Sphere (Shooting Script)

7/26/2019 Sphere (Shooting Script)

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SPHERE

by

Paul Attanasio

Based on the novel by

Michael Crichton

BARRY LEVINSON VERSIONSHOOTING SCRIPT

NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS ANDSOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY.



FADE IN:

EXT. OCEAN FLOOR - DAY

BEGIN TITLES.

MOVING AMONG the hallucinatory variety of creatures --barbaric, distorted, sublime -- that haunt the ocean floor.All but unknown to man except in the deep preconscious brainthat houses the family album of the race... Where we rememberthat they are us... Then...

DISSOLVE TO:

BALLET OF ODD SHAPES

and exotic colors -- like a living abstract painting --tropical fish moving in the f.g... Aquarium fish -- fish weknow -- fish of the lesser depths, as we RISE UP TOWARD the

surface...

Then nearer the surface still, fish dart and flee before adistant RUMBLE... that GROWS LOUDER AND LOUDER...

HELICOPTER

ERUPTS INTO WATERY VIEW as it blasts across the ocean...

CUT TO:

EXT. PACIFIC OCEAN - DAY

A tropical morning sun paints its luster on the sea-chop. Ahelicopter hurtles across the Pacific Ocean.

CUT TO:

INT. HELICOPTER - SAME TIME

NORMAN GOODMAN, 50s, a day's growth of beard and eyes sandy with sleep, wakes up. Adjusts his steel-framed glasses.Unballs the tweed jacket he's been using as a pillow. He'snearly sitting in the lap of the PILOT, 30s, a tightly wound military type, as they zoom across the waves.

PILOTGood sleep?

NORMANNot bad. So, where are we?

PILOT Where'd they bring you in from?

(CONTINUED)



NORMANSan Diego. Left yesterday.

PILOTSo you came Honolulu-Guam-Pago-here?

NORMANYeah.

PILOTLong trip. What kind of work doyou do, sir?

NORMANI'm a psychologist.

PILOTA shrink, huh? Why not. They've

called in just about everythingelse.

NORMANHow do you mean?

PILOT We've been ferrying people out ofGuam for the last two days.Physicists, biologists, mathematicians, you name it.Everybody being flown to the middleof nowhere in the Pacific Ocean.

NORMAN What's going on?

PILOTThey're not telling us anything,sir. What about you? What'd theytell you?

NORMANThey told me that there was anairplane crash.

PILOTUh-huh. You get called on crashes?

NORMANI have been, yes.

PILOTAnd why is that, sir?

2.

CONTINUED:

(CONTINUED)



NORMANI'm on a list of psychologists theF.A.A. brings in when a plane goesdown.

(beat)So, where exactly are we now?

PILOT Well, I'm not supposed to tellyou...let's just say we're twohundred miles from nowhere, sir.

NORMANYou're not supposed to tell me?

PILOTNo, sir.

Norman looks out of the helicopter, at the ocean.

NORMANDon't you get bored looking atthat?

PILOTTo tell you the truth, no, sir. I'mreal happy to see it flat likethis.

NORMAN Why?

PILOTGood weather. It won't holdthough. There's a cyclone formingup in the Admiralties, should swingdown this way in a few days.

NORMAN What happens then?

PILOTEverybody just clears the hell out. Weather can be really tough in this

part of the world. I was stationedin Florida and I've seen a lot ofhurricanes, but you've never seenanything like a Pacific cyclone,sir.

NORMANYou never met my first wife.

3.

CONTINUED: (2)

(CONTINUED)



PILOTDon't be so sure.

That's where we're headed, over there. Here take a look.

He hands Norman binoculars.

NORMAN'S POV THROUGH BINOCULARS

A salvage ship surrounding four other, smaller craft inconcentric circles. A mile long circle of bouys.

CLOSE ON NORMAN

as he absorbs this new information. What's going on?

NORMANAll this for an airplane crash.

PILOTI never mentioned a plane crash.

(beat)

CUT TO:

EXT. SALVAGE SHIP - DAY

The helicopter lands on the salvage ship helipad. Normanhesitates at the door. A seaman coaxes him and he jumps down.Blasted by the downdraft of the rotors, Norman humps hisduffel bag across the deck, hustles after his escort.

CUT TO:

INT. SALVAGE SHIP - LATER

Norman follows a SEAMAN, 20s, as he carries Norman's duffelbag along the narrow corridors belowdecks...

SEAMANYou have any other gear, sir? Watch your step.

NORMAN

I'd like to call my family.

SEAMAN We'll get you settled in quarters,sir. You're to remain there until we send for you.

NORMANI want to get started right now.

4.

CONTINUED: (3)

(CONTINUED)



SEAMAN We'll send for you.

NORMANIt's critical that I see them,because --

SEAMANSee who?

NORMANThe survivors. If I don't get tothem within the first twenty fourhours...

SEAMAN What survivors?

NORMAN

The survivors of the plane crash.

SEAMANPlane crash?

NORMANListen carefully. I deal in post-traumatic stress and survivor guilt-- maybe I should talk to someone who knows what's going on.

SEAMANYou can talk to the ship'spsychiatrist.

NORMANI'm a psychologist, that's why I was sent down here.

Norman follows the Seaman through a hydraulic door...Theycome upon TED FIELDING prowling the corridor.

TED(to Seaman)

Look, I told you people over an

hour ago I need a phone. A phone.

The Seaman brusquely continues past with Norman's duffel bag.

SEAMANYou'll have to discuss that withMr.Barnes.

5.

CONTINUED:

(CONTINUED)



TEDThat's fine...Barnes. Give me aphone, I'll call him.

He recognizes Norman.

TED (CONT'D)Norman...what are you doing here?

The Seaman grabs Ted's arm.

TED (CONT’D) Would you take your hands off me,please. Do you have any idea who Iam?

NORMANHe will if you just tell him thename of the book you wrote.

TEDIt's called 'Astrophysics You CanUse'. It was a Book of the MonthClub Main Selection.

The Seaman turns, ramrod-straight, and fixes Ted with asteely Aryan gaze.

SEAMANNever heard of it. Now back inyour quarters.

NORMAN(to Ted)

You really thought that he readyour book...after all these years?You haven't changed.

TED Well, it's written for the layman.

NORMANHe's not impressed.

TEDThey don't read.(to Seaman)

Is there a phone in here?

The Seaman grabs his arm again.

6.

CONTINUED: (2)

(CONTINUED)



TED (CONT'D) Would you stop doing that! I cango to the room myself.

NORMANI've been trying to call my wife

for the last 15 hours.

SEAMAN(sharply to Ted)

Sir?

Ted backs off toward his room, opens the door.

The Seaman continues on his way with Norman, unlocks a door --Norman's quarters. Norman glances up the hall...

NORMAN'S POV - BETH HALPERIN

Thirties, a mordant beauty, stands at the threshold of herroom. Watching him. A lot going on behind those eyes. Sheand Norman exchange a look. Then without a word, she returnsto her room.

CLOSEUP - NORMAN

As the Seaman ushers him inside.

NORMANBeth?

Then the Seaman closes the door on him.

CUT TO:

INT. NORMAN'S QUARTERS - LATER

Norman lies on his cot, stares at the ceiling, his tweedjacket folded up like a pillow beneath his head.

There's a knock at the door and it is opened by HARALDCOTESWORTH BARNES, 40s, an imposing man in dark glasses anddark dress.

BARNESGoodman! You been here long?

He shakes Norman's hand.

NORMANI've been here three hours.

7.

CONTINUED: (3)

(CONTINUED)



Barnes sweeps him along into the hallway.

CUT TO:

INT. HALLWAY - SAME TIME

Barnes leads Norman along the hallway and down some stairs.

BARNES Welcome aboard. I don't mindtelling you, this thing scares thehell out of me.

NORMANIt's probably already too late.You might as well put me on ahelicopter and send me back. Whatever damage was done to thesurvivors, is already done. You

know what I mean?

BARNESHold on, we'll get to that.

NORMANI don't even know who you are.

BARNES(admiring)

Well, I sure know who you are.

NORMAN Who are you...Navy...military? What are you?

BARNESYou ever hear of the O.S.S.A.?

NORMANYes.

BARNES(proudly)

Well, they don't know who I am.

That should reassure you.

Barnes takes Norman aside.

BARNES (CONT’D)Look, you haven't talked to anybodyabout this, have you?

8.

CONTINUED:

(CONTINUED)





BARNESAnd that's our Bible here. Everyjot and tittle.

NORMANBut that was a report about a

possible encounter with an alienbeing.

Norman laughs nervously, looks at Barnes. Barnes isn'tlaughing. Suddenly Norman isn't laughing either.

BARNESYou want to come with me?

NORMANOh, boy.

CUT TO:

INT. BRIEFING ROOM - LATER

A video image of SEAMEN aboard a telephone-cable ship showingthe sheared fiber optic cable to the camera as Barnes, laserpointer in hand, delivers a briefing.

BARNESAbout three weeks ago, a shiplaying fiber optic cable betweenHonolulu and Sydney hit anobstruction a thousand feetunderwater. Cut the cable clean asa shears. The Navy got interested -- sent out a search ship.

ANGLE ON BETH

As she watches... SUPERED below:

DR. BETH HALPERIN: PHYSICIAN/BIOLOGIST

ANGLE ON HIGH-RESOLUTION TV IMAGE

A sonar image of an enormous triangular fin jutting abruptly

from a ridge of coral...

BARNES... Turns out what did it was this -- We took this with the side-looking sonar -- an aerodynamic finlonger than a football field.Bigger than any known wingspan.

10.

CONTINUED:



ANGLE ON TED

As he watches.... SUPERED below:

TED FIELDING: ASTROPHYSICIST

TEDYou have any idea what it's madeof?

BARNES We sent the SCARAB robots to snip apiece out of it...

ANGLE ON MICROSCOPE IMAGE

of the composition of the fin...

BARNES

It's a titanium alloy in anepoxy/resin honeycomb. It's moresophisticated than anything we canduplicate.

TEDThe Russians don't have anythinglike this?

ANGLE ON SONAR IMAGE

This one composed of fine dots.

BARNESYou tell me. That's the fuselage.Ultra- high-res S.L.S. bottom scan,came in a week ago. There itis...buried under about eight yardsof coral.

BETHThere's something wrong with that measurement. Pacific coral growsat a rate of an inch a year. Youcan set your watch by it.

BARNESThat's right.

BETHSo, you're saying the spacecraftcrashed in the year...

HARRY (O.C.)

11.



They all turn in the direction of the voice...

REVERSE ANGLE ON HARRY ADAMS

As he watches, bemused, from a chair in the corner, hisfingers forming a steeple. A black man with a dour mannerand lightning eyes, Oxford shirt and chinos. SUPERED BELOW:

"HARRY ADAMS: MATHEMATICIAN."

BETHYou're saying this spacecraftcrashed three hundred years ago?

HARRYTwo hundred and eighty-eight.

BETHBut that's impossible.

BARNESIt's not impossible if thisspacecraft came to earth from analien civilization.

A long beat of wonderment...

TEDYou think this is an alienspacecraft?

HARRYYou see, it's not impossible. It'sridiculous.

BARNES We believe this spacecraft containsan unknown life form. That's whyyou're here. You're the humancontact team recommended in theGoodman Report.

(gestures to each)

We have a biochemist to assess thephysiology of the Unknown LifeForm, we have a mathematician,because that'll probably be ourcommon language... and we have anastrophysicist to locate its placein the cosmos.

12.

(CONTINUED)



HARRYLed by a psychologist.

BARNESThat's right.

HARRYThat's what the little green mensay nowadays? 'Take me to yourtherapist'?

Norman bites his tongue. He's used to it. Barnes refers tohis copy of The Goodman Report...

BARNES(reading)

'Contact teams meeting an unknownlife form, or U.L.F., must beprepared for severe psychological

impact. Stress reaction whenconfronted by unknown life has notbeen sufficiently studied andcannot be entirely predicted inadvance. But the most likelyconsequence of contact is absoluteterror.'

(beat)That's from Norman's report.

TEDI'm sorry...are these parameterscorrect?

BARNESYup.

TEDSo, you're saying you have afuselage from a spacecraft over ahalf-mile long that crashed in theocean three hundred years ago, andit's completely intact?

BARNES

That's right, and the kicker is,our sonar's picking up a low hum.Something's still running inside.

A beat as they all look at each other...

13.

CONTINUED:

(CONTINUED)



HARRYHold on a second. There's no waythat coral could've grown fasterthan an inch a year?

BETH

No.

TED Well, that's why we're going downthere to see, isn't it?

HARRY Who said we're going down there?

TEDAre you kidding? This is thegreatest scientific discovery sinceCopernicus! Bigger than Copernicus!

The idea that we're not alone?It'll change everything. We havephysical evidence that there'sextra terrestrial life. You don't want to see that?

HARRYThis is not an equation that needsto be solved. No.

NORMANHarry's got a point. I'm not toosure about this idea of going downa thousand feet either.

BARNESHow deep have you been, Norman?

NORMANI can snorkle ten to fifteen feet.

BARNESGood. You do that, and I'll takecare of the rest.

HARRYI have got to say, I resent thisbriefing very much.

TEDOh, Jesus!

BARNES Why is that, Harry?

14.

CONTINUED: (2)

(CONTINUED)



HARRYDid you decide you have to breakthe news to us gently?

BARNES What news?

HARRYAbout the door.

BARNESHarry, we have divers cuttingthrough excavation trenches as wespeak, searching for that door.

HARRYYou know exactly where the door is,am I right. Am I right?

BARNESYou're right.

HARRYOne other thing. If Norman's reportcalls for a biologist, a mathematician, an astrophysicist,and a psychologist... then why areyou here?

Barnes grins enigmatically.

BARNESI'm not here.

(he turns)Physical protocols begin in half anhour.

He leaves.

HARRYHe's not here. What the hell doesthat mean?

NORMAN

Harry, I'm impressed. You knew he wasn't telling the truth about thedoor. How did you know that?

HARRYOh, there's lots of things he's nottelling us about. He's not tellingus any of the important things.

15.

CONTINUED: (3)

(CONTINUED)



TEDLike what?

HARRYYou wouldn't believe it if I toldyou...but you'd probably publish

it.

CUT TO:

INT. SHIP - SICK BAY - LATER

NORMAN AGAINST A WHITE BACKGROUND.

MEDIC (O/C)Do you wear glasses all the time?

NORMANI just started wearing

these...er...

CUT TO:

TED AGAINST A WHITE BACKGROUND.

TED...Why? Are the glasses a problem?Because I don't actually need them.Clinically speaking they're justfor reading. They're more of acrutch really.

(takes off glasses)I see fine without them.

MEDIC O/CCould you read the fifth lineplease.

TEDSure.

(beat)From here?

CUT TO:


NORMANThey said there was no problem, butthey didn't anticipate that I wouldbe going a thousand feet under the water.

16.

CONTINUED: (4)

(MORE)

(CONTINUED)



I find it interesting that a partof me wants to find a way to getout of this, and another part of meis not trying to get out of it.

MEDIC O/C

Does this concern you?

NORMANGoing down a thousand feet underthe water where no fish live butthat's where you want to send me?Mildly.

CUT TO:

BETH AGAINST A WHITE BACKGROUND.

MEDIC O/C

Do you take any prescription medication?

BETHNo.

MEDIC O/CNone whatsoever?

BETHYou know once in a while...sometimes I might take likea piece of Xanax or something ...ifI'm nervous. Something like that.Not...much.

CUT TO:

HARRY AGAINST A WHITE BACKGROUND.

MEDIC O/C Would you consider yourself in goodphysical condition?

HARRY

Yeah.

MEDIC O/CAccording to your doctor, in1990...

17.

CONTINUED:NORMAN (CONT'D)

(CONTINUED)



HARRY Wait a minute -- you talked to mydoctor?

CUT TO:


NORMAN What do you mean, I'm off thegraph? I mean, is that a problem?

CUT TO:


HARRYKnee surgery. Completereconstruction of ACL right knee.

Still have a steel pin here...(points to areas in leg)

...steel pin up here...little medial collateral damage.

CUT TO:

TED AGAINST A WHITE BACKGROUND.

TEDI just take over the counterantihistamines. I have someallergies. Not to water, which isgood.

CUT TO:


MEDIC O/CDo you feel comfortable about thisdive?

HARRYNo. Hell, no! I don't feel

comfortable about this dive. Why would I? It's not something I doon a normal basis.

CUT TO:

INT. CLASSROOM - LATER

Norman struggles to stay awake as a DIVE INSTRUCTOR drones.

18.

CONTINUED:

(CONTINUED)



DIVE INSTRUCTORLet me remind you of a few points.This will be a saturation dive.You're going to be taken to aHabitat at a thousand feet. We havean atmosphere of 21% OT and

Nitrogen, which means that the PO2 would be .21 and .79. In this case we will be compressing on HE.

ANGLE ON HARRY, TED, BETH AND NORMAN as the Dive Instructorcontinues.

DIVE INSTRUCTOR (CONT'D)Compression to a thousand feet willthen occur, using pure helium. Asyou compress, you will experience a warming of the environment and youcan also expect to experience High

Pressure Nervous Syndrome. HPNS is manifested by trembling, feelingsof confusion, disorientation andpossible nausea.

NORMANI got that now.

The Dive Instructor drones on.

DIVE INSTRUCTORThese symptoms should subside aftera short time on the bottom. You will also notice marked voicechange as the PPHE increases.

CUT TO:

EXT. SUBMARINE - CLOSE ON NORMAN - DAY

Peering up through the dome of the submarine as it drops awayfrom the mother ship and descends...

CUT TO:

INT. SUBMARINE - LATER

Norman takes a seat inside the cramped sub.

NORMANSit anywhere?

The rest of the team sits, knee-to-knee. Ted sweatsprofusely.

19.

CONTINUED:

(CONTINUED)



NORMAN (CONT'D)Everybody happy?

Barnes sits alongside a PILOT in the sub's cockpit, separatedby a wall of Plexiglas.

BARNES(over intercom)

The descent will take aboutthirteen minutes descending at arate of eighty- feet per minute.It'll get a little chilly. Try andrelax.

The sub rocks a little.

NORMANNext time, just tell us when you'regoing to push the button.

Barnes flips a switch and a MOZART HORN CONCERTO BLAREScheerily on the PUBLIC ADDRESS... Harry ties his shoes.

HARRYMozart. Horn Concerto in E Flat. K-447.

BETHI'm surprised to see you here,Harry.

HARRYEverybody went down but Harry -- written down in some secretgovernment file somewhere.

Harry turns to Ted, shivering in a cold sweat of nerves...

HARRY (CONT’D)How you holding up there, CaptainNautical?

TEDI'm loose.

HARRYYou're loose?

TEDI'm loose. I'm loose.

Then the sub lurches suddenly...

20.

CONTINUED:

(CONTINUED)



TED (CONT’D)I'm a little uptight...What wasthat?

The sub rocks again.

NORMANAre we okay? Why don't I have aseatbelt?

Barnes' VOICE INTERRUPTS the MOZART.

BARNESOh, shit!

BETHShit?

TED

What was that?


We had a little flame out. Butdon't worry, we'll ride thiscurrent until we get power back.

TEDDid he just say we lost power?

The group contemplates this as the Mozart cheerily resumes.

NORMANFlame out? What's a flame out?

BARNESDon't worry about it. We're in theriver now.

NORMAN What river?

BARNESIt's a temperature salinity

differential that flows like ariver inside the ocean.

NORMAN We're in the middle of the oceanunder the ocean and there's ariver?

21.

CONTINUED: (2)

(CONTINUED)



BARNESThat's right.

NORMANYou couldn't tell us that when youde- briefed us?

BARNESNeed to know.

BETHIt's a good thing, Norman.

NORMANIt just, you know...lessens thestress response -- the more youknow in front.

Ted is looking very tense.

NORMAN (CONT'D)You okay, Ted?

TEDNo, I'm not okay.

NORMANLook at me.

Beth tries to soothe Ted. He gets more tense.

NORMAN (CONT'D)Maybe you shouldn't touch him,Beth.

(to Ted)Just look at me. I want you tobreathe. Just look at me. You wantto take a breath. On the count ofthree...one...

Ted breathes. Harry begins to hum.

TEDYou're not breathing either,

Norman.

NORMANI know I'm not breathing. We'regoing to breathe together, okay? We're both nervous, yes? Breathein through your nose...one, two,three and out. It's just a stressresponse. Out.

22.

CONTINUED: (3)

(CONTINUED)



BETHYou're not giving birth here, Ted.

NORMANIn and out...two...three...four...

Ted and Norman exchange a smile. Harry's humming getslouder.

TED Would you cut that out please,Harry?

NORMAN(to Ted)

You're having a stress reaction.That's Harry's stress reaction,okay? A bunch of adolescents here.

Beth is holding onto Ted's hand.

BETHOkay, man?

She lets go of his hand.

TEDThank you, that's better. I'mbetter.

He laughs with relief.

The sub continues to descend.

NORMANThose noises we're hearing, that'snormal?

BARNESThose noises are the pressure ofthe water attacking the integrityof the sub.

BETH

You know a little something aboutthat, don't you? Norman? How thepressure can attack your integrity?

NORMANCome on...be nice this trip.

BETH Were you nice last time?

23.

CONTINUED: (4)

(CONTINUED)



TEDYou two want to sit together?

Norman wipes sweat off his brow.

CUT TO:

EXT. OCEAN - LATER

The sub descends into the gloom... Not much light downhere... In the distance, the shadowy monolith of the tail finlooms, like some ancient misplaced totem.

CUT TO:

INT. SUB - LATER

Ted peers out of the porthole. Then his jaw drops.

TEDMy God! C'mere -- look at this!

Ted gestures to Norman, and Norman joins him. Peers out...

THEIR POV

Emerging INTO VIEW from behind a ridge...

THE HABITAT

A visually breathtaking network of cylinders and domes, inyellow steel and glass, lit up from inside and out -- like avast underwater sculpture -- as fish dart around it...

BACK ON NORMANAND TED

as Barnes comes over the intercom...


That's the habitat.

TED

It ain't the Motel 6.

CUT TO:

24.

CONTINUED: (5)



EXT. HABITAT - SAME TIME

The sub nestles beneath the imposing structure... a HYDRAULICHISS as the sub's hatch connects with the airlock...

CUT TO:

INT. VIDEO ROOM - SAME TIME

JANE EDMUNDS, the unit archivist, monitors the video feed. Avideo image appears of the team entering through the hatch tothe moon pool.

EDMUNDSThey're here.

CUT TO:

INT. HABITAT MOON POOL - SAME TIME

The team crawls through the narrow hatch...

CUT TO:

INT. MOON POOL ROOM - LATER

The team are squeezed face-to-face in a cold steel-walledchamber...Barnes stands outside and talks to them over anintercom.

Then a scary HISSING sound as GAS under pressure enters thechamber.

BARNES (V.O.)(over intercom)

Alright. We're gonna pressurize younow. I know it's hot in there, butyou're going to feel coolness.That's the helium.

NORMANHelium?

TED

Was I the only one payingattention?

Ted is so captivated by his pompous explanation that hedoesn't realize his voice is getting higher andsqueakier...In fact, all of their voices have been distortedby the helium.

25.

(CONTINUED)



TED (CONT’D)Oxygen is a corrosive gas in thesame family as chlorine andfluorine. Hydrochloric acid.Hydrofluoric acid.

Everyone's smirking at Ted's seriousness and his squeakyvoice.

TED (CONT'D)Essentially that's why we'rebreathing helium down here becauseoxygen at any level higher than 2.3becomes toxic.

NORMANCan you run that by me again, Ted.I don't speak fluent balloon.

Everyone laughs -- a squeaky, high-pitched helium laugh...

TED(off their laughter)

Yes...that's my voice. The heliumresonates differently with my vocalcords.

BETH Wait a second...

HARRYFollow the yellow brick-road...

BARNES(intercom)

Alright, kiddies, cut it out. Thevoice regulators are behind you.Put 'em on.

NORMAN(helium voice - to Beth)

How do you like it?

BETH

(helium voice)It's nothing compared to the drugsI've done.

Everyone laughs - helium laughs.

CUT TO:

26.

CONTINUED:



EXT. HABITAT - POV FROM FIN OF SPACECRAFT - SAME TIME

And the dim sounds of the LAUGHTER inside... As if someone is watching...listening... and the habitat is a craft full ofaliens.

CUT TO:

INT. HABITAT - VIDEO ROOM - LATER

TEENY FLETCHER, a gruff O.S.S.A. lifer in her late 30s, worksthe controls (joystick, slide switches) for a remote robot...Jane Edmunds monitors the video feed.

ANGLE ON TEAM

Clustered around, watching... They all now wear talkersaround their necks that normalize their speech.

BARNES (V/O)Change the angle - different plane.

ANGLE ON MONITORS

A large hole has been excavated through the coral, revealing what appears to be a door in the spaceship beneath... AsTeeny manipulates the joystick, a suction arm emerges fromthe robot, latches onto the door...

FLETCHERAlright.

BARNESGet the plane...get the suctionplane flat.

FLETCHERThis has been a little difficult,sir.

No, no...you're doing good. Keep the rubber plane flat.

Fletcher continues to manipulate the robot.

FLETCHER (CONT’D)There we go.

BARNESRotate the clamp.

FLETCHERCome on!

27.

(CONTINUED)



BARNESNo, other way.

FLETCHEROkay.

Ted is playing with his "talker" - the black box around hisneck that regulates his voice.

TEDI can't believe thesethings...mmmmmm

(starts to sing in heliumvoice)

"Ole man river......that ole manriver...."

BARNESTurn it to forty five degrees.

TEDMmmmmm....

(replaces "talker")I'm back.

BETHIs that the door?

BARNESLooks like it. We did sonarimaging of the interiorcompartments. That's our best bet.

(to Fletcher)Damn it! It won't budge will it?

HARRYHas it occurred to anyone that maybe we shouldn't open that door?

NORMAN Why do you say that?

HARRY We always assume these creatures

will be green, or insect-like, butbasicaily human. But what if theyinhale air and exhale cyanide gas?It's perfectly plausible.

BETHOr live forever -- like a virus. Ora yeast.

28.

CONTINUED:

(CONTINUED)



NORMAN Why would you assume that anunknown life form would want tokill us?

HARRY

A creature that can't be killed wouldn't think killing was right or wrong. They'd simply have noconcept of it.

Ted noses up to the monitor, getting in everyone's way.

TEDHow tall is that robot?

FLETCHERFive feet.

HARRYInstant extinction. It's what allthe serious scientific literatureis about -- what little there is onthe subject.

(to Norman)That is in your report, isn't it,Norman?

NORMANIt's in there.

BARNES(to Fletcher)

Put some suction in it. Is thatpiston broken?

TEDThat's roughly the same size as anairplane door, isn't it?

BARNESExcuse me, Ted.

TED

I just think that's worth takingnote of. Don't you?

BARNESTed!

(to Fletcher)Knock the suction up to point-four.

29.

CONTINUED: (2)

(CONTINUED)



TEDLook at how clumsy this thing is.Three million dollars worth oftechnology and it can't open adoor.

BARNESAlright, Ted!

FLETCHER(through her teeth)

There's nothing clumsy about therobot.

TEDI'm sorry. All I'm saying is Ithink any one of us could do better with a crowbar.

BETHAny one of us, Ted? Which any oneof us would that be?

TEDOkay, okay...I admit it. Nothing wrong with a little glory in thename of science? Jesus!

CLOSE ON BARNES

as he looks at the robot flailing impotently at the door...Then looks at the team.

FLETCHER We're not going to be able tocontrol it from here, and all thedivers have pulled out.

CUT TO:

INT. SUIT ROOM - LATER

Lockers with nameplates for the team... Inside each, a divingsuit and helmet... Heavier than scuba gear -- more like

spacesuits. The team sets about changing into them.

NORMANI'm not too thrilled at theprospect of this, you know.

30.

CONTINUED: (3)

(CONTINUED)



BETHYou know what, Norman...don't thinkof it as swimming, think of it as walking.

NORMAN

The walking part I can do, it's theunderwater part. You drownunderwater.

(adjusting equipment)If I break anything, does that meanI don't have to go?

TED What if I have to go to thebathroom?

HARRYJust go down your leg, Ted.

TEDReally? You can urinate in these?

HARRYYou can. Question is, would you want to?

NORMAN(looking at helmet)

Where's the switch?

BETHOkay, let's go.

CUT TO:

INT. MOON POOL ROOM - LATER

Barnes opens a hatch to the ocean, kept at bay by thepositive pressure in the airlock room. Suited up, the teamjumps through the hatch and down to the ocean floor.

CUT TO:

EXT. OCEAN FLOOR - CONTINUOUS

Norman emerges from a cloud of bubbles onto the ocean floor,kicking up sand and clouding up the already murky view...

NORMAN'S POV

The LABORED sound of Norman's BREATHING as we look out frominside his helmet.

31.

CONTINUED:

(CONTINUED)




Alright, Fletcher. We're at onethousand and twenty two feet,ambient temperature thirty fourdegrees, heading out north, north

west three thirty. It's a firmbottom, intermittent coral.

Norman turns and sees a blinding light... shields his eyes --it's the light on Harry's helmet.

HARRY(over intercom)

Norman, your light's off again.Try the switch at your waist.

INSERT - NORMAN'S GLOVE

As he fumbles with the switch on his waist... His helmetlight flashes on...

WIDERThe team makes its way across theocean floor, their helmet lightssweeping the foggy bottom likeheadlights...

BETH(over intercom)

This is great you guys. Wow!(beat)

Hey, Norman. You know, a spacelaunch costs a hundred milliondollars. You could come down hereonce a day every day for fiftyyears for that. The ocean is theoldest living environment...so mucholder than the land, yet we don'tknow anything about it.

BACK ON NORMAN'S POV - LONG, HIGH WIDE SHOT

He can barely make out the others... This is a long way from

sherry at the faculty club. Then he HEARS...

BETH(over intercom)

Oh, my God!

TED(over intercom)

Look at the size of that thing.

32.

CONTINUED:

(CONTINUED)




You see that tunnel...we go there.That's the "heart of darkness".

They continue across the ocean bottom.

BARNES (CONT'D)(over intercom)

We're in the coral pipe now,approaching the airlock.

NORMAN(over intercom)

I'm feeling pressure in my ears, isthat normal?

BETH(over intercom)

Just use your equalizer.

Norman adjusts his equipment.

NORMANA little better.

BETHYou know, the most toxic creatureson earth live down here. The venomof a land animal is nothing bycomparison. Even the weakest seasnake is inveritably lethal.

NORMAN(over intercom)

Is that supposed to make me feelgood, Beth?

HARRY(looking at coral)

Amazing. This stuff only grows aninch a year?

BARNES

Airlock's in sight now.

TED(re: spacecraft)

This thing is enormous.

Norman looks up...

33.

CONTINUED:



LONG, HIGH, WIDE SHOT - THE TEAM

As their little helmet lights sweep up towards...

SPACECRAFTBuried under a mountain of coral,

it's about as big as an airportterminal. With the titanium finlooming beyond...

ANGLE ON BARNES

Near the entrance -- carved through the coral and lit by tinyhanging bulbs. Barnes waves them on and they follow himdown.

BARNESThis is our airlock. It'll take usfrom a wet to a dry environment.

We're assuming the inside of theship is sealed.

ANGLE ON NORMAN

as he descends awkwardly, grabbing clumsily at the bulky ironpitons drilled into the coral walls... till he reaches...

PORTABLE AIRLOCK

A large Plexiglas tube reinforced with steel struts, buttedagainst the door of the spacecraft. Norman and the rest ofthe team enter. Barnes seals it shut...there's a rush ofincoming gas which pushes the water out...

CLOSE ON NORMAN

as the water recedes down past his face-plate... Then he andthe rest of the team turn toward...

DOOR

CUT TO:

EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - LATER

Barnes labors over the robot, the innards exposed, with anAllen wrench, Ted hovering over him.

CUT TO:


Fletcher watching the team on the bank of videos.

34.

(CONTINUED)



FLETCHERAlright. What's happening hereguys?

CUT TO:

EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - SAME TIME

Barnes struggles with the robot.

BARNESPut a light in the digit, Norman.

Norman shines his flashlight inside the robot hand.

BARNES (CONT’D)Yeah...maybe it's the hydraulics.The pressure messes everything upat this depth.

In frustration, Ted grabs a hammer from Barnes' tool kit.

TEDTime for a demonstration in basicphysics, gentlemen.

He goes to the door and bangs on it...

BETH What is this, a pinata party?

BARNESNo. Dr. Fielding is demonstratingadvanced applied physics for us.

ANGLE ON HARRY

as he notices something... moves toward the door... runs hisfinger along the edge... Norman moves alongside him...

NORMAN What is it, Harry?

HARRY

Take a look.

Norman looks closely at the door.

HARRY (CONT'D)It's chipped.

Then the others gather around them.

35.

CONTINUED:

(CONTINUED)



BARNESIt's chipped. So what?

HARRYI thought you said there was nodamage in the crash. That this

titanium alloy was super-strong,there was no way you could hurt it.

BARNESI did.

HARRYBut it gets chipped just from somescientist whacking on it with ahammer?

ANGLE ON BETH

As she feels the door with her palms...

BETHIs there heat coming off thisthing, or is it just happy to see me?

BARNESGet away from there, Beth.

BETHJust one minute.

BARNESI said back off! Now!

Barnes yanks Beth roughly and shoves her aside. Angry, sheglares at him. The door starts to RUMBLE...Barnes unstraps a weapon... Then the door opens... revealing blackness inside.

HARRYIs anyone else here wondering whoopened the door?

CUT TO:


Fletcher at bank of videos.

36.

CONTINUED:

(CONTINUED)



FLETCHERYeah. I'd like to know who hit thebutton too.

CUT TO:

EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - SAME TIME

Norman and Harry exchange a look. Then, ever so cautiously,Norman moves in, followed by Ted, Harry, Beth and Barnes whocloses the door behind them.

TEDHow did that happen?

BARNESI'm not sure about the atmosphere.Helmets stay on.

TED We come in peace.

(to Harry)I always wanted to say that.

CUT TO:

INT. SPACECRAFT - SAME TIME

Norman enters, his helmet light leading the way...He realizeshe is walking along a five-foot wide catwalk...

NORMAN'S POV

as his helmet light sweeps forty feet down into the maw ofthe craft, a dense web of struts and buttresses...Beth headsalong a separate path of the catwaik...Looks down. Stops.

BETH'S POV

as her helmet light sweeps the path...footprints.

BACK TO SCENE

BETH

Somebody's been here.

HARRY What?

BETHYeah. There's footsteps, and theyain't ours.

37.

CONTINUED:

(CONTINUED)



Harry joins her. Looks down. Then Norman joins them.

HARRY What do you say, Norman? Time toturn around?

NORMANI'm a little curious.

BARNESLet's break up into two squads. We'll never cover the groundotherwise.

HARRYSplit up?

TEDHe's got a point. We've got maybe

a half- hour of gas left.

BARNESTed and Harry you come with me.Beth and Norman stick together.Come on.

HARRYI think the people who built thisplace would call that divide andconquer.

NORMAN Whoever built this thing wanted usdead, we'd be dead already.

(beat)As a matter of deductive logic,Harry.

CUT TO:

INT. SPACECRAFT - LATER

Barnes, Harry and Ted move ahead, their helmet lightssweeping the surfaces and structures of the craft -- both odd

and oddly familiar. Barnes inspects one of the girders withhis gloved fingers, then whacks it with the crowbar.

BARNESLook at this, Harry...cross-stressbracing for the outer hull.Tremendous support along all axes.This is interesting.

38.

CONTINUED:

(MORE)

(CONTINUED)



This material -- strong and soft atthe same time. Better than rubber,better than steel.

(off insulation)Heck of a lot of radiationshielding. Wonder what that's for?

HARRYYou seem to know a lot about this.

BARNESHuh?

(beat)Yeah, I, uh, studied aeronauticalengineering at M.I.T. Isn't that where you got your Ph.D.?

TED Where I got mine. All three of

them. A regular hotbed of academicenvy though.

HARRYAin't that the truth. I hatedM.I.T.

TEDEnvy?

HARRYPuberty.

TEDPuberty? How old?

HARRYFirst Ph.D, eighteen.

TEDDamn! One year, Harry. You beat me by one year, Harry.

HARRY(singing)

"What a difference a year makes...."

TED Where'd Dr. Halperin get her Ph.D.?

BARNESOn her knees, is what I'd guess.

39.

CONTINUED:BARNES (CONT'D)

(CONTINUED)



HARRYYou might be underestimating her.

BARNESOh, yeah?

(beat)

Let's push on.

ANGLE ON TED

as he looks around for a place to sit.

TEDMan. They didn't tell you howheavy these things were out of water.

He finds a box. Brushes the silt off the top. Double-takes...

TED (CONT’D) What the hell --

(to others)Come here -- look at this!

Barnes and Harry join him. Peer down with their head-lamps...

INSERT - BOX

Where Ted brushed the silt off, it reads, "TRASH/BASURA".

BARNES(reading)

'Trash/Basura'?

HARRYTrash?

CUT TO:

INT. SPACECRAFT - HALLWAY AND ELEVATOR - SAME TIME

Norman and Beth move through the craft. Beth finds a door

with a control button.

BETH What do you think?

Norman shrugs. Beth moves to press the button. Norman stopsher.

40.

CONTINUED: (2)

(CONTINUED)





BETHRod Serling? This isn't theTwilight Zone, Norman, and I can'tchange the channel, so what do you want me to do now?

NORMANI'm just telling you, Beth. I mean, who the hell would think thatanyone would ever read thosegovernment reports? What's the oddsof it? You know what I mean? I showup and I've got half the PacificFleet here. I didn't know what todo. I just wanted to tell you,that's all.

Beat.

BETH Would this fall under the samecategory as "Gee, Beth, I thoughtyou knew I was married?"

NORMANBoy, you don't forget, do you? Idon't think we have enough oxygento talk this through now.

BETHI don't think there's nough oxygento talk this through...ever.

Beth angrily presses the button and she heads inside, thenstops. Norman tentatively follows her. Suddenly they'reelevated with a fast jolt. Beth screams.

NORMAN Who pushed the button? Did youpush something?

BETHNo.

INT. SPACECRAFT - FLIGHT DECK

Norman and Beth arrive at the flight deck. It is extremelydark. They discover a large, contoured console -- but withno instrumentation of any kind. Norman feels his way around what seems to be a leather chair...

42.

CONTINUED: (2)

(CONTINUED)



NORMANThis must be the cockpit. Holdon...here's a chair.

He sits down.

NORMAN (CONT'D)You know, this is fairlycomfortable.

BETHNorman, do you hear a kind ofgurgling sound?

NORMANGurgling... Aaaaargh!

Suddenly the chair grabs him... Squeezing his shoulders,grabbing his hips, wrapping around his head... as if it was

swallowing him... Beth screams.

BETHNorman!

NORMAN (CONT'D)Oh, yeah. You know, they'reseatbelts.

CLOSE ON NORMAN

As he disappears into the chair... Being swallowed up by it.Beth screaming, "Norman! Norman!" And then it stops.

NORMANI'm okay.

Then a loud WHIR as the CHAIR snaps forward, zooms up tightto the console.

NORMAN (CONT'D)Er...Beth, I could use a littlehelp. Beth.

CLOSE ON NORMAN

He maintains his composure by dint of will. Then his face isbathed in a soft Christmastime glow of colored lights.

BETHNorman! Norman!

He gestures down with his eyes. She follows his gaze...

43.

CONTINUED:



ANGLE ON CONSOLE

As it begins to take on depth... The instrumentation issomehow within the surface of the console, like a hologram...

"POS THRUSTERS"... "F3 PISTON BOOSTER".."GLIDER".."SIEVES"...

NORMANBeth, you still with me?

BETH(reading)

Yeah. The symbols...the symbolsare in English.

NORMANEnglish?

BETH

Yes, English. Our mother tongue.

NORMANThere must be an explanation.

BETH Well, there's something weird goingon here, Norman. There's somethingBarnes isn't telling us.

NORMAN Well, Beth, while you'reruminating, do you think you canfind the chair release button.

BETHOh!

(reading)Ignition...

NORMANNo, not that one.

Beth explores the console. Finds the appropriate control.Touches it.

BETHHere. This is it, I think.

The chair unwraps around Norman.

NORMANThere you go.

44.

(CONTINUED)



Norman relaxes. Beth turns and sees that the chair besideNorman has opened as well. And there's a skeleton in uniforminside it.

BETHAaaargh!

NORMANOh, God!

Beth examines the skeleton with her scientific sangfroid.

BETHJesus! It's human.

NORMANYou mean humanoid?

BETH

No, Norman. I mean human.(off skeleton)

Blunt force trauma. You can see bythe direction that the fractureruns, that he was hit in the backof the head.

NORMAN What's in his hand?

BETHI don't know.

Norman takes a small package from the skeleton's hand.

BETH (CONT’D) What is it?

NORMANSmokehouse almonds?

They look at each other a beat.

BETHMy God -- it's an American

spaceship.

They exchange a look as they absorb this stunning revelation.

NORMANIt can't be an American spaceship.It's three hundred years old. There weren't even Americans, let alonespaceships.

45.

CONTINUED:

(CONTINUED)



BETH Well, it can't be, but it is.

NORMANOkay. Let's see if there's somekind of flight recorder or data

computer that we can ring up aflight history. Just punchpunch... punch... punch something!

BETHAlright. Let me try this thingagain.

Beth touches the console...

ANGLE ON THEIR FACEPLATES

As data starts to spool out on the console... RV-LHOOQ...

DCOMl... ASSIMILATING DATABASE...

BETHAlright. Look at this. Okay,good. Here we go.

ANGLE ON CONSOLE

As Norman punches another button...

FLIGHT DATA ENTRIES

FDS 01/01/43-12/31/45

FDS 01/01/46-12/31/48

FDS 01/01/49-12/31/51

FDS 02/01/56-UNKNOWN ENTRY EVENT

NORMANLook at the dates. That can't be --

BETHIt could be. It could be 2043 or

1643. I don't know which one is weirder.

NORMAN'Unknown Entry Event'? Press that.

BETHAre you sure?

46.

CONTINUED: (2)

(CONTINUED)



NORMANYes.

Beth presses the console at "Unknown Entry Event"...

ANGLE ON SCREEN

As it expands... A sort of hologram created all aroundthem...As they streak through a galaxy, stars and planets allaround them... They feel like they're falling into outerspace...

Then in the middle of the screen, a black spot... That getsbigger... Then suddenly has a white cluster in the middle ofit... As if they're flying toward a giant black donut...

And then...nothing... They sit a beat in the eerie blanknessand silence...


This is Barnes. Norman?

Norman and Beth exchange a look.

NORMANYes, I can hear you. I can'texplain it, but I think we'reinside an American spacecraft.

BARNES (V.O.)It gets better.

NORMANThis is enough.

CUT TO:

INT. SPACECRAFT - CARGO BAY - LATER

The Sphere, a giant metal ball with an iridescent surface,ten meters across, is held suspended by a giant claw-likeapparatus in one of the forward bays. Something mesmerizingabout it... The team approaches tentatively...

TED What the hell is it?

BARNES Whatever it is, it seems to be whatthis bird was designed to do. Goout into space and gather thingslike this up and bring it back.

47.

CONTINUED:

(CONTINUED)



TEDYeah...but back from where?

HARRYDon't get too excited, Ted. We'llturn it over and it'll say, 'Made

in Korea.'

TEDSomehow I doubt that, Harry.

BARNES What do you think, Norman?

NORMANI'm still working on what the hellis it.

BARNES

No hinges... No doors of anykind...

TEDI bet if you put a laser micrometeron this you'd find it's a perfectsphere. I mean a perfect sphere --down to a thousandth of an inch.That's a message in itself.

HARRYReally.

BARNES What do you mean?

TEDI mean when Pope Benedict askedGiotto for a drawing to prove his worth as an artist, what he did wasdraw a perfect circle freehand.Perfection is a powerful message.

BETHI know what the Zen masters would

say.

HARRY What's that?

BETHThe ball wants to be caught.

48.

CONTINUED:

(CONTINUED)



BARNESNobody built a thing like thislooking into his third eye. They went to a lot of trouble. And theydidn't do it for nothing. Somethingput it out there to get picked up

and brought back. Are youforgetting the Trojan Horse? Itcould be a trap.

TEDThat sounds a little paranoid,don't you think, Barnes?

BARNESParanoia is a disease. Fear isuseful. Defense is basic -- down tothe simplest one-cell organism. Us.Them.

(checks watch) We'll leave a video camera here,keep an eye on it.

NORMANCan I ask you something about thisreflective surface --

Barnes edges up to the sphere.

BARNESIt looks like it's made of mercury.Except mercury is a liquid at thistemperature.

NORMANNo. That's not what I'm talkingabout. What worries me is that it'sreflecting everything but us.

Barnes steps back to get a better look. The team edges upbeside Norman...

NORMAN (CONT'D)I hate to be the one non-scientist

who picks this up, guys. You know what I mean? What do you think itis?

THEIR POV

It's true. A perfect mirror image of everything in the cargobay but them.

49.

CONTINUED: (2)

(CONTINUED)



BARNESI don't know. Whatever it is, it'salien.

SPHERE POV

Through a convex lens, of the team looking in.

BACK ON NORMAN

As he watches Barnes gingerly reach out and touch the surfaceof The Sphere.

CUT TO:

INT. BARNES' ROOM

CLOSE ON TELETYPE MACHINE

A message types out:

"ADMIRAL MANNION HAS LEARNED CIVILIANS AT SATURATED DEPTHS.

DEMANDS THEY BE SENT TOPSIDE IMMEDIATELY."

Barnes reads message, crumples it into a ball and throws itaway, then types a response.

"COULD NOT DE-CODE LAST MESSAGE. TRANSMISSION SCRAMBLED.

PLEASE RE-SEND."

"CYCLONE DUE 0800 HOURS. GALE FORCE CONDITIONS AND SOUTHEAST

SWELLS TOPSIDE. CONTACT TEAM MUST EVACUATE TWO HOURS OR

REMAIN HABITAT FOR DURATION OF STORM. OSSA."

CUT TO:

INT. BARNES' ROOM - LATER

Barnes talks on the radio transmission speaker to thesurface.

BARNESSounds like it's gonna get prettyhairy up there. What's the wordfrom meteorology?

CUT TO:

50.

CONTINUED: (3)



INT. CAFETERIA - MOVING INSIDE

to the galley, where the team, now in their blue jumpsuits,confers over hot coffee. Fletcher bakes something in theoven...

TEDAn American spacecraft -- materialsand technology more advanced thananything we know of -- crashes intothe ocean --

HARRYIf it crashed how come it's notdamaged?

TEDThe materials are obviouslysuperstrong.

HARRYIf that's the case, how come thedoor chipped just from you bangingon it?

Fletcher brings them a tray of fresh-baked muffind. They alldig in.

TEDOkay. Better. It didn't crash. Itarrived. Three hundred years ago.

BETHFrom where?

TEDNot from where, from when.

BETHSo, you're saying, this thing tooka wrong turn?

TEDYes, that's right. What if the

craft inadvertently flew into ablack hole. It arrived in our pastfrom its present. What about thosedates you saw on the flightrecorder.

NORMAN'43, '47 --

51.

(CONTINUED)



TEDThat's right. That has to be twothousand forty three...two thousandforty seven. That image that youtold me you saw on the monitor...from what you describe

that sounds exactly like a blackhole...a tear in the space...

HARRY We know what a black hole is, Ted.

NORMANI don't know what a black hole is.

HARRYA black hole is a collapsed deadstar that has so much gravity itacts like a huge vacuum cleaner,

sucking everything into it. Alight interstellar dust... time...

TEDTime.

HARRYIt's possible, but not plausible.

TEDIt's more than probable, it'srudimentary astrophysics. We justhaven't been able to fly into oneand prove it.

HARRY Well, Ted, sounds like you've gotthis all figured out.

Barnes enters.

BARNES Well, I just got off the horntopside. Expecting a bad blow-upthere. They're pulling us out.

TEDPulling us out? Wait a minute...what do you mean, pullingus out? What does that mean,pulling us out?

52.

CONTINUED:

(CONTINUED)



HARRY What part of 'pull out' don't youunderstand, Ted?Extraction...we're leaving.

TED

No...no...that's ridiculous. I mean, we haven't even begun toscratch the surface down here.

BARNESIf you've ever seen these Pacificcyclones -- what we call a tornadois nothing more than a little fart,so I suggest you go back to thedormitory and take a nap. You needto lower your metabolism before thedecompression.

TEDYou're just gonna leave a time-traveling spacecraft at the bottomof the coean?

BARNESI'm just going to follow my orders,Ted.

BETH We're the Welcome Wagon for thealiens, right? There's no aliens.It's all Made in America.

TED(to Beth)

What's your point?

BETHMy point is I'm a biochemist.There's no life down here, and youguys are bugging the shit out of me.

TED

What is wrong with all of you? Thatdoesn't mean there's nothing leftto learn -- nothing to explore --Jesus!

BARNES(cutting him off)

She's right, Ted.

53.

CONTINUED: (2)

(MORE)

(CONTINUED)



You guys are the human contact teamfor an Unknown Life Form. There isno Unknown Life Form.

(beat)So, we're pulling out at oh-ninehundred.

TEDNorman, will you please saysomething to him.

NORMAN What?

TEDI don't know. Do you not have anopinion about this?

NORMAN

Yes. I'm delighted we're goingback up top. You know what I mean?I mean, I don't know about you,this might look like a road-sidediner, but in the meantime, my ears won't pop...if I pull this thingaway from my neck I sound likesomeone's squeezing my testicles.Let's go home.

Ted takes Barnes aside.

TEDLook, why don't you tell me. Whatis it you don't want us to findout, huh?

BARNESI don't want you to find out what Ireally think of you.

ANGLE ON HARRY AND NORMAN

NORMANHarry. Doesn't it seem odd to you

that Barnes was so excited aboutcoming down here, but he wasn't theleast bit upset about going up?

HARRY We're on the same page.

Norman puts his finger in his ear to release pressure.

54.

CONTINUED: (3)BARNES (CONT'D)

(CONTINUED)



HARRY (CONT'D)Equalize, Norman.

NORMAN What do you mean?

HARRYYou know how to equalize, don'tyou? Just pinch your nostrilstogether and blow.

NORMANDon't get racy.

CUT TO:

INT. BARNES' ROOM - LATER

CLOSE on LAPTOP SCREEN as words appear...

"DESPITE RISKS CONTACT TEAM ELECTS BY UNANIMOUS VOTE TO

REMAIN HABITAT FOR DURATION OF STORM. BARNES."

REVERSE ANGLE

Barnes hits TRANSMIT BUTTON.

BACK ON LAPTOP

As the message appears: "TRANSMISSION COMPLETE"

BACK ON BARNES

As he looks around furtively. Turns off his laptop andcloses it.

CUT TO:

INT. DORMITORY - LATER

Beth and Ted sleep. Harry reads a paperback novel to mask hisanxiety. Norman brushes his teeth.

HARRY...Barnes is wrong, you know.

NORMAN What do you mean? Wrong about thestorm?

HARRYNo...about The Sphere.

55.

CONTINUED:

(CONTINUED)



NORMAN What about The Sphere?

HARRYIt's alive.

Norman stops a beat. Thinks. Then turns to Harry.

NORMAN Why do you say that, Harry?

HARRYThere's something inside it.

NORMANHow could there be anything insideit? There's no doors, no seams...

HARRY

The Sphere chooses what it will and won't reflect. Doesn't that seemlike the actions of a consciousbeing to you?

NORMANOkay...pop psychology - you want toknow what this is really about Ithink, for what it's worth? Youranger towards our friend, Ted inthere, is because he figured thisout before you did.

Beat.

HARRYYou really think so?

NORMANI don't know. This is my firstunderwater session.

They laugh.

HARRY

You're right. Ted did figure itout first, didn't he? Goodshrinkage.

Harry takes a slow, rueful, ruminative beat. Then:

HARRY (CONT’D) We're all going to die down here,you know.

56.

CONTINUED:

(CONTINUED)



This stops Norman.

NORMAN What? What?

HARRY

You see, it's curious, Ted didfigure it out. Time travel. And when we get back, we're gonna telleveryone...how it's possible. Howit's done. What the dangers are.But then why, fifty years in thefuture, when this spacecraftencounters a black hole, does thecomputer call it an 'Unknown EntryEvent'? Why don't they know? Ifthey don't know, it means we nevertold anyone, and if we never toldanyone, it means we never made it

back. Hence, we die down here.(beat)

Just as a matter of deductivelogic, Norman.

CLOSE ON NORMAN

As he absorbs this...

HARRYDamn! I wish I could get insidethat Sphere.

CUT TO:

INT. BARNES' QUARTERS - CLOSE ON PRINTER - SAME TIME

As it TYPES... "... 30 knots... ETD -- 00:19 MIN..."

CUT TO:

INT. HALLWAY

ALARMS sound and lights flash as Norman hustles pastFletcher.

NORMAN What's wrong?

FLETCHERTalk to Mr. Barnes...

NORMAN Where is he?

57.

CONTINUED: (2)

(CONTINUED)



FLETCHERVideo feed room.

NORMAN Where's that? I don't know wherethe hell anything is.

CUT TO:


Harry walks towards the Sphere.

CUT TO:

INT. VIDEO ROOM - LATER

Norman joins Barnes in the video room.


BARNESI don't know, Norman. You tell me.

Barnes punches up an image on the monitors. They look up...

REVERSE ANGLE - MONITOR

Harry, in his diving suit, inside the spacecraft as heapproaches The Sphere...

BACK ON NORMANAND BARNES

As they look up. Then look at each other.

NORMAN What the hell is he doing?

BARNESI don't know what he's doing. Doyou know what he's doing? Come on,Norman, there's no time. I need to

know what you know.

NORMANNothing. He said he wanted to goinside, I just didn't think --

BARNES We are inside, Norman. You meanoutside?

58.

CONTINUED:

(CONTINUED)



NORMANHe said inside.

BARNESInside what? Inside thespacecraft.

NORMANI think inside The Sphere.

BARNESThe Sphere...


Harry approaches The Sphere... Unlike before, his image isnow reflected in the luminous surface... Harry smiles ...Then his image revolves, faster and faster... His gringrowing wider and wider... And then the reflection isn't

there...

REVERSE ANGLE

And neither is Harry.

CUT TO:


As Barnes and Norman watch this scene on the monitors...

BARNESHoly shit!

NORMANOh, my God! Did he go inside?

BARNESI don't know. I don't think he went inside.

NORMAN Well, what the hell's going on? Hedidn't just disappear.

BARNESI don't know. I don't think hedisappeared. I think it's a glitchin the video.

Fletcher hustles back inside.

59.

CONTINUED:

(CONTINUED)



BARNES (CONT’D)Fletcher, can we get playback onthat?

FLETCHERPlayback coming to you now.

BARNES(turns to Norman)

You knew he was going to do thisand you did nothing.

NORMANI didn't think --

BARNESYou didn't think, Norman?

NORMAN

Fella...okay...Mr. Barnes...I wassleeping, you know. I'm a littledisoriented.

BARNESYou're disoriented?

NORMANI didn't think it was possible.

BARNESDisoriented? Where are Beth andTed?

NORMANI don't know.

BARNESYou don't know?

NORMANNo, I don't know. I woke up...Iheard bells ringing.

CUT TO:

INT. COMMUNICATIONS ROOM - SAME TIME

Edmunds, puzzled, fiddles with a control knob...

REVERSE ANGLE

The gauge marked "SUB DESCENT"... It's not moving.

60.

CONTINUED:

(CONTINUED)



EDMUNDS(to microphone)

I'm not getting an image on thesub, sir.

CUT TO:


Barnes pulls on his headset.

BARNESThat's impossible. I just got acable in my quarters.

(checks watch)They're gonna be here in twentyfive minutes or less.

EDMUNDS (V.O.)

(over intercom)The only logical explanation isthat the sub is still at thesurface.

BARNESIsn't it also logically possibleyour sonar's messed up?

Barnes punches up some controls.

ON MONITORAs Harry's image revolves aroundThe Sphere and then Harrydisappears.

NORMANOkay, let's just calm down,alright? He didn't just disappear. We're not going to leave him.

BARNESYou got that right, Norman. We'renot going to leave without him.I'm not going to lose a civilian on

my watch... so you have justscrewed up our trip to the surface. We're not going up to the surfaceuntil we find Harry.

(to intercom)Harry. We're not going up. Harry,can you hear me? Harry?

61.

CONTINUED:



ANGLE ON MONITOR

Harry's grinning, whirling image on The Sphere as it playsback on the monitors...

BACK ON BARNES

As he barks into the intercom... Then starts talking toNorman, but Norman's not there.

BARNESThis is not a triage situationhere..

(turns towards where heexpects to see Norman)

Norman?

Norman's disappeared.

BARNES (CONT'D)(to Fletcher)

Go and find me Ted and Beth.

CUT TO:

INT. HABITAT - SAME TIME

Norman runs through the corridor toward the dressing room...


Norman... Norman...

CUT TO:

INT. SUIT ROOM - SAME TIME

Norman climbs into his diving suit...


Stop now, Norman.(beat)

Norman, that's an order.

INT. HABITAT - CORRIDOR TO MOON POOL - ANGLE ON EDMUNDS

As she runs down the corridor... Enters the dressing room.

62.



EDMUNDS' POV - MOON POOL

No Norman. Beyond -- to the airlock -- no Norman.

CUT TO:

INT. BARNES' QUARTERS - SAME TIME

The PRINTER TYPES, "ETD -- 00:05 min"...

CUT TO:


Norman plunges down from the airlock to the ocean floor in acloud of bubbles...

NORMAN'S POV

The door to the spacecraft illuminated by the airlock tube inthe distance... The sound of his BREATHING as he trudgesacross the ocean floor...

Norman goes through airlock.

Norman runs on spacecraft catwalk.

Norman runs through spacecraft hallway.

CUT TO:


Barnes watches on the monitors as he punches up differentviews of the habitat...

EDMUNDS (V.O.)(over intercom)

Sir, I'm still getting no readingon the sub.

BARNES(to microphone)

Forget about the goddamn sonar.

When Beth and Ted get here, keepyour eye on them. Make sure theydon't go anywhere, alright?

(mutters)I don't need a submarine, I need aschoolbus.

CUT TO:

63.



INT. SPACECRAFT - CARGO BAY - LATER

With some trepidation Norman turns the corner...

NORMAN'S POV

The Sphere... Its luminous, opalescent surface...

BACK ON NORMAN

As, cautiously, he approaches The Sphere...

Norman approaches The Sphere... Gets closer, till it loomsabove him...

REVERSE ANGLE

The curious surface of The Sphere, reflecting the room butnot Norman...

BACK ON NORMAN

As he glances over, doubletakes... Harry has appeared,unconscious, right beside him...Norman kneels...

NORMANHarry. Can you hear me?

He checks the vital signs on Harry's breastplate...

NORMAN (CONT'D)Harry?

CUT TO:


Barnes at the monitors watching Norman.

BARNESNorman, is he alive?

CUT TO:

INT. SPACECRAFT - CARGO BAY - SAME TIME

Norman checking Harry for signs of life.

NORMANBarnes. We have a problem.Harry's out coldhere. His pulse isnormal...all his vitals are normal.I don't get it.

64.

(MORE)

(CONTINUED)



(shaking Harry)Harry!

The Norman lifts Harry in his arms, looks up. Something hesees stops him...

REVERSE ANGLE - THE SPHERE

Now Norman is reflected in the liquid surface...

CLOSE ON NORMAN

As he stops, frozen --

CUT TO:

INT. VIDEO ROM - SAME TIME

Barnes watches on the monitors as Norman approaches The

Sphere...Suddenly the monitors go black. Then the lightsflicker off...

FLETCHERHello...hello...

BARNESNorman. Can you hear me? We lostvideo here. Can you hear me,Norman. Norman?

(beat)That tears it.

FLETCHER What, sir?

BARNES We're on internal power.

FLETCHERI don't follow you.

BARNES(right back)

They cut us loose, Teeny. The sub

has gone to the surface.

FLETCHERI'm not following you.

65.


(CONTINUED)



BARNESGet out your Five-Day DeodorantPads. We're down here for theduration.

CUT TO:

EXT. OCEAN FLOOR - LATER

The power cable detaches from the habitat.

CUT TO:


Harry lies unconscious on his cot. Beth finishes taking hisvital signs as Fletcher assists her.

BETH

Everything's normal.

Ted enters. Looks down at Harry as he sleeps.

TED What's going on? Is it true? Harry went inside? What did he say?

(off Beth's look)I get it -- he didn't say. Hecan't talk. He's aphasic.

Beth rolls up the stethoscope, hands it to Fletcher.

BETHHe's asleep, Ted.

TEDI can't believe he went into TheSphere. He didn't say anything.How? There's no door. No entryhatch... How'd he get in?

BETH(cutting him off)

He sweet talked his way in.

Beth exits, Fletcher following. Ted thinks a beat.

TED(to Harry, still sleeping)

Okay, I get it. In an alternativeuniverse you're actually charming.

CUT TO:

66.

CONTINUED:



INT. COMMUNICATIONS ROOM - CONTINUOUS ACTION

Barnes talks on a phone, refers to his watch. Edmundsfiddles with the sonar equipment beside him.

EDMUNDS

... I don't know why we didn't seethe sub on the sonar.

BARNESForget the sub, Edmunds. I thinkas long as we're stuck here, I wantto do another 'reccie' of thespacecraft, only this time I don'tthink we need to involve thecivilians.

EDMUNDSRight, sir.

Beth enters.

BETHSo now what?

BARNESEverything's going to be fine,Beth.

BETHHow much oxygen do we have left?

BARNESThe storm'll only last 72 hours. Atthe outside, four days. There'splenty of oxygen, barring anyunforeseen --

BETHUnforeseen? You mean like Harrygoing in The Sphere?

BARNES What exactly is your point?

BETHMy point is, Harry should neverhave been anywhere near thatsphere.

67.

(MORE)

(CONTINUED)



If you were doing your job insteadof fuddling around here like some middle-aged man who's lost hiskeys, we'd all be breathing freshair right now instead of worryingabout how much oxygen...

BARNESFor someone who's worried aboutoxygen, you sure are using it up.

BETHI know you're not with O.S.S.A.You're doing a good job ofpretending, turning dials andflipping switches, but you don'tknow one end of a rudder from theother. We're all counting on youlike you know something about how

to get us back safely. Or evencare.

BARNESI know enough not to get killeddown here.

BETHGood for you.

Barnes gives her a hard look.

BARNESBeth, let me ask you a question. What exactly are yourqualifications for being here?

BETHGuess.

BARNES Well, I mean Norman chose Harry - agenius kid from the slums ofPhiladelphia ...in six years he hada Ph.D; Norman chose Ted - a whiz

kid astrophysicist...and Normanchose you. Why are you here? Areyou the most qualified in yourfield? Norman must have thoughtso. Then again, the report's a fewyears old, maybe things havechanged.

Beth glares at Barnes. He stares her down. She storms out.

68.

CONTINUED:BETH (CONT'D)



INT. CONTROL SHAFT - LATER

The guts of the habitat. Fletcher adjusts a valve as Barnescomes over the intercom.

BARNES (V.O.)

... Can I have your attention? Wehave lost contact with the surface.The habitat is now operating solelyunder internal power...

CUT TO:

INT. HABITAT - CORRIDOR - SAME TIME

Beth strides angrily down the corridor...

BARNES (V.O.)... We have plenty of food, oxygen,

and, fresh water to sustain usuntil the storm is over and we re-establish contact with the surface.

CUT TO:

INT. DORMITORY - CLOSE ON HARRY - SAME TIME

As he sleeps in his bunk. Visible beneath his eyelids, rapideye movement as he dreams...

BARNES (V.O.)(on the intercom)

...But until that time, this mission is subject to emergencyauthority under my command. Thisis Barnes. Over and out.

PUSHING THROUGH PORTHOLE

Jellyfish swarm outside the habitat...

CUT TO:


Barnes with Ted and Fletcher as he punches a few commands atthe computer. Takes a videotape out of the console. Stacksit up with the other videotapes.

FLETCHERI'm going to take this out to the minisub, sir.

69.

(CONTINUED)






Fletcher sweeps through a pretty cloud of pink jellyfish...Like tiny dancers with blooming pink petticoats... The mini-sub visible in the distance.

FLETCHER(to intercom)

This is beautiful. It's snowingdown here. There's got to be a million jellyfish down here.

CUT TO:


Ted looks at the view on the monitors...

FLETCHER (V.O.)

(over intercom)I'm having a hard time seeing.

TED(to intercom)

Hello...hello...hello...hello...

FLETCHER (V.O.)(over intercom)

They're sticking to my face-plate.

TED(to intercom)

Fletcher, this is Dr. Fielding.Swim through them. They'reharmless.

Barnes enters, turns to the monitors and his jaw drops...

ANGLE ON MONITORS

Fletcher all but lost in a dense snowfall of jellyfish...

CUT TO:


Fletcher struggles through the sea of jellyfish...

FLETCHER(over intercom)

Hey, guys...I think they feel theheat from my legs --

71.

(CONTINUED)



Then Fletcher howls.

BARNES (V.O.)(to intercom)

Fletcher, get out of there.


They're stinging me through the --(beat)

Aaaaaargh!

BARNES (V.O.)(to intercom)

Fletcher, I want you back at thehabitat on the double.

Fletcher thrashes...


I can't move my legs. It'sburning!

BARNES(to intercom)

Come back to the habitat.


They're inside my suit! They'reinside my

--

BARNES(to intercom)

Keep moving...keep moving. Justkeep moving...

Fletcher thrashes as the water rises inside her faceplate...And then a jellyfish swims up... stings her in the eyeball...Then they're swarming into her nose, her mouth...

BARNES (V.O.)(over intercom)Fletcher, come on.

FLETCHERAaaaaaaaaaargh!

72.

CONTINUED:

(CONTINUED)



TEDJesus Christ! Can't you dosomething?

BARNESNo.

CUT TO:


Barnes and Ted watch, horrified, powerless, as Fletcherdisappears in the cloud of jellyfish. And then her SCREAMSSTOP. And there's just the jellyfish.

TEDJesus Christ! She's dead, there'sno bubbles.

CUT TO:

INT. COMMUNICATION ROOM - SAME TIME

Edmunds supervises the computers. Suddenly a series ofnumbers spools across the screen --

032629 301321 04261037 18 3016 06180

1822 04261013 0830162137 1604 083016 21

0830162137 1604 083016 21 1822

032629 301321 04261037 18 3016...

EDMUNDS What the hell's that?

Irritated she presses buttons. More numbers appear.


Edmunds?

EDMUNDS

Yes, sir?


Come on down here. Somethinghappened to Fletcher.

Edmunds hustles out.

73.

CONTINUED:





NORMANAs a matter of fact, I've seen onedead body in two differentcounties.

BETH

Ouch. The plane crashes. Iforgot.

NORMANI've just never seen a jellyfishcoming out of a human being's nasalcavity before.

BETH Well, you live and learn.

NORMAN When I was five years old, I was

out in a boat with my father, hetold me not to jump in so of courseI had to. Right into a school ofthese guys. Not this big though. Ithink everyone had a shot at me. Idon't know what this lady felt, but man, it went beyond pain...it was...it was...

BETH Would it make you feel any betterif I tell you this isn't exactly ajellyfish?

NORMAN What do you mean?

Beth pokes at the jellyfish on the tray.

BETHJellyfish like this are unheard of.

NORMAN Well, congratulations. You've justdiscovered a brand new species.

BETHYou know, Norman, if you had spenta much time as I have sitting at alab bench, you would know whensomething had been touched by thehand of God.

75.

CONTINUED:

(CONTINUED)



NORMANI'm just complimenting you. Whyare you angry? I'm not beingcritical.

BETH

I'm just saying...God didn't makethis. Okay. It's fictional, it's aforgery, it's acopy...it's...moving!

INSERT - JELLYFISH

The jellyfish moves toward Beth as she adroitly impales it with a scalpel.

NORMANBeth, are you sure it's moving?

BETHNo, Norman, I lied.

NORMANMaybe I don't understand. I wasjust trying to make the point thatyou of all people, I would think, would want to keep this creaturealive to study, not hack it up...ifit was alive.

BETHLook, don't try to get inside mybrain, okay?

NORMANI care about you.

BETHGreat! I like to work alone.Thanks.

CUT TO:

INT. HABITAT CORRIDOR/SHOWERS - LATER

Ted heads down the corridor. Hears a SOUND coming fronHarry's room. Sidles up to the door. Hears from inside,HARRY SINGING exuberantly from 'South Pacific'.

76.

CONTINUED: (2)

(CONTINUED)



HARRY (O.S.)(sings)

Where the sky meets the sea./ "HereI am, your special island!/ Come to me, come to me!"/ Bali Ha'i, BaliHa'i, Bali Ha' i!

CLOSE ON TED

As he thinks to himself.

TED(to himself)

Harry?

CUT TO:

INT. BARNES' QUARTERS - LATER

Barnes reads through the cables with his feet up on his bunk.A KNOCK at his door.

BANRESCome on in.

Norman enters.

NORMANYou called for me?

BARNESHave a seat, Norman. Coffee?

NORMANNo thanks.

Barnes refills his mug from a Thermos.

BARNESHow long have you known Dr.Halperin?

NORMANI used to teach at UC San Diego,

years ago. She came to do her master's there.

BARNES What'd you teach - psychology?

77.

CONTINUED:

(CONTINUED)



NORMANThey require a pretty full teachingload-- that's one of the reasons Ileft.

BARNES

They squeeze you, don't they? Thenyou have to see patients on top ofit.

NORMANThey're gonna get their money's worth, one way or another.

BARNESYou and Dr. Halperin seen prettyclose.

NORMAN

We've fallen out of touch over theyears. Why?

BARNES Well, don't take this personally,Norman, but I assume she wasn't aromantic interest of yours.

NORMANI'm sorry...don't take whatpersonally?

BARNESShe's a tall, vibrant, younger woman...

NORMANAnd I was married.

BARNESThen you saw her as a patient.

NORMANI'm not at liberty to discuss that.You understand.

BARNES What I understand is that an exotic-gas environment a thousand feetunderwater with no link to thesurface is just about the mostdangerous place on the planet. Ifthere's a problem, I need to know.

78.

CONTINUED:

(CONTINUED)



NORMANBeth is fine.

BARNESBeth is fine? Beth is fine?

NORMANShe's very fine.

Barnes suddenly throws a fax transmission at Norman.

BARNESBeth's fine? Okay...what aboutthis? You want to read it? Whatdoes it say, Norman?

NORMAN(reading fax)

These are my actual notes. How in

the world did you...

BARNES What does it say, Norman?

NORMANShe was having some problems with aboyfriend.

BARNESDoes it say 'suicide attempt'?

NORMANHow did you get a hold of mypapers?

BARNESDoes it say 'electric shocktherapy'? Isn't that what it says,Norman?

NORMAN What's your point?

BARNES

My point is you didn't feel it wasimportant enough to mention this tosomebody? You're willing tojeopardize the lives of all ofthese people by having someone here who could in fact be mentallyunstable?!

79.

CONTINUED: (2)

(CONTINUED)



NORMANAre you aware of the term 'over-reacting.'

BARNESDon't play with me, you little

shit! We're 160 fathoms down andnow we've got a nut bag down here who can flip-out and crack up. whydidn't you tell me that?

NORMANI can't believe you had someone gointo my office...take my personalrecords.

BARNESYou chose the team, Norman. Whydidn't you tell me this?

NORMAN When I wrote this report, I didn'tknow the team was going to be athousand feet underwater.

BARNESIt doesn't matter if it's athousand feet or ten feet, whydidn't you tell me about her past mental history?

NORMANI didn't think it was pertinent.

BARNESIt was not for you to make thatdecision.

NORMANIt was a passive attempt.

BARNESA passive attempt?

NORMANYes. People who really want tokill themselves get a gun and shootthemselves, or go off a bridge,they don't call their boyfriend andsay: "I just took 20 Nebutol...help me."

80.

CONTINUED: (3)

(CONTINUED)



BARNESShe took twenty yellows and you'retelling me she's perfect?

There's a KNOCK at the door.

BARNES (CONT’D)Yeah?

Ted enters, thoughtfully rubbing his chin.


TEDIt's Harry.

NORMANHe's awake?

TEDHe's really awake.

CUT TO:

INT. CAFETERIA - LATER

Harry eats a big farmer's breakfast with great gusto as theteam, skeptical and scared, surround him at the table. Normanprepares food for the others at the stove.

HARRY... Man oh man, you got a problem with me, Barnes.

(gestures to Norman)Because as long as my good buddyNorman keeps cooking like this Iain't leaving. Wheeee! Ummmmm-ummm. I mean, this toast is good,and the bacon is better. But theeggs are fantastic! What've you gotin here? Wait, don't tell me.

(closes eyes, inhalesdeeply)

Parsley... Chives... Tarragon...Chervil! Is it chervil?

NORMANYes, it is. I'm glad you like it.

HARRYEggs! I'm telling you, eggs? Ilove eggs!

81.

CONTINUED: (4)

(CONTINUED)



BETHThey sure have improved your mood.

HARRY(to Beth)

How 'bout it? You keep laying them

and I'll keep eating them.

He elbows her and nearly knocks her off her chair.

ANGLE ON NORMAN

Watching Harry, as if he's under a microscope...So is Barnes.They exchange a look. Then Barnes gingerly launches in.

BARNESHarry, with you and The Sphere --do you remember what happened?

HARRYOf course I remember what happened.I went inside.

TEDHow did you get inside? There areno doors.

HARRYThis place is full of doors and wecan't get out. We're still here.

Barnes forces a chuckle.

BARNESSo we are, so we are...

TEDYou still didn't answer myquestion, Harry.

Harry resumes eating his eggs. From behind Harry's back,Norman assesses Harry with a shrewd, appraising gaze. As ifhe has eyes in back of his head, Harry catches him doing it.

HARRY Why are you looking at me likethat, Norman?

Then Harry turns. Norman's eyes crinkle in a kindly smile.

82.

CONTINUED:

(CONTINUED)



NORMANEr...I'm jealous, Harry. I loveeggs, but my cholesterol...You're making me hungry.

Harry laughs heartily. Norman brings a big platter of

calamari to the table... Harry spears a few with his fork.

BARNES(circling back)

Are you saying we shouldn't stillbe here, Harry?

HARRY(looking around)

Hey, where's Teeny? I thought shedid all the cooking. Not that I'mcomplaining, Norman, this is great.And grits, you got everything down

here. Where did you learn to cookgrits, Norman?

NORMANI wasn't sure you'd like them.

HARRYYou had a nanny.

(laughs)So, where is Teeny?

BARNESTeeny had an unfortunate accident.She was killed.

HARRYKilled? How?

BEAT.

BARNESBy jellyfish.

HARRYJellyfish? That's strange.

BARNES(beat)

Yes, it is strange, isn't it.

Norman brings Harry another plate of food.

NORMANHere you go, Harry.

83.

CONTINUED:

(CONTINUED)



Harry digs in.

HARRY Whoa, onion rings.

NORMAN

It's not onion rings.

HARRYGood though.

NORMANGuess what it is?

HARRY What?

NORMANCalamari.

Suddenly, Harry spits out his calamari... Starts to gag...

HARRYUccch! Aaaaargh! Squid!

Ted runs around the table and gives Harry the Heimlich maneuver... Harry struggles to say something... Tedvigorously pumps at Harry, lifting him high in the air...

TEDOkay, Harry, bring it up! Bring itup, big fella!

NORMANTed. Ted! I think he's trying tosay something!

Ted stops the Heimlich maneuver. Harry shrugs him off.

HARRYI'm not choking, you asshole! Ijust hate squid!

Ted backs off.

TEDI m sorry. I was trying to helpyou.

Barnes warily takes the platter of calamari away. Harry sitsdown again. Norman sits opposite him.

84.

CONTINUED:

(CONTINUED)



HARRYI hate squid!

NORMANAs long as it wasn't my cooking,okay?

(beat)Can I ask you something, Harry?Before you went inside The Sphere,you were convinced that we were allgoing to die down here.

HARRYI remember that.

NORMANDo you still believe that?

HARRY

(nods)Are you afraid to die, Norman?

NORMANYou know, I just thought, if we'regonna die, thought I'd have acouple of eggs. Go out in style.

CUT TO:


Edmunds is sitting at the bank of computers which are allblank. She looks relieved. Suddenly numbers start scrollingup on the monitor directly in front of her. She hits thekeyboard to clear the screen, but the numbers keepcoming...on another computer screen, then another andanother, until all the screens are scrolling numbers. Shefrantically hits keys, but the numbers remain.

CUT TO:


Camera moves around the Habitat.

CUT TO:

INT. HALLWAY - SAME TIME

Ted and Norman walk away from the Cafeteria.

85.

CONTINUED: (2)

(CONTINUED)



TEDBullshit! Bullshit! He's hidingsomething.

NORMAN What are you talking about?

TEDHe was in there. He went inside theSphere. Whatever it was he saw, hedoesn't want to tell us.

NORMANHe doesn't remember anything.

TEDOh, come on, Norman. You boughtthat? No! no! That whole foodthing, it was all a diversion. He

wants to keep it all to himself.Think about it. The guy's willingto put all of our lives on the linebecause he doesn't want to shareinformation...

NORMANTed, I think....

TEDI can see it right now...he's making notes for his new book. Wants to win the Nobel Prize.

NORMANAnd you don't?

TEDNo! ...yeah. Norman, you've known me since I was 17 years old. I would love to be the guy who getsthe recognition.

NORMANHave you any idea how respected in

your field you are?

TEDI'm not. What have I done? No.I've written one "Fun with Dick andJane" book on physics.

86.

CONTINUED:

(MORE)

(CONTINUED)



I mean, for christ sake, NeilsBohr, he published 'The QuantumTheory of Atomic Structure' I think when he was Einstein -"Relativity", 26...Newton -"Gravity", 23. Norman, in physics,

if you haven't done it by the timeyou're the chances are you never will.

NORMANAnd this has nothing to do withbeing competitive with Harry?

Ted gives Norman a look.

TEDHarry?

NORMANHarry.

TEDHarry...19. Wunderkind!

NORMANI rest my case.

TEDNorman, I'm thirty years old.

NORMANI wish I was.

Ted laughs.

Then Edmunds comes toward them.

EDMUNDSMr. Barnes would like to see you,Ted.

TED Why?

EDMUNDSThere's something wrong with thecomputer system.

CUT TO:

87.

CONTINUED: (2)TED (CONT'D)



INT. COMMUNICATIONS ROOM - CLOSE ON BANK OF COMPUTER SCREENS

- LATERThe numbers Edmunds saw earlier -on all of the monitors:

032629 301321 04261037 18 3016 06180

1822 04261013 0830162137 1604 083016 21

0830162137 1604 083016 21 1822 033013130432

REVERSE ANGLE - TED

as he tinkers at the keyboard, Barnes beside him.

BARNESTry purging it.

TEDEvery time I purge it, it comesback.

BARNESYou think it's a discharge from thebuffer memory?

TEDI ruled that out.

Edmunds enters.

EDMUNDSYou figure that out yet?

TEDNot yet.

EDMUNDSYou want me to take a whack at it?

TED Why not? I only have threeadvanced degrees. It's not like I

went to cosmetology school.

EDMUNDS(brittle, to Barnes)

The sonar's still malfunctioning,sir. I'm going to go see if I can'tclear off the transducer ports.Manual labor -- maybe that's more my speed.

88.

(CONTINUED)



BARNESOkay. Just be careful out there.

EDMUNDSYes, sir.

Edmunds exits. Barnes turns back to Ted.

BARNES Why'd you have to bust her chops,huh? She's the only person whoknows how to run this joint. Alittle respect wouldn't kill you.

TEDPoint taken. I'm sorry.

(beat)I think the helium is getting tothe chips. Saturation effect.

BARNESIf that's true, what are theoptions?

TEDYou'd have to replace the chips.

BARNESIf we have to operate this place on manual it's gonna be a long fourdays.

ANGLE ON HARRY

as he enters, eating an apple. Glances over at the computer.

HARRYHey, boss. Ted.

(off computer)You figure that out yet?

TEDIt's some kind of saturationeffect.

HARRYI don't think so. If it was asaturation effect it'd be random.

TED What do you mean?

89.

CONTINUED:

(CONTINUED)



HARRYThis has a pattern. See, it's likea code.

Harry leans over to the keyboard, highlights the sequencethat repeats. Ted moves closer -- upset that he missed it.

Harry grabs a pad and pencil, starts to write...

BARNESA code from where?

TED(re: Harry's code letters)

How do you do that?

BARNESHow do you see that?

HARRY

Try it in binary.

Ted rattles at the keyboard.

ON SCREENThe numbers change to a string of"0"s and "1"s... They stare at it aquick beat.

HARRYIt gives you the letter breaks.

TEDDo you think it's coming from TheSphere?

HARRYDon't know.

BARNESHarry, this whole mission isclassified Ultra Top Secret. Any messages you decode are for my eyesonly.

Harry shows them what he's been writing...

INSERT - HARRY'S PAD

He's pencilled in the alphabet as it's arrayed on a computerkeyboard.

BACK TO SCENE

90.

CONTINUED:

(CONTINUED)



HARRYIf you were it, how would you knowthe alphabet? The way it'sorganized on the keyboard.

Ted thinks hard...

TEDBut, reflected in an orb,spherically.

(off Harry's look)A keyboard, but spherical. Takethe keyboard and wind it around asphere. Then starting at the centerkey "g", number the letters,spiraling out.

Harry stops, stunned. Then breaks into a broad smile.

HARRYTed! You're the man!

Harry tosses aside the pad, sits down at the computer. Worksfrantically. Ted rubs his hands together.

TEDI'm telling you, I still got it. Istill got the juice.

ANGLE ON NORMAN

putting on his glasses to get a better look.

NORMANOh, boy!

TED(to Norman They let youkeep those? Norman offershis glasses to Ted.

ANGLE ON COMPUTER

As a topographical model of a sphere appears on the screen...

Then the computer winds the keyboard around it, starting inthe middle with the letter "J" and then spiralling around...

HARRY (O.S.)Now all that's left is to plug inthe numbers...

Harry selects the sequence of the numbers that repeats, typesa command into the computer.

91.

CONTINUED:



ANGLE ON HARRY

as he presses enter, the others gather expectantly...

CLOSE ON COMPUTER SCREEN

as it reads.

THE SPHERE(on computer)

HELLO. HOW ARE YOU? I AM FINE. WHAT IS YOUR NAME? MY NAME ISJERRY.

BACK ON GROUP

As they stare at this in amazement... The epiphany of contact with an extraplanetary being...

HARRYMy friends, in eight thousand yearsof recorded history, this is afirst. You are on-line with analien intelligence.

Ted reaches out, touches the screen reverentially...

BARNESYou've got to be kidding me. You must have messed up thetranslation.

HARRYI don't think so.

BARNESIf this translation is right, thisalien sounds like an idiot.

BETHIt could be something to consider --a stupid alien.

(off Ted's look) Well, they must have them.

HARRYThe content certainly appearschildish. But when you think aboutit, it's highly logical. A simple message -- lucid, friendly,unthreatening -- the way you'daddress a small child. Or a dog.

92.

(CONTINUED)



BARNESYou must've made some mistaketranslating it.

ANGLE ON SCREEN

As more numbers type out...

TEDLook at this.

BARNESIt's making a speech.

Harry hits a command and presses enter and the message istranslated...


I AM PLEASED TO BE IN CONTACT WITH

YOUR ENTITIES. I AM ENJOYING THIS

MUCH.

BARNESAsk him for his last name.

HARRY What?

BARNESI want a full name for my report.I'm not going to write in my reportthat a crew member died on adeepsat expedition to find an aliennamed Jerry. Please. Jerry?

TEDI think we should tell him we'reenjoying it too.

BARNES

I still can't believe we had aPresident named Jerry.

NORMANAsk him where he's from.

ANGLE ON COMPUTER

As Harry types... "WHERE ARE YOU FROM?" Then more numbers.

93.

CONTINUED:

(CONTINUED)



THE SPHEREI MAKE A JOURNEY. YOU MAKE AJOURNEY. WE MAKE A JOURNEYTOGETHER.

BETH

I think Jerry is channeling DeepakChopra.

HARRYA journey from where?

THE SPHEREI AM HAPPY.

TEDHe's happy.

NORMAN

He's crafty.

ANGLE ON COMPUTER

As Harry types... 'A JOURNEY FROM WHERE?' But no response.Norman peers at the screen...

HARRYI think he's gone.

BARNESDid you -- ? Did you get a fullname for the report?

HARRYOh, please!

BARNESOh, man!

TED We're not alone. We are definitelynot alone. Harry, it's trying to make contact with us.

HARRY Whatever it is, it was inside thatSphere, now it's out, and free toact.

TED What do you mean by that?

94.

CONTINUED:

(CONTINUED)



HARRYFree to take over ourcomputers...free to call us on thephone, free to come over and knockon the door if it wants to.

TEDA physical presence.

BARNES What are you thinking about,Norman?

NORMANThis last part. Where he says, 'Iam happy.'

HARRY What's the matter, Norman? Don't

you want Jerry to be happy?

NORMANHonestly?

BARNES What's on your mind, Norman?

NORMANI would be happy if Jerry had noemotions whatsoever. Because thething of it is, once you go downthat road -- here's Jerry, thisemotional being, cooped up forthree hundred years with no one totalk to, none of the socialization,the emotional growth that comesfrom contact with other emotionalbeings...

HARRYYeah?

NORMAN What happens if Jerry gets mad?

An exchange of looks all around.

CUT TO:

95.

CONTINUED:



INT. CAFETERIA - LATER

Ted fixes coffee. Barnes and Harry sit at the table. Tedbrings the coffee to the table, slides one to Barnes. ThenBeth enters, approaches Ted with sheaf of papers.

BETHYou have to look at this.

TED What?

BETHThere's a record here of atransmission to the surface. Justbefore the submarine was due topick us up.

BARNES

Let me take a look at that.

Beth debates turning it over to him. Barnes gives Beth asardonic look, takes the page and reads it...

BARNES' POV - INSERT

as he reads the transmission...

"Although advised of risks, all personnel elect to remaindown for duration of storm to continue investigation."

BACK TO SCENE

Barnes thinks a beat. Then smiles his Cheshire cat grin.

BARNES(humoring her)

But Beth, we never elected toremain. We elected to return.

BETHExactly.

TED

Who sent the message?

BETHThe signature is encoded. Remember what happened? The submarine wascoming but Edmunds said she wasn'tgetting a reading. But the truthis, the submarine was never coming.

96.

(MORE)

(CONTINUED)



(looking at Barnes)Somebody told it not to come.

BARNES What are you saying -- you think it was me?

BETH Was it?

BARNESI don't know, Beth -- maybe it wasJerry.

BETHJerry doesn't know the code. Andhe can't read minds.

BARNES

(chuckling)Maybe he can. Maybe he can read minds.

BETHIt had to be you or Edmunds orFletcher -- you're the only ones who knew the codes.

BARNESAnd there's no place else this message could have come from? Like maybe you made it up?

Beth looks at Barnes. Turns to Harry.

BETHHarry, you think we're going to diedown here. How? They told us we'dbe safe. Who wants us to die?

HARRY(shrugs)

I don't know.

TEDIt's not Barnes, Beth. It'sjellyfish and God knows what.

BETHDon't you see what's going on? He wanted us to stay down here.

97.


(CONTINUED)



TEDI wanted to stay down here allalong.

BETHBut he said we were going back. Why

did he lie? Why did he send thesubmarine back?

Ted shrugs. Goes back to making his coffee. Barnes grinshis enigmatic grin.

BARNESYou sure are a lot of woman. I wish I could've seen you in the olddays. From what Norman tells meyou were quite...

Barnes lets it hang there. He and Beth exchange a look.

BETH What did Norman tell you?

BARNESLet's put it this way. If Jerrycould read your mind, he'd sure bebored with ours.

Beth looks at Barnes. In an instant she knows that Normanbetrayed her. She exchanges a look with the others -- dothey also know? Then she miles.

BETHOkay. So that's how it's gonna bethen.

CUT TO:


Norman sits alone looking at static on the computer screens. We hear THUMP...THUMP...THUMP...Norman looks around.

NORMAN

(calling out)Edmunds. What's that sound? Didyou hear it?

There is no response.

NORMAN (CONT'D)Edmunds, can you hear me? Did youhear that thump?

98.

CONTINUED: (2)

(MORE)

(CONTINUED)



Edmunds, what is that sound?Edmunds....can you hear me?Edmunds.

She's not there.

NORMAN (CONT'D)Hell .oh, shit.

He rushes out.

CUT TO:

INT. CAFETERIA - SAME TIME

Ted, Harry, Beth and Barnes sit drinking coffee. No-onespeaks. Then:

HARRY

What's that noise?

TED What noise?

HARRYListen.

Dimly, we hear THUMP... THUMP... THUMP...

BARNESChrist, Edmunds is still out there.

CUT TO:

INT. HABITAT MOON POOL - LATER

Norman and Beth jump into the "pool"...

CUT TO:


Barnes sits. Watches Norman beneath the habitat as Bethplunges down beside him in an explosion of bubbles...

CUT TO:


Norman and Beth move cautiously on the ocean floor...

99.




NORMAN'S POV - THROUGH FACEPLATE

Beth marches in formation alongside him, spear gun at theready...

BETH

Norman. What did you tell Barnes?

NORMANAbout what?

BETHAbout me, Norman? You told him Itook twenty Nebutol and tried tokill myself, didn't you?

NORMANHe had my notes, Beth. What didyou want me to do?

BETHDid you tell him who I called,Norman?

NORMANAt the risk of changing thesubject, Beth, I think thatthumping noise is coming from rightabout there.

Norman looks up.

CUT TO:


Barnes on intercom.

BARNESNorman, Beth - did you find thatthumping, yet?Norman...Beth...come in.

CUT TO:

EXT. UPPER HABITAT - REVERSE ANGLE

As Edmunds' body waves limply in the currents, her helmetedhead thumps against the wall of the habitat -- her footcaught in the trestle structure underlying the habitat...

CUT TO:

100.




Barnes on intercom.

BARNES Would you hit your call back

button, please.

CUT TO:

EXT. UPPER HABITAT - LADDER - BACK ON NORMAN AND BETH

As they hurry toward Edmunds... Norman reaches her first. Ashe grabs her, her body swivels and he sees --

EDMUNDS' FACE

Smeared inside her squashed helmet... Norman loses hisgrip... As he slips, Edmunds' boot hits his glass face plate.

As he struggles to get away, Edmunds' boot slides off,revealing a pulpy, enpurpled foot. Containing his nausea, hegrabs Edmunds...

BARNES (V/O)(on intercom)

Norman...is everything alright outthere?

ANGLE ON BETH

As she moves to help Norman with Edmunds, she grabs Edmunds'foot... Shocked as her fingers sink into it... She reaches upto feel Edmunds' ankle, her shin...

BETHMy God, Norman, she's like a ragdoll. Her body's been completelypulverized.

NORMANBeth, I don't get it. What couldhave done this to her?

BARNES (V.O.)

(over intercom)Norman, is everything okay?

BETHLet's get her and get out of here.She's stuck in the thing....let'sget her out of here.

101.

(CONTINUED)




Norman?

Norman and Beth turn, hauling Edmunds toward the habitat.

Then a single luminous, glossy white ball, about the size ofa baseball, falls slowly through the water between them...like the pearl in the Prell ad...

Norman looks up...

THEIR POV

Thousands of these balls float down through the water, swirlin the currents, catching glints of light, trailing streaksof mucus and falling softly in the sand at their feet.

BACK TO SCENE

BETH What is this?

NORMANBeth, what does this mean?

BETHThere's something up here.

Then a PONG... PONG... PONG... Heard dimly from the inside ofthe habitat as Barnes talks on the intercom...


Get inside. I'm getting a readingon the sonar. You're not alone outthere.

BACK ON NORMANAND BETH

Beth around her... Turns to Norman.

BETH

What the hell makes eggs this size?

The eggs surround them.

BETH (CONT'D)Come on, Norman! Jesus, Normanlet's go!

102.

CONTINUED:

(CONTINUED)



NORMANAlright! Alright! Alright.....!


Eighty yards and closing! Move!

BACK ON NORMANAND BETH

As they run with Edmunds' body... Stumbling through thesticky eggs as they pile high on the ocean bottom... ThePONG... PONG... PONG... audible over the intercom...

NORMAN What the hell is it?


Sixty yards... how close are you?

NORMANI can't breathe.

BETHOh, my God!

BETH (CONT’D)Norman, you're going the wrong way.

BARNES (V.O.)Forty yards...Move! Move! Move!Move! Move!!

BETH We can't see anything through theeggs.

BARNES (V.O.)Move! Twenty yards...Move! Move!

(beat) Whatever it is, it's directlyoverhead.


THROUGH a heavy fog of condensation, Norman sees a shaft oflight coming down through the airlock... Eggs fallingeverywhere... Norman breathing heavily...

Then suddenly hands grab Norman... and pull him up to safety.

103.

CONTINUED: (2)



INT. HABITAT MOON POOL - SAME TIME

As Barnes yanks Norman inside, passes him to Harry, who helphim to get out of his suit, swaddle him in a blanket...Barnes reaches down again and pulls Beth aboard... Then turnsas Edmunds' squashed head bobs up through the opening.

Grimly, Barnes reaches down, pulls Edmunds' body aboard.

BARNESI need a report, Beth.

BETHI don't know what the hell's goingon out there...there's eggseverywhere.

BARNESYou should have brought one back.

BETHI wasn't up for an Easter egg hunt.Maybe that's what Edmunds wasdoing. Did you get anything on thesonar?

BARNES Whatever it is, it's too big forthe sonar.

Norman shivers in his blanket. The distant PONG... PONG...PONG... of the sonar in the video room, audible over theintercom. Then it suddenly GROWS SOFTER. And STOPS.

TED(over intercom)

It's gone.

Scared looks all around.

CLOSE ON NORMAN

As he shivers...

NORMAN

I want to talk to Jerry.

CUT TO:

INT. HABITAT - CORRIDORS TO VIDEO ROOM - LATER

Norman leads the others through the corridors toward thevideo room.

104.

(CONTINUED)



BARNESI think we need a game plan when wetalk to him.

HARRY We need to be specific. What is

our objective? What do we want toaddress? Specifics.

Barnes goes first into the video room.

INT. VIDEO ROOM - CONTINUOUS ACTION

The others file in behind Barnes. A message awaits on thecomputer...


WHAT IS A GAME PLAN?

BACK ON TEAM

BARNESOh, my God!

As Norman gapes at the screen. The others edge in closer,gape also. Is it possible?

NORMANJesus!

(beat)Jerry? Jerry, can you hear me?

THE SPHERE(types on computer)

YES, NORMAN.

NORMANYou've heard everything we've beentalking about?

THE SPHEREYES, NORMAN.

BARNESOh, great.

THE SPHEREI AM HAPPY ALSO.

105.

CONTINUED:

(CONTINUED)



TEDJerry, hi, this is Ted here. Youknow, I'm the guy who actually de-coded the keyboard thing thatyou.....

BARNESShut up! Tell him we need todiscuss this together. Alone.

NORMANJerry....

THE SPHEREIT IS NOT NECESSARY TO STOP. I DONOT WISH IT.

BARNES Well, it's necessary to me.

THE SPHERENO. IT IS NOT POSSIBLE. I DON'T

AGREE. NO!

ANGLE ON SCREEN

As a series of "NO NO NO NO NO NO NO" unspools across theentire screen...

NORMANJerry, use your words. He's mad.Jerry, use your words.

BARNESJust pull his plug.

NORMANI'm not sure it's that simple, sir.

BARNESIt's plenty simple. We leave himalone, he leaves us alone.

NORMANMaybe he doesn't want to be leftalone. He's been down here inisolation for three hundred years.Maybe Jerry is lonely.

BARNESLonely? That's like saying anartichoke is lonely.

106.

CONTINUED:

(CONTINUED)



NORMAN(whispering)

He hears everything we're saying.

BARNESIt's just a figure of speech.

NORMANTell him. Tell Jerry.

THE SPHEREI WANT TO TALK. NOW. NOW. RIGHT

NOW. NOW.

Then suddenly the SONAR lights up... PONG... PONG...PONG..

NORMANJerry, someone wants to talk to

you.

BARNESI'm not talking to a television.

NORMANI think that's more than atelevision.

Beth enters.

BETH What's that?

Barnes moves to the console. Pushes buttons and turnsdials...

BARNESSonar. It's picking something upout there.

NORMANJerry, we all find you afascinating and wonderful entity.And we wish to talk to you for

many, many hours, Jerry -- you knowthat.

THE SPHEREI DON'T WANT TO STOP. NO.

PONG... PONG... PONG... Getting LOUDER and more frequent...

107.

CONTINUED:

(CONTINUED)



NORMANIn your great understanding and wisdom, Jerry, you must understandthat entities such as ourselvesneed to talk alone sometimes.

THE SPHEREARE YOU AFRAID?

NORMANNo, Jerry, we're not afraid. We'rejust a little uncomfortable.

THE SPHEREHAVE I OFFENDED YOU?

NORMANYou're tops in our books, Jerry.It's just the way we're built,

that's all.

THE SPHEREDO NOT BE AFRAID.

ANGLE ON SCREEN

As it goes blank. PONG!... PONG!... PONG.'...

NORMANJerry?

(beat)Goddammit!

BETH Where did he go?

Then Barnes turns suddenly alert. He moves to adjust acouple of knobs beneath the gas plasma readouts on theconsole. Pulls on the headphones...

HARRY What's going on?

BARNES

Something's clogging everything upout there.

Beth goes to the porthole.

BETHNorman, come here!

Norman joins her...

108.

CONTINUED:



THEIR POV - ON MONITOR

Thousands of eggs on the monitor, like the ones they sawearlier, falling through the water, streaking mucus...

Some of the eggs stick to the window, then more, till their

view is obliterated...

BETH (O.S.)It's back.

ANGLE ON BARNES

As he works furiously at the console... Turns to Ted.

BARNESPositive thermals on in-lineperimeter.

They hear a distant METALLIC CLANK...

BETH What was that?

BARNESIt's hitting the grid.

BETHDon't we have any defenses?

BARNESHigh voltage. We can run it acrossthe surface of the Habitat. Everytime we've tested it it's startedan electrical fire.

Suddenly red lights and an ALARM...

BARNES (CONT'D)Peripheral sensors activated. I'mgoing to try and image it on thefast acting sonar.

PONG!... PONG!... PONG!...

ANGLE ON SCREEN

As Barnes looks at it... An amorphous, streaky blob...

BARNESBuilding image... Eighty yards and moving fast...

109.



ANGLE ON SCREEN

A new image, not a lot sharper... A blob with streaksspraying out from the center...

BETH

Can you tell what it is?

TEDMy God, it's forty feet long.

BARNESFifty yards.

(off sonar)Re-imaging.

ANGLE ON MONITORS

A blurred mass and a spray of what might be tentacles fanning

out from the center...

BETHIt looks like a giant squid.

TEDA giant squid the size of thisentire habitat? There's no suchanimal.

BETHThat may be, but that doesn't meanit's not out there.

BARNESRe-imaging. Thirty yards.

Another slightly clearer image... It sure looks like asquid... On the video surveillance, blurred images -- atentacle ringed with suckers, an eye -- too close and toofast to make out. Then suddenly, all the monitors andsensors go blank.

TED What's going on?

NORMANJerry...Jerry...Jerry...if you canhear me, it's Norman. If we've made you angry, or if you're upsetabout anything...

110.

(CONTINUED)



BARNESNorman, you're psycho-analyzing atoaster.

(looking at control monitor)

Oh, we've got a pressure drop.

Ted, go into the control room. Waitthere for my instructions.

TED Why?

BARNESJust go, please!

Ted exits at a run... Then they hear a METALLIC CLANKING...

NORMAN What's that sound? What is that?

BARNESIt sounds like he's right above us.

NORMANI know where it is, but what is it?

Then suddenly the MONITORS FLASH ON...


I AM HERE.

CUT TO:

INT. CORRIDOR - LATER

A view of the empty corridor as it SHUDDERS... The harsh sing-song of METAL UNDER STRESS...

CUT TO:


Like an earthquake -- doors swing open on their hinges,DISHES CRASH to the floor... The large viewing SKYLIGHTCRACKS...

INSERT - SEAM IN WALL

As it slightly fissures...

CUT TO:

111.

CONTINUED:





You've got to increase the positiveair pressure and drive the waterout, do you understand that?

CUT TO:

INT. CONTROL SHAFT - SAME TIME

Ted stumbles to his feet, looks for the knob...

INTERCUT WITH VIDEO ROOM

TEDIncrease the pressure? Won't thatuse up the air supply?


Ted, you're a smart guy, try to

follow this one. If the Habitat isfull of water, you'll be dead.Now, open the red gate valve.

TEDDon't get technical with me,Barnes. What's a gate valve?


It's a red knob.

TEDGood. I can understand knobs.Er...which knob?


Ted, the pressure is dropping. Itis dropping, Ted! We'll be crushedlike a tin can! Find the red knob,Ted! It's the only one in theroom. It's over the console.

TED

Which console?


It's the one with the schematics onit, you cretin. What do you have aPh.D for?!

Ted looks for the knob.

113.

CONTINUED:BARNES (CONT'D)

(CONTINUED)



TEDLayout...layout...layout...layout.Bad time not to have my glasses.Shit!

Then he finds it.

TED (CONT'D)Got it!


Turn it counter-clockwise rightaway. Alright, good. We're gettingpositive pressure. Alright, nottoo much now. Start to ease itback.

BANG! Electric sparks fly into Ted. He hits his head and

falls to the floor.

CUT TO:


Bubbles emerge from the seams in the walls...

CUT TO:


As Beth and Norman run. Norman stops and watches as wateroutflows--as if the film is in reverse motion.


Barnes watches the digital and analog gauges as the gaspressure climbs...

BARNESTed, turn it back. We've got too much pressure, you'll blow theHabitat. Clockwise, Ted, closes it.

CLOSE ON GAUGES

As the pressure continues to climb...

114.

CONTINUED:

(CONTINUED)



BARNESTed, turn it back...the pressure istoo high. Ted, we'll explode! Canyou hear me? Ted, turn it back!

CUT TO:


Ted unconscious, his hand clawlike on the pressure knob...

CUT TO:

INT. HABITAT CORRIDOR - SAME TIME

Norman and Beth run till -- BANG! -- another impact bouncesthem like pinballs along the narrow corridor...

CUT TO:


A seam bursts and water surges into the control room asNorman and Beth rush in and see Ted, practically unconscious.

NORMAN We're here! Jesus, Ted.

BETHI got him...I got him...

She pulls Ted upright out of the water as Norman shuts offthe pressure gauge...


Norman? Norman? Can you hear me?

NORMAN What? Jesus!!

CUT TO:


The monitor crashes next to Barnes. Barnes struggles up offthe floor, reaches for his headset...

BARNESNorman, turn the red gate valve.

CUT TO:

115.

CONTINUED:




INTERCUT WITH VIDEO ROOM

Norman struggles to regain his footing...

NORMAN Which way?


Clockwise. Close it.

Norman closes the valve. The pressure goes down.

BARNES (CONT'D)(over intercom)

Good.

NORMANDone. Barnes! We're still leaking.


It's not the outer shell, it's theinternal pipes. They're justleaking. We're okay.

BANG! Another impact and the habitat shakes violently...

BETH What the hell's out there?

BARNESNorman, listen to me, whatever thisis, it's not letting go. You'vegot to pull the green lever marked'High Voltage Defense System.'

BETHNo! He said it would start a fire.Don't do it! Barnes, you said it would start a fire.

BARNES(over intercom) We're gonna die down here. Pullit!

BETHDon't do it!

116.

(CONTINUED)



NORMANBarnes, do you hear her?


Don't listen to her, she's crazy.

Pull the green lever. Norman, pullthe lever!

BETH What are you trying to pull? He'strying to pull something. Don't doit!

NORMANDo you hear her?!!

CLOSE ON NORMAN

Torn by indecision... Then another JOLT to the habitat...


You can't listen to her. Pull thegoddamn lever!

BETHNorman, what do we do if there's afire down here? It'll eat up allour oxygen. Don't do it.

WHAM! Another strike throws Norman against the box... Hegrips the lever... He and Beth exchange a look.


We've got failures all over theplace, Norman...we're taking on water...

BETHNo, don't do it, Norman!

NORMAN

What am I gonna do?

BETHNorman, it'll start a fire.There's no way out!

NORMANShut up! What am I gonnado....what am I gonna do?

117.

CONTINUED:

(CONTINUED)



BETHDon't do it!!


You're gonna be squid food. Pull

it!

NORMAN What am I gonna do? We're fallingapart.

Norman and Beth exchange a look. Then Norman pulls thelever...

NORMAN (CONT'D)(relieved)

We're okay. We don't have to beright all the time. Right? Okay.

BETHRight. Okay.

Ted suddenly stands up, somewhat dazed.

TEDHas anybody got some Advil?

CUT TO:

INT. HABITAT - VARIOUS ANGLES - LATER

on the corridors as a loud ELECTRICAL HUM suffuses thehabitat... The lights brown out...

CUT TO:


Beth looks around, listens, but suddenly it's guiet -- justthe HISS and CHIRP of WATER LEAKING...

CUT TO:


Barnes picks himself off the floor... Poised for another joltthat doesn't come. He checks the monitors, the gauges...

ZOOM IN -- a red light... On a fire annunciator... Beneath alabel marked

118.

CONTINUED:



"COMMUNICATIONS ROOM..."

BACK ON BARNES

As he sees this...

BARNESOh, hell.

CUT TO:


FIRE ROARS through the walls... Seems to jump out from the walls to flammable materials on the tables, the chairs, thatEXPLODE in sudden flame...


Beth, Ted and Norman all look around as the FIRE ALARMS andred lights activate...


Oh, God! Norman, we've got a firein the Comm Room. Get up there.I'll meet you with gas masks incase we need them.

Beth gets up.

BETHLike hell I'm staying here.

Norman watches as Beth exits. Then moves to help Ted.

INT. HABITAT CLOSET HALLWAY - SAME TIME

Barnes sloshes around the supply depot, piles his arms high with gas masks... Turns to see, at the end of the corridor...

ANGLE ON EXIT

As the doors automatically close to seal off the leak...

BACK ON BARNES

As he runs with the gas masks, out of the supply depot anddown the narrow, winding corridor...

BACK ON DOOR

119.

(CONTINUED)



As it closes...

BACK ON BARNES

As he runs for daylight... It looks like he's going to makeit... He smiles.

Then he slips on the wet floor...

The steel door closes on him... Barnes groans... Wedges a gas mask in the door... Wriggles to get free...

INSERT - BARNES' HAND

As he reaches for a handhold on the other side of the door...Then it's in his grasp...

He moves to pull himself through... Then the gas maskslips...

ANGLE ON BARNES

As the steel door closes down on him... Barnes howls... Thena terrible CRACKLING CRUNCH --

INSERT - DOOR INDICATOR

As it lights up: SECURED.

CUT TO:


Beth runs toward the fire, grabs a fire extinguisher...Shesprays the extinguisher on the flames...Ted arrives rightbehind Norman.

NORMAN Where are they?

BETHOver here...there's one there.

NORMAN

I got it. How do you work it?

TEDPull the pin.

NORMANPin?

120.

CONTINUED:

(CONTINUED)



TEDAre there any more?

BETHI saw some in the door.

NORMAN We've gotta get out fast or we'regonna die.

Ted exits at a run... Norman takes off his sweat jacket anddoes his best to swat at the flames...

CUT TO:


Ted runs to a supply closet... Finds two fire extinguishers.Turns to run. And for the first time he notices...

INT. DORMITORY - TED'S POV - HARRY

asleep. Snoozing like a baby in his bunk. Ted takes a beat -- puzzled and amazed by this. Ted tries to rouse him.

TED(shaking him)

Harry. Harry!

But Harry's out. Ted then runs with the fireextinguishers...

CUT TO:

EXT. HABITAT - FAST-MOVING POV - SAME TIME

GLIDING IN ominously ON the habitat... The preternaturalquiet of the deep...

CUT TO:

INT. HABITAT - VIDEO ROOM - SAME TIME

All the monitors are down from the power drain of the high

voltage. Suddenly, the computer screens flash on...

THE SPHEREI WILL KILL YOU ALL.

CUT TO:

121.

CONTINUED:




A horrible IMPACT -- like a devastating EARTHQUAKE -- bouncesNorman and Beth off the walls as all the lights go dead...

NORMAN

It's coming through the ceilingpanel. Try to get it through theCafeteria.

BETHAlright. I'll go up. Get back!

CUT TO:


Beth makes her way to the Cafeteria as everything explodesaround her.

CUT TO:


As Ted runs with the fire extinguishers with flames at hisback.

TEDNorman...Norman. You okay?

He tries to extinguish the flames.

Norman sits stunned.

TED (CONT'D)Get out! Go! Go!

A heavy console falls on top of him...Norman still sitsstunned.

TED (CONT’D)Norman! Norman, get out!

He screams as he's barbecued on the grid.

CUT TO:


There are explosions and the fire increases. Norman passesout.

122.




Beth is frozen.

FADE TO BLACK.

FADE IN:


Norman wakes up to the sound of a distant voice.

MALE VOICE O/CDr. Goodman... Dr. Goodman... Dr.Norman Goodman...Dr. Goodman...

NORMANYes...yes....okay.

He gets up, moves toward the door.

NORMAN'S POV - THROUGH PORTHOLE

The Pilot and Seaman from earlier scenes, in full dressuniform, stand guard across the corridor. Norman opens thedoor.

NORMANThank God you guys are here.

SEAMANYes, sir.

NORMANIt's been like a nightmare...thefire...Ted's dead, and the fire gotout of control. We did what wecould.

PILOTYes, sir. Just follow us.

INT. CORRIDOR - SAME TIME

Norman walks between the Pilot and the Seaman.

NORMANFletcher's dead...Edmunds is dead.I think Barnes is dead.

PILOTYes, sir.

123.

(CONTINUED)





He sits up straight in his chair, looks around - nobodythere.

NORMAN (CONT'D)Jerry?

(beat)

Jerry, it's Norman. Is that you,Jerry? It's Norman.

(beat)Jerry, who put out the fire? Jerry?

THE SPHERE(on monitors)

WHERE IS THE CONTROL ENTITY HARALD

C. BARNES? I DO NOT SENSE THAT

ENTITY NOW.

Norman moves closer to the monitors...

ANGLE ON SURVEILLANCE MONITORS

Norman sets about flipping switches -- different views andangles, some flooded and sealed off, all deserted...

NORMANI don't know, Jerry. I just wokeup. Do you know where he is?

THE SPHEREHE WAS NOT FRIENDLY. HE DID NOTENJOY TO TALKING WITH ME.

NORMANI know. He's a difficult entitysometimes. Can you tell me whathappened to him, Jerry?

THE SPHEREI DO NOT SENSE THE ENTITY TED.

CLOSE ON NORMAN

NORMANI know. Something happened to Ted,Jerry.

THE SPHEREBRING HIM BACK.

125.

CONTINUED:

(CONTINUED)



NORMANI can't.

THE SPHEREBRING BACK THE ENTITY TED. HE WAS

HUMOROUS.

NORMANI can't do that, Jerry. It's notin my power.

(beat)There was a fire and I froze. Ididn't help him. I wanted to, butI didn't help him. I knew himsince he was seventeen years oldand I let him go.

(beat)Okay, but I'd like to just deal

with this at a later time. So, doyou want to tell me about theothers?

THE SPHEREDID YOU LIKE THE GIANT SQUID?

NORMANYou made that, Jerry?

THE SPHEREDO YOU LIKE IT? I CAN MANIFEST IT

MORE FOR YOU.

NORMANNo, no. Don't do that. Nothing more right now, thanks.

THE SPHEREI DO NOT WISH TO STOP.

ANGLE ON MONITORS

As Norman punches a view of the galley... Harry placidly eats

a sandwich and reads a book... Then Norman resumes punchingup other views of the habitat...

NORMANYou see, the problem is, Jerry,your manifestations injure ourentities. And pretty soon, there'llbe no entities to play with, andyou'll be all alone again.

126.

CONTINUED:

(MORE)

(CONTINUED)



All because you can't controlyourself. Because with all yourpower you don't have the power tostop, do you, Jerry.

A long beat as Norman waits for a response. Then:

THE SPHERESTOP CALLING ME JERRY.

NORMAN What name do you want?Jerry...Jerry. What name do you want? Jerry...

Norman waits. No response.

CUT TO:


Harry munches on his sandwich and reads his book -- 20,000LEAGUES UNDER THE SEA. Norman enters.

NORMANHey, Harry. How you doin'?

HARRY(looks up)

Norman.

NORMAN Wow, can you believe what happened?

HARRY What?

NORMANYou know. The attack on thehabitat?

(off Harry's look)You know there was an attack onthis place?

HARRYI must've slept through it.

NORMANYou slept through it.

HARRY(yawns)

I was dead tired.

127.


(CONTINUED)



NORMANIt's a good thing you don't have aliving will, Harry. We would'vehad to have given all your organsaway.

Harry laughs.

NORMAN (CONT'D)So the smoke didn't bother you? Allthe leaking...you know...

HARRY(with book)

Did you ever read this? TwentyThousand Leagues Under the Sea? Ifound it in the john -- probablysomebody's misguided attempt atlevity. I always loved this book.

I could never get past page eighty-seven, though. Too scary.

NORMANYou seem to be, uh, strangelydetached, Harry. Given ourpredicament.

HARRYI dunno, Norman. With all yourpanic and running around, what haveyou accomplished?

Norman looks at Harry's unnerving, serene smile. Then easesback into the corridor, looks up and down for Beth...

NORMANYou knew I was running around?

(beat)Have you, uh, seen Beth?

HARRY(shrugs)

No, I thought she was with theothers.

NORMAN What others? Barnes and Ted aredead, Harry.

(off Harry's look)There's nobody down here who knowshow to run the place anymore. Thefire screwed up the electronics.

128.

CONTINUED:

(MORE)

(CONTINUED)



We've used up most of our reservegas...you're reading your book...

Harry is saddened by the news of Barnes and Ted. Then hisgloom lifts suddenly.

HARRYLook on the bright side, Norman.

NORMAN What's that?

HARRY With Barnes and Ted dead, we don'tneed as much gas. And with halfthis place flooded, we don't haveto worry about filling that space with gas either.

NORMANThat's a helluva bright side,Harry.

HARRYIt is what it is.

Suddenly Beth hustles inside. Heads for the refrigerator fora bottle of water...

BETHSomebody has to go reset the minisub. If we don't reset itevery twelve hours it floats to thesurface. Remember?

HARRYI'll go.

NORMAN(quickly)

No, no. I'll go.

HARRYYou sure?

NORMANYeah.

BETHIt might be our only way out ofhere.

129.

CONTINUED: (2)NORMAN (CONT'D)

(CONTINUED)



HARRY(brightly)

See, there's another bright side,Norman.

NORMAN

Yeah?

HARRY With Barnes and Ted dead -- the minisub only holds three people!

Norman looks at Harry, grinning at him.

NORMANBeth, could I talk to you for asecond?

Norman grabs Beth and hurries her out of the galley. Harry

returns to reading his book.

CUT TO:

INT. CORRIDORS - LATER

Beth and Norman head toward the moon pool.

NORMANI don't want Harry anywhere nearthat minisub.

BETHYou think he'll leave without us?

NORMANOh, I think he's already left without us. I think Harry's in a whole 'nother place.

(beat)Did you know he slept through theattack? You don't think that's alittle strange?

A beat between them as Beth considers this...

BETH Well, I guess it's me and you,Norman. Just like I said at thebeginning. It's good I havesomeone down here I can trust.

130.

CONTINUED: (3)

(CONTINUED)



NORMAN(smiling)

You and me Beth.

BETHYou'd better get going. I'm not

sure how much time we have. I'llkeep an eye on you from the controlroom.

(beat)And Norman...it's not likeswimming, it's walking.

Norman smiles.

NORMANNot swimming, but walking. Got it.

CUT TO:

EXT. HABITAT MOON POOL - LATER

Norman splashes down out of the air lock. Walks out fromunder the habitat... Turns a corner...


The minisub, illuminated, moored in an open-girdered domehangar, about a hundred feet away...

Norman starts out toward the minisub...

CUT TO:

INT. SUB DOME HANGAR/INT. MINI-SUB - LATER

The minisub rocks gently, as if someone's clambering on topof it. Then the hatch opens... And Norman drops down inside.He hums as he situates himself in the cockpit.

ANGLE ON CONSOLE

As Norman's hands run over the controls...

NORMAN(mutters to himself)Reset... Reset...

Then, up above the dashboard, he finds a flashing red button marked "TIMER HOLE" beside a digital clock that's runningdown... Norman presses it and a small screen glows...

131.

CONTINUED:



TIMER RESET -- COUNT: 12:00:00

It starts counting down... Norman smiles with satisfaction.

CUT TO:

EXT. SUB DOME HANGAR - SAME TIME

Norman plunges back into the water...


Of the habitat in the distance... Then the faceplate startsto fog up... Norman's view is a little woozy... Then he LOOKSDOWN at his gas hose as bubbles slowly start leaking out.

NORMAN (O.S.)Beth, something's happened to myhose.

ANGLE ON NORMAN

He fumbles, all thumbs with gloves, his faceplatefogged...trying to tighten the valve where bubbles are comingfrom. Instead, he loosens it, and more bubbles are released.

NORMANBeth, I've got bubbles coming out.

(beat)Beth!

NORMAN'S POV THROUGH FACEPLATE

Of the habitat, the nimbus of the lights THROUGH the fog ofthe FACEPLATE. It looks really far away.

NORMANBeth, can you tell me what to do.It's fogging me all up here.

ANGLE ON NORMAN

He looks like he's running in place and getting nowhere...

His feet slipping on the silty bottom...

NORMANBeth, there's something wrong here.I've got to get out of here...I'vegot to get out of here. Where thehell are you!

132.




Thoroughly fogged now... Norman stomping blindly through theocean, his BREATHING panicked, the INDICATORS BLEEPING inalarm... Then suddenly Harry breaks in over the intercom.

BACK TO SCENE

HARRY (V.O.)(over intercom)

Hey, watch out for that rock. It's me, Harry.

NORMANHarry...

HARRY (V.O.)(over intercom)

Come around the rock... go to the

right of the stanchion.

NORMANHarry, I'm hurting. Come around which way? I can't breatheHarry...

HARRY (V.O.)(matter-of-fact)

Yes, you can. You just have aloose valve. It's not gonna killyou. You've got plenty of gas.Can you see the airlock? It'sright in front of you.


Heavily fogged, he can dimly MAKE OUT the shaft of lightcoming down from the airlock.

ANGLE ON NORMAN

as he stumbles toward the airlock... then his indicatorflatlines...Norman looks down at his loose gas hose...

INSERT - GAS HOSE

No more bubbles...no more gas.

BACK ON NORMAN

In a total panic, holding his breath.

133.




The fogged glass and murky water... Can't see...

BACK ON NORMAN

thrashing through the water...


As he swims furiously, he sees the light from the moon pooland the ladder leading down, right in front of him... hegrabs for the rungs of the ladder... it's a...

SEA SNAKE

The sea SNAKE HISSES, then snaps at Norman as Norman lets go,falls to the ocean bottom...


As the snake swipes at his face, its forked tongue smearingslime across the faceplate... then the snake scurries awayas...

HANDSGrab Norman and pull him up tosafety...

CUT TO:

INT. SUIT ROOM - CONTINUOUS ACTION

Harry helps Norman pull off his helmet... Norman gulps forair... then stumbles as Harry helps him to sit down...

NORMAN Where is she?

HARRYTry and relax your breathing.You're gonna hyperventilate.

NORMAN

Where is she? She saidshe'd...keep an eye out for me.

HARRYI looked through the whole habitat,I couldn't find her. I thought maybe she was with you.

134.

(CONTINUED)



NORMAN Where is she? Where is she?

Norman looks over... we follow his gaze...

ANGLE ON BETH'S LOCKER

Where Beth's suit and helmet are stored, under a nameplatethat reads "Halperin"... It's empty.

CUT TO:


Norman and Harry watch on the monitors, scared...

THEIR POV - MONITORS

A surveillance view of the airlock tube, as Beth enters from

the spaceship and it fills with water.... then Beth emergesand heads toward the habitat...

BACK ON NORMAN

He and Harry exchange a look.

NORMAN(whispering)

Did she tell you she was going out?

Then Norman addresses the mike.

NORMAN (CONT'D)Beth?

BETH (V.O.)(over intercom)

Norman? I can't hear you.

NORMAN(to Harry)

If she can't hear me, why did sheanswer? Beth, what are you doing?

BETH (V.O.)(over intercom)I went out looking for food. We'reout of food.

Harry covers the mike with his hand.

135.

CONTINUED:

(CONTINUED)



HARRYThere's plenty of food. I was justin there.

Norman and Harry exchange a look.

NORMANYou went to look for food in thespacecraft? That seems a littleodd, don't you think?

INTERCUT WITH:

BETHAs she walks toward the habitat...

BETH (CONT’D) Why, what's odd about it?

NORMANIf there was food? Beth, uh -- wouldn't it be three hundred yearsold?

BETHI was hoping our luck would changeand I'd find a cryogenic freezer.Or a bottle of bordeaux.

HARRYShe's lying.

(off Norman's look)Norman, she's lying abouteverything.

BETHIs Harry there, Norman?

NORMAN Why don't we just talk when you getback? Meet me in the galley. We'llhave a cup of coffee.

(charming) We still have coffee, don't we?

BETHVery funny. I'll take mine black,like my mood.

NORMANAll right. See you soon.

Norman turns off the microphone. Turns to Harry.

136.

CONTINUED:

(CONTINUED)



HARRYNorman, what we have here are twoingredients -- Beth and thisunderwater environment... you putthem together and you've got onebig ass bomb.

CUT TO:

INT. HABITAT - CORRIDOR - LATER

Beth walks up from the corridor from the moon pool towelingher hair dry...

INT. CAFETERIA - CONTINUOUS ACTION

Beth enters. Norman and Harry wait for her, drinking coffee.Beth takes a mug off the counter, pours for herself...

BETHHow'd it go with the mini-sub?

NORMANIt was a little disconcerting outthere, actually.

BETHOh?

NORMAN Weren't you supposed to be watchingout for me from the control room?

BETHHarry said he'd take over for me.

(off Harry's look)He sat down right in front of the monitors and -- Norman, whathappened?

NORMANI was in trouble. Where the hell were you?

BETH What's going on, Norman?

NORMANAll I know is, going out to findfood in the spacecraft when there'splenty of food here isn't exactlynormal.

137.

CONTINUED: (2)

(CONTINUED)



BETH What do you mean, plenty of food? I was just here. There's nothing inthe --

Beth goes to the cupboards, opens them.

ANGLE ON OPEN CUPBOARDS

Spilling over with food... Beth takes a beat to size up thesituation -- she can sense their eyes on her.

HARRYA veritable horn of plenty.

BETHHe must've hidden it.

HARRY

You think I hid all this food?

BETHI don't know what's going on here,but twenty minutes ago I wasstanding right here and there wasno food in the cupboards and nofood in the refrigerator.

NORMAN Why, Beth? Why would Harry do that? Why would he set you up?

BETHI don't know what happened. All Iknow is this food wasn't here.

HARRYPaging Dr. Halperin. Please reportto reality. Dr. Halperin?

BETHShut up!

(to Norman)Okay, you can see what he's doing

to me.

NORMANYou were supposed to be watching,Beth. That's the facts. You thinkHarry said something he didn't.That the cupboards are empty whenthey're full...Clinically, we wouldcall that a psychotic break.

138.

CONTINUED:

(CONTINUED)



BETHI'm not crazy, Norman. What're yougonna do? Write me a prescription?Just get rid of me? Well, it's notthat convenient down here, Norman,okay. I am not psychotic.

NORMAN What about a mini-psychotic break.

BETHIt's not fair.

NORMANBeth.

BETH What?

NORMANBeth, I'm down there...I'mhyperventilating, I can'tbreathe...I'm hyperventilating.The man saved me!

BETHBut I....

NORMAN Wait a minute. Now you want me tobelieve that the man set me up. Why? This isn't 'Alice in Wonderland'. Remember 'just you and me babe'? Is it unrealistic tothink that at this point you are adanger to yourself - you are adanger to us...that your misguidedanger towards me for something thatI don't know what it was thathappened decades ago is spewing outlike poison. I was out there. Youalmost got me killed. The man triedto save my life! You now want meto disbelieve Harry?

BETHYes, I want you to disbelieveHarry. I want you to look at meand believe me for one time,Norman. Don't you...? Just look at me, Norman! Am I telling you thetruth?

139.

CONTINUED:

(CONTINUED)



NORMANYou weren't there, Beth.

BETHYou want to believe Harry, Norman,then that's fine, because he's done

everything but part the sea for yousince we've been down here, but I'mtelling you that he is not tellingyou the truth.

NORMANThis is not about Harry, okay?

BETH(right back)

He didn't tell you what's insideThe Sphere.

(to Harry)

You didn't tell him, did you? Youdidn't tell him what's inside theSphere, did he?

An exchange of looks all around.

HARRYAnd how would you know that, Beth?

Norman looks at Beth.

NORMANBeth, did you go inside The Sphere?

Beth smiles enigmatically.

NORMAN (CONT'D)Answer me. Did you go inside theSphere?

Beth just looks at him.

NORMAN (CONT'D) Why won't you answer me, Beth?It's a question.

BETHYou don't want to talk to me,remember?

NORMANAnswer the question.

She gives him a hard look. Then walks out.

140.

CONTINUED: (2)

(CONTINUED)



NORMAN (CONT'D) What do you think, Harry. Do youthink she went into the Sphere?

Harry says nothing.

NORMAN (CONT'D)Here. You dropped your book.

Norman picks up the book of "20,000 Leagues Under The Sea" tohand to Harry, but sees that he's still reading the book.

Norman thinks a beat. Then opens a cupboard to reveal rowsand rows of books of "20,000 Leagues Under the Sea" arrangedneatly inside.

Puzzled and scared, Norman opens another cupboard - morecopies of 20,000 Leagues Under the Sea...row after row ofbooks...

BACK ON NORMAN

His fear accelerating... struggling to think, to put thepieces together...

CUT TO:


Norman broods alone... Then he turns to the monitors...

NORMAN What isn't Harry telling me? I knowyou're there, Jerry. What's insidethe Sphere, Jerry? Jerry, I knowyou're there. You're always there.

(beat)Harry is reading this book "20,000Leagues Under The Sea". What makes me nervous is that after page 87...

(he ruffles through thebook)

...it's all blank pages. Harry'supstairs sitting in the cafeteria

reading blank pages. Why? Why didhe go into the Sphere and come outlike this? Why? Why? Why, Jerry? Why is this book half a book,Jerry? Why? What's going on, Jerry? Why, Jerry? Why? Why? Why?

No response.

141.

CONTINUED: (3)

(CONTINUED)



Then Norman turns back to 87. Reads...

JUMP CUT

BACK ON NORMAN

as he works out the code of Jerry's original message with apencil...

NORMAN (CONT’D)So, it's 'g' being one spiralingout from the center and 2 is 'b',that means that h' is 3 and 4 thenis 'y'.

He completes the sentence: "My Name Is Harry." A piece of thepuzzle may be in place. He goes back to the dormitory tocheck on Harry.

INT. DORMITORY - SAME TIME

THROUGH the Porthole in the door, Norman looks in on Harry who is still thoroughly engrossed in 20,000 Leagues Under theSea.

CUT TO:

INT. ENGINE ROOM - LATER

The noise of the various PUMPS and COMPRESSORS... Norman, hisnerves frayed, juggles a copy of 20,000 Leagues Under theSea, the printout and the pad as he confers with Beth.

NORMANHe makes it real for you, he makesit real for me...he has made itreal for everybody. It's reallyfrightening because you don't know whether it's really real or whetherhe's made it real for us to believeit's real, and it's because of theSphere.

BETH

Our Harry... our Harry is Jerry?

NORMANCome on, Beth, I'm just as tired asyou are. Come on, I know you canget this, okay? Here.

He hands her a copy of "20,000 Leagues Under The Sea".

142.

CONTINUED:

(CONTINUED)



NORMAN (CONT'D)Harry said he couldn't get pastpage 87 because he said it was tooscary, okay.

BETH

If there's nothing on the pages, where's the rest of the book.

NORMANRead what's on page 87.

BETH(reading)

'... According to calculations ofsome naturalists, one of theseanimals, only six feet long, wouldhave tentacles twenty-seven feetlong. That would make a formidable

monster.'(closes book)

NORMANYes. And what does Harry hate?

BETHSquid.

NORMANAnd when he read that, it scaredhim. Getting the picture? Do youremember when all those jellyfishattacked. What was Harry doing?

BETHSleeping.

NORMANHe was dreaming, and this is thereally wild part - what hedreamed....

BETHHappened.

NORMANIt happened.

143.

CONTINUED:

(CONTINUED)



BETHYou're telling me that becauseHarry went inside the Sphere, henow has the power to manifest hisdreams, his fantasies, hisemotions, his fears.

NORMANManifest. He manifested it...he made it happen.

BETH Well, we'd better not piss him off.


Still reading "20,000 Leagues Under The Sea". Then he staresinto space.

CUT TO:

INT. ENGINE ROOM - SAME TIME

Beth and Norman still figuring things out.

NORMANIt's like an E-ticket ride forHarry's subconscious. It's the wildest ride you could imagine.It's the ultimate acting out. It'snot that different when you're achild. A child when it imaginessomething, thinks that it's real,but it's not.

In Harry's case, it's in fact so real that it's not only realto Harry it's real to all of us...and what I can't understandis that ever since he went in the Sphere, the Sphere has somekind of power that projects every subconscious thought thatHarry has, out to the computer. It prints it out, and weinteract with it. We thought it was Jerry. It's not Jerry,it's Harry. Harry's Jerry.

BETH

Does Harry know this?

NORMANNo, and what I don't understand isthat you went in The Sphere andnothing happened.

144.

CONTINUED: (2)

(CONTINUED)



BETH'Cos with my subconscious, can youjust imagine? It'd be like LiquidDrano out there.

NORMAN

But nothing happened.

BETHObviously I didn't go in theSphere.

NORMANBeth. You never went inside theSphere. You didn't go in there?

BETHI was so angry at you, I wanted youto be scared.

NORMANMaybe you had a right to be.

BETHThanks.

Norman looks at her.

NORMANYou're sure you didn't go in there?

Beth thinks a long beat.

BETH We have to kill Harry.

NORMANNo, no. We don't have to killHarry.

BETHYeah, we do.

NORMAN

Why?

BETHBecause, I don't know about you,Norman, but I don't feel like dyingdown here.

145.

CONTINUED:

(CONTINUED)



NORMAN We don't have to kill him. We justhave to find something to put himunder, right? So he's in some kindof deep, unconscious sleep.

BETHDreamless sleep, I hope.

NORMANA dreamless sleep, yes. How do wedo that?

BETH Well, I've got a bunch of drugs upthere.

NORMANFancy that.

CUT TO:

INT. LAB - LATER

Norman and Beth fumble through the habitat's pharmacy...

NORMANDiphenyl paralene.

BETHBurns.

NORMANEphedrine hydrochloride.

BETHMotion sickness.

NORMANValdomet.

BETHUlcers. You might want to keepthat.

NORMANSintag.

BETHSintag is a synthetic opiate. It'sa painkiller. I might want to keepthat.

146.

CONTINUED: (2)

(CONTINUED)



NORMAN What about Parasolutrine?

BETHReally? I've got paracintrichloride - that's an anesthetic.

NORMAN What do you do, combine it?

BETH(holding up vials)

Huh, huh. If you've got 20 cc's ofthis one, six of this one, you'rein business.

NORMAN(vial in hand)

Here's some more Parasolutrine.

Will that be enough?

ANGLE ON HUGE HYPODERMIC

Norman looks on as Beth fills it from the vials...

BETHThis'll put him under for three tosix hours.

NORMANCan't we give him a little boost?

BETHYou want to kill him?

NORMANYes and no.

CUT TO:

INT. DORMITORY - SAME TIME

Harry sleeps. A shaft of light as the door opens and Bethand Norman tiptoe in, Beth with the hypodermic.

NORMAN(whispers to Beth)

I'm gonna hold him.

They exchange a look. Then Norman grabs Harry as Bethplunges the needle into him. Harry howls, more from surprisethan pain, as Beth pushes the plunger and injects him.

147.

CONTINUED:

(CONTINUED)



HARRY What's going on?

NORMANNothing. Go back to sleep.

HARRYI was asleep.

Harry's eyes roll back into his head and he falls asleep.

BETHI wasn't sure it would be that fast-acting. Thank God.

NORMAN We didn't kill him, did we?

BETH

I don't think so.

NORMANOkay.

BETHOkay.

CUT TO:

INT. VIDEO ROOM - NIGHT

Beth sits at the monitors while Norman stands close by.

BETHCome on! Come on! Come on!

ANGLE ON MONITORS

CQX VDX MOP LKI...

BACK ON BETH ANDNORMAN

BETH

Here we go.

NORMANIt's a code. How the hell are wesupposed to be able to...oh, it'sdecoding itself.

148.

CONTINUED:



ANGLE ON MONITORS

As the letters unjumble and resolve into a decoded message...

WEATHER CONDITIONS NORMAL SURFACE SUPPORT VESSELS RETURN.

ETA: 16:00:00 hours

Then the 16:00:00 begins to count down...

BETH Weather conditions normal surfacesupport vessels return." 16 hoursand we're out of here.

CLOSE ON NORMAN

As he breaks into a smile... Turns to Beth.

NORMANIt's over. If you trust it.

BETHYou know me. I believe everything.

NORMANDo you trust it?

CUT TO:

INT. BATHROOM - LATER

The sound of RUNNING WATER as Norman washes his face. Thenturns OFF the WATER. He hears a HISS like water leaking. Hetightens the faucets again. Still that HISS. Norman runs hishands along the pipes, reaches under the sink...

INSERT - NORMAN'S HANDS

As they run beneath the sink... To where the pipe turnsinto...

BELCHER'S SEA SNAKE

A wriggling white streak with a long thin fin and blackstripes...

CLOSE ON NORMAN

As he freezes... His skin goes cold and clammy... He peersaround the edge of the sink to get a look...

149.



NORMAN'S POV - SNAKE

As it HISSES and SLURPS its forked tongue at him, bares itsfangs... Its body coiling and uncoiling...

BACK ON NORMAN

As he faces the snake... Then hears another HISS... Looksdown and sees a SECOND SNAKE coiling its way up his leg...

NORMANAaaaargh!!! Get out! Get out!Aaaaargh! Get out! Get out!

Then the door opens and Beth enters. Sees the snakes...

BETH What time is it, Norman?

NORMAN What?

BETH What time is it, Norman?

It is all Norman can do to unstick his dry mouth and reply...

NORMAN What?

BETHNorman. What time is it?

NORMANI don't know.

BETHNorman, you're scaring me.

NORMAN(struggling with snake)

Aaaaargh! Get out!

BETH

Look at your watch, Norman!

NORMAN What, are you crazy!

150.



NORMAN'S POV - LOOKING DOWN

The SNAKE around his leg HISSES and bares its fangs as Normanslowly turns his wrist... But the crystal is fogged.

BACK TO SCENE

BETHIs it day or night?

Norman thinks hard, trembling with fear...

NORMANIt's day. It's morning.

(to snakes)Get out!! Get out!!!! Get out!!!!

With cat-like quickness, Beth plunges in, grabs the snakesright behind the head... Holds them up to inspect them...

BETHThey're Belcher's sea snakes,Norman They're the most poisonoussnakes in the world, but they'renocturnal. They're only dangerousat night.

(holding up snake)Say "Good morning, Beth."

NORMAN(weakly)

Good morning.

Beth moves with the snakes to exit. She turns, holding thesnakes in her hands...

BETH (CONT'D)Freud would have a field-day withthis.

CUT TO:


Beth's voice comes OVER the INTERCOM.. as we see Normanslowly climb the stairs to the lab.


Norman, it's Beth could you meet meat the lab, please?

151.

(MORE)

(CONTINUED)



Norman, can you meet me at the lab,please? I want to show yousomething. Norman!

CUT TO:

INT. LABORATORY - LATER

Norman enters. Beth's not there He enters further, lookingaround... Looks on a notepad to see if she left a note...

NORMANBeth?

Then, on the dissecting table, Norman sees something... He moves closer...

NORMAN'S POV - DISSECTING TABLE

Alone on the table, a hypodermic needle filled with fluid...

BACK ON NORMAN

As he hears a CLICK behind him. Turns to see that the DOORis now closed... The wheel spins... Norman hurries to thedoor. Can't budge it. He locks eyes with Beth THROUGH theporthole in the door...Then a SUCTION noise as the DOOR SEALSSHUT... And Beth disappears. Norman knocks on the glass.

NORMANBeth?

CUT TO:


Beth hurries down the hallway toward the video room...

CUT TO:

INT. LABORATORY - SAME TIME

Norman, struggling not to panic, tries to figure a way out...

INTERCUT VIDEO ROOM WITH LABORATORY

NORMAN What are you doing?

(beat)Beth? Why are you locking me inhere? Beth! Beth!

152.

CONTINUED:BETH (V.O.) (CONT'D)

(CONTINUED)





BETHNorman, you're manifesting yourfears. The snakes, Norman...thesnakes were you. Harry is asleep.It's your fears. You manifestedthe snakes.

CUT TO:


Norman, trapped, looks at the snakes in their specimenjars... He searches the room for a way out...

NORMAN Why would the snakes have anythingto do with me? I didn't go insideThe Sphere.


Then how did the snakes get there,Norman?

NORMANMaybe they're just snakes. I mean...did you ever think of that?

BETH(over intercom)

Pick up the needle and injectyourself.

NORMANI'm telling you, I didn't go in theSphere.

BETH(over intercom)

Obviously you went in the Sphere,Norman.

NORMANIf I went in the Sphere I would

have told you now.

BETH(over intercom)

If you don't use the hypodermicneedle, I'm going to have to defend myself. Norman, don't make me dothis. I don't want to do this.

154.

CONTINUED:

(CONTINUED)



NORMANI didn't manifest anything. Ididn't manifest anything....Ididn't manifest anything...

CUT TO:


Beth moves a slide switch marked "A CYL--LAB"... As the gaspressure gauge dips...


There's a SOFT HISS and the ALARM BADGE on Norman's wrist padstarts to BEEP...

NORMANBeth, what are you doing?

(beat)The pressure gauge begins to dip.

NORMAN (CONT'D)Beth. Why does it say that its lowlevel? Why are you taking theoxygen out of this room?

BETH (V.O.)(over intercom - squeakyvoice)

It's not oxygen. It's gas,remember?

NORMANBeth, why are you taking the gasout of the room? Beth? It's myair...

A glass explodes.


Think it through. Whose childhoodfears were the jellyfish?

Remember, Norman... remember?

NORMANYes, but -- anyone could be afraidof jellyfish, Beth.

BETH(over intercom)

Norman, look at your wrists.

155.

CONTINUED:

(MORE)

(CONTINUED)



Remember when you told me aboutgetting burned. You're manifestingfire, Norman...you're manifestingjellyfish. The squid were Harry's,but everything else is you. Isn'tit possible that you went inside

The Sphere and you just don'tremember.

NORMANBeth, you would've seen it on thevideo.

BETHThe video blanked out and you weregone for two hours. So, where wereyou, Norman?

NORMAN

Your logic is screwy, okay.Because if I'd gone in the Sphere,I would have been different when Icame out. I'd have been strangelike Harry.

BETH(over intercom)

Just use the hypodermic needle,Norman.

NORMANOkay, we're not gonna have time togo back and forth on this.

Norman opens and closes his jaw, wiggles a finger in his earas his ears pop... The water level rising on the floor...Then Norman jumps as the medicine BOTTLE BURSTS...

NORMAN (CONT’D)Beth. What's with this water?

The bottles with liquid, now contain snakes. The bottlesexplode and the snakes are released.

NORMAN (CONT'D)Beth...Beth...It's not me!

BETH(over intercom)

It's not me. You're doing it.

156.


(CONTINUED)



NORMANBeth...Beth...oh, my God! Beth!Beth!

More bottles explode.

BETH(over intercom)

Norman, you're manifesting this. Water is your fear, Norman. Yousaid you hadn't been in the watersince you were a kid. Norman,inject yourself with the hypodermicneedle.

NORMANOh, my God!!

BETH

(over intercom)Norman, use the hypodermic needle.It's snakes, it's fear. You can make it go away, Norman. You can make it go away. Pick up thehypodermic needle and injectyourself, Norman.

NORMANNo. I'm not going to.


Norman, you can make it go away.

NORMANNo, I'm not going to use it. Itold you, it's not me! I can'tbreathe, Beth.

Then a BANG! as another BOTTLE EXPLODES...

CUT TO:


Beth watches Norman on the monitors.

BETHNorman, I'm begging you. Pick upthe hypodermic needle.

157.

CONTINUED: (2)




Water rises around Norman.

NORMANNo, I'm not gonna use it. It's not

me! It's too late anyway!Beth...Beth...what are you doing?You're going to kill me!


I can't help you, Norman. I'm notdoing this.

Norman pulls himself up out of the water, hanging ontoequipment in the habitat.

NORMAN

Beth....!


Try not to be so afraid, Norman.Let go of your fears and it willall go away...and the ships willcome and we'll all get out of hereand we'll be fine. You're doing theright thing.

CLOSE ON NORMAN

Terrified as he watches the water rise around him...


Just climb up. Just get as high asyou can get. Try to take a deepbreath, Norman.

CUT TO:


Beth watches as water rises in the lab...

BETHTry to pull yourself together,Norman. Your fears are going tokill all of us.

CUT TO:

158.




Norman opens a cupboard and finds a first aid box... Inside,a small gas tank with a fire mask... He breathes deeply.

BETH (V.O.)

(over intercom)The oxygen in that tank will onlylast about three or four minutes.It's not gonna save you, Norman.Just get a hold of yourself. Takea few breaths. It'll calm youdown.

WIDE ANGLE - LAB

As water rises rapidly...

NORMAN

The water's gonna blow you out,Beth.

CUT TO:


Norman falls into the water. Then he looks up...

NORMAN'S POV - HATCH

At the ceiling of the lab... Carrying his fire mask, Normanclimbs up on the counters...


Norman, Norman...you can stop it.Norman, what are you doing? Norman,don't open the hatch, you'll killyourself. Norman, please!

He shoves hard at the lever... Shoves again and the hatchdoor flies open...

WATER

explodes down into the laboratoryas Norman shoots out...

CUT TO:

159.




As Norman shoots out in a cloud of bubbles... The gas tank inone hand, he grabs wildly at a steel pipe that runs along thehabitat... Without weights he has to pull hard to keep fromfloating to the surface...

INSERT - NORMAN'S HAND

Purpled by the cold, as Norman pulls himself along thepipe... Then, from below, a thick flock of jellyfish driftout from beneath the habitat...

ANGLE ON NORMAN

In a panic, he fumbles the fire mask... Jellyfish swim pasthim, brush against his flesh, his face... Norman looksdown...

NORMAN'S POV

The fire mask as it tumbles, bubbling, to the bottom... TheGAS TANK COLLIDES with the habitat WALL with a CLANK!

ANGLE ON NORMAN

Desperately, he pulls himself down, reaches for the fire mask-- can't get it... Reaches again as it continues to leak...His fingers clumsy from the cold... He reaches again... Andsuddenly the bubbles stop...

No more gas.

CLOSE ON NORMAN

The veins bulging in his face, his neck... He uses the pipesto pull himself under the habitat -- eyes closed against thepain... Then his eyes flutter open and he sees the airlock...

CUT TO:


Beth watches as all the monitors go static and flash on and

off.

CUT TO:


Barely conscious, Norman bangs his head against the habitatand begins to float.

160.

(CONTINUED)



WE HEAR the echoed voice of Harry.

HARRY (V.O.)....if we never told anyone, it means we never made it back. Hence, we die down here....

CUT TO:


Beth watches the monitors as the words we're hearing fromHarry are printed on the screens.

"WE DIE DOWN HERE. JUST AS A MATTER OF DEDUCTIVE LOGIC."

Beth rushes out of the video room.

CUT TO:

INT. MOON POOL - SAME TIME

Norman bursts up into the moon pool, gulping for air... Heclumsily pulls himself up, then slips and falls back into thepool... flails in the water...

Then he heaves his chest over the rim and flops onto the deckof the airlock... He peers through heavy-lidded eyes...

NORMAN'S POV - MOON POOL ROOM DOOR

Leading inside to the habitat...

BACK ON NORMAN

He blows into his hands, trying to get warm. Coughs throughchattering teeth... He stumbles toward the airlock door...

CUT TO:

INT. CORRIDOR - SAME TIME

Beth ducks around the corner, spins the wheel of a corridordoor and it opens... But WATER SURGES in, BLASTS the door

Beth throws her body against the door, trying to close it,but the force of the water is too strong. She slips andfalls... The water sweeps her down the hall. Then a huge wave sweeps toward her, carrying --

161.

CONTINUED:



BODY OF BARNES

Beth finds himself in a macabre embrace with Barnes' severedtorso, Barnes' face flush against her...

BETH

Aaaaaaaargh!

CUT TO:


He wakes up with a start.

CUT TO:

INT. HABITAT - ANOTHER CORRIDOR - SAME TIME

Lights flicker in the hall. A DISTANT BEEP... BEEP...

BEEP...

ANGLE ON NORMAN

Wading furiously through knee-deep water like a Marinestorming a beachhead...

CLOSE ON

a limp hand knocking against the floor. It's Beth. She'srolled up in a ball on the floor and is in a stupor.

NORMANBeth...Beth...Beth...

She looks up at him.

BETHNorman...? Are you real?

NORMAN What?

BETH

Are you real?

NORMANReal as the water that almostkilled me. What are you doing?

BETHPart of Barnes....

(she sobs)

162.

(CONTINUED)





BETHI don't know what to think, Norman.I feel like I can't breathe.

ANGLE ON HARRY watching them from a grating above them.

BETH (CONT'D)I can't breathe...I'm losing it,you know, and I'm trying...I'mtrying to get it back...

HARRY What's going on? Why did you put meout? Just what are you guys up to?

NORMANYou went in the Sphere, Harry. Sodid Beth, so did I...I think.

HARRYAnd if so, what?

NORMAN Whatever the Sphere is, it makes what we feel, real.

HARRYMeaning what?

NORMANIt happens. What we're thinking, what we're feeling...happens. Likethose three astronauts in thespacecraft, Beth, remember? We wentin there...the guy, the astronautin the chair, what did you sayabout his head?

BETHHe had blunt force trauma. He gothit in the head.

NORMANThey went in the Sphere one by one,

and they became more and moreafraid of each other until theykilled each other off, and we'redoing the same thing.

BETHI don't want to kill you, Norman.

164.

CONTINUED:

(CONTINUED)



ALARM VOICE (V.O.)Your attention please. Allconstruction personnel must exitthe blast area immediately. PANTHERexplosives are now activated. Markthirteen minutes and counting...

HARRYDoes somebody want to tell me whatthat voice is?

BETHThey had explosives down here toblast through the coral, so when I went out before, I set up a defenseperimeter around the door of thespaceship. You know, when I wentto look for food, Harry. Something must've triggered it.

HARRY What?

BETHSomething from inside the Sphere.

HARRYThere's nothing in the Sphere,Beth. You know that. You've beeninside it.

NORMANThen what?

HARRYI don't know.

NORMANThen who...?

BETHIt's me.

NORMAN

What?

BETHOh, God! I was just thinking aboutthe explosives...they just flashedinside my mind, and it must havetriggered them. I was thinkingabout wanting to die.

165.

CONTINUED: (2)

(CONTINUED)



HARRYYou put explosives near thespacecraft?

BETHYes, I did, but they're about a

hundred yards away.

HARRYThere's a lot of liquid hydrogenleft on that spacecraft. If itexplodes it'll disintegrateeverything for ten miles.

NORMAN What do we do?

HARRYMini-sub. Now!

CUT TO:

INT. CORRIDOR - OUTSIDE B CYLINDER - SAME TIME

Norman, Harry and Beth hustle through the flooded corridor...

ALARM VOICE (V.O.)Your attention please. Allconstruction personnel must exitthe blast area inmediately...

CUT TO:

INT. SUIT ROOM AND AIRLOCK ROOM - SAME TIME

They hurry into their suits...Harry signals and they all jumpdown into the pool...

CUT TO:

EXT. OCEAN FLOOR - SAME TIME

Norman, Beth and Harry, in their suits now, run toward the minisub... The explosives arrayed by the spacecraft blink red

in the distance...

ALARM VOICE (V.O.)Eight minutes and counting...

CUT TO:

166.

CONTINUED: (3)



INT. SUB DOME HANGAR - SAME TIME

In a panic, Norman moves to climb up onto the sub and slips.The others help him... Clumsily, they climb up on the sub...

CUT TO:

INT. MINISUB - SAME TIME

Harry drops dawn into the minisub as Norman hustles into thedriver's seat...

BETHOkay, hit it! Come on, let's go!

NORMAN Wait...wait...wait...

HARRY

Come on!

BETHNorman, let's go.

NORMAN Wait, wait...it's not like I drivesubs, Beth, okay.

BETH Well, you're driving one now,honey.

ANGLE ON CONSOLE

Buttons that read: ANGLE OF DESCENT... ANGLE OF ASCENT...

SECURE... SHUTDOWN... BALLAST... THROTTLE...

NORMANLet's see... 'Shutdown'...'Ballast'... 'Throttle...'

As Norman runs his fingers over the console. Then stops.

REVERSE ANGLE - NORMAN'S FACEPLATE

Reflected there, we see the monitors of the video room...

NORMANOh, my God!

167.



INT. HABITAT - VIDEO ROOM - WIDER

They're back inside the video room...

BETH What's going on?

NORMANI don't know.

BETH Why are we inside the spaceship?

NORMANI don't know.

ALARM VOICE (V.O.)Seven minutes and counting...

HARRYI don't know either, guys but wedon't have time to figure it out.Let's get out of here.

They run out of the video room...to the elevator and getinside.

NORMANIt's not moving. Anybody hit thebutton? What the hell? Wait a minute, this was an elevatorbefore, right?

BETH Which one of us is doing this?

NORMANOh, God!

They get out of the elevator and run down a corridor.

CUT TO:

INT. HABITAT - CORRIDOR - SAME TIME

Beth, Harry and Norman run down the corridor and come to a wall.

HARRYIt's a dead-end.

BETH Where are we?

168.

(CONTINUED)



HARRYIt's an illusion.

BETHIt doesn't look right, guys. Comeon.

She leads them down another corridor.

NORMANBeth, which way? Harry, where do we go?

HARRY Where? Where's where, Norman?Around that corner -- down thiscorridor - - what's there, huh?

THEIR POV

ANOTHER NORMAN, HARRY AND BETH STAND AT THE END OF THECORRIDOR

HARRY (CONT’D)(double)

Another blind alley in the maze ofour minds. An illusion.

BACK ON OUR TEAM

As Norman, Harry and Beth stop.

BETHHe's right, Norman.

REVERSE ANGLE - TEAM TWO

NORMAN(double)

If he's right, we're dead.

ALARM VOICE (V.O.)Your attention please. Allconstruction personnel must exit

the blast area immediately...

BACK ON OUR TEAM who are frantically looking for a way out.

HARRYJust go on. Leave me. Leave mealone.

169.

CONTINUED:

(CONTINUED)



BACK ON SECONDTEAM

NORMAN(double)

Harry, no...no. It's not your

time, Harry. Not your time.

ALARM VOICE (V.O.)... Four minutes and counting...

BETH What's the point, Norman?

She shines her flashlight on the habitat floor.

BETH (CONT'D)Somebody's been here.

BETH (CONT’D)(double)

There's footprints, and they ain'tours.

NORMAN(double)

Look, I don't know where we are,Beth and I don't know where we'restuck in.

HARRY Where we are, we are...stuck in theillusion that we can change thefuture. It's a dead-end, Norman.

HARRY (CONT’D)(double)

It's just like I said all along, wedie down here.

NORMANI'm not going to die down here.

NORMAN (CONT’D)

(double)No...no, you're not going to diedown here. Beth's not gonna diedown here. I'm not gonna let youdie, Harry.

They run down another corridor.

170.

CONTINUED:

(CONTINUED)



HARRY(double)

You have to push the button,Norman.

NORMAN

What button?

HARRY(double)

The button. Push the button!

NORMAN What button?

BETH(double)

He doesn't know.

HARRYButton...the button, Norman.

NORMANI can't see the button. I can'tsee the button.

HARRY(double)

See the button...

NORMANI can't see the button!

HARRY(double)

See the button.

NORMANI don't know what to do!

HARRY(double)

Push the button. The button --push the button.

ALARM VOICE (V.O.)Two minutes and counting...

SMASH CUT TO:

INT. SUB DOME HANGAR/INT. MINI-SUB - EXTREME TIGHT SHOT

171.

CONTINUED: (2)



OF RED BUTTON - SAME TIME

as it lights up... ASCEND...

WIDER - TEAM

Inside the minisub now. They look at each other. Then aRUMBLE...Harry jumps in the driver's seat - Beth and Normanjammed in next to him, as the minisub drops down out of its mooring... The WHIR of the ELECTRIC MOTORS STARTING...

CUT TO:


A high-pitched WHINE as the BALLAST TANKS FILL WITH AIR andthe minisub noses sharply up, pulls away from the habitat...

CUT TO:

EXT. OCEAN/INT. MINISUB - SAME TIME

Harry looks at his watch, steers the minisub while Bethstraps herself into the shotgun seat with Norman squeezed inbetween the two of them.

BETHOh God. Thank God. We're out!

HARRYDon't celebrate yet.

NORMAN Why not?

HARRYI don't think we're moving fastenough.

NORMANFast enough for what?

HARRYA blast underwater creates a

suction. It'll pull us right backdown there. If the shock wavedoesn't kill us first.

Norman looks out the rear porthole...

172.



NORMAN'S POV - THROUGH PORTHOLE

The ring of explosive red cones with their little digitalcountdown timers flashing...

CUT TO:

EXT. MINISUB - SAME TIME

As the minisub accelerates...

CUT TO:


The PANTHER explosives start to flash red as the countdowntimers rattle down...

Attention, please. You must exit the blast area immediately.

This is the last warning you will receive. Thank you forusing PANTHER brand, the first choice of blastingprofessionals, and have a nice day.

INSERT - COUNTDOWN TIMER

As it counts down from ten... nine... eight...

CUT TO:


Harry runs full throttle... Looks at the depth gauge...

HARRYSix hundred forty feet...sixhundred thirty...six twenty...sixhundred ten...

(beat)You a religious man, Norman?

NORMANI'm an atheist. But I'm flexible.

INSERT - COUNTDOWN TIMER

INT. MINI-SUB

Inside the minisub... Five... four... three...

CUT TO:

173.



EXT. SPACECRAFT - SAME TIME

As the countdown timer goes to zero and the EXPLOSIVESDETONATE... A giant underwater FIREBALL...

CUT TO:


They all hold on for dear life as the BLAST spins the minisublike a toy, upends it. A blinding, blistering, white-hotfireball races directly toward the windshield... They allscream.

NORMANHold on! Hold on! Hold on! Holdon!!!

HARRY

Oh, my God, we got turned around. We're going into the blast. Thisis the wrong way!! We're pilinginto it!!! Come on Norman, comeon!!!

And the screen goes WHITE.

CUT TO:

INT. SHIP'S DECOMPRESSION ROOM - LATER

A bright white room.

ANGLE ON NORMAN

As he wakes up in his bunk. Looks over. Sees Harry snoozingin his bunk. Beth looks out the porthole, then turns... Sheand Norman exchange a look. She sits on the edge of hisbunk.


BETH

More of nothing.(beat)I want to thank you for saving mylife.

NORMANAn interesting life to save.

She squeezes his hand. Kisses him on the cheek.

174.

(CONTINUED)



BETHGet some more sleep.

He watches her as she heads back to the porthole to look outat the ocean. Then he rolls over, goes back to sleep.

CUT TO:

EXT. SHIP'S DECOMPRESSION CHAMBER - SAME TIME

TWO CREWMEN peer inside through one-way glass.

CREWMAN #1 Which one is Jerry?

CREWMAN #2That's our problem, we really don'tknow.

CUT TO:

EXT. SHIP'S DECOMPRESSION CHAMBER - LATER

Norman, Beth and Harry sit at a card table. A long beat --an unspoken question hangs in the air. Then Beth breaks theice.

BETHSo, what are we going to tell them?

HARRY We can't tell them that we found analien sphere on an Americanspacecraft from our own future, and we definitely can't tell them wediscovered the power to manifest,just by imagining, killerjellyfish, a giant squid, seasnakes --

BETHNo. They're definitely not readyfor that.

HARRYThe greatest discovery in thehistory of mankind, and wedestroyed it. And it's better that we did. What if it fell into the wrong hands?

175.

CONTINUED:

(CONTINUED)



NORMAN We were the wrong hands. That'sthe scary part, isn't it? All threeof us, relatively enlightened,ethical, educated. We think ofourselves as good people. But when

The Sphere gave us this power, whatdid we do with it?

BETH We freaked out.

NORMANYes. We were given the greatestgift in the history of mankind. We were given this magic ball and itsays: "Imagine what you will andyou can have it", and we're soprimitive, we have so many fears

that we carry with us, that we manifest the worst in us ratherthan the best in us....and thatain't gonna change.

BETHMaybe we still have it.

NORMAN What?

BETHThe power.

(beat)Maybe we still have the power to manifest what we will.

NORMANIf we do still have the power...

(off her look)Then we have the power to forget.To manifest a world in which wedon't have the power.

They look at each other.

HARRYI say we do that. On a count ofthree.

They all hold hands. Close their eyes...

NORMANOne... two... three.

176.

CONTINUED:

(CONTINUED)



Then all open their eyes.

HARRYThree what?

NORMAN

What?

HARRYYou said three?

NORMAN(blankly)

Three? Why are you holding my hand?

They all laugh.

CUT TO:

INT. SHIP - DEBRIEFING ROOM - LATER

One by one, Beth, Harry and Norman respond to questions - allagainst a WHITE BACKGROUND. They seem confused.

NORMAN What do you mean? What happened tothe Habitat?

HARRY Wait...wait...something happened tothe Habitat?

BETHThe Habitat exploded?

NORMANA sphere?

BETHLike a circle?

HARRYSphere?

BETHSphere?

HARRYNo...

BETHBarnes?

177.

CONTINUED: (2)

(CONTINUED)



NORMANBarnes?

HARRYMajor Barnes?

BETHEdmunds and Fletcher?

NORMANI haven't seen Edmunds and Fletchersince we were brought back up.

HARRYSomething happened to them?

BETHMaybe the women...Edmunds andFletcher are the women.

NORMANTed? Where is he?

HARRYI just assumed he had stayed wthMr. Barnes.

BETHTed Fielding?

NORMANI would think you could tell me.

HARRYHe had to go out there and changethe tapes.

NORMANThe tapes are blank? What do you mean the tapes are blank?

BETHThe tapes are blank?

NORMANNow why don't you tell us, butyou're not telling us.

CUT TO:

178.

CONTINUED:



EXT. HELIPAD - DAY

Norman runs to a waiting helicopter, his hair whipped aroundby the backwash of the WHIRRING ROTORS... He climbs into...

HELICOPTER

The PILOT we saw earlier turns toNorman.

PILOTSo how'd it go, Doc?

Norman looks at him, confused.

NORMAN(blankly)

What?

PILOT

You know, what they brought you infor.

NORMAN

179.

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