PLATFORM
A porthole hatch to the DESCENT SUB unlatches loudly. A SUB-OFFICER
help Norman lower himself through the hatch.
INT. DESCENT SUB
Norman steps down the ladder into the sub compartment. Seated in a
circle area: Ted, Beth, Harry, and Arthur. Ahead of them, Captain
Barnes sits with the pilot in the sub's cockpit, separated by a wall
of plexiglass.
Norman takes a seat between Beth and Ted.
BARNES (O.S.)
(through the intercom)
Our descent will take 13 minutes.
Descending at a speed of 80 feet per
minute.
Across from Norman, Harry is WHISPERING something quietly into
Arthur's ear.
BARNES (O.S.)
Pressure adjustments will cause the
sub to lurch at times, but don't be
alarmed. It's perfectly normal...
Arthur's face drips with sweat, as Harry continues to whisper into his
ear.
BARNES (O.S.)
The sub's interior atmosphere will
experience moisture as we descend,
and the temperature will drop
rapidly. Just relax and remain
seated during the descent.
Norman watches Arthur, dripping with sweat.
BARNES (O.S.)
We have clearing from the base.
Red interior lights flicker on in the compartment, and WE HEAR the sub
make a HISSING sound. The sub lurches, and begins to lower in the
water.
NORMAN
Arthur?
Harry has gotten to Arthur. Arthur is on the verge of panic.
NORMAN
Arthur? You alright?
ARTHUR
Open the hatch door, please.
Harry continues to whisper in his ear.
ARTHUR
Captain, open the hatch door, please
... the hatch door, Captain. Open it,
please.
BARNES (O.S.)
Calm down, Dr. Levine.
ARTHUR
Let me out, Captain. Open the door!
BARNES (O.S.)
Please, Dr. Levine.
Arthur leaps violently out of his seat, scrambles to the plexiglass
wall.
BARNES
(through the plexiglass)
Sit down, Dr. Levine! You're in a
military operation now --
Arthur bangs on the plexiglass wall with his fists.
BARNES
... Your civil rights have been
overridden!
ARTHUR
Open it, Captain!
BARNES
Dr. Levine, please! Return to your
seat!
Arthur VOMITS, violently, heaving, splattering the plexiglass wall.
ARTHUR
Open the fucking door!
The sub LURCHES again, coming to a stop. The compartment is totally
silent, as they begin ascending to the surface.
ON HARRY smiling a sly, evil grin directed right at Norman.
The sub lurches again, and WE HEAR clanking metal. The hatch door
opens.
And Arthur, wiping the vomit from his mouth, climbs up the ladder and
out the hatch door.
BARNES (O.S.)
Anybody else?
Silence.
The hatch door LOCKS, loudly. The sub lurches, and begins descending.
TED
Pussy.
BETH
What's that -- mistake number two,
Norman?
NORMAN
He wasn't feeling well.
TED
He's a pussy.
Harry is still staring at Norman...
HARRY
How are you feeling, Norman?
NORMAN
What?
HARRY
You holding up alright?
NORMAN
Fine. I'm fine.
HARRY
Don't be defensive.
NORMAN
I'm not being defensive.
HARRY
You sound defensive.
NORMAN
I'm fine.
TED
(to Harry)
What'd you say to him?
HARRY
To who? Arthur? Nothing. Nothing
that Norman doesn't already know.
TED
What does Norman already know?
HARRY
Norman thinks we shouldn't be going
down. Thinks it's a mistake.
Norman looks over at Beth.
HARRY
She told me what you said, Norman.
TED
What is it, Harry?
HARRY
Just one of Norman's many secrets.
ON NORMAN, saying nothing.
EXT. OCEAN
WE SEE the sub descending into darker waters.
EXT. DH-8 HABITAT -- ARRIVING DOCK
The SUB descends into the AIRLOCK, metal clanks against metal. Around
it, the DH-8: interwoven cylinders lit up with lights.
INT. AIRLOCK -- PRESSURIZING ROOM
CLOSE ON THE HATCH DOOR closing tightly, locking.
OFFICER (O.S.)
One moment for pressurizing.
A SOFT WHIRR.
ANGLE ON -- Barnes and the four remaining team members standing in the
small, claustrophobic pressurizing room. Like sardines. Nobody says
anything. A long beat.
THE DOOR
in front of them, opens. TEENY FLETCHER, 30s, a big-boned female
officer, stands before them. She wears a black plastic PAD, a
"talker", around her neck.
She hands each member their own "talker". Norman takes his.
INT. DH-8 HALLWAY
Fletcher leads Barnes and the team members down the hallway. Each of
them wears the "talkers" around their necks.
BARNES
They pressurize us with helium.
NORMAN
What's wrong with oxygen?
BARNES
It's a corrosive gas. On earth, it
makes a half-eaten apple turn brown
and puts the ugly, iron rust on an
Oldsmobile. At a pressure this low,
oxygen becomes toxic. Breathe it
down here, and it'll do to your dick
what it does to the Oldsmobile.
TED
Important safety tip. Thanks
Captain.
Fletcher listens through her radio earpiece, turns to Barnes...
FLETCHER
Captain, the divers have the airlock
mounted at the door. The robot is
now in position to enter the
spacecraft.
TED
Robot? What robot?
INT. VIDEO FEED ROOM
CLOSE ON A MONITOR -- showing the robot in front of the curved gray
metal of the spacecraft.
BARNES
Edmunds, bring up the robot's camera
feed.
JANE EDMUNDS, 32, the unit archivist, works the control panel. Another
MONITOR clicks on -- showing the robot's POV of the door.
TED
Captain, you know, I really
appreciate you hauling us a thousand
feet below sea level so we can watch
this historical event on television.
BARNES
Nobody goes inside, until we know
what's inside.
ON THE MONITOR -- THE ROBOT CAMERA scans the spacecraft hull, stops on
a rectangular panel mounted to the left of the door.
BARNES
Can you open that panel?
EDMUNDS
Working on it now, sir.
ON THE MONITOR -- a robotic CLAW extends out to the panel. Trying to
pry the panel open.
TED
I'd like it noted in the report that
I think we should be doing this
ourselves. Making a manned entry...
The claw is clumsy, and keeps banging into the metal.
TED
I'd also like it noted --
BARNES
Duly noted, Ted. Edmunds, try using
suction.
ON THE MONITOR -- another robotic arm extends out, with a rubber
sucker. It pushes against the panel, but doesn't suck.
EDMUNDS
It's not sucking, sir.
BARNES
Thank you, I can see that. Try
something else.
EDMUNDS
We don't have anything else to try,
Sir.
BARNES
Well, shit -- find something, do
something... make something up --
TED
What about a crowbar?
Barnes straightens up, looks at Ted...
BARNES
What about a crowbar?
TED
What if we go out there, you know --
wedge a crowbar in the door and pry
the thing open.
HARRY
Pry the thing open? What are we --
neanderthals?
BETH
All that banging and pounding. I
don't know. We should think about
making a good first impression.
HARRY
For who? The fish?
BETH
For whoever's in that thing.
BARNES
Or whatever's in that thing.
ON THE MONITOR -- the spacecraft, sitting there silently, staring back
at them.
BARNES
Norman, what do you think?
Norman, quiet in the corner, perks up...
NORMAN
Me? Well -- I don't really... I
mean, you could... you know, you
could make a real solid case... a
crowbar?
All eyes on Norman.
NORMAN
I don't know.
A beat as they all stare at him.
TED
I'm secure enough with that.
INT. CHANGING ROOM
ANGLE ON A LOCKER door opening. Inside is an elaborate JUMPSUIT and
HELMET with the name: "JOHNSON", stenciled above the faceplate.
NORMAN
Are we all -- I mean, is it
necessary for all of us to go... out
there?
The other team members take their suits out of their lockers.
BARNES
Nothing to be nervous about. These
suits are wired and electrically
heated. Each equipped with an alarm
that triggers automatically if life-
support sustems go below optimum.
Norman holds his jumpsuit out and away from him, like it's something
nuclear.
TED
It's just like swimming, Norman...
You know how to swim, don't you?
HARRY
You're not afraid of the water, are
you, Norman?
They all look over at him.
BETH
(half smiling)
Isn't there a psychological term for
that, Dr. Johnson?
NORMAN
(under his breath)
Yeah. Drowning.
INT. AIRLOCK ROOM -- (A CYLINDER)
Dressed in jumpsuits and helmets -- Barnes jumps into a POOL of ocean
water, cut out from the floor, leading to the ocean. It looks like a
tiny swimming pool. Ted jumps in next. Beth, Harry, and Norman are
left...
BETH
You're next, Norman.
NORMAN
(nervous as hell)
No. Go ahead. Really. Ladies first.
BETH
Such a gentlemen when you're scared
shitless.
She hops in. Norman watches, looks up at Harry, next to him.
HARRY
Go ahead. Ladies first.
NORMAN
No, why don't --
Harry nudges him forward.
HARRY
C'mon.
NORMAN
Wait a second, I --
Harry pushes him again. Norman catches himself.
NORMAN
Geez, c'mon, alright. Gimme a
minute. Let me get my bearings --
Harry pushes him again.
HARRY
C'mon, Norman.
NORMAN
Look, would you --
And Harry just pushes him in. Norman slips and falls awkwardly... into
the ocean depths.
CUT TO:
BLACK.
Quiet. Only THE SOUND OF NORMAN -- BREATHING.
For a couple beats.
Now... NORMAN'S POV -- from inside his helmet -- a light SHINES from
behind him -- casting his SHADOW onto the murky ocean floor.
Norman's head turns, and he's BLINDED by a light -- it's Harry, the
light SHINING from the top of Harry's helmet.
WE HEAR Harry's voice, static, through Norman's helmet.
HARRY (O.S.)
The switch is on your waist.
ON NORMAN -- his GLOVE -- fumbling at his waist.
HIS HELMET LIGHT -- FLICKERS on.
ON NORMAN -- slowly, beginning to walk on the ocean floor.
HIS FEET -- squashing gently, lightly into the muddy ground.
NORMAN'S POV -- can barely make out the others in front of him, their
helmet lights STROBING the dark water, crossing each other, like
searchlights on a foggy night.
CLOSE ON NORMAN'S FACE -- eyes cold, BREATHING. Couple beats. And
HEARS:
TED (O.S.)
Look at that thing.
Norman's eyes look up... WE PULL BACK...
LONG, HIGH, WIDE SHOT of the team -- their little helmet lights tiny
and insignificant almost as...
IN FRONT OF THEM -- the SPACECRAFT. Dwarfing them in size, looming
large, majestic, like nothing we've ever seen. The enormous tail fin,
in the distance, extends high out of the coral.
In the huge MOUND OF CORAL covering the spacecraft, WE SEE a tunnel --
cut out like a cave -- lined with tiny, dim lightbulbs.
INT. TUNNEL
About 60 feet deep. Narrower than they'd like. Norman descends,
clumsily, awkwardly -- pushing off the bulky, iron handles fastened to
the coral walls.
THE LOUD HISSING OF AIR
INT. SPACECRAFT AIRLOCK
CLOSE ON NORMAN'S FACE as he watches the water recede, down past his
faceplate.
THE LOUD BANGING OF METAL
Ted has wedged a crowbar into the door and BANGS at it with a
sledgehammer.
HARRY
Easy Ted, we're not mining gold.
TED
Gimme some room here, will you? Back
off. Gimme some space.
They all back away, cramming into the far corner of the airlock as Ted
keeps swinging.
BETH
Looks alot like an airplane door,
doesn't it?
Ted stops and looks at the door.
TED
Alot like. You know, I noticed it
before, but I didn't...
HARRY
Shutup, Ted. You didn't notice shit.
Keep hammering.
NORMAN
You want me to try?
TED
You're a 53 year old shrink, what
are you gonna do?
BARNES
Give him the hammer, Ted.
Norman takes the hammer. Walks up to the wedge. Gets his bearings.
Rears back... then stops.
TED
What is it, your back give out?
Something has caught Norman's eye. He looks down at the wedge.
BARNES
What is it, Norman?
NORMAN
Take a look.
Barnes comes toward him. The others follow. Barnes bends down, looks
closely down at the wedge in the door.
BARNES
It's chipped.
HARRY
Chipped? The door? How can it be
chipped?
BARNES
I don't know how it can be chipped,
but it's chipped.
HARRY
I thought you said there wasn't any
damage done in the crash?
BARNES
I did.
HARRY
Then how can it be chipped?
ON BETH -- she touches the door with her palms, feels around.
BETH
There's heat coming the door.
BARNES
Back away then.
BETH
Wait a minute --
BARNES
I said back away.
BETH
Would you wait a minute?
THE DOOR STARTS TO RUMBLE
Barnes unstraps a GUN -- nearly the size of an uzzi -- from his
buckle.
BARNES
Ted, get her away from the door.
TED
What are you going to do -- shoot
her?
The RUMBLING louder...
BARNES
Get her away!
THE DOOR begins to slide open.
Beth backs away.
THE DOOR, sliding, is revealing COMPLETE BLACKNESS inside. The door
stops, it's open, it's quiet. They all stand there, looking at
BLACKNESS. A long beat.
INT. SPACECRAFT
ON NORMAN -- cautiously stepping inside. His helmet light SHINES on the
others ahead of him, walking along a 5 foot wide CATWALK, suspended
high in the air.
Metallic BEAMS and RAFTERS criss-cross above them.
Norman looks over the railing -- his light STROBES through 40 feet of
darkness, dimly lighting the LOWER HULL, a dense network of STRUTS and
GIRDERS.
TED
Look at this.
BARNES
What is it?
Ted SPOTLIGHTS the OUTER HULL.
TED
Some sort of lead or something.
BARNES
Radiation shield, you think?
TED
A foot and a half thick? That'd
withstand a helluva lot of
radiation.
Beth's light SHINES down onto the CATWALK. WE SEE FOOTPRINTS outlined
on the dusty floor.
BETH
Hold on --
BARNES
What is it?
BETH
Any of you get ahead of me -- walk
this far up?
TED
No. I don't think so.
BETH
Well, think. Because there's
footprints here that aren't mine.
TED
Well, they're not mine.
ON THE FOOTPRINTS -- large, like the boots they're wearing.
BARNES
Calm down, alright? They gotta be
somebody's here. Let's stay
together, please.
CUT TO:
LONG SHOT -- seeing them suspended high in the air on the catwalk,
walking. Their tiny streams of LIGHT moving about. WE SEE just how
ominous this spacecraft really is.
BETH
It's empty. Why would someone build a
ship like this?
HARRY
You'd have to ask them.
They approach a DOOR, at the end of the catwalk.
BARNES
Alright, Beth, do that thing you did
before.
BETH
How about I just press the button?
She presses a button near the door. The door SLIDES open.
BARNES
Or just... press the button.
Barnes holds out his gun, and enters. The others behind him.
TED
Strange, isn't it? You know -- how
it would have a button.
NORMAN
Earth doesn't have a patent on
buttons, Ted.
TED
Still, make a note I recognized that.
ON BARNES -- leading them through a small hall. It seems to be opening
up into some sort of room -- when Barnes stops. Dead in his tracks.
TED
What's wrong?
BARNES
(serious)
What do you make of this?
ON NORMAN -- as he steps around Barnes, his light BRIGHTENING on: A
SIGN that reads: "Trash."
TED
(softly)
What the hell?
Very softly, Harry begins to laugh.
TED
English?
HARRY
That's right.
Norman looks up and SEES more of the room as his light SHINES
throughout it: TABLES, COUCHES and CHAIRS -- made of leather, very
comfortable looking.
They begin to slowly wander about...
BETH
I don't get it.
TED
It doesn't make any sense.
HARRY
You don't think it does? I think
it's rather obvious.
TED
Is it some sort of joke? Like one of
those hoaxes?
HARRY
A spacecraft half a mile long --
with 500 tonnes of coral on top of
it? Someone went to a lot of
trouble. Try again.
TED
But it's impossible.
HARRY
Is it?
Beth touches the table, it's metal, but it's soft and rubbery.
TED
Why would this ship carry
instructions in English?
HARRY
Think about it.
TED
Unless, this alien spacecraft was --
you know -- somehow presenting
itself to Americans in a way that
would make us feel comfortable.
NORMAN
400 years ago? I'm sure Christopher
Columbus would've loved these
accomodations.
BETH
Good theory, Ted.
TED
Well, what's your theory?
BETH
I'm a woman. I don't theorize. I
only deal with facts.
HARRY
All the facts you need are right in
front of you.
TED
Gimme a minute here... I think I've
got it.
HARRY
Do you?
TED
If it is an alien spacecraft --
HARRY
Save your breath. It's not an alien
spacecraft.
BETH
Then what is it?
HARRY
(beat)
It's an American spacecraft.
TED
An American spacecraft? Half a mile
long? And buried 400 years? Yeah,
good theory, Harry.
HARRY
It's been obvious from the start,
hasn't it, Captain? That's why all
the secrecy, why no one was told
about it?
BARNES
We had considered it.
TED
Considered what? That it's American?
How would you think it's American?
HARRY
The chip in the door.
ON NORMAN -- glancing up at Harry...
HARRY
We take a weeny little wedge, bang
on it a couple of times, and bust
off a chunk of the metal. Yet any
spacecraft -- even at a low
velocity, say 200 miles an hour --
crashes into the water -- it's gonna
be like hitting concrete, it would
crumple like paper. But there isn't
a dent to be seen anywhere. Not even
a scratch.
TED
Meaning?
HARRY
Meaning it didn't land in the water.
TED
Please. It must have flown here --
HARRY
It didn't fly here. It arrived here.
TED
Arrived? From where?
HARRY
Not where. When. 400 years ago. From
our future.
A quiet moment as they take this in.
INT. SPACECRAFT -- DEEPER INSIDE
Ted and Barnes trek through a vast cargo bay, like two ants wlth
flashlights.
TED
Time travel. I always thought it was
one of those myths... like Santa's
reindeer.
BARNES
What would we be working on in the
future that would make us want to
come back?
TED
Maybe we didn't want to come back.
BACK IN -- THE ROOM
Norman, Harry, and Beth...
BETH
What are you looking for?
HARRY
A light switch. A button opened that
door -- the craft runs on some sort
of power.
ON NORMAN -- as he sits down in one of the CHAIRS.
BETH
What's that noise?
They LISTEN to a GIRGLING NOISE.
NORMAN
Sounds a little like water --
SUDDENLY -- the chair Norman's in -- wraps around him, squeezing him
inside, padding sliding around his head, his shoulders enveloping him
-- sucking him inside...
BETH
Norman!
NORMAN
Get this thing off me.
Beth bends down, presses a button, the CHAIR releases Norman...
BETH
I think the chair thinks you want to
fly this thing.
ON BETH's FACEPLATE -- as she's looking down -- WE BEGIN TO SEE --
reflected in her faceplate: yellow digital lettering sputtering
across...
"RV-LHOOQ... DCOM1... "
Her EYES look up slowly... as we
CUT TO:
THE BLACK SCREEN in front of the chairs, lit up with bright yellow
lettering:
"RV -- LHOOQ -- DCOMl -- U.S.S STAR VOYAGER"
"ASSIMILATING DATABASE" as a series of numbers race upwards in
count...
And the desk in front of them LIGHTS UP, a control panel coming to
life.
HARRY
Nice work, Norman.
NORMAN
Whatever I can do to help.
ON THE SCREEN as it changes, now filled with columns:
SHIP SYSTEMS
DATA SYSTEMS
QUARTER MASTER
FLIGHT RECORDS
Harry punches some keys on the control panel.
HARRY
A flight recorder. Our future is
about to be seen in our present.
ON THE SCREEN as it changes:
FLIGHT DATA SUMMARIES
FDS 01/01/47-12/31/49
FDS 01/01/50-12/31/52
FDS 01/01/53-12/31/55
FDS 01/01/56-12/31/56
FDS 01/01/56-02/01/56
FDS 02/02/56-UNKNOWN ENTRY EVENT
NORMAN
01-01-47. Two thousand-forty seven.
50 years in our future.
HARRY
Unknown Entry Event.
Harry pauses, looks down, and punches more keys...
ON THE SCREEN -- as it expands in size, widens around them, curving...
WE SEE a galaxy of stars, planets coming OFF THE SCREEN, into the
room, becoming three dimensional, suspended in air, giving the
illusion of depth.
The IMAGE begins streaking outward, TOWARD US, moving rapidly, like
we're flying through it.
The stars and other space matter streaking by.
BETH
What's that cluster of stars there?
In the center?
Harry stares, walking around the desk, moving into the 3-D image...
HARRY
Our answer.
NORMAN
To what?
HARRY
Time travel. A black hole.
The CLUSTER of stars grows brighter and brighter, as it comes closer
and closer, brightening.
The FIELD twists and turns as the SCREEN and FIELD become BLINDING as
WE ENTER the cluster, the black hole.
ON NORMAN -- his face, bright, FRIGHTENED as he HEARS:
HARRY (O.S.)
Ted? Captain?
BARNES (O.S.)
Yes, Harry.
HARRY (O.S.)
We know how this craft got here.
Where it's been.
BARNES (O.S.)
So do we. And it seems to have
picked up something on it's travels.
STILL ON NORMAN -- frightened...
NORMAN
Picked up something? What is it?
BARNES (O.S.)
I don't know. But it's something
alien.
CUT TO:
INT. CARGO BAY
ANGLE ON our six team members' BOOTS, in the distance. AS WE PAN UP
and AROUND WE SEE a curved surface appear: a surface of slowly
swirling green and blue fluids. Like mercury. Mesmerizlng.
AS WE COME AROUND, the team stands looking at the SPHERE, 30 feet in
dlameter, held by a GIANT CLAW gripping it from the top.
They walk around it, circling it, looking up at it.
HARRY
This answers one of our questions.
NORMAN
Which one? Let me get the list out.
HARRY
This spacecraft was designed to pick
things up. They see things they want
-- these claws go out and bring it
in. They come across this. This...
sphere. Find it interesting,
curious. They draw it inside to take
back home.
NORMAN
But on the way home, they miss their
turn, go too far, into the past.
HARRY
Our present.
BARNES
But what does it do? This... sphere.
TED
Maybe it's a message of some sort,
you know? See this red here.
ANGLE ON THE SPHERE -- some dark red MARKINGS on it's surface...
TED
(continuing)
Looks like a design, some writing,
maybe. Maybe it was sent to meet the
spacecraft with a message.
HARRY
Look closely. That isn't writing.
Those are grooves.
ON THE RED GROOVES -- engraved into the surface.
HARRY
No. They don't represent a message.
They aren't decorative at all. They
have another purpose entirely.
BARNES
What?
HARRY
To conceal a small break in the
surface of the sphere.
BARNES
A break for what?
INT. HABITAT -- HALLWAY
DOWN A LONG CORRIDOR -- WE SEE Barnes, through a half-closed door,
pacing, talking on the phone...
BARNES
... it's definitely something alien
... another civilization, yes, sir...
Well, we don't know yet, but we
think we've found a door...
INT. VIDEO FEED ROOM
Edmunds, Barnes, and the team members (minus Ted) look at the monitor.
BARNES
So how do we get it open?
HARRY
Ted seems to have some ideas.
ON THE MONITOR -- Ted pushing on the SPHERE door. Banging into it with
his shoulder.
NORMAN
Maybe we shouldn't.
BARNES
What?
NORMAN
If it is alien, maybe we shouldn't
try to open it at all.
HARRY
(nodding to Norman)
Man is man, all he knows is man, and
all he can think of is what he
knows. The anthropomorphic problem.
Good, Norman.
BARNES
The what?
NORMAN
I mentioned it in my report. Didn't
you read the report?
HARRY
Everything ever written about extra-
terrestial life imagines that life
is essentially human. If it doesn't
look human, it's a reptile or a big
insect or something, having human
values, human understanding.
BARNES
So? What's the problem?
HARRY
It's nonsense. There's enough
difference between our own species
to prove that.
BETH
Take politics, our views on
abortion, the death penalty...
HARRY
Cannibalism, to be extreme. And now
we're talking about a new life form.
Their values and ethics may be
incomprehensible.
BARNES
Like "Thou shall not kill"?
NORMAN
Or maybe, it can't be killed.
BARNES
You mean, what's in that thing is
immortal?
NORMAN
I don't know. That's the point.
BARNES
Everything can be killed.
BETH
Not everything. Even on earth. Take
... yeasts.
BARNES
Yeasts? Thank you, Beth, but I don't
think we're gonna open it up and
find a loaf of bread.
HARRY
And we're just talking about three-
dimensional creatures. What if it's
five or six or seven-dimensional? So
dimensional that we couldn't even
see it to kill it.
NORMAN
Good point. I don't know what you're
talking about, but good point.
BARNES
Or it could contain some great
benefit to us, some astonishing new
idea or technology to help mankind.
HARRY
It could. But the odds of it being
any use to us are against it.
BARNES
You don't know that.
HARRY
Let's say whoever made this thing is
a thousand years ahead of us, just
like we are to, say, medieval
Europe. Suppose you went back to
medieval Europe with a TV set. There
wouldn't be any place to plug it in.
BARNES
Just tell me worst case. Worst case
of what we might find?
BETH
It could breathe in air and exhale
cyanide gas.
NORMAN
Disrupt our brain waves, interfere
with our ability to think.
HARRY
Produce radioactive waste and
disintegrate us into nothing.
CUT TO:
CLOSE ON PRINTER, TYPING: "Surface winds at 25 knots -- Estimated Time
of Departure -- 01:45 hrs"
CUT TO:
INT. DH-8 HALLWAY
Empty, sterile. WE HEAR the repeating sound: THWAP. Almost like a
dripping faucet. THWAP... THWAP...
INT. LIVING QUARTERS
Harry on his bunk, staring at the wall, flicking his middle finger at
his cheek: THWAP... THWAP.
HARRY
You realize, Norman, that we are all
going to die.
Norman is lying in his own bunk, below Harry.
NORMAN
Don't be so optomistic, Harry.
HARRY
I'm completely serious. There is
something very important missing
from that spacecraft. You know what
that is?
NORMAN
Not a clue.
HARRY
A sign that the builders knew time
travel through a black hole was
possible.
NORMAN
I don't follow you.
HARRY
On that flight recorder, they called
the black hole an "Unknown Entry
Event." They didn't know what a
black hole was. Fifty years from
now, men are going to build that
ship in a very tentative,
experimental way, with no knowledge
that time travel through a black
hole is possible.
NORMAN
So what?
Harry leans his head over his bunk.
HARRY
So, we know.
(beat)
We know it went through a black
hole. We saw it. Norman -- when we'd
get to the surface, we'd tell
someone about the black hole,
wouldn't we? It'd go in some report
like some big discovery. So in fifty
years when they build that ship,
they'd make precautions for a black
hole.
(beat)
But they didn't. The called it an
Unknown Entry Event.
NORMAN
Meaning we're never gonna get the
chance to tell anyone.
HARRY
Meaning we're never gonna get to the
surface alive... to tell anyone.
Norman gets out of his bed.
NORMAN
I can't believe that, Harry.
HARRY
Gimme another explanation.
Norman pacing.
NORMAN
I can't. If I had a minute to think,
maybe, but I know you're wrong.
HARRY
Am I?
NORMAN
Look -- we're under a lot of
pressure, we're tired, you're not
thinking straight.
HARRY
You mean, you think I'm cracking?
NORMAN
No. I didn't say that.
HARRY
Then what, Norman?
Norman stops pacing, a beat.
NORMAN
It's what's in that sphere, isn't
it, Harry? Whatever you think is in
that thing -- you think it's going
to kill you.
HARRY
Curious, isn't it? What's inside?
Before I die, I'd sure like to open
it and see.
INT. VIDEO FEED ROOM
CLOSE ON MONITOR: Video of the sphere. RAPIDLY rewinding.
BARNES
What caused it?
EDMUNDS
Nothing. I don't know. Everything
was normal. No changes at all.
HARRY
When did it happen?
EDMUNDS
Seconds ago. Here!
PLAYBACK: WE SEE the sphere -- idle. Nothing around it. Then it's DOOR
slowly OPENS, revealing BLACKNESS inside. A beat. And then it closes.
BARNES
Let me see that again.
Edmunds plays it again. This time...
WE MOVE IN ON HARRY, staring at the monitor.
HARRY
(to himself)
I'd sure like to open it and see.
ON HARRY -- those cold, intelligent eyes.
CUT TO:
CLOSE ON PRINTER, TYPING: "... 30 knots -- ETD -- 00:19 min"
CUT TO:
INT. HALLWAY
CLOSE ON -- Norman and Barnes.
BARNES
Don't get hysterical, Norman.
NORMAN
I'm telling you, Harry's lost it.
He's saying there's a deathwish out
for each of us.
BARNES
Look, the ships are clearing out.
They're taking us topside in a
matter of minutes. Someone can check
him out there, if it's that imprtant.
NORMAN
All I'm saying is, someone should
keep an eye on him.
BARNES
Just worry about yourself.
INT. COMMUNICATIONS ROOM
Barnes on the phone with the surface. Ted talking to him anyway...
TED
Can I stay, sir? I'm willing to risk
it. I am. After what we just
witnessed.
BARNES
(into phone)
What? No, I know they're
civilians...
INT. LIVING QUARTERS
ON NORMAN -- gathering his things. Stuffing his shotty dufflebag.
Beth, at her bunk, doing the same.
Norman stands up. Looks at the bunk above him: unpacked clothes,
unpacked belongings, a notebook lying there saying: PROPERTY OF DR.
HARRY ADAMS.
ON NORMAN -- panicking, looking around for Harry.
CUT TO:
BACK IN -- COMMUNICATIONS ROOM
BARNES
(into phone)
... I said send the subs down, damn
it!
Barnes out the door, Ted at his heels...
TED
Did you hear me, sir, because --
BARNES
Ted, shut up. Are you packed? Ready
to go? I want everyone packed. Now!
ON NORMAN -- running at them...
NORMAN
Harry's missing.
BARNES
What do you mean, he's missing?
NORMAN
He's missing. He's gone. He left.
BARNES
He's here somewhere. Find him. The
sub's on it's way.
(they look at him)
Go! C'mon!
Norman runs off. Barnes storms down the hall...
BARNES
How can he be missing?
TED
Sir, about leaving --
BARNES
We're on the bottom of the fucking
ocean -- he can't just walk outside!
INT. VIDEO FEED ROOM
Edmunds working the monitors, stops. Seeing something on a screen.
Staring in horror...
EDMUNDS
(to herself)
Oh my gosh...
INT. COMMUNICATIONS ROOM
Barnes, phone to his ear...
BARNES
Gimme a report, I want --
HARRY (O.S.)
Ladies and Gentlemen...
BARNES
Who is that? Where's that coming
from?
HARRY (O.S.)
Please watch your closest monitor...
Barnes turns...
ON HIS MONITOR -- Harry, in jumpsuit and helmet, stands in front of the
SPHERE.
Barnes quickly puts on his headset mic...
BARNES
What's he doing there?
INT. VIDEO FEED ROOM
Edmunds, Norman, Beth, Ted staring at the monitor...
TED
I thought he was with you, Norman.
Through the speakers...
BARNES (O.S.)
Get him out of there. I thought I
told you people --
EDMUNDS
(into her mic)
Harry? Can you copy?
ON THE MONITOR -- Harry, before the SPHERE...
HARRY
Pay close attention. I think you
will find this of interest.
The sphere DOOR slowly opens.
TED
What the hell is he doing?
Harry steps up and into the sphere. The door closes slowly behind him.
CUT TO:
PRINTER, TYPING: "... ETD -- 00:15 min"
CUT TO:
INT. COMMUNICATIONS ROOM
Norman with Barnes...
BARNES
Don't tell me I told you so, Norman,
because I don't want to hear it.
(yelling past him)
Ted, I want everything by the door
-- ready to go!
INT. VIDEO FEED ROOM
ON MONITOR -- labled: "SUB DESCENT" -- it's still.
EDMUNDS
(into mic)
Subs are still at surface, sir.
INT. COMMUNICATIONS ROOM
BARNES
(into phone)
Send them, damn it! I know, but I'm
not gonna be held responsible --
Norman with him...
NORMAN
You can't just leave Harry down
here, sir.
BARNES
I told you people, nobody goes
anywhere unless I say.
NORMAN
But sir --
BARNES
No "buts". If he wants to be left,
we'll leave him.
(into phone)
Hello? Yes, the subs -- I want a
report... Hello... Yes, a report.
Gimme... shit.
EDMUNDS (O.S.)
I'm getting no sub reading, sir.
BARNES
They're coming.
CUT TO:
PRINTER, TYPING: "... ETD -- 00:13 min"
CUT TO:
INT. VIDEO FEED ROOM
ON NORMAN -- staring at the monitor of the sphere, idle.
BARNES (O.S.)
Any sign of Harry?
EDMUNDS
Nothing, sir.
INT. COMMUNICATIONS ROOM
BARNES
Fuck him.
(into phone)
What? Hello?
INT. VIDEO FEED ROOM
ON MONITOR -- labeled "SUB DESCENT"...
EDMUNDS
Sir, I am still getting absolutely
no reading on sub movement...
CUT TO:
PRINTER, TYPING: "... ETD -- 00:11 min"
CUT TO:
INT. COMMUNICATIONS ROOM
BARNES
(into phone)
Yes, a report... Hello?
Beth, inside now...
BETH
I am not leaving without him. Do you
hear me? We come down as a team, we
leave as a team.
BARNES
What are you -- his mother? Get
Norman, I want everyone ready to go.
(into mic)
Edmunds, the subs?
EDMUNDS (O.S.)
Nothing, sir.
BARNES
What the hell is going on here?
INT. CORRIDOR
Beth rushes by Ted, carrying bags to the door...
BETH
Norman? Where's Norman?
TED
By the bunks.
INT. LIVING QUARTERS
Beth running in...
BETH
Norman?... Norman?
Can't see him anywhere.
INTO THE BATHROOMS
BETH
Norman!
INT. COMMUNICATIONS ROOM
BARNES
Edmunds, do you have a 20 on Norman?
EDMUNDS (O.S.)
Yes, sir.
BARNES
Well, where the fuck is he?
EDMUNDS (O.S.)
In the ship, sir.
Barnes spins to see the monitor...
BARNES
What?
ON MONITOR -- Norman, in jumpsuit and helmet, running through the ship.
Barnes slipping on headset mic...
BARNES
Norman? Norman!
INT. SPACECRAFT
Norman running across a catwalk...
BARNES (O.S.)
You get your ass back here. You have
no authority whatsoever to be in
there. You hear me?... Norman? Don't
go hero on me now.
CUT TO:
PRINTER, TYPING: "... ETD -- 00:05 min EVACUATION IMMINENT"
INT. VIDEO FEED ROOM
EDMUNDS
Sir, if the subs haven't left by
now...
BARNES (O.S.)
They've left, keep watching!
EDMUNDS
Sir! Sir, the door -- it's opening.
ON THE MONITOR -- the sphere door, slowly opening. Revealing:
BLACKNESS.
BARNES (O.S.)
Where is he? Damn it! Can you see
him?
A still moment and then Harry tumbles out the sphere, and falls to the
ground.
INT. COMMUNICATIONS ROOM
Barnes, squinting at Harry on his monitor.
BARNES (O.S.)
How does he look? Can you tell?
Harry lies motionless.
EDMUNDS (O.S.)
He looks... dead, sir.
ON BETH -- in the hall, hearing that.
INT. SPACECRAFT
Norman, running, blindly, through a hall, around corners...
BARNES (O.S.)
Norman, get out of there now!
Norman?
INT. VIDEO FEED ROOM
EDMUNDS
If the subs aren't here yet, sir --
INT. COMMUNICATIONS ROOM
Barnes, into his headset.
BARNES
They'll be here. Norman -- can you
hear me?...
INT. SPACECRAFT
ON NORMAN -- running...
BARNES (O.S.)
You don't have time! Get the hell
out of --
Barnes' voice goes static, and cuts out.
INT. VIDEO FEED ROOM
ON THE MONITOR -- flickering, losing power...
EDMUNDS
Sir, we're losing it.
ON THE MONITOR -- flickering, fading, and all the lights and monitors
SHUT DOWN.
INT. SPACECRAFT
ON HARRY -- lying still, face down under the sphere. Goes to him.
Checks Harry's LIFE SUPPORT BADGE. Still blinking -- he's still alive.
Norman, pauses, looks up, staring at...
THE SPHERE
Mesmerizing. He can see himself, reflected in the swirling mass,
staring back at himself. The door begins to open, closes. Begins to
open.
INT. CORRIDOR
Dark. Ted, Beth, and Barnes wander throughout.
TED
What the hell happened?
The lights flicker back on.
BARNES
They switched us over.
TED
To what?
BARNES
Internal power.
BETH
What for?
CUT TO:
THE OCEAN FLOOR -- a cable falling from the surface, coiling around and
around.
CUT TO:
ANGLE ON their dufflebags piled in the corner by the door. They've
been left behind.
INT. HABITAT HALLWAY -- LATER
LOOKING DOWN A LONG CORRIDOR -- it's quiet. WE PEEK inside the
cafeteria...
BARNES (O.S.)
The surface ships will be back.
After the storm clears.
BETH (O.S.)
How long will that be?
INT. CAFETERIA
Barnes speaks to the team (minus Harry and Norman)...
BARNES
They told me about sixty hours.
BETH
Two and a half days?
TED
How long can we last down here?
EDMUNDS
Comfortably? Seventy-two hours.
BETH
Comfortably -- what's that mean --
with oxygen?
CUT TO:
INT. LIVING QUARTERS
CLOSE ON HARRY'S FACE
Harry lies on his bunk. He begins to slowly awake.
WE BEGIN TO HEAR A SCRATCHING NOISE, like nails on a chalkboard. It
gets LOUDER as Harry comes to. He puts his fingers to his temples.
Norman stands beside, him writing in his notebook.
HARRY
What is that? That noise?
NORMAN
What noise?
HARRY
It's like...
ANGLE ON Norman's pen -- as he stops writing, the NOISE stops.
Harry sighs. Norman looks down at his pen.
NORMAN
Harry, can you tell me about the
sphere?
HARRY
What are you still doing here?
NORMAN
You remember opening the door?
HARRY
You were all supposed to leave. You
weren't supposed to stay down here.
NORMAN
Tell me about the door. Do you
remember how you opened the door to
the sphere?... Harry?
HARRY
You don't understand about the
sphere.
NORMAN
Then explain it to me.
Harry pauses, staring almost like a frightened little boy.
HARRY
Norman?
NORMAN
What is it, Harry?
HARRY
What happens on page 87? Have you
ever read page 87?
NORMAN
Page 87 of what, Harry?
HARRY
I could never read that far. I never
wanted to.
NORMAN
That far in what, Harry?
Harry doesn't say anything. Norman waiting...
HARRY
You shouldn't be here, Norman. It's
too dangerous for you and the others
to be down here.
INT. BATHROOM/SHOWER FACILITIES
Beth comes out from behind a vinyl shower curtain. A towel wrapped
around her.
BARNES (O.S.)
Beth -- I wanted to have a word with
you...
Barnes washes his hands at the sink, looking at her in the mirror in
front of him.
BARNES
Back at the door -- I asked you to
back away.
BETH
Yeah. I heard you.
BARNES
There are procedures, Beth, that I
want followed. My procedures. And
considering what's going on, I want
you to follow them very closely.
BETH
(a beat)
Forgive me. I've never read the Navy
manual. I wonder what it says about
bathroom and shower procedures.
He walks to the door, then turns.
BARNES
And Beth, one other thing. I'd like
from now on for you to address me as
Captain or sir in front of the men.
INT. HABITAT HALLWAY
A LONG CORRIDOR -- LOOKING into the cafeteria...
INT. CAFETERIA
Harry is eating at a table, seems more relaxed. The team members
around him, eating too. Beth, cold. Harry sprinkles salt on the dish
of food in the middle.
TED
Hey, go easy on the salt, will ya?
We're not a bunch of icy streets
here.
HARRY
Salt's good for you, Ted. Helps you
from getting impotent.
TED
Impotent? I'm not impotent.
NORMAN
(off food)
These aren't half bad, Fletcher. You
might have a second career coming.
HARRY
What are they?
FLETCHER
Squid...
Harry stops mid-chew. Frightened.
FLETCHER
... there was a whole flock of them
out there earlier. It's strange.
It's dead down here, and then all of
a sudden --
Harry drops his fork. He begins COUGHING. HACKING. CHOKING loudly.
GAGGING. He HACKS out the squid from his mouth...
CUT TO:
INT. HABITAT CORRIDOR
A long, empty corridor. All is quiet.
CUT TO:
CLOSE ON A MONITOR -- a series of numbers:
00032125262632 032629 301321 04261037 18 3016 06180
82132 2903305 1822 04261013 0830162137 1604 4298756
08301632125262632 032629 301321 04261037 18 3016 06
82132 2903305 1822 04261013 0830162137 1604 4268756
08301632125262632 032629 301321 04261037 18 3016 06
82132 2903305 1822 04261013 0830162137 1604 0830164
NORMAN
When did it come across?
EDMUNDS
Minutes ago. Harry's trying to
decode it in his room now.
NORMAN
Where's it coming from?
EDMUNDS
No idea. We have no surface support.
It transmitted too fast to be coming
from underwater.
NORMAN
Is it coming from our own computer?
EDMUNDS
Harry thinks it's some sort of
discharge from our own system, but
I've seen it discharge before -- and
it didn't look anything like this.
EXT. HABITAT -- UNDERWATER
SWARMS of pretty, pink JELLYFISH. Everywhere.
FROM UNDER THE HABITAT -- Fletcher swims up to them with a net. It's
beautiful. Eerie. Almost idyllic.
INT. LIVING QUARTERS
Harry, on his bunk with decoding papers in his hands, turns to Norman,
entering the room.
NORMAN
Getting anywhere with those?
HARRY
There's some sort of pattern here.
It'll take a minute.
NORMAN
Have you looked outside? Jellyfish.
Everywhere. I hate jellyfish.
(sits on the table)
Harry, what happened in the
cafeteria?
HARRY
Don't do this. Don't psychoanalyze
me. I hate squid. Period. Just like
you hate jellyfish.
NORMAN
You said something to me, before --
about how we were all going to die.
HARRY
Did I?
NORMAN
You don't remember that?
HARRY
I don't remember much. It's like my
memory is on the tip of my tongue --
but I can't taste any of it. Funny,
my senses are much keener though.
Purer. Hearing, seeing, smelling.
Like, I can smell your sheets,
Norman. You tried to wash it out
earlier, But I can still smell the
urine.
(beat)
Don't worry, I'm not going to tell
the others. It's normal, really,
isn't it? In a crisis. The stress.
The panic.
INT. VIDEO FEED ROOM
Beth, Ted, and Barnes watch...
ON A MONITOR -- Fletcher outside, with the jellyfish.
BARNES
(into the mic)
Fletcher? What are you doing out
there?
FLETCHER (O.S.)
They're like pink snow, sir. Sticky.
TED
She says jellyfish are a delicacy.
You know, I never knew that.
BARNES
Get out of there. I don't want anyone
going anywhere outside, understood?
FLETCHER (O.S.)
They're warm. I can feel the heat on
my legs.
BARNES
Fletcher, I want you back here.
CUT TO:
BACK IN -- LIVING QUARTERS
Norman sitting on the table...
NORMAN
What happened to you inside that
sphere, Harry?
A long beat. Harry becomes concerned...
HARRY
Why? Does someone else want to go
inside?
CUT TO:
INT. VIDEO FEED ROOM
ON THE MONITOR -- Fletcher, the jellyfish clinging to her facemask, her
suit...
FLETCHER (O.S.)
I can't see, they're smearing the
faceplate. My arms... the fabric...
Fletcher's suit tears...
BARNES
Fletcher, get away from there...
FLETCHER (O.S.)
It's burning...
BARNES
Get out of there!
FLETCHER (O.S.)
I can't see...
BARNES
Fletcher! Now!
FLETCHER (O.S.)
I can't...
ON BETH -- bolting out of the room. Barnes turning to her...
BARNES
Nobody move.
BETH
But she's --
BARNES
Nobody move!
FLETCHER (O.S.)
They're eating through...
Somebody --
CUT TO:
ON FLETCHER -- UNDERWATER -- jellyfish eating into her plastic
faceplate... she's COUGHING, GASPING.
INT. VIDEO FEED ROOM
They watch...
ON THE MONITOR -- Her body twisting, contorting. Her suit, ripping
apart. SCREAMING. She convulses. Her body falling.
HER HORRIFYING SCREAM FADING INTO...
INT. DECONTAMINATION LAB
CLOSE ON -- Fletcher's face. Cold, dead. Eyes open. Jellyfish rooted in
her skin.
CUT TO:
INT. LABRATORY
CLOSE ON A MICROSCOPIC IMAGE of a jellyfish.
ON NORMAN -- in the corner of the lab, inspecting a MEDICAL KIT.
NORMAN
What is this, Beth? You taking
valium?
Beth, looking into the microscope.
BETH
Sedatives. Whatever my mood calls
for.
Norman picks up a book, next to the kit: 20,000 Leagues Under the Sea.
NORMAN
Where'd this come from?
BETH
The library.
NORMAN
We have a library?
BETH
A bad one. It was the only book in
there. Norman, come here, look at
this.
NORMAN
No, thank you. I hate jellyfish.
Walking toward her...
NORMAN
... when I was six, my younger
brother and I -- we went swimming in
the Pacific. At my mother's beach
house. We both felt stinging, and
when we came out of the water, he
was wearing jellyfish head to toe.
Killed him.
BETH
My gosh, Norman.
NORMAN
Yeah, it was awful.
BETH
What about you? What happened to
you?
NORMAN
Me? Well, I was wrapped in seaweed.
It itched for a while, but I
survived.
(beat)
Beth, do you find it... curious that
we're seeing all this life down
here. Nothing, and then these
enormous flocks of squid. Then
jellyfish?
BETH
Normally, I'd say no. Everything's
quiet now -- no ships, no divers, no
electricity. Makes sense. But what's
curious is -- these aren't normal
jellyfish.
NORMAN
What do you mean -- not normal?
BETH
They have six tentacles. A new
species. And the squid too. They had
no stomach.
NORMAN
Wait a minute.
BETH
What?
NORMAN
You knew about the squid not being
normal. Before Fletcher went out
there?
BETH
Yeah, why?
NORMAN
And you didn't tell anyone?
Beth, nervous...
BETH
What? Why...
NORMAN
Beth --
BETH
I mean, I'm not... I wasn't
absolutely sure if... they --
NORMAN
They are or they aren't. Which is
it?
BETH
What?... Wait. Don't... why are
you --
NORMAN
Beth.
BETH
Nobody said... Norman... What? Why
are you looking at me like that?
NORMAN
Beth --
She backs away from Norman, knocking off a speciman jar, it SHATTERS
on the floor. She starts breaking down.
Norman watching her, falling to the ground, picking up the glass,
hurriedly...
BETH
I didn't do anything wrong. I didn't
mean...
NORMAN
Beth.
She's crying, glass in her hands. She looks up at Norman, frightened,
nervous...
BETH
You wouldn't go and tell the others,
would you?
Norman hesitates, goes to her, tries to hold her, but she pushes him
away.
BETH
I hate this place, Norman. I want
out.
CUT TO:
INT. HABITAT -- HALLWAY
LOOKING DOWN -- at the room where Barnes was on the phone earlier. He
stands there now, hand on the knob.
CLOSES it shut.
CUT TO:
INT. ROOM
Barnes sits, Norman in front of him, worked up...
NORMAN
I'm not paranoid. I know Beth. She
can be drastic.
BARNES
How drastic?
NORMAN
You don't want to know.
BARNES
I think I do.
NORMAN
A while back, Beth and I -- we
worked at the same university. She
was assisting a chemist there -- I
forget his name -- doing research,
experiments. She was also living
with him.
(off Barnes' look)
Yeah, I know. And when she finished
her work, he kicked her out, broke
off the relationship, and published
five papers -- all her work --
without any thank you or
acknowledgement.
BARNES
She should've known better.
NORMAN
She put a razor to her wrists a day
later.
BARNES
(a beat)
When was this?
NORMAN
'81, I think. She tried again five
years ago.
(beat)
I thought you should know.
BARNES
So you knew this when you wrote your
report?
NORMAN
At the time, I don't know, I thought
putting her on the list -- it might
help her career -- catch her a
break.
BARNES
You knowingly recommended a woman
with suicidal tendencies for a
government operation --
NORMAN
Wait a second --
BARNES
-- and then brought her down here --
NORMAN
-- I didn't know it would come to
this --
BARNES
-- without a cautionary word to
anyone.
(beat)
You know, Ted said something to me
earlier. I think he's right. He
said, "When you got a guy who -- if
he wasn't here -- he'd be standing
in the unemployment line, you gotta
question if you got the right guy."
ON NORMAN -- sweating.
CUT TO:
ON THE MONITOR -- a series of numbers:
00032125262632 032629 301321 04261037 18 3016 06180
82132 2903305 1822 04261013 0830162137 1604 083106
21 1822 0330313130432 00032125262632 032629 301321 0
4261037 18 3016 0618082132 2903305 1822 04261013 08
30162137 1604 08301621 1822 0330313130432 000321252
62632 032629 301321 04261037 18 3016 0618082132 290
3305 1822 04261013 0830162137 1604 083016 21 1822 03
30313130432 00032125262632 032629 301321 04261037 1
8 3016 0618082132 2903305 1822 04261013 0830162137
HARRY
It's the same as before, but the
spacing's different now. It's
definitely nonrandom. See...
Harry sitting at the monitor, shows Ted, Barnes, Norman, and Edmunds a
PRINTOUT of the screan -- indicating a pattern.
HARRY
It's a single sequence repeated over
and over.
BARNES
We're all very proud of you, Harry,
but what the hell is it?
TED
Maybe it's a message?
EDMUNDS
From what?
TED
The sphere. Maybe the sphere --
EDMUNDS
We're not hooked up to the sphere.
HARRY
Well, if it's a discharge --
TED
It's not a discharge. Right,
Edmunds? You said before, right? So
it's gotta be a message.
BARNES
From the sphere?
TED
What's inside the sphere.
HARRY
If it is a message, it's probably a
substitution code. I'll work on it.
TED
Yeah, I'll work on it, too.
BARNES
(to Ted, flat)
You do that.
INT. BATHROOM/SHOWER AREA
Ted, nervous, anxious -- with five or six printouts in his hand -- has
Norman's ear in front of the sink...
TED
He's manic, Norman. You know that?
This reliance on Harry is misplaced.
You hear me? Totally misplaced. He's
overlooking things. Obvious things.
NORMAN
Like what?
Ted hands him a printout...
TED
It's not some fucking substitution
code, it's a direct visual
representation.
NORMAN
You mean a picture?
TED
Take a look. I rearranged the
numbers. Put 'em up to the light.
(Norman does)
Go ahead. Squint at it.
NORMAN
I don't see anything.
TED
Squint harder.
NORMAN
Please, Ted.
TED
(hands him another
printout)
Try this one.
NORMAN
This is like nursery school.
TED
Don't you see it? It's a picture of
the creature.
NORMAN
The creature?
TED
Inside the sphere. Look, that's the
vertical torso, three legs, two
arms. There's no head, so I'm
guessing the creature's head is
located within the torso itself, you
know?
ON NORMAN -- Ted's lost it.
NORMAN
Well, how about we wait and see what
Harry comes up with?
TED
Sure, why not. Give him the trophy.
That pretentious son of a bitch. You
heard him, Norman. All that "someone
went to a lot of trouble, try again"
bullshit. And "impotent". Where does
he get off saying I'm impotent? He's
a fucking self-righteous, little
prick.
CUT TO:
CLOSE ON MONITOR -- spirals now.
HARRY
... I asked myself, why would the
sphere be using a code? If you're
trying to communicate, why use a
code?
TED
(to Norman)
See? No code. What'd I say?
HARRY
Codes are for hiding information. So
it's making a mistake. It's making a
code without intending to. I figured
it's probably substituting numbers
for letters... Then I began to wonder
what an alien intelligence would
make of our keyboard. And since
we're getting spirals, I imagined
the keyboard as a spiral. So I
translated it...
NORMAN
That's brilliant.
Ted grimaces at Norman.
HARRY
... spiralling out of the center, you
see: "G" is one, "B" is two, "H" is
three, and so on... when I got the
message.
BARNES
What's the message?
HARRY
I have to tell you. It's strange.
BARNES
How do you mean, strange?
Harry picks up his yellow pad of paper and reads:
HARRY
"Hello. How are you? I am fine. What
is your name? My name is Jerry."
CUT TO:
INT. HALLWAY
Barnes walks briskly down the hall, Norman with him...
BARNES
He translated it wrong. "My name is
Jerry"? It's like "See Spot run."
NORMAN
The message doesn't show a lack of
intelligence. It's smart. It's
approaching us in a simple way. Like
you would a dog. Holding out your
hand, letting it sniff, get used to
you.
BARNES
What am I -- a dog, now?
Barnes ducks his head into the Video Feed room...
BARNES
Edmunds, get in here. I need you for
this.
EDMUNDS
In a minute, sir.
BACK IN COMMUNICATIONS ROOM -
Barnes storming through the room, the others (minus Edmunds) around
the monitor.
BARNES
I want a name. A real name. This
thing's full name, rank and serial
number.
TED
Captain, I personally feel we should
ask much more substantive
questions --
BARNES
I am not gonna explain in some damn
report that one person died in a
deepsat expedition so we could meet
an alien named Jerry.
HARRY
(on the keyboard,
typing)
First, we have to see if he'll talk
at all.
ON THE MONITOR -- "0032125252632"
The monitor BLINKS, reply:
"0032125252632"
HARRY
Okay, Jerry's talking.
Harry types -- "0002921 301321 0613182108142232"
TED
What'd you say?
HARRY
"We are friends".
BARNES
Cut the friends crap, get a name.
"004212232"
HARRY
"Yes". Good. Now let's see if it'll
switch over to English letters.
"0032125252632 = Hello"
Reply:
"0032125252632 = Hello"
BARNES
It's not talking, it's mimicking.
TED
Give him a chance. He's speaking our
language, not the other way around.
HARRY
(typing)
Good idea, Ted.
TED
(confused)
Thank you.
"0032125252632 = Hello. Hello = 0032125252632"
No reply.
BARNES
What's he doing?
Reply:
"Hello = 0032125252632. 0032125252632 = Hello."
BARNES
Ignorant. The thing's ignorant.
HARRY
It's not ignorant.
TED
Maybe it's pretending to be
ignorant.
Harry types "==="
Reply:
",,,"
Harry types "=,="
Reply:
"7 & 7"
BARNES
Are you enjoying yourself, Harry,
because I don't know what the hell
you're doing.
HARRY
He understands me fine.
Harry types: "Yes"
Reply:
"0004212232"
Harry types: "Hello"
A long beat. Reply:
"I am delighted to make your acquaintance. The pleasure is entirely
mine I assure you."
They stare, stunned, at the screen.
NORMAN
Well, he's polite.
TED
Unless it's an act.
BETH
Why should it be an act?
"Are you the entity HECHO in Mexico?"
BARNES
Mexico? Where'd he get Mexico?
"Are you the entity made in the U.S.A.?"
TED
He doesn't wait for an answer.
BETH
Who says it's a he?
BARNES
Not now, Beth. Please. I want to
know who we're talking to before we
start talking. Where's Edmunds?
HARRY
She's not gonna know, sir.
TED
(to Harry)
Ask him. C'mon. Say something.
Harry types: "We are. Who are you?"
Reply:
"We are"
BARNES
Hell's that mean? "We are" what?
Harry types: "We are the entities from the U.S.A. Who are you?"
"Entities = entity?"
TED
We have to teach him plurals?
Harry: "No"
"You are a many entity?"
"No. We are many separate entities."
"I understand. Is there one control entity?"
BARNES
What?
HARRY
He's saying, "Take me to your
leader." He wants to know who's in
charge.
BARNES
I'm in charge.
"Yes. The control entity is Captain Harald Barnes"
BARNES
With an "o". Harold with an "o".
HARRY
What -- you want me to retype it?
Harry: "Who are you?"
"I am one"
"Where are you from?"
"I am here"
"Where is the location from where you began?"
TED
"From where you began?" That's not
even good English.
"I am from AWARENESS"
BARNES
What is that, a planet?
"Where is AWARENESS?"
"AWARENESS is"
"Did you make a journey?"
"Yes. Did you make a journey?"
"Yes"
"I make a journey. You make a journey. We make a journey together. I
am Happy."
BARNES
Great, okay. Ask him about his
weapons.
NORMAN
That's smart. Let's talk about guns
and violence.
BARNES
You don't think weapons are
important?
NORMAN
I think we should be careful.
Consider his emotional response.
TED
You want to put him on your couch,
Norman. Grill him about his
childhood?
NORMAN
When he uses a phrase like "I am
Happy", I think we should think
twice about what we ask him.
"Do Not Be Afraid"
The all stare at the screen, stunned.
NORMAN
Jerry, can you understand what we're
saying?
"Every word"
Norman walks up to the screen, close to it.
NORMAN
Jerry, can you read our minds?
"Yes Norman"
Barnes goes to the intercom...
BARNES
Edmunds, I want you in here. Now.
Norman focuses on the screen, staring.
ON THE SCREEN -- blank.
Norman concentrating, on the screen.
THE SCREEN -- blank.
NORMAN
Jerry, are you there?
"Yes, Norman"
BARNES
We shouldn't talk here. Shut it off.
"I do not wish to Intrude"
NORMAN
We would like to talk alone.
"I do not agree. That is not possible. I enjoy to talk with you."
NORMAN
And we enjoy talking with you.
"Let us talk now"
NORMAN
We'd like to talk with you more. We
admire your talents and your great
power and understanding.
"Thank you"
NORMAN
And in your great understanding, you
know that we are entities who must
talk in private -- with each other.
"Do Not Be Afraid"
NORMAN
We're not afraid, we are
uncomfortable.
"Am I offended you?"
NORMAN
Not at all, we enjoy you very much,
but we need to talk alone, without
you listening.
"I shall oblige"
NORMAN
Thank you.
"But I am Not Happy"
NORMAN
Jerry?...
"We'll be Right Back after a short break for these Messages from our
Sponsor"
NORMAN
Jerry? Are you still there?
SCREEN -- blank.
NORMAN
Jerry?
SCREEN -- blank.
BARNES
(into intercom)
Edmunds? Get in here. I want to know
exactly how this is being
transmitted.
HARRY
She's not gonna know.
BARNES
She wired this system.
HARRY
If the technology of that sphere is
advanced enough -- the way it
functions is gonna appear to us like
magic.
ON TED AND NORMAN -
TED
Don't gimme that psychology
bullshit, Norman. Psychology isn't a
science, it's superstition. It's a
bunch of soft, subjective theories
without any hard data to back it up.
With an intellect like this,
emotions don't mean shit.
ON HARRY AND BARNES -
HARRY
It's like showing Leonardo da Vinci
a laptop computer. He'd run
screaming "witchcraft". And you
couldn't explain it to him, either.
Modems, microchips, particle
physics.
BARNES
(into intercom)
Edmunds?
ON TED AND NORMAN -
TED
Don't make stuff up, these emotional
theories, just so you can feel
important here.
NORMAN
Frankly, Ted, I'd be much happier if
Jerry was just a cold, emotionless
intellect.
TED
Why's that?
BARNES
(into intercom)
Edmunds?
NORMAN
Because if Jerry is powerful and
also emotional...
BARNES
Damn it, Edmunds?
NORMAN
... it raises a very serious
question: What happens if Jerry
gets mad?
INT. VIDEO FEED ROOM
BARNES (O.S.)
Edmunds? Can you copy?
An empty chair. Edmunds is not here. WE HEAR a repeating THUMP. THUMP.
THUMP.
BARNES (O.S.)
Edmunds?
ON A MONITOR -- WE SEE her body, wedged in a light stand bracket,
floating in the water, lifeless. Her helmet THUMPING against the wall
of the habitat.
INT. UNDERWATER -- OUTSIDE THE HABITAT
Norman and Beth, in jumpsuits and helmets, walk out from under the
habitat. Still HEARING the THUMPING. They pause, looking around.
BETH
Coast is clear.
They go to the south end of the habitat. The THUMPING louder.
Norman climbs up the grid-like STANCHION, the support beam holding up
the habitat. The BODY above him -- flapping in the current. THUMPING
against the wall.
He climbs, reaching the body. A BOOT swings, catches the LOOP in his
air hose. BUBBLES shoot out.
BETH
Norman, your suit -- it's leaking.
The BOOT comes off in Norman's hand -- and the NAKED FOOT, gray flesh,
purple toenails, KICKS his faceplate. Startles him.
BETH
Norman. Look at this.
ON EDMUNDS' SUIT -- a long TEAR in the fabric, revealing red, mangled
FLESH. Droplets of BLOOD float past Norman's faceplate.
BETH
Her flesh has been macerated.
Chewed. I've never seen a bite like
this before.
Norman pulls her body out.
Edmunds' FACEPLATE whips around -- and Norman SEES her staring eyes,
mouth open in horror.
NORMAN
I can't feel her bones. She's like a
sponge.
BETH
She was crushed. Feel her skin --
it's like sandpaper.
NORMAN
What could have done this?
WE HEAR A SENSOR: PONG. PONG. PONG.
INT. VIDEO FEED ROOM
Barnes at the monitors, Ted with him.
PONG. PONG. PONG.
TED
What is that?
BARNES
The sensors are picking up something
outside.
TED
What?
Barnes flips a switch...
BARNES
It won't register. It's too big to
image.
TED
Too big?
EXT. UNDERWATER
WHITE EGGS, the size of golf balls descend from above. Hundreds of
them. Beth catches one, inspects it...
BETH
Norman.
NORMAN
What are they?
BETH
Eggs.
From inside their helmets...
BARNES (O.S.)
You people need to hurry back. The
sensors have activated. I don't
think you're alone out there.
INT. CORRIDOR
Ted walks with Norman and Beth...
NORMAN
What was it?
TED
Barnes didn't know. Couldn't get a
reading.
NORMAN
Has Harry spoken with Jerry?
TED
Not that I know of. Why?
INT. COMMUNICATIONS ROOM
Norman and Ted at the console...
NORMAN
Jerry?
No reply.
NORMAN
Jerry, are you there?
No reply.
TED
You think Jerry has something to do
with what killed Edmunds? With
what's out there?
NORMAN
I'm not sure.
INT. LABRATORY
CLOSE ON AN EGG
Beth, scalpel in hand, is making an incision into the shell.
BETH
Looking at the coating here, it's
definitely marine invertebrate.
Barnes, Norman, Harry and Ted stand around the table.
BARNES
Well, until we know exactly what it
is, nobody goes outside, understood?
TED
What was Edmunds doing outside?
BARNES
Resetting the sub.
TED
What sub?
BARNES
In the dome hanger. All our tapes
are transferred to the sub. It's on
a 12 hour timer. If someone doesn't
reset the "delay" button, the sub
ascends to the surface with the
tapes.
NORMAN
What for?
BARNES
If something should happen to us,
the Navy will at least have partial
records of what happened.
NORMAN
At least our obituaries will be
accurate. That's reassuring.
ON THE EGG -- splitting open. A slimy pinkish-brown FLUID oozes out. A
FETUS underneath.
They cover their mouths from the smell.
BARNES
What is it?
Beth picks at it with forceps...
BETH
I'm not sure. I've never seen
anything like it.
BARNES
You're a fucking biochemist, aren't
you? Can't you tell us something.
Beth glares at Barnes...
INT. CLOSET AREA -- DARK
Beth, holding a piece of paper in her hand, pulls Norman inside,
pressing on him...
BETH
... He lied to us. He left us down
here.
NORMAN
C'mon, Beth. Don't make this
personal. He told me himself they
were taking us back.
BETH
Yeah, he told you. Think. What was
Barnes doing before they cut that
cable loose? He was on the phone.
Except that cable is a thousand feet
long, Norman. They would've broken
off communication with us four, five
minutes before they cleared out.
NORMAN
So what?
BETH
So who was Barnes talking to at the
last minute? Nobody.
NORMAN
You're jumping to conclusions, Beth.
Don't get worked up --
BETH
Fuck you, Norman! It's right here...
She shows him the printout in her hand, putting a flashlight on the
words, reads...
BETH
"Although advised of risks, all
personnel elect to remain down for
duration of storm to continue
investigation of alien sphere and
associated spacecraft. Signed,
Barnes, USN."
NORMAN
Where did you get this?
BETH
In Edmunds' things.
NORMAN
You went through Edmunds' things?
BETH
He's not just a Navy captain -- he
works for the fucking Pentagon.
NORMAN
Calm down, Beth. Alright?
BETH
Don't tell me to calm down!
NORMAN
It's done, alright? It's over! And
there's not a damn thing we can do
about it now, okay?
He turns to leave...
BETH
You said something to him, didn't
you?
NORMAN
What?
BETH
You told him about me?
ON NORMAN -- pausing, staring at her...
NORMAN
Beth --
BETH
You did, didn't you?
NORMAN
Don't do this.
BETH
You bastard.
NORMAN
Beth, I didn't. Hold it together.
Alright?
She looks at him, piercing into his eyes...
BETH
Yeah, okay. Sure, Norman.
NORMAN
Beth --
BETH
No, I should stay calm. Like you
say. Right, Norman? Stay calm.
Norman looks at her, concerned, knowing she doesn't believe him...
BETH
Fletcher and Edmunds are dead,
Norman. And the only one we can
trust to run this place is a fucking
liar.
CUT TO:
INT. CONTROL ROOM
ON THE OXYGEN REGULATOR -- bobbing up and down -- keeping track of the
little that's left.
CUT TO:
INT. VIDEO FEED ROOM
Barnes, Norman, Beth, and Ted are gathered around the monitors. Barnes
addresses Norman...
BARNES
I don't want you talking to Jerry.
NORMAN
But sir, I think it's imperative. I
think the messages, the animals
we've seen, what killed Edmunds, the
reading you got earlier -- I think
they're all related.
TED
Jerry isn't hostile, Norman. He said
earlier -- we were his friends --
NORMAN
Of course he did. He's been isloated
for 400 years. He wants someone to
talk to. Look, you put a human being
in isolation for four days, they can
become neurotic, sometimes
psychotic. We're talking about 400
years here. An alien that shows
emotional responses. I think we need
to address him, before he reacts
further.
BARNES
You think he killed Edmunds?
NORMAN
Yes, I do. Whatever's out there, I
think is his response to us refusing
to talk to him earlier.
BARNES
Bullshit. What's out there isn't
alien. It's an animal.
NORMAN
Maybe so. But I think we need to ask
Jerry about it.
BARNES
No. I think we should shut down the
communication lines inside the
habitat. He might be listening now.
BETH
I think he already is.
They turn to the monitors:
ON THE MONITOR: "DO NOT IGNORE ME"
BETH
Nice work, Captain sir.
BARNES
Shut up, Beth. I don't want to hear
it.
NORMAN
Jerry, we don't want to ignore you.
"Don't underestimate my power"
NORMAN
We don't.
"Yes you do"
NORMAN
Jerry --
THE MONITOR blinks back -- WE SEE the sphere. It is closed. Still.
WE HEAR the SENSOR: PONG. PONG. PONG.
CUT TO:
INT. LABRATORY
Harry, alone, stares at THE FETUS on the table.
CUT TO:
INT. VIDEO FEED ROOM
ON THE SONAR IMPULSE MONITOR -- lines jumping higher. PONG. PONG. PONG.
Barnes, Norman, Beth, and Ted watching it.
NORMAN
Jerry?
No response.
NORMAN
Jerry?
The MONITOR flashes: "I'm Not Listening" -- blinks back.
AN OUTSIDE CAMERA FEED -- infra-red -- a large IMAGE streaks by.
BARNES
Direction's east coming!
BETH
What was that?
Barnes flips a switch...
BARNES
Going active.
NORMAN
Jerry?
No response.
BETH
It looked like a tentacle. Of a
squid.
THE MONITORS -- BEEPING now.
BARNES
A squid? The size of a whale? I
don't think so.
(beat)
Target acquired. Sixty yards.
PONG. PONG. PONG.
BETH
What if it attacks?
BARNES
Fifty yards and closing.
BETH
What do we use for defense?
BARNES
We're a habitat. Not a castle. The
only defense we have is High
Voltage.
BETH
High Voltage?
BARNES
It sends 200 volts throughout the
cylinder surface. But we've never
used it underwater before.
PONG. PONG. PONG.
BARNES
Forty yards.
BETH
But you've tested it?
BARNES
Sure. Each time it started fires
inside the habitat.
PONG. PONG. PONG.
BARNES
Thirty yards.
BETH
What are you saying -- we can't stop
what's out there?
THE MONITORS blink: "I AM COMING". The monitor blinks to BLANK.
BARNES
What the hell?
(bangs on the monitors)
It shut us down.
NORMAN
Jerry? Please. Stop this.
BARNES
Ted, go into the control room.
Listen for my instructions.
Ted goes out the door.
ALL THE MONITORS -- blank.
BETH
Where is it?
BARNES
Why can't I -- ? What the hell is
going on here?
They HEAR a metallic CLANKING.
BETH
What was that?
BARNES
He's right beneath us.
THE MONITORS blink: "I AM HERE".
CUT TO:
INT. LABRATORY
Harry looking at the FETUS on the table. It suddenly SLIDES down the
table.
The room is rocked.
ON SHELVES -- Jars, petry dishes, test tubes SLIDE off shattering to
the floor.
INT. CORRIDOR
BANG!
TED is thrown ruthlessly against the wall. His HEAD striking metal,
splitting open his forehead.
THE WALLS -- CRACKING and GROANING.
WATER breaks through a crack, spreading out onto the floor.
INT. VIDEO FEED ROOM
Barnes...
BARNES
Ted? Ted?
INT. CONTROL ROOM
Ted, stumbles, reaches for the headset...
TED
Sir, we're leaking!
Blood dripping from his forehead.
INT. VIDEO FEED ROOM
BARNES
Increase positive pressure!
BETH
That's our reserve air.
BARNES
It's either that or we grow gills.
BANG! They grip onto the console...
INT. CONTROL ROOM
Ted, drousy, BLOOD gushing from his head, keeping balance, searches
for the PRESSURE GAGE.
BARNES (O.S.)
Ted? Ted, are you with me?
Finds the GAGE. Turns it.
TED
Increasing positive pressure.
EXT. HABITAT -- UNDERWATER
AIR BUBBLES burst out of the walls.
INT. CORRIDOR
ON THE FLOOR -- the WATER scurrying back through the leaks in the wall.
INT. VIDEO FEED ROOM
Barnes, watching the monitors.
BARNES
That's enough Ted.
(beat)
Shut it off!
INT. CONTROL RROM
THE PRESSURE GAGE -- the needle RISING...
ON THE HEADSET -- in the air, dangling from it's cord.
BARNES (O.S.)
Ted? Ted!
ON TED -- passed out on the floor. Blood covering his face.
INT. VIDEO FEED ROOM
Beth and Norman BOLT out the door
INTO THE HALLWAY
Running. BANG! They're thrown against the wall.
INT. CONTROL ROOM
THE PRESSURE GAUGE -- rising, higher, higher.
INT. CORRIDOR
THUMP! Norman and Beth, losing their balance, stumbling to their
feet, running...
ON TED -- SLIDING out of the Control Room, down the corridor, taken by
the water.
Beth grabs him, as Norman stumbles
INTO THE CONTROL ROOM
finds the PRESSURE GAGE, shuts it off.
INT. VIDEO FEED ROOM
BANG! Barnes grips his headset as he's thrown to the floor.
BARNES
Norman! Norman can you hear me?
INT. CONTROL ROOM
Norman grabs the headset, slips it on...
NORMAN
Yes, sir. I'm here.
BARNES (O.S.)
You see the lever on the green box?
Upper right hand corner?
Norman sees it, reads it:
NORMAN
High Voltage Defense System.
ON BETH -- in the hall, tending to Ted, looks up at Norman.
INT. VIDEO FEED ROOM
BARNES
You see the lever next to it?
INT. CONTROL ROOM/CORRIDOR
Beth yelling...
BETH
Don't do it, Norman!
BARNES (O.S.)
Do you see it?
ON NORMAN -- turning from Beth, to the lever.
NORMAN
I see it.
BARNES (O.S.)
Pull it.
BETH
Don't pull it, Norman. It'll start a
fire we can't stop. Norman?
BARNES (O.S.)
Do it, Norman, it's the only choice
we have. This thing is gonna crush
us.
BETH
Norman, don't do it!
BANG! The WALLS CREAKING and SCREECHING.
INT. VIDEO FEED ROOM
Barnes on the floor, a MONITOR crashes alongside him, SPITTING SPARKS,
flashing: "I WILL KILL YOU"
BARNES
Do it now!
INT. CONTROL ROOM/CORRIDOR
Norman, sweating...
BETH
Don't do it!
BARNES
Now!
BANG! CREAKING, GROANING of metal.
BETH
Norman, please! Don't!
BANG!
BARNES (O.S.)
Pull it, damn it!
ON NORMAN -- puts his hand on the lever.
BETH
Norman!
He PULLS the lever.
INT. HABITAT
DOWN THE CORRIDORS -- a loud HUM from the generators. The lights
DIMMING.
BANG! WE HEAR what seems to be a SQUEAL, as the metal RENDS and
CREAKS.
INT. VIDEO FEED ROOM
An ALARM SOUNDS.
Barnes looks up...
THE WARNING BOARD lights up.
BARNES
Fire in Communications Room!
INT. COMMUNICATIONS ROOM
FIRE ROARS out from the walls...
INT. CORRIDOR
CLOSE ON FIRE EXTINGUISHER CASE -- Beth whips it open, grabs it.
ON NORMAN -- picking up Ted, lugging him awkwardly over his shoulder.
ON BARNES -- running down the corridor towards them.
BANG! Barnes falls to the floor, taken away by the water.
CUT TO:
ANOTHER CASE ON THE WALL -- whips open -- Beth grabs GAS MASKS. She
hears...
BARNES (O.S.)
Help!
She looks DOWN THE CORRIDOR at...
BARNES -- on the floor, flailing in the water, SCREAMING, as his legs
are caught in a CRACK in the wall. Desperate...
BARNES
Beth! Help, I can't -- !
ON BETH -- staring at him. Just watching him. Not moving.
BARNES
Beth!
BARNES -- his body falling through the crack, his HEAD BANGS into the
wall, stuck in the crack, water choking him...
BARNES
Be--
... trying to SCREAM, his NECK RIPPING, SNAPS, and his body vanishes
into the ocean.
ON BETH -- cold, turns away.
INT. COMMUNICATIONS ROOM
FIRE blasts out from the wall...
BETH and NORMAN (still with Ted) wearing GAS MASKS, RUSH into the
room...
BETH
Stay low!
Beth sprays WHITE FOAM on the fierce FLAMES, licking up the side
padding, smoke boils to the cieling.
BANG! The room is rocked.
NORMAN
It won't stop.
Norman falls to the floor, losing Ted.
TED -- SLIDES away and UNDER the computer CONSOLE.
BANG! The computer CONSOLE breaks -- COMPUTERS, MONITORS, fall,
CRUSHING on Ted's legs. He SCREAMS out in agony.
NORMAN scrambles towards him through the smoke when...
THE CONSOLE catches fire, erupts in flame. Ted underneath it.
BETH -- her extinguisher out of foam.
NORMAN -- runs to a wall, finds an EXTINGUISHER CASING, it's been bent,
can't get it open.
TED -- reaches out in desperation as his LEGS catch fire.
TED
Norman!
NORMAN -- BASHES the casing in with his shoulder, grabs the
extinguisher, turns...
TED -- his entire body on fire.
BANG! Norman falls, dropping the extinguisher -- it rolls across the
floor. He reaches out -- can't get it.
CLOSE ON TED -- his face burning...
TED
Norman! Nor--
BANG! The lights go out.
DARKNESS
NORMAN -- watches in horror as he watches TED, lit in flame, burning to
death.
NORMAN -- reaches for the wall for balance, grabs METAL, and he's
ELECTRICUTED. Falls backward, head first, and EVERYTHING GOES...
BLACK
A long beat.
NAVY SEAMAN (O.S.)
Dr. Johnson? Dr. Johnson?
INT. COMMUNICATIONS ROOM
WE FOCUS in on Norman, as he awakens. NAVY SEAMAN, 40s, African-
American, standing above him.
NAVY SEAMAN
Norman Johnson.
NORMAN
Does this mean what I think it
means?
NAVY SEAMAN
It's over, sir, The storm has
cleared.
NORMAN
The ships?
NAVY SEAMAN (O.S.)
They're topside. We're ready to take
you home, sir.
The Navy Seaman helps Norman to his feet. Norman is smiling, it's
over.
INT. HALLWAY
Norman and the Navy Seaman walk down the hall.
NORMAN
How are the others?
NAVY SEAMAN
The others, sir?
NORMAN
Beth and Harry?
NAVY SEAMAN
They're in the sub, sir. Waiting.
Norman sighs, smiling. The relief, the jubilation.
NORMAN
That whole time -- I couldn't stop
thinking of what Harry was saying
earlier...
NAVY SEAMAN
What was that, sir?
NORMAN
About the time paradox.
(the Seaman nodding)
How we were all going to die --
that there was no way we would make
it out of here alive --
As Norman looks up, the Navy Seaman, still walking and nodding, begins
to slowly DISAPPEAR. Disintigrating. VANISHING before his eyes.
Norman stops, looks around him. He's gone.
INT. VIDEO FEED ROOM
Norman watches on a monitor -- the VIDEO of him walking down the hall,
the Navy Seaman walking next to him.
NORMAN (O.S.)
... how we were all going to die --
that there was no way we would make
it out of here alive --
ON THE MONITOR -- the Seaman disappers.
Norman stops tape. Looks over at the MONITOR showing the SPHERE. It is
closed.
THE SCREEN goes BLACK. Flashes up: "Hello Norman"
NORMAN
Jerry?
"Yes Norman"
NORMAN
Jerry, did you create that man?
"The entity Navy Seaman was a Manifestation. Did you have a Happy
talk?"
NORMAN
Jerry, are you manifesting what's
destroying our habitat?
"Did you have a Happy talk?"
NORMAN
Jerry, answer me.
"No."
NORMAN
Jerry?
A beat.
"Stop calling me Jerry"
The MONITOR shuts off.
Norman looks over at ANOTHER MONITOR labled "AIRLOCK FEED".
ON THE SCREEN -- Beth is putting on her jumpsuit.
INT. AIRLOCK
REFLECTED IN THE POOL OF WATER -- WE SEE Beth, slipping on her boots.
NORMAN (O.S.)
Where are you going in such a hurry?
BETH
I have to reset the sub.
Norman stands in the doorway...
NORMAN
Forget the sub.
BETH
Don't bother me, Norman.
NORMAN
It's not worth the risk.
BETH
It's also our only way out of here!
It holds three people. And there's
only three of us left now.
NORMAN
You, me and Harry?
BETH
You, me and Harry. He's asleep.
NORMAN
Wake him, then. Let's go. Get
outta --
BETH
We can't. The storm. The waves would
toss us around worse than we got
down here. And we have four days of
decompression when we get up top.
NORMAN
Four days?
BETH
Get the helium out of our
bloodstream. We go to the surface
now, we'd pop like a soda bottle.
She begins to put on her helmet, when she stops.
BETH
Maybe you should go. To the sub.
NORMAN
Why should I go?
BETH
You should know how it works. Just
in case.
NORMAN
In case you die, too?
BETH
I don't trust Harry to do it.
NORMAN
I would. But my suit --
BETH
I fixed your suit.
She goes to it. Brings it to him.
NORMAN
(watching her closely)
You fixed my suit?
BETH
You don't trust me?
NORMAN
But I don't know how --
BETH
You press a button, Norman. It's not
brain surgery. Here, go ahead. You
only have 15 minutes to reset it. Go
on, Norman...
She hands him a BRIEFCASE, the tapes inside.
BETH
... I'll watch the sensors for you.
EXT. UNDERWATER
Norman drops to the bottom with the BRIEFCASE. Lands on the ground.
BREATHING. Checks his LIFE SUPPORT BADGE. She must've fixed it.
BETH
You're clear, Norman.
He walks along, out from under the habitat. Carefully, looking around.
BETH (O.S.)
The sub's a 100 feet in front of
you. You see it?
NORMAN
I can't see anything. How does it
look? Still clear?
BETH (O.S.)
Still clear.
Norman, hesitantly, ventures out. The DARK WATER. Looking around.
Anything could be out here. Walking. WE HEAR him BREATHING. His
BREATHING gets shorter. He looks at his LIFE SUPPORT BADGE.
BETH (O.S.)
What's the matter?
NORMAN
You fixed this suit?
(no reply)
Beth?
BETH (O.S.)
Yes, Norman. I did. You're just
nervous.
NORMAN
My air isn't... I'm coming back.
BETH (O.S.)
You can't. Counter's at 10 minutes.
You don't have time.
His BREATHING is short, but managable. He continues on.
AHEAD OF HIM -- the DOME HANGER attached to a large, gray cylinder,
forty feet high.
NORMAN
Still clear?
BETH (O.S.)
Still clear.
UNDERNEATH THE DOME HANGER -- Norman climbs up to the hatch DOOR. Looks
below him. Nothing around him. He SPINS the wheel, and pushes the
HATCH OPEN. Lifts himself up, awkwardly. Grabs HANDHOLDS, and PULLS
himself up into the POCKET OF AIR trapped inside the dome.
THE SUB -- in front of him. He finds the hatch, opens it, climbs inside
the sub.
INT. SUB
Norman sits in the small seat.
NORMAN
I'm in.
(beat)
Hello?
No answer. He bangs at his helmet...
NORMAN
Beth?
He searches the sub's CONTROL PANEL. Gadgets, switches, buttons. Up
top -- a flashing red-lit BUTTON: "TIMER HOLD". Punches it. It stops
flashing, and a small screen glows: "TIMER RESET -- COUNT: 12:00:00".
It begins counting backwards.
NORMAN
Beth? Hello?
No answer. He looks at the Control Panel:
A VIDEO SCREEN with the choices: "DESCEND, ASCEND, SECURE,
SHUTDOWN... "
THUMP!
The sub slightly SWAYS.
Norman sits still, nervous.
THUMP! Harder this time.
Norman looks through the GLASS WINDSHIELD. Sweating. Can't see
anything in here.
BANG! It SWAYS faster, harder, back and forth. He grips the seat.
NORMAN
Beth! Beth! There's something -- !
THUMP! BANG! He's thrown around in the sub. He can't see anything,
tosses around. He reaches for the doorhandle.
BANG! He looses grip, his legs fly up in the air. The Sub almost turns
over on it's side.
NORMAN
Beth! Shit!
His HELMET BANGS into the glass, WE SEE his look of terror. Water
SPLASHING up from below.
Then, EVERYTHING stops.
The sub SWAYS to a still. He sits quietly. Waiting. Listening.
Reaches for the doorhandle, cautiously climbs out.
Stands on top of the sub. Keeping balance. He looks around, finds a
DOOR inside the dome. Tries to open it. Locked.
Looks around. Nothing else. Looks down at the water. Can he risk it?
His BREATHING short.
NORMAN
Beth? Can you hear me?
No reply. He dips his leg slowly, quietly into the water. Grimacing.
Then, cautiously slips down into the water...
EXT. UNDERWATER
CLOSE ON HIS FACE -- terrified. Looking everywhere. Searching. Doesn't
see anything. Lands on the bottom.
His LIFE SUPPORT BADGE beeping. Shortness of BREATH.
He walks, trying to run, out from under the dome hanger. The DARK
WATER. Can't see anything. Scared to death.
NORMAN
Beth? Beth? Shit.
THE HABITAT -- ahead of him.
Norman goes to a STANCHION. Grips onto it. Twists around. Looking.
Searching. Doesn't see anything. LIFE SUPPORT BADGE bleeping faster.
Barely BREATHING.
HARRY (O.S.)
... you there? Norman?
NORMAN
Harry?
HARRY (O.S.)
Norman, where are you?
NORMAN
I can't breathe... Am I... clear?
HARRY (O.S.)
You're clear. You see the airlock?
Norman, twists around, and as he does...
A SEA SNAKE
HISSES at his faceplate. Norman SCREAMS.
ON HIS HAND -- holding the snake, not the girder, lets go.
HARRY (O.S.)
Norman!
Norman falls... looking up: The SNAKE wrapped around the STANCHION,
slithering between the grid-like posts.
THE SNAKE'S HEAD comes at Norman, as he falls to the ocean bottom.
Backpeddaling on his arms and feet. THE SNAKE, HISSING, coming at him.
It's long TONGUE flicking at him, inches from his faceplate. Norman
backpeddaling, can't BREATHE, the SNAKE coming down on him, Norman
falls on his back, the TONGUE WHIPPING across his faceplate, when...
NORMAN is whisked up.
HARRY has him by the collar of his suit. Taking him up.
INT. AIRLOCK
They burst out of the water. Harry throws Norman onto the floor.
Unhooks his helmet -- Norman BREATHES, fast and furious.
INT. CORRIDOR
Norman, panting, walks with Harry...
NORMAN
Thank you. My suit -- Beth said she
fixed it --
HARRY
What happened to her?
NORMAN
What do you mean? She's not here?
HARRY
When I woke up, nobody was here.
NORMAN
She was supposed to be watching the
sensor for me.
HARRY
Her suit's gone.
NORMAN
Beth left?
HARRY
I thought she was with you.
INT. VIDEO FEED ROOM
Norman and Harry at the mic...
BETH (O.S.)
... what do you mean? I'm in the
ship.
NORMAN
What are you doing in the ship?
(beat)
Beth?
BETH (O.S.)
Getting food. We were out of food.
what's wrong? You sound mad.
NORMAN
Yeah, well, I get that way when I'm
facing death and someone deserts me.
BETH (O.S.)
Deserts you? Harry said he'd take
over for me.
NORMAN
He what?
Harry shakes his head: "no way".
BETH (O.S.)
When he woke up, he said we were out
of food. He told me to get some from
the ship.
HARRY
I never said that.
BETH (O.S.)
Yes you did. Norman, I wouldn't
leave you out there. You know that.
HARRY
We never even had a conversation,
Norman.
BETH (O.S.)
Harry? That's bullshit. We stood
right there --
Harry covers the mic...
HARRY
She's cracking, Norman.
NORMAN
You didn't say that about the food?
HARRY
I was just in the cafeteria, there's
plenty of food in there. Take a look
for yourself.
NORMAN
But why would she -- ?
HARRY
She's lying, Norman. Just like she
lied about fixing your suit.
Harry uncovers the mic...
BETH (O.S.)
You get it straightened out?
NORMAN
I think so, Beth. Yes.
INT. CAFETERIA
Norman, sitting at a table, eating a couple pieces of cold chicken.
A salad, some fruit, and boxes of crackers on the table.
Beth walks in, carrying a bag of food.
BETH
What's Harry doing with your suit in
there?
NORMAN
Fixing it.
BETH
Fixing it? But I fixed --
(notices the food)
Where'd you get all that?
NORMAN
The refridgerator.
BETH
The refridgerator.
NORMAN
It's a pretty common place to look
for food when you don't think you
have any.
BETH
That wasn't in there before.
NORMAN
We must've had it delivered then.
BETH
Wait a second --
NORMAN
1-800-Deepsea delivery. I hear
they're good.
BETH
None of this was here before.
NORMAN
Did you look? It was on the top
shelf.
BETH
No, it wasn't. I swear none of this
was here. None of it.
(beat)
You think he hid it? Earlier. He
must've hid it.
NORMAN
You think?
BETH
You don't believe me.
NORMAN
All I know is I opened that
refridgerator --
BETH
Damn it, Norman. I swear. I had a
whole conversation with the man when
he woke up.
NORMAN
This being after you so carefully
fixed my suit.
BETH
You think it's me? You think I'm
saying there was a conversation when
there wasn't?
NORMAN
I don't know, Beth. I wasn't there.
BETH
Damn it, Norman! He's lying. Don't
you get it? There is something
seriously fucked up going on here --
and he's causing it. Why can't you
believe me?
TO HER LEFT -- she looks -- HARRY is standing in a doorway, cold,
holding Norman's jumpsuit. He turns away.
ON BETH -- looking back at Norman, tears rolling down her eyes.
CUT TO:
INT. AIRLOCK
Harry neatly hangs Norman's jumpsuit under the hook labled: "JOHNSON".
Smoothens it out for him.
CUT TO:
INT. CAFETERIA
ON BETH -- sitting at a table, her face in her hands.
ON NORMAN -- looking at her, as he closes a box of crackers. Wraps
cellophane over the chicken. Walks with it over to the refridgerator.
Opens it, placing the chicken inside... but he can't.
INSIDE THE REFRIDGERATOR
are BOOKS -- neatly lined up on each of the shelves.
NORMAN -- backs away. What the hell?
Norman now looks at the CUPBOARDS. Goes to them.
INSIDE THE CUPBOARD
Books, neatly stacked.
Norman, panicking, opens each of the cupboards, all of them with
BOOKS.
All of the books are the same. Entitled: "20,000 Leagues Under The Sea
by Jules Verne."
Norman looks over at Beth.
BETH
What is it, Norman? Norman?
She comes to him. He stands there, bewildered, scared, mind racing.
BETH
Norman?
Norman paces, frantic almost, running his hands through his hair,
trying to think. Stops. Turns to Beth.
NORMAN
Page 87.
BETH
What?
NORMAN
Page 87. "I could never read that
far."
Norman quickly plucks a book from a shelf, turns pages, gets to page
87. Reads...
NORMAN
"Our fisherman frequently see some
that are more than four feet long.
Some skeletons of squids...
BETH
Squids?
NORMAN
"... according to calculations of
some naturalists, one of these
animals, only six feet long, would
have tentacles 27 feet long. That
would make a formidable monster."
He looks up from the book, realizing something...
BETH
Norman?
SNAPS the book closed.
CUT TO:
INT. LIVING QUARTERS
CLOSE ON HARRY'S DUFFLEBAG -- Norman rifles through notebooks. Turning
pages.
TEARS off the first Jerry transmission.
Beth, standing at the doorway, keeping watch down the hall.
BETH
Norman, what is it?
Norman grabs Harry's YELLOW PAD OF PAPER.
CUT TO:
THEIR FEET -- scurrying through the water soaked corridor.
Norman ushers her into the Control Room. Looks around. SHUTS the door.
CUT TO:
INT. CONTROL ROOM
Norman SCRIBBLES on the printout, glancing at the yellow pad of
paper...
NORMAN
After the attack, a Navy guy woke me
up -- I don't know -- I thought he
was an illusion. But I checked the
tape, and Jerry said he manifested
him.
BETH
Manifested?
NORMAN
Created. Brought to life. I don't
know. But at the end, Jerry said,
"Stop calling me Jerry". And --
Norman stops, staring at the pad.
NORMAN
He translated it wrong.
BETH
What?
Norman picks up the pad of paper, reads...
NORMAN
Hello. How are you? I am fine. What
is your name?... My name is Harry.
CUT TO:
INT. CORRIDOR
Harry is walking towards the Living Quarters...
NORMAN (O.S.)
Remember when we first spoke to
Jerry, Barnes kept asking for
Jerry's real name? But Harry never
would? He didn't because he was
afraid the screen would say "Harry",
instead of Jerry. We weren't talking
to an alien intelligence when we
talked to Jerry, we were talking to
Harry... or a part of Harry.
BETH (O.S.)
What do you mean, a part of Harry?
BACK IN -- CONTROL ROOM
NORMAN
When did the messages start? The
animals outside start showing up?
After Harry came out of the sphere.
BETH
You think, in the sphere --
NORMAN
He acquired some sort of power. A
power to manifest things.
BETH
But how?
NORMAN
I don't know.
BETH
How can the sphere do that?
NORMAN
I don't know, Beth. I'm not the
fucking alien that built the thing.
But it can. When Harry came out of
the sphere, he mumbled something
about page 87. How he would never
read that far -- he was too scared
to. Then you found the book,
remember in your lab. Then in the
cafeteria -- and page 87 talks about
a giant squid...
BETH
Which I told Barnes was attacking --
NORMAN
It's his fear. The squid. He's
manifesting his fears. Making them
real.
BETH
But why is he doing it?
NORMAN
He must not realize he is. Like the
Navy crewman -- Harry was sleeping
then. He must've manifested his
dream.
BETH
His dream? You can't control your
dreams. And you can't control your
fears, can you?
NORMAN
(shaking his head)
No. I mean, we've always believed we
can think anything we want without
consequences. You ever read the
Bible?
(off her look)
It talks about our sinful nature,
you know? I mean, we can think, and
believe, and desire whatever we
want, but there's a part of us -- a
shadow side, as Jung called it --
that can't be controlled. It's evil.
It's inside us. It's what we are.
CUT TO:
IN -- THE LIVING QUARTERS
It's dark. Harry lies on his bunk, asleep.
BETH (O.S.)
And that's the part of Harry that's
being manifested.
NORMAN (O.S.)
Must be. And if it is -- it's a part
of him not even he can control.
Harry opens his eyes, stares at us.
WE BEGIN TO HEAR A LOW INSISTENT BEEPING...
INT. VIDEO FEED ROOM
ON SCREEN -- a transmission comes across...
"CQX VDX MOP LKI... "
Beth and Norman watch...
NORMAN
Looks like some sort of code.
BETH
Why would Harry go back to using a
code?
HARRY (O.S.)
You mean Jerry, don't you?
Harry leaning against the doorframe, enters the room.
BETH
Jerry. Right. I said Jerry, didn't
I?
HARRY
That's a hell of a mistake to make,
Beth.
BETH
I'm sorry. Slip of the tongue.
HARRY
Yeah, I don't know how you could
make that confusion.
Norman watching them...
HARRY
Wisconsin's your answer.
NORMAN
Wisconsin?
HARRY
(off screen)
Navy transmission. They're sent from
Wisconsin.
NORMAN
How do we decode it?
HARRY
Don't have to. Watch. It'll do it
for you.
THE SCREEN -- jumbling it's letters until finally...
"SURFACE SUPPORT VESSELS TO YOUR LOCATION ETA: 1600 HOURS. END."
Norman and Beth smile...
NORMAN
The cavalry is on it's way.
THE SCREEN -- "16:00:00"... it begins decending in count.
BETH
Just in time, too.
HARRY
In time for what?
BETH
What?
HARRY
Just in time for what?
Beth, nervous, tries to cover...
BETH
Our habitat, I mean. This place
can't handle another attack.
HARRY
Another attack?
A long beat, as Beth stares at Harry.
HARRY
Why are you looking at me like that?
BETH
Like what? I'm not --
HARRY
You're staring at me.
BETH
No I'm not. I'm not star--
HARRY
Yes you are...
Harry looks at both of them, suspiciously...
HARRY
Did I miss something? You two seemed
to patch things up awfully fast.
A tense beat.
NORMAN
We just figured, you know, the three
of us -- we need to... work together
through this.
HARRY
The three of us.
NORMAN
That's right.
HARRY
(beat)
Is that why the two of you went
through my dufflebag?
Norman glances at THE SCREEN behind Harry: "I WILL KILL YOU ALL."
INT. LABRATORY
CLOSE ON THE MEDICAL CABINET -- WHIPPING open.
Norman quickly digs through the medicines...
NORMAN
Diphenyl parlene.
BETH (O.S.)
Something for burns.
NORMAN
Ephedrine hydrochloride.
Beth at the computer, looking up the names...
BETH
It's for motion sickness.
NORMAN
Valdomet.
BETH
Ulcers.
NORMAN
Sintag.
BETH
A synthetic opium analogue.
NORMAN
Does it cause drowsiness? That's all
we need. To get him unconscious --
put him under.
BETH
Nothing about drowsiness.
NORMAN
Tarazine?
BETH
Tranquilizer. Causes drowsiness.
NORMAN
Bingo.
BETH
"... and may also cause bizarre
halucinations".
Norman throws it on the floor. Picks another...
NORMAN
Riordan?
BETH
Antihistamine. For bites.
NORMAN
Damn it! Chloramphenicol?
BETH
Antibiotic.
NORMAN
Parasolutrine?
BETH
How do you spell it?
NORMAN
P-a-r-a-s-o...
BETH
It's a soporific.
NORMAN
What's that?
BETH
Causes sleep.
NORMAN
It's like a sleeping pill?
BETH
"... used as an anesthetic if given
in combination with paracin
trichloride... "
Norman digs, finds paracin trichloride...
NORMAN
Here we go.
CUT TO:
BETH -- mixing the medicines...
NORMAN (O.S.)
(reading from the
computer)
"20 cc's of parasolutrine in
combination with 6 cc's of paracin
given IV produces deep sleep
suitable for emergency surgical
procedures... no cardiac side effects
... REM activity is surpressed... "
BETH
How long does it last?
NORMAN
Three to six hours.
BETH
I'll just boost the doses.
NORMAN
What? Wait -- isn't that dangerous?
BETH
How fast does it take effect?
NORMAN
Doesn't say.
BETH
What if it takes 20 minutes, Norman?
What if it takes an hour? And he can
fight it off? We can't afford that.
Beth goes to the cabinet, grabs another medicine. Norman comes over as
she adds it to the mix...
NORMAN
What is that? What are you doing?
What do you want to do -- kill him?
A beat...
BETH
It's an idea.
NORMAN
Beth --
BETH
To be on the safe side. I mean --
NORMAN
You want to kill him?
BETH
Look, it's either him or us, Norman.
Another attack, and we go down with
this place.
She fills the LARGE SYRINGE with the clear liquid mix.
BETH
You ever given an injection before.
NORMAN
Thirty years ago. In residency. I
passed out. You?
BETH
Only lab rats. Here.
She hands him the syringe...
BETH
Give him the whole thing. Hurry,
before he wakes up.
Norman looks at the syringe, like it's an assault rifle.
NORMAN
Where do I stick it?
CUT TO:
INT. LIVING QUARTERS
Harry sleeps on his bunk. The door to the room is closed.
INT. CAFETERIA
Norman spirals down the stairway from the lab. Hurrying through the
dark cafeteria, the syringe at his side.
INTO THE HALLWAY
shuffling down the corridor, nervously. Glancing at the syringe.
ROUNDS A CORNER
and SEES in front of the Living Quarters...
TWO AFRICAN-AMERICAN NAVY CREWMEN -- standing guard of the door.
Norman stops, hides behind the wall.
CUT TO:
INT. LABRATORY
Norman comes in...
NORMAN
He's got Farrakahn's army standing
guard. What's plan B?
Suddenly, BANG! The room shakes. Shelves fall. Cabinet doors swing
open. Norman falls to the floor.
THE COMPUTER MONITOR -- crashes down in front of his face. It reads: "I
WILL KILL YOU ALL"
INT. CORRIDOR
Norman and Beth running...
BETH
Harry!
BANG! Water shoots through the wall. Gushing out onto the floor. The
walls CRACKING.
ON HARRY -- running out of his room...
HARRY
What is it?
NORMAN
You know what it is, Harry.
BANG! They lose their balance, still running...
NORMAN
It's the squid! Stop it!
HARRY
Stop what? What are you -- ?
BANG! Another CRACK -- water gushing inside.
NORMAN
You know damn well what. You're
doing it!
Norman grabs Harry, pushes him up against the wall.
HARRY
Doing what? I'm not doing
anything -- !
Beth takes the syringe from her palm, and STABS Harry in the SHOULDER.
HE SCREAMS IN HORRIFYING PAIN, FADING OVER INTO...
INT. ANOTHER CORRIDOR
Quiet now.
INT. CAFETERIA
Norman and Beth sit at a table, sipping coffee.
NORMAN
I'm sorry.
BETH
For what?
NORMAN
Not believing you.
BETH
You're not sorry. You're scared.
(beat)
You're a psychologist, Norman. You
pride yourself on knowing when
someone's lying to you, not telling
you the truth. And now you're scared
... because you're not sure you can
tell anymore.
ON NORMAN -- watching her, sizing her up.
INT. VIDEO FEED ROOM -- LATER
ON HARRY -- lying on a STRETCHER in the corner, propped up with pillows
and a blanket. An IV in his arm.
NORMAN -- at the console, stares at the MONITOR of the SPHERE. A long
beat. His reflection staring back at him. He slips on the headset...
NORMAN
Beth?
INT. LIVING QUARTERS
The room is empty.
NORMAN (O.S.)
Beth?
INT. CORRIDOR
Empty.
NORMAN (O.S.)
Can you copy?
INT. AIRLOCK
ON THE JUMPSUIT HANGERS -- the jumpsuit under the name "DR. BETH
HALPERIN" is missing.
NORMAN (O.S.)
Beth?
INT. VIDEO FEED ROOM
Norman at the mic...
BETH (O.S.)
What is it, Norman?
NORMAN
Where are you?
BETH (O.S.)
In the sub. Resetting the timer.
Why?
ON THE MONITOR -- Beth sitting in the sub.
NORMAN
The sphere looks different.
BETH (O.S.)
What do you mean, different?
NORMAN
The grooves around the door --
they've shifted. And the pattern --
the fluids -- they look darker now.
BETH (O.S.)
(beat)
How's Harry?
ON HARRY -- the IV in his arm.
NORMAN
He's fine.
CUT TO:
CLOSE ON A MONITOR: "12:30:00"... descending in count.
CUT TO:
INT. CAFETERIA
Norman pouring himself more coffee, alone.
CUT TO:
INT. AIRLOCK
Beth's suit still gone.
CUT TO:
INT. VIDEO FEED ROOM
Harry lying on the stretcher, still.
Norman watching him from above, sipping his coffee.
HEARS A SOFT BEEPING
Norman goes to the console, sits. Checks the monitors. Looks around
the console, not knowing what it is.
A FLASHING LIGHT on the Sensor Board. Norman still doesn't know what
it means.
THE MONITORS go blank.
NORMAN
Beth --
The MONITORS flash up: "I AM COMING."
Norman spins around, goes to HARRY -- lying still. Norman grabs
Harry's wrist. Checking pulse.
Norman returns to the console, slips on the headset...
NORMAN
Beth? Beth? Can you hear me? Get the
hell out of there.
THE MONITORS boot up again. Norman looks at the SUB VIDEO MONITOR --
the sub is gone from under the dome.
NORMAN
Beth?
(beat)
Beth? Shit.
No reply. MORE BEEPING. Panicking. Bangs on the headset.
NORMAN
Beth? I'm getting some sort of
reading. There's something --
He scans the MONITORS, looking for movement. Anything. They are all
still.
Norman turns to looks at Harry...
CLOSE ON HARRY'S FACE -- still.
BACK ON -- NORMAN, sweating...
NORMAN
And whatever it is, it's not coming
from Harry.
Norman looks at the monitors:
ON AN OUTSIDE CAMERA FEED -- a bright LIGHT blinds the SCREEN. It's
Beth in the sub, moving along the habitat.
The Sub's CLAW ARMS carry large RED BOXES. The lettering on the boxes
isn't in focus.
Norman squints at the MONITOR -- can't make it out.
NORMAN
Beth? What is that? What are you
doing?
The Sub's CLAW ARMS drops one of the BOXES, plumping it softly on the
muddy floor.
NORMAN
Can you hear me? Beth? Can you copy?
Get inside, there's something out
there.
ON ANOTHER MONITOR -- the Sub moves forward. Churning up the sediment.
It stops again, and releases another box.
Norman BANGS on the headset.
NORMAN
Damn it, Beth, I know you hear me.
THE MONITORS blink: "I AM COMING FOR YOU"
ON NORMAN -- breathing heavy.
NORMAN
What the hell?
ANOTHER MONITOR -- the Sub in view -- a closer view. It releases it's
last box. Norman can read the lettering now: "CAUTION: TEVAC
EXPLOSIVES"
NORMAN
Beth? C'mon. What are you -- ?
THE MONITORS flash: "I WILL KILL YOU"
NORMAN
Oh shit.
Norman WHIPS off his headset, bursts out of his seat, OPENS a CABINET.
Searching for tapes. Another cabinet. Then another.
A shelf labled: "SPHERE" -- all the tapes are gone.
NORMAN
It's her.
THE MONITORS flash: "I WILL KILL YOU"
ON THE HEADSET -- resting on the console. WE HEAR faintly...
BETH (O.S.)
Norman? Norman?
INT. CORRIDOR
Norman pushes Harry and his IV down the corridor. Hurrying. An inch or
two of water on the floor.
INT. LIVING QUARTERS
CLOSE ON A METAL CASE -- labled: "Captain Harold Barnes."
Norman BANGS it against the wall, trying to bust the LOCK. BANGING.
BANGING. Breaks the lock. Digs inside the case.
Pulls out a GUN.
INT. ANOTHER CORRIDOR
Norman pushing Harry and the IV stand. Wheels him into...
BATHROOM/SINK AREA
Norman stops. Turns off the main lights. The room goes dark. The
florescent LIGHT above the sinks stay on.
Norman wheels Harry inside, places him by a wall. Checks the IV.
Norman goes to a STALL. Steps inside. Keeps the stall door open. Can
still see Harry about 10 feet away.
Norman looks at the GUN. COCKS it. Pinches his finger.
NORMAN
Ouch.
He waits. Listening.
A FAINT HIGH-PITCHED HISSING SOUND
Norman looks over at the sinks.
A FAUCET is on. Water HISSING faintly from it.
Norman ignores it. Waiting in the dark. Listening.
ON THE FAUCET -- the water running.
ON NORMAN -- looking at it. Can't ignore it. Tries. But can't.
Norman walks quietly through the inch of water on the floor.
OVER TO THE SINKS
The light above them on. Norman turns the faucet off. The water stops.
But the HISSING SOUND remains.
Norman looks at the faucet, queerly. Turns it back on. Then off.
The HISSING SOUND still there. It isn't the water.
Norman looks down at his feet...
THE FLOOR -- seems to be moving. Something swimming in the water.
CLOSE ON NORMAN'S PANTLEG -- a long, tubular SEA SNAKE slithers up
inside his pantleg, HISSING. His pants BULGING as the SNAKE slowly
slides up past his knee.
HISSING LOUDER
As more SNAKES comes through the crack in the wall.
NORMAN watches with horror in the mirror in front of him as the SNAKE
slithers up to his groin, and across the inside of his shirt.
Another SNAKE begins WRAPPING itself around the outside of Norman,
sliding up around his neck.
WE HEAR FOOTSTEPS COME FROM DOWN THE HALL
NORMAN, standing still, watches as more SNAKES crawl up his sides,
slithering around his arms, his shoulders, his neck, under his chin,
over his face. Their forked tongues FLICKING and HISSING.
BETH (O.S.)
What time is it, Norman?
NORMAN looking in the MIRROR -- as Beth comes up behind him in her
jumpsuit.
BETH
Do you know the time?
Norman GLARES at her in the mirror. His body STIFF.
BETH
I have to know the time of day,
Norman. Do you know?
SNAKES covering his eyes, SLITHERING across his mouth.
NORMAN
(through his teeth)
Your watch.
A SNAKE flicking it's tongue at Norman's lips. Trying to get inside
his mouth.
BETH
What was that? I couldn't hear you.
NORMAN
Your watch.
BETH
Oh yes, my watch. I almost forgot.
She looks at her watch.
BETH
Splendid.
She begins grabbing the SNAKES off of him, carefully dropping them to
the ground. SNAKES writhing in her hands, twisted around her wrists.
Shakes them off. Some drop in the sink. She bends out of view -- and
the SNAKE inside Norman's shirt, MOVES back down the way it came.
Past his stomach, his groin.
Norman HEAVES from his chest, VOMITS on the mirror...
CUT TO:
INT. CAFETERIA
CLOSE ON A POT -- pouring a white, milkish DRINK into a cup.
Beth walks it over to Norman, sitting at a table, looking ill.
BETH
Isotonic glucose supplement.
Norman looks at the cup.
BETH
Go ahead, drink it.
Norman places the cup down.
BETH
What's wrong, Norman?
NORMAN
I'm feeling better.
BETH
Are you?
Beth takes a seat. Stares at him. A long beat.
BETH
It's getting cold.
NORMAN
You think I'd really drink that?
BETH
You don't think I put something in
it, do you?
NORMAN
You put explosives around the
habitat, I can't imagine what you'd
put in a drink.
BETH
I did do that, didn't I?
A beat. She picks up the drink, and begins sipping it. Norman watches
her.
NORMAN
How do you feel about snakes?
BETH
Snakes? What do you mean, exactly?
NORMAN
You know what I mean.
BETH
Am I afraid of them? Not during the
day. Sea snakes are diurnal. When
the sun's out, they don't bite.
Fortunately for you, I had on my
watch.
(off cup)
This is quite good.
NORMAN
What are they doing down here? In
the bathroom? Suddenly appearing.
BETH
You tell me.
NORMAN
Do you fear them?
BETH
Don't you?
NORMAN
Are you manifesting them?
BETH
If I was, then I would've had to
have gone in the sphere, wouldn't
I?
NORMAN
Did you?
BETH
What's the phrase -- "keeping up
with the Joneses"?
NORMAN
Why did you go in the sphere, Beth?
BETH
Same reason I put explosives around
the habitat. For defense. For the
power. To protect myself.
NORMAN
Against what? Harry's unconscious.
He's not a threat.
BETH
No, he isn't.
NORMAN
He can't manifest.
BETH
No, he can't.
NORMAN
Then why, Beth? Why go in? Why put
out explosives? Why manifest the
snakes?
BETH
You think I manifested the snakes?
NORMAN
Someone did.
BETH
Yes, someone did. But it wasn't me,
Norman.
(beat)
It was you. You manifested the
snakes.
A long beat between them.
NORMAN
Beth you're losing it. C'mon.
BETH
C'mon -- what?
NORMAN
You're lying --
BETH
Am I lying? Are you sure? Are you
absolutely sure I'm lying?
(off his look)
Then explain to me about the
jellyfish. Earlier. Why did we see
jellyfish? Harry doesn't fear
jellyfish. You do. They're your
fear, aren't they?
NORMAN
But --
BETH
And the snakes? You want to know
about the snakes? You saw one
outside earlier, didn't you? When
you thought I had deserted you --
you were terrified.
NORMAN
(realizing)
That's when you went in the sphere.
BETH
One lonely, terrifying sea snake.
NORMAN
You manifested that, Beth.
BETH
Did I? Or was that you?
(beat)
When you were hiding in the bathroom
-- all conspiratorially like you were
-- you became frightened, didn't
you? Terrified. Like you were with
the snake earlier -- and suddenly
you have snakes slithering all over
the floor. You did that, Norman.
NORMAN
You're insane.
BETH
Am I? Or am I making so much sense
that you're going insane?
NORMAN
I never went in that sphere.
BETH
You don't remember you did. But I'm
sure you remember running like some
fucking hero to get Harry, don't
you? You remember that.
NORMAN
Yes.
BETH
You remember before you picked him
up -- when you looked up at the
sphere, you remember that -- when
the sphere opened?
(off his look)
That's right. But you can't remember
going inside, can you? No, of course
not. Harry couldn't either, could
he? "Like everything's on the tip of
my tongue", he said.
NORMAN
That's bullshit.
BETH
Is it?
NORMAN
Beth, the message said Harry. "My
name is Harry". My name isn't Harry.
BETH
No, it isn't. Your name is Norman.
But your younger brother -- what was
his name? The one who was stung when
you were younger. The one that died.
The one you couldn't save. What was
his name?
(imitating)
"Mommy, we're going out to the ocean
-- to go swimming." "But I don't
want to go swimming, Norman. I'm
scared." "C'mon, Harry, it'll be
fine, it'll be fun."
(resuming)
You heartless fuck. That's why
you're so scared of the water, isn't
it?
NORMAN
Shut up, Beth --
BETH
When you were in that sub -- and
that squid was attacking you -- are
you sure it was the squid that was
attacking? Do you know? "I can't get
Beth on the radio. I'm in this tiny
sub on the bottom of the fucking
ocean. All alone. Surrounded by all
this water." Was it really the squid
that was attacking you, Norman -- or
was it something else -- one of your
fears? You never really saw what it
was, did you?
Norman stares up at her, frightened. Is she right?
BETH
I'm not scaring you, am I Norman? I
hope I'm not frightening you. The
last thing I want to do is frighten
you. You feel okay, don't you?
NORMAN
It's not me, Beth. I swear. It can't
be.
BETH
"It's not me, Beth. It's not me. It
can't be. I'm not doing anything."
Just like Harry said before I
stabbed him with the needle.
Norman looks at her palm -- SEES the NEEDLE in her hand. Norman backs
up, away.
NORMAN
Don't, Beth.
BETH
But I have to, Norman.
NORMAN
I promise --
BETH
Promise what, Norman? Tell me!
NORMAN
Beth --
BETH
You think I'd belive you? Believe
anything you might say now? After
you lied to me about telling Barnes
about my past. About my problems. My
problems. Not yours. Not his. Mine.
NORMAN
Don't, Beth. Please.
BETH
It's either this... or I kill you.
The GUN in her other hand.
NORMAN
Beth --
She comes at him, needle in hand...
BETH
It's your choice. Because it's not
safe for you to be awake. To be
walking around. To be thinking about
things.
NORMAN
It's not safe for you to be either.
BETH
You think I care? You think I care
if I die?
(almost laughing)
Would I put explosives around the
habitat -- set on vibration sensors
-- that can trigger automatically,
if I cared about myself? Would I?
I've tried twice before, Norman, why
wouldn't I try a third time? I'm not
thinking about myself -- No, Norman,
I'm thinking about you. Your safety.
Protecting you from your own self.
She lunges at him with the needle, missing. He RUNS for the SPIRAL
STAIRCASE leading to the lab. Norman grabs the handrail, begins
climbing the stairs.
Beth's at his feet, grabbing for his ankles.
BETH
Norman! I'm doing this for you,
Norman.
He frantically crawls up the stairs, her grasping at his heels.
BETH
Norman.
Climbing, climbing -- round and round -- the STAIRS never seem to end.
He looks up:
THE STAIRS -- expanding in front of him, strangely increasing in
number. He climbs, racing, PANTING. Beth, right behind him, laughing
almost.
BETH
Come here, Norman.
She GRABS his ANKLE. She raises the NEEDLE. Norman turns, KICKS her in
the FACE.
She WAILS, blood SPITTING from her nose.
Climbing, climbing. The STAIRS increasing above. He LUNGES for the top
step, GRABS it. Pulls himself up...
INTO THE LAB
Scrambling. He stares down at Beth -- the GUN pointing at him.
BETH
Norman --
He SLAMS the HATCH DOOR, on top of her, BASHING her head down. He
holds the DOOR closed. Trying to regain his breath.
BETH (O.S.)
This is what I'm talking about,
Norman. Don't you see? It's in you.
This vindictiveness. This rage.
NORMAN
Get away from the door, Beth.
He slides a heavy FILE CABINET over on top of the door.
BETH (O.S.)
Oh, Norman, I don't want to come
in...
The door's METAL PIVOT turns...
CUT TO:
ON BETH -- on the stairs, spinning the door's WHEEL...
BETH
... I want to lock you in.
CUT TO:
INT. LABRATORY
Norman staring at the wheel. CLICK! It's locked from the outside.
Norman falls to his knees. PANTING.
CUT TO:
INT. LABRATORY -- LATER
CLOSE ON A SURVEILLANCE VIDEO CAMERA -- in the upper corner of the
room.
BETH (O.S.)
You're a psychologist, Norman. You
of all people, don't want to admit
to your shadow side...
CUT TO:
INT. VIDEO FEED ROOM
ON A MONITOR -- WE SEE Norman -- sitting in a corner of the lab,
staring up at US.
BETH (O.S.)
... You have a professional stake in
believing in your own mental health,
don't you? Don't you, Norman?...
CUT TO:
INT. LABRATORY
Norman, huddled on the floor.
BETH (O.S.)
Of course you're going to deny it.
You want to blame someone else. You
want to blame Beth. Because you
hate Beth.
NORMAN
Don't fuck with me, Beth.
BETH (O.S.)
I'm not fucking with you, Norman.
You've fucked yourself.
Norman JUMPS up, looks at the ground -- WATER on the floor. Rising in
level.
NORMAN
Turn off the water, Beth.
The entire floor is covered in water, rising higher, and rising fast.
NORMAN
Beth!
BETH (O.S.)
You're frightened, aren't you,
Norman?
Norman, WADING through the water, searching...
NORMAN
Where is it coming from, Beth?
BETH (O.S.)
Don't you know?
Rising higher...
NORMAN
Beth, stop it!
BETH
Stop what? Don't blame me. It's not
me.
Norman frantically checking for a crack, a leak.
NORMAN
Then where's it coming from?
BETH (O.S.)
From you, Norman. From your mind.
You're doing it.
It's up to his waist. He climbs on top a lab bench. Puts his hands to
his temples, straining. WE HEAR Beth laughing.
A SPECIMEN BOTTLE -- EXPLODES right next to him.
BETH (O.S.)
There's no ventalation in the room,
Norman. The pressure's going to kill
you.
Another BOTTLE SHATTERS, shooting fragments of glass across the room.
NORMAN
Stop it!
BETH (O.S.)
It's you, Norman. Your fear of
drowning. You have to face it.
Microscope lenses CRACK. Bottles, Test Tubes, Dishes EXPOLDE.
BETH (O.S.)
C'mon, Norman. Let me put you under.
Before you kill yourself!
SHATTER! CRACK!
Bottles floating in the water POP! The water too high -- Norman
swimming in it now, keeping afloat. His FACE strains from the
pressure. He looks at the CAMERA in the corner...
BETH (O.S.)
It's over, Norman.
Next to the CAMERA, he SEES the HATCH DOOR in the ceiling.
BETH (O.S.)
Don't even think it. You don't have
your suit, Norman. The water will
freeze you.
He reaches up at the door. Can't get it. The water rising. He DIVES
down in the water...
UNDERWATER
He swims to a cabinet near the floor, OPENS it, searches, THINGS
floating out -- AN OXYGEN CYLINDER and MASK -- he GRABS it.
CUT TO:
NORMAN'S FACE -- bursts above water level, slips on the mask, BREATHES.
BETH (O.S.)
It won't help, Norman. Your body is
boyant. You're gonna shoot right to
the surface and explode, Norman.
Don't you get it? It's over.
He BREATHES a last breath, reaches up to the ceiling HATCH DOOR, SPINS
it.
BETH (O.S.)
Norman, what are you doing! You're
insa--
The DOOR opens and WATER gushes inside. He grabs the frame of the
door, and his body shoots up through the hole...
CUT TO:
EXT. OCEAN -- UNDERWATER
His body upside down, his hand holding onto the frame. He grabs a PIPE
next to it, pulls himself hand over hand, along the pipe.
HIS FACE -- straining from the freezing chill.
MOVING along the pipe, hand over hand. He loses grip. His body thrusts
upwards.
CLOSE ON HIS RIGHT HAND -- purple, frozen, holding onto the pipe.
Barely gripping.
HIS FACE -- his eyes fluttering. He blows air from his mouth, BUBBLES
burst from his lips.
HIS BODY slightly descending.
HIS LEFT HAND -- grips the pipe. He continues on.
HAND OVER HAND. Pulling himself...
UNDER THE HABITAT
He SEES the airlock in front of him.
He SCOOTS along, but slower, now. He stops. Can't continue. He clasps
his hand to his CHEST, it's burning. He SEES the airlock. His eyes
fluttering, he's losing consciousness. He can't do it. And he lets go
of the pipe.
FLOATING UPWARDS -- is he gone?
HIS HEAD -- BANGS into the habitat floor. His body flat underneath it.
Being sucked upwards against it.
He pushes forward... trying to grab the floor with his hands. He's
inches from the airlock.
Plants his feet against the wall -- and pushes forward. His body
SUCKED UP and away...
CUT TO:
INT. AIRLOCK
... His head BURSTS above the water level, BIG BREATH. GASPING. He
flails his arms over to the ladder. Grips the ladder, but his hands
are like ice. Can't hold it. He slips.
Flailing in the water.
He HEAVES his chest over the METAL RIM. Twists his legs around, out of
the water, and flops his body onto the deck.
Shivering.
Tries to get up. Falls over. His body shaking. His lips purple. His
eyes barely open, looking at...
HIS JUMPSUIT -- hanging on the wall.
Norman crawls toward the suit, his body shaking violently. He reaches
out for his boots on the floor. Can't grip them. Inches his HEAD
toward his suit, tries to BITE at his suit, but his TEETH chattering.
BETH (O.S.)
I know what you're doing, Norman.
But you can't save yourself.
He grips the wall, his hands pulling him up. He RIPS his suit off the
hanger.
BETH (O.S.)
It's over, Norman. It's all over.
Slipping on his suit, he HEARS a MAN'S voice...
MAN (O.S.)
Your attention, please. Your
attention, please. All construction
personnel clear the blast area now.
Tevac explosives are now activated.
Countdown beginning. Mark 15
minutes, and counting.
ON NORMAN -- as he slips on his helmet, his teeth -- chattering.
CUT TO:
CLOSE ON THE AIRLOCK HATCH DOOR -- Norman trying to open it.
BETH (O.S.)
(through Norman's
helmet)
Locked. Don't try, Norman. You can't
get in. I won't let you in.
Norman turns, dives back in the water.
CUT TO:
UNDERWATER
Norman swims out from under the habitat. Looks around at the
cylinders, the walls.
Goes to the outside of a WALL. Looking for a CRACK, a LEAK, a way in.
TO HIS LEFT -- Barnes' body, floating, hooked to the wall.
Norman goes to him. SEES the CRACK.
Climbing inside. Struggling through the CRACK, careful not to rip his
suit.
CUT TO:
INT. CORRIDOR
Flooded to the top with water. Completely filled. Norman emerges
through the crack. MOVES down the hall.
A BOX OF CORN FLAKES
floats by his faceplate.
BETH (O.S.)
Norman, where are you? I can't see
you, Norman. Tell me where you are.
Norman pulls at the cylinder's HATCH DOOR. He HEARS faintly through
his helmet...
MAN (O.S.)
Twelve minutes, and counting.
He OPENS the door. Slips inside, the water going with him.
CUT TO:
INT. VIDEO FEED ROOM
BEEP! BEEP! BEEP!
A SCREEN -- flashes: "D CYLINDER HATCH DOOR -- OPEN"
The CHAIR in front of the console -- spinning, empty. Beth just left.
CUT TO:
INT. CORRIDOR
Norman closes the door. Runs. Down the corridor...
CUT TO:
INT. BATHROOM-SINK AREA
Norman ducks inside.
THE STRETCHER, the IV -- empty. Harry's not there.
CUT TO:
INT. ANOTHER CORRIDOR
ON NORMAN -- running.
MAN (O.S.)
Eleven minutes, and counting.
Please evacuate.
NORMAN
Beth? Can you hear me?
(no reply)
Beth.
INT. VIDEO FEED ROOM
Norman runs inside...
The chair, stopping it's spin.
BEEP! BEEP! BEEP!
THE MONITOR -- flashes: "B CYLINDER -- DOOR OPEN".
Norman's out the door.
CUT TO:
INT. CORRIDOR
Norman, running. SEES the B Cylinder door. Goes to it. Spins it,
OPENS.
CUT TO:
INT. B CYLINDER
Norman climbs inside, takes off his helmet.
THE CYLINDER -- a maze of pipes and equipment. Heaters, controls, and
wires everywhere. Difficult to see.
THROUGH PIPES
WE SEE NORMAN -- walking through the cylinder. Holding his helmet at
his hip.
NORMAN
Beth?
BETH (O.S.)
Leave me alone, Norman.
He goes to her voice in the back. Past pipes, equipment.
NORMAN
I can't do that.
ON BETH -- huddled in the back corner, wedged among pipes. Her eyes
red. Holding the GUN in her hand. Pointing at Norman as he SEES her
through the pipes.
ABOVER HER HEAD -- a computer SCREEN, reading: "DETONATION SEQUENCE
09:32"... descending in count.
Norman stares up at the SCREEN, concentrating.
BETH
You can't stop it, Norman. You can't
fight me.
NORMAN
I know. You're too strong, Beth.
BETH
Oh please, don't shrink me, Norman.
Not now.
NORMAN
I --
BETH
Don't tell me about me. I already
know too much.
NORMAN
Beth -- gimme the gun.
BETH
Oh, sure. Here. Anything else, Beth
can get you? Some more chicken,
perhaps. Let Beth check the fridge.
NORMAN
C'mon --
BETH
Top shelf, is it?
NORMAN
Let's get out of here, Beth. Let's
go home.
She sees HER REFLECTION on a PIECE of BROKEN GLASS on the floor. She
puts her fingers to her matted hair, tries to comb it.
Over the intercom...
MAN (O.S.)
Nine minutes, and counting.
NORMAN
C'mon, Beth.
ON THE GUN -- WE SEE Beth's wrists. The two scars.
BETH
It's over, Norman. Go on, get outta
here.
Norman walks toward her. Beth freaks...
BETH
What is that? What are you doing?
NORMAN
What?
BETH
You hear that?
NORMAN
Hear what?
BETH
Get away from me!
NORMAN
Beth --
BETH
Get away --
BAM! From behind her -- Harry -- WHACKS Beth across the head with a
WRENCH, sending her to the ground.
Norman goes to her, checking her pulse.
HARRY
Did I kill her?
NORMAN
I don't think so.
HARRY
I could hit her a little harder.
More toward the cranium.
Norman stares at the NUMBERS on the SCREEN above him.
HARRY
If she's still conscious, you can't
fight her. You can't stop the
numbers.
Over the intercom...
MAN (O.S.)
Eight minutes and counting.
HARRY
Killing her's the only way --
NORMAN
Hey! Look! We didn't kill you,
alright? And believe me Harry, I
would've found great pleasure in
bashing your head in.
Norman RIPS off a piece of her t-shirt, ties it to the wound around
her head.
HARRY
Fine.
NORMAN
Help me lift her.
INT. CORRIDOR
Norman, carrying Beth in his arms, races awkwardly down the hall...
HARRY
We're never gonna make it.
NORMAN
Shut up and open the door.
Harry does.
INT. AIRLOCK
Harry, in his suit now, helps Norman slip on Beth's boots and
jumpsuit.
HARRY
How much time you figure to get to
the surface?
NORMAN
Two and a half minutes. Once we're
in the sub.
HARRY
How far away's the sub?
MAN (O.S.)
Six minutes and counting.
NORMAN
A little less than six minutes.
EXT. UNDERWATER
Norman carrying Beth on his back, hurries through the water.
MAN (O.S.)
Five minutes. I repeat five minutes
to detonation.
CUT TO:
EXT. UNDERWATER
UNDERNEATH THE SUB'S DOME HANGER
Norman tries to climb up the ladder with Beth on his back. She falls
off, deadweight to the ground.
NORMAN
Shit.
(picking her up)
Harry! I'm gonna have to lift her up
to you.
Harry leans down from the Sub's airlock...
HARRY
Alright. Hurry.
Norman pushes her up to him, but she bends at the waist.
HARRY
I can't reach her.
NORMAN
Hold on.
Norman flops her up in the air, but she bends again at the waist.
HARRY
Push her, c'mon.
NORMAN
I'm trying. Shit. Here -- catch her.
He flops her up again.
HARRY
Missed.
NORMAN
Are you trying, damn it? Just --
MAN (O.S.)
Four minutes and counting.
Norman loses grip, drops her.
NORMAN
Hold on.
HARRY
Hurry, Norman. Four minutes.
NORMAN
I heard! I heard!
Picking her up...
HARRY
Three fifty-six, three fifty-five,
three --
NORMAN
Shut up and catch.
Norman flops her up once more, and Harry grabs her AIR HOSE.
HARRY
I got her. I got her.
Harry pulls her toward the airlock, Norman climbs up after.
INT. SUB AIRLOCK
The pocket of air around the sub. The three of them crammed inside.
Norman opens the door on top of the sub.
NORMAN
Alright, here, I'll... wait, you --
just give her to me.
Norman takes Beth and pushes her on top the sub. The sub sways back
and forth.
HARRY
Norman, what are you --
They lose balance, Beth almost falls, Norman catches her.
NORMAN
Shit. Alright, Harry, get in there.
Harry jumps on top of the sub. Slides inside it. Reaches his arms out,
catching Beth's legs.
MAN (O.S.)
Three minutes and counting...
NORMAN
Take her, come on. Just --
Beth's LEG swings up and hits Harry in the helmet.
HARRY
C'mon, Norman!
NORMAN
I'm trying to keep balance with --
HARRY
Gimme a second --
NORMAN
Just pull her -- down like inside --
Harry, work with me here!
HARRY
Her legs are in the way.
NORMAN
You got her?
Harry pulls Beth down inside, as Norman steps on top of the sub, helps
push Beth's head inside.
NORMAN
Get her out of the seat, I need room
to sit. Harry?
HARRY
I'm trying. There.
MAN (O.S.)
Two minutes-thirty and counting.
Norman drops inside.
INT. SUB
Norman in the seat. Beth's leg hangs over his right shoulder. Harry
looks at Norman who assesses the flight controls.
HARRY
You know how to work this thing?
NORMAN
No idea.
HARRY
Well, press something!
NORMAN
Wait!
MAN (O.S.)
Two minutes and counting.
HARRY
How long did you say --
NORMAN
Shut up. Let me think.
Norman presses a button.
THE SCREEN -- blinks: "DESCEND, ASCEND, SECURE, SHUTDOWN... "
Norman hits "ASCEND". The Sub WHIRRS, RUMBLES and drops down below.
Norman works the steering wheel, gliding it upwards.
EXT. UNDERWATER
The SUB comes out from under the dome. Rising above the habitat...
HARRY
Less than a minute, we're never
gonna make it.
NORMAN
Nine hundred feet to surface.
HARRY
It's not fast enough, Norman.
There's a helluva lot of explosive
down there.
EXT. UNDERWATER
The sub ascends past the spacecraft tail fin.
INT. SUB
Harry looking down below him...
MAN (O.S.)
Thirty seconds to detonation.
HARRY
The shock wave's gonna crush us,
Norman.
NORMAN
Maybe. Brace yourself.
Harry just stares at Norman. Norman grabs Beth, trying to stablilize
her.
HARRY
(off Norman's suit)
How's that working out, by the way?
NORMAN
Good. Thank you. Now that I have it
on.
(Harry laughs)
Why are you laughing? You don't even
know what that means.
HARRY
No. I don't. But I always said to
myself, when I die, I want to die
laughing.
Harry laughs.
Ascending... waiting... and then...
A THUNDEROUS EXPLOSION below them...
Rocking the sub, spinning it up and around, surging it upwards to the
surface.
THROUGH THE WINDSHIELD -- RACING toward the surface, toward the
SUNLIGHT -- it's BLINDING -- and the screen GOES WHITE.
CUT TO:
INT. DECOMPRESSION ROOM
A pale, white room.
ON NORMAN -- sleeping. His eyes begin to open. He awakes.
BETH -- is next to him, looking at him. There is a long beat.
BETH
Thank you.
Norman looks up at her...
NORMAN
You know, I think you really need to
see a psychologist.
She stares back at him, and smiles. Begins laughing with him.
EXT. DECOMPRESSION CHAMBER
TWO NAVY CREWMEN stand outside the door, looking in.
CREWMAN #1
Has anyone spoken to them yet?
CREWMAN #2
(shakes his head)
The Admiral's going over the tapes
they brought up now.
CREWMAN #1
Does he know yet what really
happened down there?
Looking INSIDE -- Norman, Harry, and Beth sit at a table.
INT. DECOMPRESSION CHAMBER
At the table...
HARRY
They're going to want answers and
they're going to keep asking until
they get them.
BETH
We can refuse to talk.
HARRY
Won't make any difference. The tapes
document everything.
A long beat.
NORMAN
There is one possibility.
HARRY
We all kill ourselves?
(laughing, then)
Bad joke. Sorry, Beth.
She smiles.
NORMAN
The power allows us to manifest our
fears, right? What if we feared the
power to go away?
HARRY
You mean forget?
NORMAN
It would erase all our knowledge of
it. All of our power.
BETH
Would it work?
NORMAN
Yes. And I think we already know it
will.
BETH
How's that?
NORMAN
Down below, Harry said we would all
have to die. Since there was no
evidence on that spacecraft that
anybody knew time travel through a
black hole was possible -- and we
all knew -- then we would all have
to die before we could tell anyone.
Death was the only logical
explanation. But sitting here, we
still know. So how is that possible?
(beat)
Unless we make ourselves forget.
INT. SHIP'S HALLWAY -- LATER
Norman, Harry, and Beth walk with the CREWMEN.
INT. ADMIRAL'S OFFICE
The ADMIRAL, 60s, many stripes on his sleeves, sits behind his desk.
Harry and Beth sit in front of him. The TAPES on the desk.
ADMIRAL
There are some questions that we
need to address here.
HARRY
What about?
ADMIRAL
When you were being transferred to
decompression, Dr. Adams, you
mentioned something about a squid.
HARRY
A what?
ADMIRAL
A squid. However, there doesn't seem
to be any squid recorded on these
tapes.
BETH
A squid? I don't remember anything
about a squid.
(to Harry)
Did you say something about a squid,
Harry?
Harry shakes his head.
EXT. SHIP DECK -- DAY
A bright, sunny day.
ON THE HELIPAD -- the helicopter's propeller begins whirling.
INT. HELICOPTER
An OFFICER sits in the passenger's seat, glancing at a clipboard.
OFFICER
You all ready to go, Dr... ?
The PILOT from the opening scene...
PILOT
Johnson. The psychologist. The one
that wrote the report.
ON NORMAN -- in the back.
NORMAN
What report?
CUT TO:
BLACK.