TOMORROW

BY
BRENT SALTZMAN

2ND DRAFT
7-8-2005

1ST DRAFT 6-14-2005

Note: this is a shortened version, longer, more detailed version will be posted soon. Would like suggestions for a 3rd draft.

1. NOTHINGNESS--BLACK

We see nothing, but dark, then, a spot. We appear to be moving through a vast field of darkness with small, star-like objects everywhere. Like moving through a star-field. Then, something else fades into the background, it is a relatively large globular object, that seems to be pulsating and delivering an almost heart-beat like motion. A dark, raspy VOICE.

VOICE 
The human body is known to be made up of thousands of parts; bones, muscles, tendons, all working in unison to produce a massive collaborative effort resulting in simple motion.
(beat)
The human body is, in short, a machine. 

Suddenly, the strange globular object, which we can now determine is a cell of a cell, begins to split down the middle in a blush of light. We move around it.

VOICE 
Why is that, despite all our knowledge of machine and human anatomy, that we continue to separate into two distinct groups, living, and non-living?

The cell splits even more, slowly, it appears that a new cell is forming, but it is different, instead of the red glow distinct to the main cell, this one seems bluer, shinier.

VOICE
What is life anyway? Is it something that feels, something that thinks, something that defends? 

The cells continue their dispersion, it appears that even more, combinations of bluish and reddish cells.

VOICE
A life form will fend for itself, and defend against intruders, against diseases, repair itself from injury, just as a self-sufficient machine can fix itself. With all these questions flowing through one’s head, others follow; what else have we misinterpreted as not a lifeform, but a machine, or are they one in the same. And when does it become plausible that the created become the creator? When these questions are answered, my friends, will be the day...it all ends.

CUT TO:

2. EXT. WITHIN CLOUDS--DAY

Suddenly, we are moving slowly through heaps of clouds, watching them roll by rhythmically. Then, we move downward, to reveal an aerial view of:

3. EXT. ARCTIC SEA--DAY

We are flying over the glacial sea, high above, moving at an incredible velocity. Below, the water is still and ice floes are like mats on the glassy surface. 

Further down, a SMALL DOT becomes visible.

ZOOM IN. The dot, as it appears, is really a mid-sized RESEARCH SHIP. It floats gently.

4. EXT. DECK OF RESEARCH SHIP-ICY SEA-DAY

VARIOUS CREW scurry about; TWO MEN are prepping themselves in DIVE SUITS, while others prepare what appears to be a SUBMERSIBLE.

MARCUS TURNER, 30’s/40’s approaches the TWO DIVERS. He SHOUTS to keep his voice above the hum of the engines hoisting the sub.

MARCUS
Okay, listen up!

He pulls out two objects, both look like the grips of pistols.

MARCUS 
These are remote tracking devices. Just hold this down-
   (demonstrates)
-and we’ll get a read of where you are in no time.

The TWO DIVERS look at each other hesitantly. They speak with German accents.

DIVER #1
And what would cause us to need these?

MARCUS
  (sarcastic)
In case we lose ya.

STEVE, mid-20’s, a scrawny-looking man, taps on MARCUS’ shoulder.

STEVE
Marcus, can I talk to you?

MARCUS casts him a look then hands the TRACKING DEVICES to the DIVERS.

MARCUS
Take these; I’ll be back in a minute.

He follows STEVE back towards the ship’s CABIN. Behind him, the TWO DIVERS chuckle at the devices.

5. INT. CABIN-RESEARCH VESSEL-DAY

The cabin is relatively empty accept for a few DECKHANDS working controls. STEVE leads MARCUS to a corner, and checks to make sure nobody’s listening. He whispers seriously.

STEVE
Come on, Marcus, what are you doing?

MARCUS
What? What am I doing?

STEVE
Look at those guys out there-

STEVE points through a window. MARCUS turns to see the TWO DIVERS playing the popular hand game rock-paper-scissors. 

STEVE
I should be doing this, Marcus!

MARCUS rolls his eyes.

MARCUS
Oh, not this again.

STEVE
Yes, this again!

MARCUS
Look, Steve, I told you, as soon as we get you cleared you’ll be able to participate in the field work.

STEVE impatiently rolls up his sleeves and unwraps a thin bandage on his bicep. Underneath are the slight remains of a scar.

STEVE
Look, look, I’m fine. You’re just looking for excuses to keep me out of that sub.

MARCUS turns towards a table and picks up a cup of coffee. The two seemed to have forgotten about whispering.

MARCUS
No I’m not.

STEVE
Why won’t you stop blowing me off! You need to give me a chance!

He then realizes he may have spoken his latter words too loudly, as evidenced by the few DECK HANDS offering a awkward glances and exits. They may have heard only the last bit out of context.

A beat.

STEVE
   (quieter)
I’m not your wife, Marcus.

We are then interrupted by a LOUD SPLASHING SOUND outside. 

6. EXT. DECK-RESEARCH VESSEL-DAY

The SUBMERSIBLE has been taken off the deck floats in the water behind the ship’s stern.

MARCUS and STEVE enter. 

CUT TO:

The GERMAN DIVERS, escorted by several crewmen, help the DIVERS into the hatch atop the sub. 

7. INT. SUBMERSIBLE

The DIVERS close the hatch from inside.

8. EXT. DECK-DAY

CREWMEN, including MARCUS and STEVE, watch as the cables on the deck loosen and the submersible begins its descent.

9. INT. SUBMERSIBLE

The DIVERS work switches randomly. Outside the viewing port, we see the icy water rise above it. 

FOCUS ON:

A TEMPERATURE GAUGE on the wall reads: 33°.

10. EXT. DECK-DAY

MARCUS breathes into his hands and looks around. He gives commands, for the crusade has begun. 

MARCUS
Okay, Steve, keep status check.

STEVE walks slowly back towards a table set up near the corner of the deck, stocked with electronic equipment. His facial expression is not that of satisfaction. 

MARCUS himself walks over to another table, surrounded by several CREWMEN. 

MARCUS
Okay, let’s get this started.

He slips on a pair of BIG HEADPHONES and tunes a dial on a TELEVISION MONITOR on the table. There is nothing on the screen.

MARCUS
   (to anyone)
Can I get a feed, please?

RANDOM CREWMAN
Got it.

Seconds later, a picture pops up on the screen. It seems to be coming from a camera mounted outside the SUBMERSIBLE. It is difficult to make out, MARCUS tunes it. He picks up a MICROPHONE.

11. INT. SUBMERSIBLE

The TWO DIVERS pilot the submersible.

MARCUS
   (over speaker)
It’s about a hundred feet, try to keep the camera to the ground.

One DIVER toys with a joystick. On a monitor in the sub, we can see the CAMERA ANGLE changing.

12. EXT. DECK-DAY

The CAMERA ANGLE on the monitor by MARCUS changes in correlation with the DIVER’S movements of the joystick.

MARCUS
Okay, okay, stop!

A beat. Everyone stares.

OVER BY STEVE, he takes notes and watches several graphs on computer screens.

FOCUS ON:

Above him, there are several LARGE ICICLES hanging on the edge of the cabin rooftop.

BACK WITH MARCUS. He points to the screen, at a large, silver object on the floor of the sea.

MARCUS
That’s it.

13. EXT. UNDERWATER

The submersible hovers above the ocean floor. It is very dark.

14. EXT. DECK-BY MARCUS-DAY

He seems frustrated with the lack of visibility on the screen.

MARCUS
Lights? Lights? Cue lights, please. Thank-you.

15. EXT. UNDERWATER

Instantly, the lights on the submersible come on, illuminating the ground. 

16. EXT. DECK-BY MARCUS-DAY

There appears to be a LARGE METAL CYLINDER embedded in the ground. It is covered in mud, but no rust. 

BY STEVE. STEVE doesn’t notice while taking down notes, but a TEMPERATURE GAUGE on one of the computer screens is steadily rising. 

17. INT. SUBMERSIBLE

The DIVERS stare through the viewing ports at the mysterious metal object. There appear to be markings written upon it, but are covered up by the layers of mud and sediment.

DIVER
   (in German)
Spooky.

FOCUS ON:

The TEMPERATURE GAUGE rises slowly. 

18. EXT. DECK-BY STEVE-DAY

Above STEVE, a droplet of water falls from the top of the ICICLE. He doesn’t notice.

BY MARCUS. He taps the screen and talks into the microphone.

MARCUS
Try and wipe some of that off, there.

19. EXT. UNDERWATER

Robotic arms reach out from the base of the submersible. We can see the GERMAN DIVER operating them through the window. The arms reach out towards the object.

20. EXT. DECK-BY STEVE-DAY

He still doesn’t notice the temperature gauge rising. 

BY MARCUS. No one seems to notice the increasing heat. MARCUS sits forward, concentrating only on the mysterious object.

BY STEVE. 

FOCUS ON:

The LARGE ICICLE sudden breaks from its support and shatters on the equipment STEVE was using. He jumps back. Everyone looks over.

RANDOM CREWMEN
What the hell was that?

MARCUS looks over at the equipment. He notices the temperature gauge has risen dangerously high.

21. EXT. UNDERWATER

Abruptly, right before the robotic arms touch the object, it begins to glow a faint blue.

22. INT. SUBMERSIBLE

The DIVERS stare in awe. A red warning light engulfs them. A reading: TEMPERATURE CRITICAL. 

23. EXT. DECK-DAY

Above, the scene is chaotic. Men scramble about, the engines on the hoist hum.

MARCUS
   (yell)
Pull ‘em up!

24. INT. SUBMERSIBLE

The DIVERS look through the viewing window.

P.O.V. DIVERS. An orb of deep blue light opens in the middle of the object.

They look at each other.

25. EXT. DECK-DAY

MARCUS leans over the stern as the CABLES pull up. It is tense. Eventually, the ends of the cables emerge from the sea, they are burned up and steaming.

The mood quiets as the crew faces the realization of the DIVERS’ deaths. MARCUS angrily stands up and walks towards the cabin. He passes STEVE and yells angrily at him.

MARCUS
   (yell)
Should that be you?!

26. EXT. ABOVE SHIP-AERIAL (ISOMETRIC) VIEW-DAY

We are slowly moving away from the ship. It gets smaller and smaller against a vast ocean of ice. Our speed picks up, and we are soon flying backward along the Earth as credits roll.

Eventually, we aren’t in the Arctic sea anymore.

27. EXT. NEW YORK SKYLINE-DAY BREAK

We pull back to reveal the glorious skyscrapers of New York City. The sun leaves the sea of concrete and glass immersed in a beautiful orange glow. 

28. EXT. NEW YORK CITY STREETS-DAWN

Even at this hour, the streets are bustling. A VENDOR is just opening his hotdog stand, while TAXI DRIVERS warm up their engines. 

DAVID TURNER, 20’s, runs down the street hurriedly. He pushes past people with only minimal apologies. Typical New Yorker. He is dressed in a stained t-shirt and beat up jeans.

29. EXT. OUTSIDE SMITTY’S GARAGE-DAWN

DAVID runs up to the door of the Jiffy Lube-like garage and nervously fumbles through keys. Unfortunately for him, the door opens. He holds his breath.

A raspy voice ushers from beyond the door.

VOICE (O.S.)
You’re late, Turner.

30. INT. SMITTY’S GARAGE-DAY

Moments later.

DAVID follows SMITTY, and older black man, down the hall, past a counter, and several waiting customers reading magazines. 

DAVID
Look, sir, I’m sorry. 

SMITTY turns around.

SMITTY
I’ve got a guy who needs brakes put on and a woman who needs her engine tuned. How many jobs is that, David?

DAVID
   (hesitantly)
Two, sir.

SMITTY
Now how many people am I?

A beat.

DAVID sighs. He gets the point.

SMITTY
You got a call from your brother.

SMITTY walks away, leaving DAVID standing alone in the waiting room. The customers glance at him awkwardly. 

CUT TO:

31. INT. BACK ROOM-SMITTY’S GARAGE-DAY

DAVID is alone. He picks up the phone and dials. We hear a ringing on the other end.

32. EXT. BASE CAMP-ARCTIC-DAY

Tents are everywhere, some bigger than others. Set up much like a military camp, except it is a research camp. Cars with chains are parked about, as researchers and crewmen scurry around.

33. INT. MAIN TENT-ARCTIC BASE-DAY

Inside, table and chairs lay everywhere. Men walk about. A PHONE RINGS on the wall. A RANDOM TECHNICIAN answers it.

TECHNICIAN
Base.

34. INT. BACK ROOM-SMITTY’S GARAGE-DAY

DAVID
Yes, I’m looking for Marcus Turner; I’m his brother, David.

35. INT. MAIN TENT

The TECHNICIAN looks over his shoulder. MARCUS is leaning over a table looking at a map, discussing it with some fellow researchers. 

TECHNICIAN
Doctor Turner!

MARCUS walks over to the phone and takes it from the TECHNICIAN.

MARCUS
   (into phone)
This is Dr. Turner.

36. INT. BACK ROOM

DAVID
When did it become doctor Turner?

37. INT. MAIN TENT

MARCUS
When I decided I was going to leave New York and start doing something.

The scene cuts locations.

DAVID
Don’t start this again.

MARCUS
You asked.
   (he hesitates)
How’s dad?

A beat.

DAVID
Um, well, he’s, he’s holding up. They say they might put him back in the hospital if his heart acts up again.

MARCUS
How is it?

DAVID
I don’t know, doctors say he’s progressed too far to be completely, uh, cured. But partial recovery isn’t out of the question.

MARCUS closes his eyes and sighs, shedding invisible tears. There is a beat before MARCUS can collect his bearings.

MARCUS
We lost two men today.

DAVID
Oh, well, what happened?

MARCUS
We’re not sure. We found a large payload of metal under the ice a few days ago.

DAVID
Metal?

MARCUS
Not ordinary metal. It has no chemical composition that we’ve ever seen. It’s, it’s unnatural. Anyway, we sent two divers down in the sub to try and collect samples and-

His voice lowers. DAVID listens intently.

MARCUS
Before we lost contact, we recorded a hundred degree increase in the surrounding water temperature. When we managed to recover the sub-
   (he hesitates)
-they were charred.

A beat.

DAVID
Would a hundred degrees be enough to do that?

MARCUS
That’s the confusing part.

MARCUS looks around to make sure nobody is listening too intently, and speaks softly into the phone.

MARCUS
It’s almost like there was an even more intense increase heat that was isolated in the vicinity of the submersible. If I could explain it I wouldn’t be as worried as I am right now.

38. INT. BACK ROOM-SMITTY’S GARAGE-DAY

We hear SMITTY’S VOICE calling.

SMITTY (O.S.)
David! David!

DAVID
   (hurriedly)
I’ve got to go.

MARCUS
Okay, I’ll, I’ll let you know what happens tomorrow.

39. INT. MAIN TENT-ARCTIC BASE-DAY

MARCUS hangs up the phone. Behind him, we see a TECHNICIAN excitedly enter. He SALUTES to one of the OTHER MEN (obviously of higher rank in the camp).

EXCITED TECHNICIAN
Um, we found something.

MARCUS looks on. STEVE, who was sitting at a table, puts his coffee mug down.

40. INT. SMITTY’S GARAGE-RECEPTION AREA-DAY

DAVID walks out of the back room to see SMITTY seemingly arguing with a customer. The customer is a BEAUTIFUL YOUNG WOMAN (LINDSY) over the counter. He catches only the last snippet of their seemingly energized conversation.

LINDSY
   (aggravated)
Well, who can?!

SMITTY turns around to see DAVID. 

SMITTY
David, come here.

He introduces him to Lindsy.

SMITTY
I need to go to an appointment and this young lady needs her car out today. Can you handle that?

LINDSY
It’s the green mercury.

DAVID attempts to smile at her; she only delivers a nasty scowl.

LINDSY
And don’t hurt it.

She frowns wickedly and walks away to look through a magazine with the other customers. 

DAVID
She’s not very nice, is she?

SMITTY laughs as he folds a few papers. He turns to leave.

SMITTY
When you look like that-
   (a beat)
-you don’t have to be.

SMITTY leaves him to himself. He mouths “wow.”

41. EXT. ARCTIC ICE FIELD-DAY

An SUV drives along the endless flat of white.

LATER.

The SUV stops before a large patch of the ground, ten feet across, covered with a tarp. STEVE, MARCUS, and TWO TECHNICIANS get out of the SUV and approach the tarp.

TECHNICIAN #1
Found it just this morning, over a satellite photo. We never noticed it before, so either we have bad eyes or it just showed up recently. Which I don’t think is possible.

MARCUS
Well, what is it?

The TECHNICIANS work on opposite sides of the tarp and work together to unravel it. 

AERIAL VIEW. Underneath the tarp, is en enormous bottomless pit. Fifteen feet across, and seemingly unending.

MARCUS leans down carefully, examining the pit.

STEVE
Whoa.

MARCUS
How deep is it?

TECHNICIAN
We uh, we haven’t had a chance to check it out.

MARCUS glances up at him.

CUT TO:

42. EXT. THE PIT-DAY

The TECHNICIANS look down from the lip of the pit, holding ropes that are secured to…MARCUS and STEVE descend the walls of the pit with ropes and ice picks.

They talk as they work their way down.

STEVE
   (preoccupied)
How deep do you think-
   (picks)
-this thing is?

MARCUS
   (preoccupied)
Well I can’t see the bottom yet, so it’s hard to tell.

43. EXT. TOP OF PIT-DAY

Outside the pit, the two TECHNICIANS guide the support ropes down into the pit. The ropes are attached to separate spikes in the ground, securing them safely in the ice.

44. INT. THE PIT-DAY-DARK

STEVE stops and looks around for a second. MARCUS doesn’t notice him.

STEVE
Marcus, hey Marcus!

MARCUS secures his pick.

MARCUS
What?

STEVE
I’m sweating.

MARCUS suddenly realizes that he is sweating, too. He wipes his forehead and sees a grease stain from the perspiration on his glove. He then holds on tight with one hand on a pick, and rips his glove off with his mouth.

STEVE
Hey, what are you doing?

45. EXT. UNDERWATER

Far away, we see the mysterious OBJECT from the beginning begin to glow the familiar blue fluorescence. 

46. EXT. THE PIT-DAY

MARCUS struggles to maintain his balance for a second with his glove in his mouth, but manages to get stable. Slowly, he takes his bare hand and slowly presses it against the icy wall of the vertical cavern. 

His eyes go curious.

STEVE
Marcus, what are you doing, man?

He pats the ice, and then rubs it. He pulls his hand back and wriggles his fingers; it appears that no moisture has gotten onto his hands.

MARCUS
It’s not ice.

STEVE
What?

47. EXT. UNDERWATER

The OBJECT begins to glow an even deeper shade of blue.

48. EXT. THE PIT-DAY

Back at the pit.

MARCUS
It’s ice up there, but, down here, it’s almost like, glass.

STEVE, curiously, tries to rip one of his gloves off with his mouth.

MARCUS
   (whisper to self)
What’s going on here?

SUDDENLY, the walls start to slowly vibrate. It is a tremor.

MARCUS
Shit, climb up!

They waste no time. Quickly, they climb the wall of the pit pick by pick. The TECHNICIANS struggle to pull up the ropes. Near the top, MARCUS slips, one of his ice picks falls down into the abyss as he dangles with one hand over the open mouth of the Earth. One of the TECHNICIANS reaches down and pulls him up. 

STEVE is still struggling. MARCUS runs around to the other side of the pit and lays on his stomach. He reaches down into the depths and extends his hand towards STEVE.

MARCUS
Give me your hand!

Instinctively, STEVE reaches up and locks hands with MARCUS. Unfortunately, it is the gloved hand that STEVE had loosened the glove on moments earlier. 

The two men struggle to pull up, when suddenly, the glove slips off, and STEVE slips down. The metal spike in the ice rips from the ground thanks to the tremor and zips past MARCUS into the pit.

MARCUS
Steven, no!

In an instant, STEVE is engulfed by the eternal blackness as he falls to his imminent death.

MARCUS is left with only a dismal look of despair on his face.

49. EXT. NEW YORK SKYLINE-DREARY DAY

Establishing. 

Although the sky seems cloudless, it also, strangely, seems gray. 

50. INT. GARAGE-SMITTY’S GARAGE-DAY

The GARAGE is separate from the waiting room and other offices. It is large, with two cars waiting. One is the green mercury. Its hood is up, and DAVID is working at it. After a moment, he opens the driver door and slips inside.

51. INT. LINDSY’S MERCURY

He puts his hands on the key to turn on the engine, but stops. Above him, he notices a picture of LINDSY and her father, THE MAYOR. He chuckles, then we hear LINDSY’S VOICE.

LINDSY (O.S.)
Can you fix it?

She stands next to the driver side door and peers in the window.

DAVID
I can fix anything.

He turns the keys and the engine roars to life.

CUT TO:

52. INT. RECEPTION AREA-SMITTY’S GARAGE-DAY

DAVID wipes grease off his hands. LINDSY follows him in, clutching her cell phone.

LINDSY
So who do I call if I break down?

DAVID
Well, I can refer you to a tow company.

LINDSY
Creepy men picking me up, uh, no! Besides if I break down it’ll be your fault and I’ll want to ring your neck first.

She isn’t the outdoorsy type. 

DAVID
Well, you can call here.

LINDSY
Uh, hello, you’re only open till eight, most parties don’t even start to eleven.
   (a beat)
What’s your number?

Slightly shocked by the question, he blushes.

53. EXT. ARCTIC BASE CAMP-DAY

Despite the sound of the whistling wind, things seem calm. We hear a deep, older voice. It is KENDELL, the camp’s head organizer; everyone’s boss.

KENDELL (V.O.)
Three people, Marcus. Three.

54. INT. TENT-BASE CAMP-DAY

MARCUS sits at a table, a sullen look on his face. KENDELL, older than MARCUS by about ten years, walks back and forth, a corporate look to him.

KENDELL
That’s three families that I have to call and tell, that there now short one member. 

He leans over the table.

KENDELL
And for what, Marcus?

MARCUS sighs.

MARCUS
What we’ve discovered in the past few days may turn out to be more important than any of us expected.

KENDELL
Is it worth lives?!

MARCUS
We may finally be heading towards answering the question of true makeup of our planet!

KENDELL
I don’t care, Marcus!

There is a brief silence. KENDELL’S voice softens, and MARCUS resumes silence.

KENDELL
I don’t even pretend to understand anything about science. But I do know the difference between science and philosophical bullshit. I am paying my hard earned money to fund your research, now bring me, some god damn research. 
   (a beat)
I don’t want theories.

There is a pause. KENDELL turns to leave the tent. Before he goes, he turns back to MARCUS.

KENDELL
I’m giving you a week to bring me something useful. 
   (beat)
After that, I’m pulling the plug on your operation. You’ve left no choice. 

KENDELL leaves. MARCUS tilts his head back and covers his eyes.

55. EXT. COASTAL HOUSE-MANHATTAN COAST-DAY

The house is beautiful, yet small, on sitting quaintly on the dock of a wharf at the tip of Manhattan. It seems to be all alone.

An SUV pulls into the driveway. It is a cleaned up DAVID.

56. INT. COASTAL HOUSE

Quaint; there are pictures of an elderly couple enjoying life together. DAVID enters.

DAVID
Dad? Dad? Are you here?

No response.

He enters the living room, which offers a large window with a beautiful view of the dock. We see DONALD TURNER, and elderly yet physically fit man (father of MARCUS and DAVID), working on the boat.

CUT TO:

57. EXT. DOCK-COASTAL HOUSE-DAY

DAVID walks along the dock next to the SPIRIT OF SKY, the name of DONALD’S moderately-sized sail boat. His father doesn’t seem to notice; he is tying ropes to the sail.

But apparently he did notice DAVID.

DONALD
   (preoccupied)
Have you heard from your brother?

DAVID sighs.

DAVID
Yeah.

DONALD
Well don’t me sweat, how is he?

He hesitates.

DAVID
Two of his men died yesterday.

DONALD stops working and sighs. He turns and wipes off his hands.

DONALD
I never liked him up there. Too cold, too far.

He climbs off the boat and onto the dock. He walks along with DAVID.

DONALD
So why’d you decide to pay your old man a visit.

DAVID
Well I just, came by to see how you were doing. I mean, it’s been almost a week and-

DONALD finishes DAVID’S sentence, with a small modification.

DONALD
You wanted to know how this old man was handling it.

DAVID
Well…

They stop at the end of the dock and look to each other. DONALD holds back a deep sigh.

DONALD
This has been the first week in 30 years I’ve been alone, David. If it hasn’t got me yet, it won’t ever. It’s not the end of the world, you know.

There is a beat. DAVID’S cell phone rings. He answers it, leaving his father looking slightly annoyed.

DAVID
   (into phone)
Yeah…just a minute…I’m at my father’s…yes, sir…bye.

He hangs up and turns to his father.

DAVID
General Smitty wants me at the office.

DONALD laughs and pats him on the shoulder.

DONALD
Alright, son.

DAVID turns to leave. As he walks away.

DONALD
So when are you going sailing?

DAVID
When you take me.

58. INT. MARCUS’ TRAILER-ARCTIC BASE-NIGHT

It is night (they are not at the center of the continent, so it can get dark). MARCUS sits alone in his trailer, which is set up much like a small laboratory with a cot at the end. He sits at a computer. Large amounts of graphic data zip by on the screen. His eyes scan the data preciously.

After a few seconds, he lets his mind take a break. He takes a sip of coffee, then turns back to the computer screen. We notice there is an “URGENT ALERT” sign flashing in the corner of the screen. MARCUS looks curiously, then types a command.

Moments later, we see a RED DOT appear, it is flashing, and we hear a faint BEEPING sound. It is like SONAR.

FOCUS ON:

MARCUS’S eyes light up.

SMASH CUT TO:

59. EXT. ARCTIC ICE FIELD-SNOWING-NIGHT

An SUV flies through the field of white at an incredible speed. The headlights barely pierce the density of the heavy snow, and the windshield wipers aren’t really helping.

60. EXT. THE PIT-ICE FIELD-SNOWING-NIGHT

The SUV is parked. MARCUS is furiously setting up a cable on the SUV’S WINCH. He finishes and then rushes over to the edge of the pit and lays on his belly; looking down into the pit, he shouts.

MARCUS
Steven! Steven!

After his voice is finished echoing, we hear nothing.

MARCUS
Steven, hang on! I’m coming down for you!

It seems as if he’s talking to no one. 

MOMENTS LATER. MARCUS slowly climbs down over the lip of the pit, ropes attached to his waist, to repel down into the depths.

FOCUS ON:

The winch unwinds as the thick layer of cable slowly thins.

61. INT. THE PIT-NIGHT

MARCUS clicks on his FLASHLIGHT HELMET, illuminating the walls. He repels down slowly.

62. EXT. THE PIT-ICE FIELD-NIGHT

AERIAL SHOT. The light from MARCUS’ flashlight helmet descends into blackness.

63. INT. THE PIT-DARKNESS

All we can see is the light from MARCUS’ helmet. The sound of him grunting and picking at the ‘ice’ wall reverberates throughout the cavernous vertical pit. 

His voice echoes.

MARCUS
Steven! Steven, can you hear me?!
   (a beat)
I’m coming, Steve!

Suddenly, there is a faint mechanical hum; and then, on cue, a string of enormous BLUE LIGHTS light up along the inside of the pit, illuminating the massiveness of the structure. The lights seem to be electrical, and coming from behind the glass ice.

MARCUS looks around in awe. About fifty feet below him, lays a circular space with a futuristic metal door along the wall and a strange triangular mini-structure lies in the center. A small pool of water lies on the other side.

It is eerily beautiful, like a MISSILE SILO of ice.

LATER, ON THE FLOOR OF THE PIT. MARCUS brushes himself off. He approaches the strange triangular structure in the center of the room; it appears to be pointing straight up into the sky. MARCUS curiously looks up.

P.O.V. MARCUS: The opening of the pit is just a faint dot of orange, since it is day break above. 

MARCUS turns to the large door. On it are inscriptions much like on the mysterious object from the beginning. He touches it, and it ascends into the ceiling, revealing a dark room beyond. Naturally, MARCUS enters.

64. INT. DARK ROOM-THE PIT

It is like a control room, with several dusty computer monitors surrounding a central structure. The ‘central structure’ as it may, is an enormous model of the Earth. 

MARCUS approaches it slowly, examining it inquisitively. There seems to be something fishy about the globe.

STEVE (O.S.)
You noticed it, too?

MARCUS jumps at the sound of STEVE’S voice. He turns; STEVE walks slowly towards him.

MARCUS
Steven, you’re alive!

STEVE chuckles and holds up one of the TRACKING DEVICES that MARCUS mentioned earlier.

STEVE
I always thought these were useless, but, I guess I ate my words. 
   (a beat)
Sorry about, getting in a fight with you earlier, on the boat. 

MARCUS chuckles, his only concern is that STEVE is alive and well.

MARCUS
How did you survive the fall?

STEVE
I fell in that water.

MARCUS looks past STEVE’S shoulder at the small, yet apparently deep, pool of water on the opposite side of the ice-silo outside.

STEVE
At first, all I felt was cold; I think it was because it was below zero outside and I just expected to be turned into ice as soon as I hit. But then, I realized, I wasn’t. 

There is a silence.

MARCUS turns to the map.

MARCUS
Look at this.

The globe doesn’t have all seven of Earth’s continents; instead, it has them all in one piece, with the partitions between them invisible.

STEVE
I saw it.

MARCUS
This is what the Earth looked like...a long time ago.

STEVE
Yeah, I thought about that.

MARCUS
What do you figure?

STEVE
I figure-
   (a beat, a sigh)
-I figure that this place was built by people long, long before us. Like, it might be Pangea or something.

MARCUS
No, no-
(beat)
-this predates Pangea.

MARCUS gulps and runs over to the control panels. He starts pressing buttons in an attempt to activate something.

STEVE (O.S.)
I tried that; nothing works.

MARCUS
What do you think this place is?

STEVE
The way I see it; a hiding place. Maybe the people who built it were scared of something.

The mood grows tense. MARCUS stares into STEVE’S eyes.

MARCUS
Scared of what?

STEVE slowly shrugs. Suddenly, the MODEL GLOBE lights up with a faint blue. The water glows electronic blue, the continent a faint brownish green. MARCUS and STEVE approach it slowly.

MARCUS
What did you push?

STEVE
   (defensively)
Me? You were messing with the dials!

A large red CIRCLE engulfs an area on the map. It is the EXACT CENTER of the large super continent. 

STEVE
What’s it doing?

MARCUS
It’s pointing to something.

STEVE
What at?

A beat. MARCUS approaches the model globe and puts his hand on the red dot. He then moves around, like taking measurements. He looks ridiculous.

STEVE
What are you doing? Hello?

MARCUS
Shh!

STEVE shuts up. MARCUS examines the globe a final time, and then stands back.

MARCUS
   (softly)
Oh my, god. 

STEVE
What, what is it?

A beat.

MARCUS
It’s New York.

There is a long silence, which is interrupted by the sudden sound of an electronic burning. Both turn towards the ice-silo. It appears that the TRIANGULAR STRUCTURE is glowing the faint blue, like the object in the beginning.

65. EXT. THE PIT-BOTTOM

MARCUS and STEVE cautiously examine the structure.

STEVE
What’s it doing?

Without warning, the top of the triangular structure explodes in a burst of energy, knocking STEVE and MARCUS to the floor. They look up as a COMET OF ENERGY shoots up through the silo and flies out.

STEVE
What the hell was that?

66. EXT. OUTSIDE SCHOOL-NEW YORK CITY-GLOOMY DAY

Establishing.

The school looks more like a brownstone house nestled neatly between a row of other buildings. DAVID’S SUV is parked outside.

67. INT. HALLWAY-SCHOOL

The halls aren’t too quiet; the sound of children laughing behind the doors is very audible. Coat racks with tiny lunch pails hang on opposite sides of the hall, and crayon-drawn masterpieces line the walls. DAVID stops at the front of a door, he checks the room number, which is posted above, and knocks.

LINDSY answers the door.

DAVID
Have we met?

She rolls her eyes. She is the teacher.

LINDSY
What do you want?

DAVID
I’m here to pick up my niece-

A little VOICE fills the air, it is the voice of NATALIE, DAVID’S 5-year old niece, and MARCUS’ daughter.

NATALIE (O.S.)
Uncle Dave!

She runs to him.

DAVID
   (to NATALIE)
Hey, kiddo.

He leans on his haunches to hug her, then stands.

DAVID
Go get your stuff.

NATALIE nods and rushes back into the room. LINDSY remains leaning on the door frame.

DAVID
Where’s Miss Appleton? 

LINDSY
   (rudely)
Sick, I’m subbing today. And I’m a little upset I had to stay here longer because you can’t pick up your kid on time. She’s the last one here.

DAVID
Oh-
   (hesitates)
-well, I’m sorry, I guess.

NATALIE comes back with a backpack sporting the logo of a popular cartoon character. She takes DAVID’S hand, and they turn to leave.

DAVID
   (to LINDSY)
Well, have fun.

LINDSY
Sure.

They exit. LINDSY rolls her eyes and closes the door.

68. EXT. OUTSIDE OF SCHOOL-RAINING-DAY 

It’s suddenly pouring.

DAVID and NATALIE rush to the car, their heads ducked to avoid the rain. NATALIE climbs into the back seat.

69. INT. DAVID’S SUV-RAINING-DAY 

Inside, DAVID slams the car door shut and shakes his head to get the water off; much like a dog would, to get a laugh out of his niece. She sits in the back seat, strapped upon a booster-seat designed for children her age.

DAVID
   (to NATALIE)
We buckled in?

NATALIE
Yes!

DAVID
Alright let’s do it.

He turns the keys and the engine...stalls. He tries again. Nothing. 

NATALIE
Is the car sick?

He whispers to himself.

DAVID
Dammit.

He unbuckles his seat belt and turns to NATALIE.

DAVID
Don’t go anywhere, sweetie, I’ll be back in a minute.

CUT TO:

70. EXT. FRONT OF SCHOOL-RAINING-DAY

DAVID pops open the hood and angrily messes with the guts of the car, trying to get something started. He takes the two battery wires and connects them, trying to get something. 

Realizing he’s getting nowhere, he HITS the hood and thinks as rain runs down his jacket.

He then notices something.

P.O.V. DAVID: There are several PEOPLE across the street staring and pointing up to something in the sky. 

Several cars screech to a halt as PEDESTRIANS look to the heavens.

We can hear a low trembling sound, and DAVID can see the windshield wipers slowly vibrating, for up in the sky, is the MASS OF BLUE ENERGY, shaped like a COMET, that emitted from the TRIANGULAR OBJECT in the ARCTIC PIT (where MARCUS is).

DAVID
(to self)
What the...?

WIDE VIEW. People have crowded the street to watch the majestic sphere of blue dip below the waves of the ocean beyond. Strangely, it lands without a sound. Then, a RUMBLING begins. PEOPLE look about, searching for the source; car antennas vibrate, puddles in the street ripple. Then, as quickly as it began, it ends. Random chatter from citizens erupt as people start moving towards the edge of the city, towards the water.

71. EXT. THE PIT-ARCTIC ICE FIELD-DAY

We see a pair of GLOVED HANDS reach over the top of the pit, and seconds later, we see MARCUS pull himself up and over the lip. He rolls down the side, followed a few seconds later by STEVE. 

CUT TO:

72. INT. MARCUS’ SUV-DAY

MARCUS drives. The mood is eerily silent.

STEVE
So what are you going to tell them?

MARCUS
(preoccupied)
About what?

STEVE
About everything.

Beat.

MARCUS
Well, I don’t know.

STEVE
What are you thinking, then?

Another beat.

MARCUS
I read an article, awhile back; a doctor Alexander Molina once suggested that, people have always had a fear of self-annihilation because in the back of our minds we know that history has a tendency to repeat itself.

Yet again, a beat.

STEVE
History, what history?

MARCUS
Undiscovered history.

STEVE
Can I ask you a question?
(beat)
What the hell does that have to do with anything?

MARCUS manages to squeeze out a chuckle. After a few beats, they both developed shocked expressions at what lies before them.

STEVE
What the hell?

73. EXT. RUINED BASE CAMP-DAY

The base camp has been completely destroyed. Tents are knocked over, trailers are crushed, and vehicles are flipped. Dozens of tiny fires litter the landscape, and there seems to be no life in sight.

MARCUS’ SUV stops, and both men get out.

They look around; STEVE nearly has a tear in his eye.

STEVE
What the hell happened?

MARCUS
I don’t know.

They stare in awe at the destruction.

74. INT. DAVID’S SUV-DAY

BACK IN NEW YORK. DAVID quickly unbuckles NATALIE’S booster seat. She has tears in her eyes.

NATALIE
   (teary)
What happened, Uncle Dave?

DAVID
Shh…I don’t know.

He rips her from the booster seat.

75. EXT. OUTSIDE SCHOOL-NEW YORK-DRIZZLING-DAY

DAVID shuts the car door and picks NATALIE up. He carries starts towards the direction of the crowd, to investigate the impact.

LINDSY rushes up to him, follows. Her voice full of anxiety.

LINDSY
   (to DAVID)
Hey, what was that?

DAVID
  (preoccupied)
I don’t know…meteor?

76. EXT. BEACH FRONT--NEW YORK--DAY

PEOPLE have crowded the edge of the beach, which is really a collection of sediment sloping into the water. 

FOCUS ON:

NATALIE, DAVID, and LINDSY appear in the crowd, breaking towards the front row. They, along with everyone else, stares in awe at what lies before them. ENORMOUS, METALLIC PODS, twenty-to-thirty feet tall, like giant cocoons, covered in seaweed and other sediments, lining the coast like beached whales, there appear to be nearly a hundred, stretching as far as the beach goes. PEOPLE have already stormed the beach, examining the objects further.

NATALIE
What are those?

DAVID
I don’t know, baby?

NATALIE
Are they nice?

DAVID doesn’t answer.

77. EXT. BEACH--NEW YORK--DAY

On the beach, people take pictures of the enormous objects. By one family, a MAN stands before one object, his WIFE takes pictures. The MAN poses with a smile.

WIFE
Lean against it.

 MAN
What, like this?

He leans against the metal pod and we hear an audible SIZZLE. Quickly, he jumps and yelps in pain.

 MAN
(to everyone)
Hey, they’re hot!

Chatter erupts from the crowd.

78. BEACH FRONT--SAME

Realizing the apparent lack of danger, DAVID breaks into smile, looks to NATALIE.

DAVID
(cheery)
Let’s go see ‘em, huh?

NATALIE
Okay.

They start down the rocks onto the beach, LINDSY grows concerned, chases them.

LINDSY
David, David wait!

Behind them, we see NEWS VANS from various stations prepping for broadcasts.

79. BEACH--SAME

DAVID approaches one LONE POD, stands and smiles. NATALIE stands next to him, holding his hand, LINDSY comes from behind.

DAVID
Maybe they’re eggs.

NATALIE
Like whale eggs?

DAVID
I dunno, maybe.

LINDSY just stares.

WIDE SHOT. From behind DAVID, LINDSY, AND NATALIE. They are dwarfed by the size of the giant pod.

DAVID licks his lips, then leans down and picks up a rock, then hurls it at the pod, producing an audible CLANK. LINDSY SCREAMS and holds her heart.

LINDSY
Warn me next time, jackass!

DAVID laughs.

We hear POLICEMEN in the background, they are suddenly all over the beach, leading people off.

POLICEMEN
Okay, people, I’m going to have to ask you to leave the beach, we have to create a quarantined area, please, leave in an orderly fashion...

It continues indistinctly in the background.

LINDSY
David, let’s go.

He seems oblivious to the POLICEMENS’ orders. He stares at the pod, transfixed at its mystery. 

A POLICEMAN comes into the frame.

POLICEMAN
I’m sorry, folks, we’re going to have to ask you to leave the beach.

After a brief hesitance, DAVID breaks from his trance.

DAVID
Oh, yeah, let’s go.

They start off towards the road.

BEHIND THEM, we see an orange line begin to form down the middle of the pod...it is slowly, very slowly...opening.

80. INT. LINDSY’S MERCURY-RAINING-DAY

LINDSY drives her green mercury through the streets, DAVID sits next to her, and NATALIE in the back in her booster seat.

There is silence.

DAVID
Thanks for giving me a ride back to the garage.

LINDSY
   (preoccupied/driving)
Well, I’m not all mean. 

A beat. DAVID chuckles.

LINDSY
   (defensively)
I’m not!

DAVID
No one is.

81. EXT. CITY STREETS-NEW YORK-RAINING-DAY

As the green mercury turns a corner, a NEWS VAN speeds past and almost tips over at a sharp turn.

82. INT. LINDSY’S MERCURY-RAINING-DAY

DAVID stares down the news van.

DAVID
(sarcastic)
Wonder where they’re going?

83. EXT. BEACH FRONT--SAME

Some people are leaving the beach, others aren’t so obedient. The NEWS VAN from (82) skids into the crowded parking lot; CREWMAN and a REPORTER hastily stumble out.

REPORTER
(to crew)
Come on, people, let’s go! Move it, move it!

As they head for the beach, a POLICEMAN stops them.

POLICEMAN
I’m sorry we’re not letting anybody onto the beach at this time.

84. EXT. BEACH--BY LONE POD--SAME

Another POLICEMAN (#2) who directed DAVID off the beach still stands by the lone pod. He is startled by a strange SIZZLING sound echoing from it.

85. EXT. BEACH FRONT--SAME

The REPORTER argues with POLICEMAN #1.

REPORTER
What do you mean we can’t go to the beach, we need closeups.

POLICEMAN #1
I’m sorry that’s the way it is.

REPORTER
Look, we belong to channel 5-

POLICEMAN
(interrupts)
I don’t care who you belong to.

Behind them, POLICEMAN #2 continues to look worried.

86. EXT. BEACH--BY LONE POD--SAME

The POLICEMAN #2 backs off as the POD continues to split down the middle...it is OPENING. Inside, we see nothing but an orange glow and steam bursting through the opening. 

POLICEMAN #2
(preoccupied)
Hey Frank!

87. EXT. BEACH FRONT--SAME

POLICEMAN #1 refrains from arguing with the REPORTER and turns to see all the pods opening. 

POLICEMAN #1
(quietly)
Holey moley...

The CAMERAMAN lifts his camera.

88. EXT. BEACH--SAME

WIDESHOT. It appears that all of the PODS are opening simultaneously. People cautiously back off as they (pods) majestically crack open and their spherical shaped split into semi-circles, revealing orange glows and dense clouds of steam. 

A beat for dramatic effect.

Suddenly, what appear to be GLOWING GREEN EYES light up behind the walls of steam, and slowly, the ROBOTIC ARMY emerges from the eggs. People stare in awe as the army emerges. The first ones, are mid-sized (relatively) about twenty-feet tall, with a humanoid-like robotic torso and head. Strange fixtures, which we can only assume to be weapons, make up the hands, which are about five-feet wide themselves. The most noticeable feature, though, is their legs; not just two, but four legs, moving in spider-like motions. 

The second robot we notice are FLYERS, they are relatively small, about the size of a SUV with two robotic wings and insect like talons. Finally, we see the grandaddies of the robotic army, two enormous robots with 6 legs...they look suspiciously like giant robotic BEETLES.

After these introductions, the army, in unison, moves towards the beach front in dramatic fashion, and then, for no apparent reason, STOPS in conjuncture with the thousands of stares coming from the crowd.

Silence.

Some brave souls move towards the army, others move away. The CAMERAMAN drops his camera. No one moves, man nor machine. Suddenly, a DOG breaks loose and runs onto the beach. It snarls and barks before one of the giant MAN-BOTS (humanoid-like, spider legs). After a brief hesitance, a blue ball of energy fires from one of the MAN-BOT’S guns, blasting the DOG into oblivion. An AWE races across the crowd, before the begin to retreat into the city. Now, all guns are blazing, as the FLYERS take to the sky and the other bots blow holes into the fleeing crowds off terrorized citizens.

89. INT. LINDSY’S MERCURY--DAY

In the rearview mirror, LINDSY spots a crowd of people running around a corner at an intersection.

LINDSY
David...

DAVID is falling asleep, NATALIE is completely knocked out.

DAVID
(drowsy)
What?

She points to the mirror. DAVID turns around to see the crowd suddenly explode into dust and flame as an enormous BEETLE-BOT marches over where they once were.

LINDSY screams in panic as the car swerves all over the road, NATALIE awakens and cries, DAVID takes the wheel and gets it steady.

LINDSY
Holy-

Before she can finish, the car next to her suddenly lifts from the ground and is carried into the sky by a FLYER, where it is then flung into a nearby building.

DAVID and LINDSY maneuver about until they have switches places.

90. EXT. CITY STREETS--SAME

All over the place, cars are being carried off into the air by numerous FLYERS; some are dropped or thrown into buildings, others are just carried off to who knows where.

Some FLYERS aren’t just taking cars, they’re taking PEOPLE. A woman trips on the ground on a sidewalk and before she knows it is being lifted off into the sky, screaming and kicking. Other people flee to escape the barrage of laser-like fire often shooting from the deadly FLYERS.

91. INT. LINDSY’S MERCURY--SAME

LINDSY
Oh my god, David!

Behind them, we see a FLYER approaching.

92. EXT. CITY STREETS--SAME

A FLYER has locked onto LINDSY’S CAR. It ceases fire and we see a stream of blue emit from its rear as it throws itself into full speed, chasing down the helpless green car.

93. INT. LINDSY’S MERCURY--SAME

NATALIE continues to cry. LINDSY looks back in fear as the FLYER gains.

LINDSY
Come on!

DAVID doesn’t speak, he presses harder on the gas pedal while trying to avoid other cars and pedestrians.

94. EXT. INTERSECTION--SAME

LINDSY’S CAR passes through the intersection with the FLYER no more than a few feet behind, that is until it is suddenly SLAMMED by a TRACTOR TRAILOR crossing the intersection. The FLYER rolls on the ground in a barrage of short-circuitry and sparks while the TRACTOR TRAILOR flips onto its side.

95. EXT. CITY STREETS--MOMENTS LATER

LINDSY’S MERCURY starts into a seemingly untouched part of town.

96. INT. LINDSY’S MERCURY--SAME

LINDSY pants heavily.

LINDSY
David, what was that?

DAVID 
I don’t know.

Suddenly, a LARGE METAL LEG stomps onto the hood of the car. LINDSY screams.

97. EXT. CITY STREETS--SAME

A MAN-BOT has slammed down onto the car’s hood with one of its four robotic legs. It looks down at the passangers, a look of pure evil in its robotic eyes.

98. INT. LINDSY’S MERCURY--SAME

Thinking quickly, DAVID shifts the car.

FOCUS ON:

The GEAR SHIFT goes from D (drive) to R (reverse).

99. EXT. CITY STREETS--SAME

The CAR backs out from under the MAN-BOT and it slips to the ground. As LINDSY’S MERCURY speeds into reverse, the MAN-BOT lifts itself back up and starts to give chase, only to be distracted by the swarms of POLICE CARS that slam itnto it.

DAVID backs the MERCURY into an alley, then it starts out again in the opposite direction of the man bot.

100. INT. LINDSY’S MERCURY--SAME

LINDSY suddenly jumps.

LINDSY
Look out!

101. EXT. CITY STREETS--SAME

LINDSY’S CAR swirves to escape a falling POLICECAR thrown by the MAN-BOT.

CUT TO:

102. EXT. FRONT OF SMITTY’S GARAGE--DAY

LINDSY’S CAR pulls in front of the garage. People in this part of town seem oblivious to the destruction taking place on the other side; they watch DAVID, LINDSY, and NATALIE get out of the car and power-walk into Smitty’s quite curiously.

103. INT. SMITTY’S GARAGE--SAME

They walk into a cellar; DAVID slams the door shut and we hear it lock from the other side.

Beat.

CUT TO:

104. EXT. RUINED ARCTIC BASE CAMP-DAY

MARCUS and STEVE pillage through the debris and wreckage. MARCHS suddenly stops suspiciously.

STEVE
What it is it?

MARCUS doesn’t answer, he immediately rushes for his SUV and thrusts open the door.

105. INT. MARCUS’ SUV-DAY

He fins his SATELLITE PHONE lying on the front seat. It is ringing loudly. 

106. EXT. RUINED ARCTIC BASE CAMP-DAY

Answers phone.

MARCUS
David!

DAVID
   (filtered)
Oh, Mar-thank-

The voice is staticy and inaudible. 

107. INT. BASEMENT-SMITTY’S GARAGE-DAY

DAVID hits the phone.

DAVID
Hello…Marcus? Can you hear me?

MARCUS
   (filtered)
David, David listen to me-

108. EXT. RUINED ARCTIC BASE CAMP-DAY

MARCUS (CON’T)
David, I don’t know if you can here me, but listen. We found something buried in the ice, we don’t know what it is, but the entire camp has been destroyed.
   (a beat)

109. INT. BASEMENT-SMITTY’S GARAGE-DAY

MARCUS (CON’T)
   (filtered)
I don’t know what’s going on, but listen. We found a map, New York was circled, I don’t know what that means, but promise me that if something happens, take care of Natal-

The line dies.

He pulls the phone away.

DAVID
   (to self)
I will.

110. EXT. RUINED BASE CAMP-DAY

MARCUS pulls the phone away and throws it into the car. He looks over at STEVE.

MARCUS
Let’s go.

STEVE
Where are we going?

They both climb into the car.

MARCUS
Wrigley’s research, bout an hour west.

The car takes off into the ice field.

BACK AT THE CAMP, the ground starts to slightly smoke and melt.

FADE TO: BLACK

111. EXT. NEW JERSEY BASE-DAY

Thousands upon thousands of people have jammed the enormous New Jersey camp. It is make shift, set up within hours to accommodate all the refugees from New York. People are gathered everywhere; doctors wrap injuries, camera men and news reporters scurry about searching for stories.

A REPORTER shouts in front of a CAMERAMAN trying to keep his voice above the roar of the crowd.

REPORTER
The sound is uproarious, hundreds of thousands have fled the city in the wake of these unexplainable events, we believe many are dead, at least a million unreported-
   (a beat, looks at camera)
-um, we still don’t know exactly how many people are missing, but we can only hope…

His voice tapers off.

We hear a MAN’S VOICE; it is GEN. GUNNER (50’s).

GUNNER (V.O.)
So does anybody know anything?

112. INT. WAR ROOM-NEW JERSEY BASE-DAY

TECHNICIANS scurry about doing random jobs. A TABLE sits in the middle of the room, upon it are scattered papers and photos. MEN draped in military attire sit around the table, GEN. GUNNER sits at the top.

A weak-looking man, ORITZ, dressed in a white dress-shirt sits near the general.

ORITZ
A sweep of the area shows that whatever these things are, they’re not straying beyond Manhattan.

GUNNER
Why Manhattan?

ORITZ
Well, that’s one of the many questions we have yet to answer.

An ADVISOR speaks.

ADVISOR
Have we looked at the possibility that these things may be extra terrestrial?

ORITZ
   (nervously)
Uh, yes we have, and we’ve kept in check with several SkyWatch authorities and have confirmed that nothing has pierced that atmosphere even remotely near New York of that size.

GEN. GUNNER
What about our advisor?

ORITZ
Our what, sir?

Hesitates, motioning his hands trying to remember.

GEN. GUNNER
Our science advisor, where is he? He might provide some answers.

ORITZ gets nervous.

ORITZ
Oh, well, actually I was just getting to that, he’s uh, he’s-

GEN. GUNNER
   (annoyed)
Out with it.

ORITZ
He was stationed, at station nine in the Arctic for some research on new metals, and we have some-
  (hesitates, starts looking through files)
-some pictures of the site, taken just a few hours ago.

ORITZ looks through various files, and eventually goes to a PROJECTOR sitting at one end of the room. He activates it. On the wall on the opposite side of the room is an AERIAL PHOTO of the destroyed ARCTIC BASE CAMP.

Various ‘oohs,’ and ‘ahhs’ usher throughout the room.

GEN. GUNNER
   (quietly)
Jesus.

ORITZ
This is station nine, approximately one hour ago. 

GEN. GUNNER
How’d we get these?

ORITZ
We have a base a few miles north of station nine, they took these photos from some passing planes when they got wind of what happened.
   (a beat)
No reported survivors.

The mood darkens. GEN. GUNNER waves off the projector.

GEN. GUNNER
Mr. Oritz, do we have reason to believe, that this accident is connected?

A beat.

ORITZ
Well, we can make an assumption-

GEN. GUNNER
   (interrupts)
Do we have any reason to believe, Mr. Oritz?

ORITZ
   (after a beat)
Yesterday station nine reported losing two individuals, they were charred to death by isolated extreme heat. Just like what these things are doing.

There is a long silence. 

The ADVISOR leans forward.

ADVISOR
General Gunner, with all do respect I think it’s obvious that whatever these things are, they’re not friendly. And I think it would be an enormous risk of life if we do not act now.

GEN. GUNNER
If we act now without proper information we may be risking more lives.

Suddenly, a SCRAWNY SEARGENT rushes in, looking nervous. He salutes.

SEARGENT
General Gunner-

GEN. GUNNER
What is it?

SEARGENT
   (nervous)
We, uh, something happened, sir.

Everyone looks at each other.

113. EXT. OUTPOST-REFUGEE BASE-DAY

The SEARGENT, the ADVISOR and GEN. GUNNER stand atop a makeshift rickety tower with BINOCULARS. GEN. GUNNER looks through them.

P.O.V. GEN. GUNNER THROUGH BINOCULARS. We are looking across the river at Manhattan island; smoke billows from the sea of glass, but other than that, all is still. 

GEN. GUNNER (V.O.)
What am I looking at?

SEARGENT
A few minutes ago everything ceased. The machines, they, they stopped moving and seemed to just shutdown. 

He puts down the binoculars and squints out at the crumbled city. The ADVISOR leans over.

ADVISOR
   (whisper)
You’re holding the keys, sir.

GEN. GUNNER sighs.

114. WRIGLEY’S BASE--ARCTIC--DAY

MARCUS’ SUV pulls into the base, which is much larger and much more permenant-looking than the destroyed base. CONNANT, a large, burly man, approaches the SUV, a smile on his face. He obviously doesn’t know the situation.

The doors to the SUV open.

CONNANT
(happily)
Marcus Turner, my dear friend, I haven’t seen you in ages!

He gives MARCUS a nudge.

CONNANT
What are you doing up here, you old dog? It sure would be nice to find out what’s going on in North America, we lost communications no more than an hour ago.

MARCUS pants and holds CONNANT’S SHOULDERS.

MARCUS
Connant, we need a plane.

A beat.

CONNANT
A plane?
(beat)
Why?

115. INT. BASEMENT--SMITTY’S GARAGE--DAY

DAVID throws a few boxes aside and pulls out an OLD TELEVISION SET. He puts it on a box in front of himself, NATALIE, and LINDSY.

Messing with the dials.

DAVID
Come on, come on…

Finally, he hits it, and, voila, it pops on. 

DAVID
   (quietly)
Thank you.

On the screen, we see what appears to be a news broadcast. It shows the REFUGEE camp and offers commentary.

COMMENTATOR
   (filtered)
-recorded within the thousands. At least a million are still unaccounted for, and every minute thousands flood into these refugee camps set up by the military-

The COMMENTATOR stumbles for a minute, then continues.

COMMENTATOR
(stuttering)
We’re just recieving word that it appears that some of the-um-robots, if you will, have ceased fire, and, we’re still not sure what’s happening-

Abruptly, the television zaps off and the lights go out.

LINDSY
What happened?

DAVID
Power went out. They might have gotten to some, some power lines, or something.

He looks over at NATALIE, she appears to be sleeping, her head resting on LINDSY’S lap. She is pale, very pale, and sweating.

LINDSY
David-
(beat)
-she’s sick.

DAVID leans down and feels her head.

DAVID
How sick?

LINDSY hesitates.

LINDSY
Well, I don’t know-

DAVID doesn’t let her finish, he exits the room for a second.

LINDSY
Where are you going?

He returns moments later with a PAPER THERMOMETER. Hurredly, he unwraps it and sticks it under NATALIE’S toungue. Moments later, he reads it.

FOCUS ON:

The thermometer reads 101º.

LINDSY
Standard fever, do you have any motrin?

DAVID gets up and leaves the room again. LINDSY cradles NATALIE and coos to her. DAVID returns with several bottles of medecine; he fumbles through them.

DAVID
(preoccupied)
Excedrin, tylenal cold, tums, no motrin.

LINDSY
Anything for fevers?

He looks through the details on each bottle and throws them to the ground.

DAVID
(preoccupied)
No, nothing.

A beat.

DAVID stands pale, watching his niece struggle to breathe in her sleep. He holds his head.

LINDSY
David, she needs help. She needs medicine, something.

He paces back and forth, before looking out the basement window.

P.O.V. DAVID. There is a CONVENIENCE STORE across the street; the window is smashed, but the rest of it looks to be fine.

He starts for the door.

DAVID
I’ll be right back.

LINDSY
Where are you going?

He rummages through some boxes and pulls out a really long BLACK RAIN COAT.

DAVID
(preoccupied)
There’s a store across the street, I’m going to go and find her some medicine.

LINDSY
(concerned)
Out there?

He puts on the rain coat and leans down in front of LINDSY, whose face is filled with fear. He holds up a battery-operated camping lamp and turns it on, sets it before her.

DAVID
(quietly)
Don’t answer the door, don’t go outside, and whatever you do, don’t you dare come looking for me.
(beat)
If someone knocks on the door, and it’s not me, it’s not someone you know, if it’s not human...hide.

He opens the door.

DAVID
Take care of her.

LINDSY
David, wait-

Too late, DAVID closes the door.

116. INT. SMITTY’S GARAGE--SAME

DAVID locks the door from the other side.

117. EXT. STREET OF SMITTY’S GARAGE--DUSK

It is strangely calm. DAVID, with the BLACK COAT draped over his head, moves slowly out of SMITTY’S and onto the sidewalk. He takes a second to absorb the view.

WIDE SHOT, LOOKING DOWN THE STREET. It is destroyed, windows are smashed, cars toppled over, there is no life in sight. Trash and debris roll on the ground like twigs in the desert. 

DAVID covers himself up completely and sprints across the street to the CONVENIANCE STORE. 

118. EXT. FRONT OF CONVENIANCE STORE--DUSK

He tries to open the door, but it’s locked. He then walks through the shattered window.

119. CONVENIANCE STORE--DUSK/NIGHT

It is dark.

Besides the smashed window, it is relatively undamaged inside. DAVID looks around, and immediately grabs as many bags of chips as he can, then drops it all when he sees the refrigerator. He opens it to reveal melted ice-cream, due to the power being out, but grabs a bottle of water. He gulps it down methodically. He finishes and drops the bottle, then moves over to a shelf of medicine. He scans the shelves for medicine.

DAVID
(quietly, to self)
Motrin, motrin, motrin...

He grabs one bottle and reads it. SUDDENLY, we hear the sound of a GUN COCKING, followed by a voice.

VOICE (O.S.)
What do you think you’re doing here?

FOCUS ON:

DAVID secretively slips the bottle of medicine into his pocket, then, recognizing his situation, puts his hands to the air, assuming the position.

Behind him, MICHAEL HANRATTY, 30’s/40’s, holds a pistol.

HANRATTY
I take it you weren’t planning on paying for those...

DAVID
(hesitantly)
Please, my niece, she’s sick.

HANRATTY puts the pistol to his side.

HANRATTY
Turn around, stranger.

DAVID turns, and seeing the gun put away, lowers his arms. HANRATTY  has a cigarette in his mouth, but it isn’t lit, and is sweating profusely, slightly out of shape. He sticks out his hand, DAVID hesitantly shakes it.

HANRATTY
Haven’t seen anyone alive in hours.

HANRATTY turns to some shelves and starts digging through packets of snacks and Twinkies, ripping them from their packages and eating them. DAVID just watches, mesmerized.

HANRATTY throws him a Twinkie, then speaks as he chews.

HANRATTY
You say your kid’s sick?

Beat.

DAVID
Yeah, and I really should be getting back to her.

HANRATTY
You left her alone? Jesus how old is she?

DAVID
No, she’s with someone, I mean, she’s four.

Another beat. We suddenly hear a strange buzzing outside. HANRATTY dashes for the smashed window.

HANRATTY
Shit!

DAVID follows him, both men look up into the night sky.

P.O.V. DAVID/HANRATTY. Ten or fifteen little balls of green light wisp around high in the air. One of them starts towards them.

HANRATTY quickly picks up a BLACK TRASH bag and covers up the smashed window, hiding behind the bag, DAVID follows suit. Intensity grows as the little ball of light seems to look inside the building through the glass door. It appears to be a small FLYING CAMERA, no bigger than a baseball, emitting a green light and flapping tiny robotic wings like a hummingbird. It hovers in front of the glass door for a moment, then flies off.

HANRATTY lets the trash bag fall as the rest of the FLYING CAMERAS buzz off. Both men go back by the shelves, HANRATTY sits down and opens a beer bottle.

DAVID remains awestruck and silent.

HANRATTY
You should wait a few minutes before you go back to wherever it is you’re going. I think those things are like scouts, snooping around the area, looking for people hiding. Like us...or your kid.

HANRATTY swallows a few gulps. 

DAVID
What do you know about those things?

Beat.

HANRATTY
I know they’re not very polite. I also noticed, that people are getting sick. About five kids, teenagers, came by my store, all sick. Didn’t last an hour.

DAVID looks at the floor behind HANRATTY. 

FOCUS ON:

There is a white sheet covering up what appear to be a mass of bodies; some jeans and tennis shoes stick out from one end.

DAVID holds his mouth, trying to hold back from vomiting.

HANRATTY
(distant)
Yeah. You know what I think? I think they’re doing it. The robots. I think they’re filtering out the weak ones.

DAVID
People, you mean?

HANRATTY
Yeah! I think they brought this disease with them. I was reading an article-

He directs our attention to a stack of magazines on the floor.

HANRATTY
-well, when you work in a place like this it’s either watch the Jets or read, I personally don’t like football. 
(beat)
I was, uh, I was reading an article, that said that all it takes is one little piece of code, out of the buildings that make up our DNA, our, you know, our stuff, our ingredients, people...anyway, it just takes one little piece, to determine whether or not we’re immune to something. It’s almost like, like they labeled us, labeled us before we were even born, which ones would die, and which ones would live.

He takes another swig of beer.

DAVID looks around, seeing the coast to SMITTY’S is clear.

DAVID
I’m leaving now. Okay?

HANRATTY nods.

DAVID turns to leave.

HANRATTY (O.S.)
You don’t like me very much, do you?

DAVID turns back to him.

HANRATTY
Cause if you did you’d offer to take me with you. Instead, you’re just going to leave me here.

A long beat.

DAVID
You’re better off on you’re own. The more people there are in one spot...the better chance they’ll find us. 

He turns back to the door.

HANRATTY
Do me a favor, before you go. 
(beat)
Take some food back to that little girl of yours. Water, too, get her metabolism flowing.

DAVID doesn’t respond, her grabs a few bags of snacks off a nearby rack and opens the door to leave.

HANRATTY (O.S.)
I’ll pray for you.

DAVID turns.

DAVID
Thank-you...

HANRATTY
Hanratty, Mike Hanratty. 

DAVID nods, then leaves.

120. EXT. FRONT OF CONVENIANCE STORE--NIGHT

DAVID walks with his food, he stops suddenly when we hear a GUN SHOT go off behind him. It came from within the store. HANRATTY shot himself. DAVID makes a cross, then, freezes; a buzzing sound fills the air. 

Like angry bees, five FLYING CAMERAS turn the corner, attracted by the sound of the gunshot. DAVID takes off for SMITTY’S, it is only now that they give chase to him. 

121 EXT. FRONT OF SMITTY’S--NIGHT

One of the balls hits DAVID on the arm and gives him a small electric shock. He drops some of the food and bats the FLYING CAMERA away; it shatters against the wall of Smitty’s. He darts inside.

122. INT. SMITTY’S GARAGE--SAME

DAVID bolts inside and slams against the door to the basement. He beats his fists down upon it.

DAVID
Let me in! Let me in! Lindsy! It’s me!

The FLYING CAMERAS zoom into the building. The door to the basement opens, LINDSY stands behind it. DAVID pushes her aside and runs in.

123. INT. BASEMENT--SMITTY’S--SAME

DAVID quickly slams the door shut and locks it. In that same instant, three of the FLYING CAMERAS slam into the other side, causing comical metal protrusions. 

Outside, we can hear at least one FLYING CAMERA still buzzing. It lasts only moments, then fades away.

DAVID and LINDSY stand panting.

LINDSY
(to DAVID)
Did you get it?

DAVID realizes what she’s talking about and fumbles through his pockets, where he produces a bottle of Motrin.

FADE TO:

124. EXT. NEW JERSEY AIR FORCE BASE--MORNING

A large plane is parked on an air strip with various men and militaristic women scurrying about.

125. INT. LARGE PLANE--NJ BASE--SAME

MARCUS sleeps in a seat, STEVE awakens next to him.

STEVE
(sleepily)
Marcus, Marcus, wake up.

He awakens and looks out the window.

P.O.V. MARCUS. The base is teeming with people, he has no idea what’s going on.

126. EXT. NJ AIR BASE--SAME

MARCUS and STEVE are being led down a stair case from the plane. ON the ground, they meet GEN. GUNNER and ORITZ, along with several other random military officials.

GEN. GUNNER
Doctor Marcus Turner?

MARCUS
Yes.

GEN. GUNNER
Are you aware of our present situation?

MARCUS looks back at STEVE, who shrugs. Both are oblivious to the destruction in Manhattan.

CUT TO:

127. INT. MAKESHIFT WAR ROOM/TENT--BASE--MORNING

The first thing we see is a translucent aerial map of Manhattan on a light table. PAN UP, to reveal the rest of the war room. GEN. GUNNER, STEVE, MARCUS, and ORITZ stand around the light table.

GEN. GUNNER
This is a standard satellite topographical map of the island of Manhattan as of 3 days ago.

It looks normal, much detail is difficult to point out. ORITZ lays another translucent map over top of it. GASPS arise, as we see the map shows much destruction of Manhattan, with broken buildings, or buildings missing altogether.

GEN. GUNNER
This is Manhattan as of two hours ago. 

STEVE
(from back)
Jeez...

ORITZ steps in. MARCUS looks stunned.

ORITZ
So far we’ve only been able to determine that these things, whatever they are, haven’t strayed from the island and have reframed from firing weapons. 
(beat)
Instead-they seem to be releasing some, some chemicals into the air. But we haven’t been able to figure out exactly what, it, uh, is.

There is a long beat. MARCUS just stares into the distance.

GEN. GUNNER
We’d appreciate it if you could tell us something.

MARCUS
We found a ruin, buried in the ice. We went to explore it, and found a map of the world, an old map, predating the first super continent.
(beat)
When we got back, the camp was gone. That’s all we know.

Beat.

MARCUS
General Gunner, what do you plan to do?

Pause. He looks to ORITZ.

GEN. GUNNER
Obviously, in this situation, we have to be sensitive the probability of human losses, so we’ve decided on a plan of action that involves aerial strikes from all major points of the city.

He points to different locations on the map.

GEN. GUNNER
With these things in some sort of rested state it shouldn’t be too difficult; we’ll take out the whole damn island if necessary.

MARCUS’S face turns bleak, he looks up.

MARCUS
There are people there.

Beat.

GEN. GUNNER
We have to accept the fact that there will be casualties. Most of the people have already been evacuated, the rate will be at a minimum.

MARCUS just stares into space.

GEN. GUNNER
The strike begins tomorrow.

CUT TO:

128. EXT. NEW JERSEY BASE--MORNING

MARCUS is loading up and SUV with various supplies. STEVE walks by.

STEVE
I hope you’re not doing what I think you’re doing.

He doesn’t answer, he opens the driver-side door and gets in. 

129. INT. MARCUS’ SUV--SAME

MARCUS starts the engine. STEVE suddenly opens the passenger door and gets in.

MARCUS
What are you doing here?

STEVE
Hey, I’ve come this far.
(beat)
I think you might need some help.

MARCUS’ face tells us that he disagrees with STEVE’S decision, but we suddenly see an INSERT of STEVE falling down the PIT from the beginning. 

He nods.

MARCUS
Okay.

130. EXT. NEW JERSEY BASE--SAME

The SUV starts off out of the base and down the road.

STEVE (V.O.)
Let’s go get your kid.

CUT TO:

131. EXT. SMITTY’S GARAGE--MORNING

Establishing.

The windows are smashed and the concrete shows murals of black charring.

132. INT. BASEMENT--SMITTY’S--SAME

DAVID awakens from an apparent nightmare. He looks to see NATALIE, sitting Indian style listening to a battery-operated radio. She looks much healthier.

NATALIE
I’m feeling better now.

DAVID forces a smile, LINDSY is still asleep on some boxes. He nudges her.

DAVID
Wake up.

She awakens drowsily.

LINDSY
(sleepy)
How is she?

They both look over at NATALIE as she listens to various reports.

DAVID
I think she’s doing better now.

LINDSY
That’s good. 

She gets up, shaking off sleep, and goes to the window. It is too charred and dirty to really see anything besides the orange glow of the sun. DAVID tries to avoid being loud, directing everything to LINDSY.

DAVID
We have to get off this island.

Beat.

LINDSY
They’ll send people, they’ll send people to come find us.
(beat)
David, we should just stay here, we’re safe here; we’ve got food, water-

He gently holds her shoulders and looks her in the eyes.

DAVID
I was up, most of the night, listening to reports. 

He looks back at NATALIE, to make sure she isn’t listening.

DAVID
They’re isn’t going to be an evacuation, there are no people coming to save us, Lindsy. 
(long beat)
They’re going to blow up the whole damn city.

She soaks the info in.

LINDSY
When?

DAVID
Tomorrow...we have two options. We can stay here, and try to ride it out, or we can make a break for it. You saw what those things did, Lindsy, you saw it, now imagine what it, plus everything the military has. We’d have no chance; even if we survived direct impacts, the smoke, debris, that get to us.

Beat.

LINDSY
So what do we do?

DAVID turns around, slightly frustrated.

DAVID
(preoccupied)
We’ll never make it all the way across town to the bridge, I haven’t really been able to-

He stops suddenly, and looks at something in the distance.

LINDSY
What is it?

He approaches a stack of magazines in the corner and lifts up the first magazine on the stack.

FOCUS ON:

It is a SAILING MAGAZINE, with a picture of a SAILBOAT on the cover.

DAVID’S eyes light up. NATALIE speaks up.

NATALIE
Hey!

All eyes turn to her. She is talking to the radio, it appears to be echoing nothing but static. She hits it...nothing.

BOOM. 

The sound fills the room, as dust falls from the ceiling.

Then silence.

LINDSY
What was that?

Suddenly, an enormous robotic arm PUNCHES through the ceiling. Debris and dust fly, as various screams from all characters shout out. DAVID grabs NATALIE and pins himself, her, and LINDSY against the opposite wall.

The robotic arm retracts, but then, another, and together both violently rip the ceiling, shattering the beams and concrete, until a gaping hole reveals the metal face of an enormous MAN-BOT looming down below. It stares at them, and a TUBE protrudes from it, seeping down into the basement through the hole in the ceiling. Almost instantly, a strange gas emits from the TUBE, quickly filling the air.

DAVID
Run!

The two run out of the basement, DAVID clutches NATALIE.

133. EXT. FRONT OF SMITTY’S--DAY

DAVID, NATALIE, and LINDSY rush out of the store and quickly hop into LINDSY’S severely damaged car. Behind them, the giant MAN-BOT is leaning over the now destroyed SMITTY’S. It sees the fleeing people, and tries to retract its arm to no avail...it is stuck in the debris. Hastily, the metal giant takes to freeing itself.

134. INT. LINDSY’S CAR--SAME

DAVID turns the keys in the ignition...nothing. It won’t start. Through the window, we see the iron giant still struggling to free itself from its own mess.

LINDSY
Come on!

DAVID
(preoccupied)
I’m-trying!

135. EXT. FRONT OF SMITTY’S--DAY

The MAN-BOT frees itself and brushes off.

136. INT. LINDSY’S CAR--SAME

The car miraculously starts.

DAVID
Yes!

137. EXT. STREETS--SAME

The car takes off down the street, the MAN-BOT follows suit, chases them. Shots are fired as the bot fires; the CAR careens out of the way.

138. INT. LINDSY’S CAR--SAME

Through the back window, above NATALIE’S head, we can see the MAN-BOT quickly moving its four legs, chasing them.

LINDSY
It’s chasing us!

DAVID
(semi-sarcastic)
I know!

He spins the wheel.

139. EXT. CITY STREETS--SAME

The car swerves around a corner, as the MAN-BOT tries to accomplish the same feat, it slips, but quickly gets up and resumes the chase.

140. INT. LINDSY’S CAR--SAME

Everyone but DAVID is looking back at the MAN-BOT regaining its bearings and catching up to them. Suddenly, everything goes dark, cast in shadow.

DAVID
(quietly)
What the...?

141. EXT. CITY STREETS--SAME

The car drives underneath an enormous BEETLE-BOT. The mechanized beast takes up the entire width of the street and seems oblivious to the tiny car driving under it, between its six legs. The MAN-BOT  appears to have disappeared.

Suddenly, as the car begins to reach the other end of the BEETLE-BOT, the chasing MAN-BOT seems to fall from the sky and lands a few hundred feet in front of them-it jumped atop the BEETLE-BOT and ran across the top.

142. INT. LINDSY’S CAR--SAME

DAVID
Oh, shit!

He turns the wheel and takes off down and alley; the car barely fits. The MAN-BOT tries to squeeze through the alley, but can’t fit. Eventually, as the car pulls further away, it gives up.

143. EXT. CITY STREETS--OTHER SIDE OF ALLEY--DAY

LINDSY’S car pulls to safety into a ruined street. It takes off quickly, for the time being, safe.

144. INT. LINDSY’S MERCURY--SAME

LINDSY looks back and pants. NATALIE is wiping away tears.

LINDSY
I think it gone, now.

She sits back in the chair.

LINDSY
So what’s your plan?

DAVID remains silent.

CUT TO:

145. EXT. REFUGEE CAMP--GLOOMY DAY

The crowd is enormous; cars are lined up everywhere, people scurry about in drones, military aides pack and unpack boxes of supplies and equip tents. It is total madness, and is part of the refugee camp. In the background, we see a beautiful (well, good special FX) shot of Manhattan smoking and damaged, and the Brooklyn Bridge stretching across.

FOCUS ON:

MARCUS’ SUV slowly moves through an immensely slow traffic line among jeeps and military hummers. 

146. INT. MARCUS’ SUV--SAME

STEVE points.

STEVE
There, there-

P.O.V. STEVE/MARCUS. There is an exit ramp that is blocked off with cones, a STREET SIGN above it reads “BROOKLYN BRIDGE EXIT.”

147. EXT. REFUGEE CAMP--SAME

Slowly but surely, the SUV creeps out of the traffic line and starts for the exit. It’s close, but two MILITARY POLCEMEN, MP badges on their sleeves, jump in front of the way. The SUV stops. One of the MP’S approaches the driver’s side window.

148. INT. MARCUS’ SUV--SAME

The window rolls down. The MP looks in at MARCUS.

MP
I’m going to have to ask you get back to the camp, sir.

MARCUS smooth-talks.

MARCUS 
Look, my name is Marcus Turner, I’m a military science advisor.

MP
I don’t care, sir.

Beat. He thinks.

MARCUS
Look I have permission from General...

He stalls on the name.

STEVE
(quietly)
Gunner-

MARCUS
Yeah, we have permission from General Gunner to go and do a final read through of the area before, we uh, before we blow the place.

A long beat. The young MP stares at him, then backs off slightly and takes out a walki-talkie. 

MP
(into walkie-talkie)
Yes, this is Conners I need to speak to Sergeant Gray about clearance.

He continues to talk into the walkie-talkie indistinctly. STEVE taps MARCUS on the shoulder and points with his eyes.

P.O.V. MARCUS/STEVE. The other MP who’s not busied with the walkie-talkie, is blowing his nose; sick. 

149. EXT. BROOKLYN BRIDGE EXIT--SAME

While one MP talks on the mic, and the other blows his nose, the SUV suddenly speeds off through the barrier of cones and up the exit ramp.

MP
Hey!

The two MP’S give chase, but then give up.

MP
Fuck ‘em!

He lifts up the walkie-talkie.

MP
(into talkie)
Um, cancel that.

CUT TO:

150. EXT. DONALD TURNER’S HOUSE--DOCKS--DAY

The air has thickened with moisture and the skies are not blue, but a stale shade of gray. LINDSY’S CAR pulls up to the dock house.

PAN UP. The house is completely destroyed, obliterated, charred, with smashed glass and smoking plywood littering the area. Luckily, the BOAT is still tied to the slip behind the wrecked house, still in good condition.

151. INT. LINDSY’S CAR--SAME

DAVID gasps and starts slowly panting, almost teary. He looks over at LINDSY, who, too, is in slight shock. He struggles to speak.

DAVID
Cover Natalie’s eyes; don’t let her open them, for any reason, ok?

She nods nervously.

CUT TO:

152. EXT. DONALD TURNER’S WRECKED HOUSE--DOCKS--SAME

The three are standing in front of the wrecked house. NATALIE stands in front of LINDSY, who covers his eyes. After a beat, the trio begin to walk over the ashy, charred remains of the house. 

NATALIE
What is that?

DAVID
(nervously)
Nothing, baby.

NATALIE
It feels funny.

She’s referring to the ashy texture of the burnt ground. DAVID steps down on something, he leans down and picks up a partially burnt picture of his father and mother. He stares into the distance, then the three continue on. He begins to cry.

DAVID
Don’t open your eyes, baby-
(softer)
-don’t open your eyes.

153. EXT. DOCKS--SAME

DAVID immediately goes over to a rope holding tying the boat to the dock and unwraps it, but the boat doesn’t move. 

DAVID
(quietly)
Shit.

LINDSY
What’s wrong?

CUT TO:

154. INT. CABIN--YACHT--DAY

The door opens to a darkened cabin, DAVID flips a switch on the wall to reveal the floor is flooded with about two feet of water. He, LINDSY, and NATALIE, look around.

DAVID
We’re not going anywhere-

He rushes over to a nearby pump and tries to press down on it, but his struggles are futile. He pants, drained of energy.

DAVID
We’re just going to have to wait it out.

LINDSY
In here?

He nods. NATALIE starts up the stairs for the door, curious.

NATALIE
Where’s grandpa?

DAVID rushes up to her and slams the door shut before she can leave.

NATALIE
What’s wrong.

DAVID
Do not, go outside, do you understand me? Do not!

She nods innocently. 

LINDSY
David-

He looks over, she is holding a phone, the chord on a hanger on the wall; there is an audible dial tone coming from it. Hastily, he rushes over, wades through the water, and takes the phone. He dials.

155. EXT. BROOKLYN BRIDGE--DAY

Establishing.

MARCUS’ SUV speeds across the bridge.

156. INT. MARCUS’ SUV--SAME

MARCUS’ cell phone rings, he answers quickly, talks while driving.

MARCUS
David!

157. INT. CABIN--YACHT--SAME

DAVID sits down on a nearby COT, next to where NATALIE has laid down.

DAVID
Marcus, oh thank-god!

The next scenes go in between both sets.

MARCUS
David, listen to me, before we only have a few minutes. Listen, I think they can intercept signals. Radios, phones, anything.

DAVID looks over at NATALIE, who is falling asleep, and remembers the radio going out.

LINDSY
Oh my, god, the radio.

MARCUS
(over phone)
Listen, I’m going to meet you somewhere-

DAVID
Wait a minute, you’re here?

MARCUS
Yes, I’m coming now.

DAVID
Where?

MARCUS
I can’t tell you. No matter what you do, do not tell me where you are, do not even give me a clue! Do you understand me?

DAVID
Why?

MARCUS’ voice goes softer, more sinister.

MARCUS
(quietly)
Because they’re listening. 

A beat. 

MARCUS
How’s Natalie?

DAVID looks over at her.

DAVID
She’s. she’s fine. Look, Marcus, dad-

Suddenly, static is all we hear, and then, the phone goes off the hook.

158. INT. MARCUS’ SUV--SAME

His phone goes dead. He puts it down slowly and continues driving.

STEVE
So what are we going to do?

MARCUS hesitates.

MARCUS
I don’t know. 
(softer)
We’ll find them.

159. INT. CABIN--YACHT--DAY

DAVID puts the phone back on the hook and SIGHS.

LINDSY
Is he coming, your brother?

DAVID forces a smile, then looks to NATALIE, who is once again looking pale and sweating.

NATALIE
Uncle Dave, I don’t feel good.

LINDSY comforts her. DAVID searches for the bottle of motrin, which he finds floating in the water, the cap open, the pills gone.

DAVID
Oh, no.

He picks up the bottle and reads it.

FOCUS ON:

On the bottle, in small print read the words “FOR TEMPORARY RELIEF OF FEVER SYMTPOMS.” He immediately heads for the various cabinets along the walls and violently throws out foods, cans, and other goods. 

DAVID
Shit, shit, shit!

Nothing. He sits down in the water and leans against the counter in frustration. He is crying when he looks up to a scared LINDSY and nearly-asleep NATALIE.

DAVID
All we can do, is just stay here-
(beat)
-I don’t think we’ll sink, and if we do, we’re not deep enough to-
(beat)
-we’ll just ride it out.

He dips his head and closes his eyes, drifting off to sleep. 

FADE TO:

160. EXT. CITY STREETS--DAY

MARCUS’ SUV races along the wrecked streets.

161. INT. MARCUS’ SUV--SAME

STEVE looks around in wonder.

STEVE
I never thought I’d ever see anything like this.

They pass a SCHOOL, through the windows we can see that there is an enormous hole in the wall, exposing the wrecked desks inside. STEVE shakes his head in disgust.

MARCUS
It all goes back to Molina.

STEVE
Not this again. So what does Mr. Molina think it is?

MARCUS 
Remember how I told you before that he suggested that human beings have a subconscious tendency to avoid past mistakes, well I think these things, whatever they are, I think there war machines, equal to a tank or a fighter jet.

Beat. STEVE isn’t buying it.

STEVE
And who built these?

MARCUS
I think they were built by people, people that might’ve lived before us, before-

BOOM!

Before he can finish his sentence, a LARGE ROBOTIC LEG, from one of the BEETLE-BOTS, slams down in front of them. 

162. EXT. CITY STREETS--SAME

The car comes to an abrupt stop as the BEETLE-BOT stands right over them, its massive head, which has one very large camera-lens eye, leans down towards the windshield.

163. INT. MARCUS’ SUV--SAME

MARCUS looks over at STEVE as the ENROMOUS EYE, as big as the SUV itself, approaches them.

MARCUS
Hide!

STEVE, though nervous, unbuckles his seat belt and dashes for the back seat, MARCUS follows suit, they both duck below the chairs and out of sight, breathing heavily, frightened.

164. EXT. CITY STREETS--SAME

The eye reaches the windshield of the SUV and examines it closely, peering inside. It seems to be zooming in and out, as determined by the series of mechanical hums ushering from underneath the glass hood.

165. INT. MARCUS’ SUV--SAME

In the back seat, both men hide. They speak as quietly as they can, but the chill running down their spines is still very, very evidenced. Through the windshield, we can see the GIANT EYE still searching.

STEVE
Marcus, what the hell is that thing?

MARCUS
One of those things they showed us back at the base. 

A beat.

STEVE
Hey Marcus, do you think one of them got our base?

MARCUS has never thought of this before. Suddenly, his train of thought is interrupted by a strange hissing sound; the BEETLE-BOT is apparently releasing some strange chemical into the air.

STEVE
What’s it doing?

MARCUS
I don’t know.

166. EXT. CITY STREETS--SAME

The BEETLE-BOT finishes spilling out the strange gas, then, as quickly as it appeared, lumbers down the street and disappears around a corner, while ripping the side of a wall out as it tries to squeeze its massive bulk around.

167. INT. MARCUS’ SUV--SAME

Both men jump back up front and watch as the BEETLE-BOT disappears around the corner.

STEVE
Wow.

MARCUS, slightly stunned, gets back behind the wheel, and the car takes off down the street. A beat.

STEVE
Those things killed all those people; women, kids, everything. 
(beat)
How can anything do that with no remorse.

Beat.

MARCUS
Haven’t you ever stepped on an ant hill?

STEVE
Have I what?

MARCUS
Or swatted a fly, or sprayed a bee, or anything? Think about what you’re doing, killing something with children, with a brain, that thinks and acts and defends itself. Look at it from their point of view, us, as bugs, and we’re no different from them.

Another beat. STEVE sees a BODY lying on the ground, dead, a look of shock and terror on his face. STEVE closes his eyes in slight disgust.

STEVE
It could’ve killed us, why didn’t it just kill us?

Long beat.

MARCUS
I don’t know.
(softer)
I don’t know.

168. EXT. YACHT-DOCKS--DUSK

Establishing.

Night is beginning to fall, the last night.

169. INT. CABIN--YACHT--SAME

It is quiet, NATALIE is asleep, as is LINDSY; DAVID still sits with his head still down from before; a radio on the counter plays silently, a news broadcast.

Then, it goes into a loud static, waking DAVID up. He chuckles slightly, and smashes the radio against the wall, waking up LINDSY, but not NATALIE.

Then, something makes a sound outside. It is the sound movement, and then, a light flashes on one of the windows, but dissipates quickly.

LINDSY looks horrified.

LINDSY
(whisper)
What is that?

DAVID follows the strange sounds with his eyes, they seem to be moving towards the door. LINDSY moves back along the bed, scared, DAVID just watches, an angry, tired look in his eyes.

DAVID
(whisper, to self)
Come on...come on...

The sounds behind the door stop for a few beats.

Silence.

Then, the door explodes, as MARCUS kicks it in and enters the cabin when the smoke clears. STEVE follows behind him. MARCUS carries a flashlight, which is what made the flash of light moments earlier. For the first time in what seems like an eternity, DAVID smiles.

DAVID
Marcus!

The two run for each other and embrace.

LINDSY looks confused.

DAVID
(to Lindsy)
It’s my brother.

They dislodge, MARCUS rushes over to NATALIE, who lays sleeping.

STEVE
(to David)
Hey, Dave.

They obviously know each other. STEVE points to LINDSY.

STEVE
Who’s that?

DAVID
Oh, that’s Lindsy, she’s Natalie’s teacher.

STEVE gives a flirtatious wave in her direction.

BY NATALIE, MARCUS cradles NATALIE and kisses her head.

MARCUS
How long has she been sick.

LINDSY
Yesterday-
(beat)
-she was feeling fine for a while, but then...

MARCUS cradles her more.

NATALIE
(quietly)
Daddy?

She seems to fall back into her sleep after her brief awakening.

MARCUS
I’m here, baby, I’m here.

Everyone just watches them, MARCUS is teary. DAVID speaks quietly.

DAVID
We should turn the lights off.

170. EXT. YACHT--DOCKS--NIGHT

We see the lights in the yacht go out. In the background, in the city, we see that all the lights of the buildings are out, but the robots are lit up beautifully as they climb like insects over the wrecked architecture of Manhattan.

171. INT. CABIN--YACHT--NIGHT

Much later.

MARCUS sleeps cradled with NATALIE; LINDSY sleeps on the top bunk of the bed, while STEVE is huddled asleep on the counter. DAVID is curled in a chair, just above the water line. NATALIE coughs slightly, but remains asleep. Suddenly, the radio starts to spit out static instead of news.

DAVID wakes up, he looks around, alarmed. We then hear something faint in the background, a humming sound, a stomping sound. Suddenly, a blue-green, eerie light fills the room, waking up everyone inside.

STEVE
What the hell is that?

Suddenly, the cabin jolts slightly, spilling LINDSY off the top bunk and into the water. She gets up coughing, STEVE comforts her. MARCUS clutches the top bunk with one hand while gripping NATALIE with the other.

MARCUS
Hold on!

172. EXT. DOCKS--SAME

Outside, we see that an ENORMOUS BEETLE-BOT, standing in the water with it about up o its ankles (of its six giant legs)has gripped the boat using strange robotic appendages on its front; it has gripped the bow and the stern and appears to be lifting it up out of the water.

173. INT. CABIN--YACHT--SAME

The ends of the ship start to collapse into each other, as the BEETLE-BOT outside crushes the ends. DAVID looks up to see a HATCH on the ceiling.

DAVID
Here!

He quickly turns a wheel and opens the hatch. 

DAVID
Come on!

STEVE is the first to go. 

ANGLE SHOT, FROM FLOOR. We are looking up at STEVE as he exits through the hatch onto the deck of the boat outside; he suddenly jumps back in shock as he sees the BEETLE-BOT.

STEVE
(outside)
Holy shit.

DAVID grabs LINDSY and holds her up to the hatch, STEVE reaches down and pulls her up. NATALIE is the next to go, as MARCUS pushes her nearly-asleep body up through the hatch to STEVE’S waiting arms.

MARCUS
(trying to remain calm)
It’s ok, baby, stay strong, stay strong for me.

174. EXT. YACHT--DOCKS--NIGHT

All five of our group is atop the yacht, which has been pulled a few feet from the landing. STEVE jumps to the edge and rolls onto the concrete landing, LINDSY follows, and then, the boat lifts out of the water, complicating things. DAVID looks at MARCUS, who holds NATALIE in his arms, then JUMPS across the watery gap onto the landing. 

MARCUS looks down at the landing below, now, and then turns to face the enormous eye of the BEETLE-BOT. Something strange happens. The BEETLE-BOT, upon seeing MARCUS holding NATALIE, stops. It just freezes, just as MARCUS does.

REVERSE ANGLE. MARCUS is barely as tall as the enormous robotic eye.

DAVID (O.S.)
Marcus, now!

MARCUS snaps out of his trance and then turns and jumps across the landing.

FOCUS ON:

They look over to see that BOTH CARS have been crushed into near-nothingness.

All five collect their bearings and start to run into the city from the docks. In the background, we see the BEETLE-BOT snap out of its apparent trance too, and in an instant, it fires a beam of energy and the yacht explodes in a beautiful flame. 

175. EXT. CITY STREETS--EDGE--SAME

DAVID turns around and watches as the yacht turns to ash, and emerging through the flame comes the enormous BEETLE-BOT. STEVE grabs DAVID by the shoulder and turns him around.

STEVE
Come on!

176. EXT. CITY STREETS--SAME

Our group comes running around a corner, a few beats later, the BEETLE-BOT comes towering around the corner as well, chasing the group. 

FOCUS ON:

As MARCUS runs with NATALIE in his arms, he whispers to her.

MARCUS
(to NATALIE)
Stay strong, stay strong, stay strong...

His voice goes indistinct as a beam of energy fires, just missing the group but exploding into the wall of a building beside them.

DAVID points to something down the street.

DAVID
There!

P.O.V. ALL. At the end of the street is a HIGH-RISE building, and at the base, a GROUP OF PEOPLE hold open the doors to the entrance and wave the fleeing group on.

177. EXT. BASE OF HIGH-RISE BUILDING--SAME

The PEOPLE, who vary in age, color, and gender, who sport tattered, burnt clothes, let our group in. A WOMAN, who will take the leadership role of the survivor group, slams the doors shut and leads the group to a STAIRWELL.

WOMAN
Come on, this way!

178. INT. LOBBY--HIGH RISE BUILDING--SAME

Our group and the group of survivors head up the stairwell as an enormous FLAME from the BEETLE-BOT outside floods the lobby.

179. INT. STAIRWELL-BUILDING--SAME

People scramble up the stairs as the flame acts like rising water. They reach a door, where other survivors stand cheering them on.

180. INT. HIGHER LEVEL--BUILDING--SAME

People flood in through the doors onto a higher level of the building. People scramble in, including our group, and they slam the door shut. Various people push against the door as we see bits of flame merge from the cracks, until finally dissipating. 

People fall back in relief, panting.

WOMAN
(to MARCUS)
You all alright?

CUT TO:

181. EXT. ROOFTOP--BUILDING--NIGHT

The rooftop is like a refugee camp; people stand about chatting, there are boxes of food and snack wrappers about. Our group follows the WOMAN as she walks about.

WOMAN
We’ve got a couple sick here, too.

She points to several people in a corner, sleeping, looking pale and sweaty.

WOMAN
We haven’t figured out what it is, but we’ve got  pretty good idea of what’s causing it.

She grabs a bottle of medicine from a box on the ground and reads the label to herself, while talking to the group.

WOMAN
(preoccupied)
Seen the stuff those things are spraying?

She nods down, from the rooftop, we see a beautifully designed shot of the robots running amuck in the city below.

WOMAN (CON’T)
(preoccupied)
We think that’s what’s making them sick.

She opens the bottle and dumps two pills into her palm. hands them to MARCUS.

WOMAN
Here, these might help. You can go set her over there by the others for now.

MARCUS looks over at the other sick people, at least five of them, coughing, pale, sweaty. His eyes go bleak as he looks to her.

MARCUS
No.

WOMAN
Pardon?

MARCUS
I’m not putting her with them.

The WOMAN becomes agitated. 

WOMAN
We have no idea what that illness could do to the rest of us. We have to keep her quarantined, away from we that are unaffected.

Beat.

MARCUS leans closer.

MARCUS
(quietly)
The only way you’ll get my daughter over there...is if you take her from me.

Suddenly, the scene is interrupted by a MAN in the background.

MAN (O.S.)
We’ve got company!

The WOMAN gives a final cold stare to MARCUS, then rushes with everybody else to look over the edge of the building.

REVERSE ANGLE. LOOKING UP AT PEOPLE. Everyone is staring over the edge, watching...

P.O.V. ALL. Several MAN-BOTS are climbing up the side of the building like ice climbers. Moving slowly, steadily. 

People back off the edge.

RANDOM PERSON
What are we going to do?!

DAVID looks around, not sure what to do, when suddenly, a MAN-BOT, twenty-feet tall, reaches the top of the roof. It immediately begins blasting away, causing flames to erupt everywhere. People scurry about like cockroaches. People begin running into the hatchway back into the building. 

Suddenly, the MAN-BOT reaches down and grabs one of the struggling SICK PEOPLE, and then descends back down the side of the building.

182. EXT. CITY--WIDE SHOT--SAME

Wide shot. 

We see one robot descending with its human capture, while others continue to climb the building, flames like campfires squealing atop it, people running for the hatchway.

183. EXT. ROOFTOP--SAME

STEVE and LINDSY run for the hatchway and make it. DAVID remains on the rooftop. He jumps back as another SICK PERSON is snatched up and taken down the side of the building. He tries to shout above the chaos.

DAVID
Marcus!

FOCUS ON:

MARCUS, carrying NATALIE is running through a gauntlet of fleeing people and swinging robotic arms.

DAVID runs for them, when suddenly, dramatically, MARCUS is swept up by one of the massive robotic arms. DAVID watches in horror as the MAN-BOT uses both hands and separates MARCUS and NATALIE from their grasps on each other.

MARCUS
Natalie!

NATALIE says nothing, she is too tired to talk. 

The MAN-BOT throws MARCUS violently to the ground, knocking him unconscious. DAVID first runs over to MARCUS, then looks as the MAN-BOT holding NATALIE begins to climb back down the side of the building.

DAVID shouts.

DAVID
Natalie!

CUT TO:

184. EXT. CITY STREETS--BY BUILDING--NIGHT/ALMOST DAWN

The MAN-BOT carrying NATALIE reaches the street and starts slowly walking down the street. 

DAVID emerges from the shattered doors of the high-rise building. Above, we can still see a battle raging on, debris, even people, fall from the rooftop.

DAVID sees the MAN-BOT with NATALIE disappear around a corner and immediately darts after it.

185. EXT. INTERSECTION--SAME

The MAN-BOT disappears down an enormous CHASM in the middle of an intersection; it looks as if the ground zero for an explosion. DAVID comes running around a corner and stops in shock, to soak in what he’s seeing. It is eerily similar to the PIT earlier, but remember DAVID didn’t see it.

By this time, several MAN-BOTS, all holding various people, all of which look pale and sick, are descending into the depths of the chasm. 

DAVID doesn’t waste anymore time, he sprints to the chasm’s edge, and looks down into it.

P.O.V. DAVID. It is a near eternal blackness. He turns around, looks, then jumps backwards into the chasm. 

186. EXT. CHASM LIP--SAME

DAVID grunts and grabs various wires and other debris along the side of the chasm and breathes heavily. He then takes a final look at the surface, and begins his descent into the depths.

Suddenly, we see something grip him; the arm of a MAN-BOT. It picks him up, making his struggling futile. It shakes him, and then, he is knocked unconscious.

FADE TO: BLACK

CUT TO:

187. EXT. ROOFTOP--BUILDING--DAWN

The madness has apparently ended. 

MARCUS wakes up; STEVE and LINDSY are there. 

STEVE
Marcus?

He pops up.

MARCUS
Where’s Natalie? 
(beat)
Where’s David?

STEVE and LINDSY both dip their heads.

ZOOMED OUT, WIDE SHOT. We hear nothing but the sound of the sad music (?). STEVE says something to MARCUS and pats his back. MARCUS starts crying.

CUT TO:

188. CITY STREETS--APPROACHING BRIDGE--DAWN

At least a hundred survivors, all look like they’ve been to hell and back, march methodically towards the entrance to the BROOKLYN BRIDGE. It is like a scene from a death march, everybody nearly emotionless. There appear to be no robots in sight.

FOCUS ON:

MARCUS walks with STEVE and LINDSY by his side. His face is emotionless, he marches methodically, like an automaton, a man who has given up any hope.

WIDE SHOT. The group of survivors reach the entrance of the bridge, they all stop. Look around. Everything seems to quiet. We hear random chatter, people looking around. 

Then, they begin to march forwards, onto the entrance of the bridge.

CUT TO:

189. INT. STRANGE CHAMBER--DAWN?

It is dark. We see nothing at first but DAVID’S unconscious face. His eyes open, and he stands up to look around groggily.

We now see the entire scope of the chamber. It is enormous, the floor is like glass, with a circle of computer consoles around it. The walls reach far above, seemingly endless, covered with wires and computer monitors, among other small electronic details. 

The most noticeable feature, though, is a large model globe in the center of the chamber...it is exactly like the one in the PIT from earlier. DAVID looks around, mesmerized.

Suddenly, we hear a VOICE, it is the same VOICE from the opening monologue of the story.

VOICE (O.S.)
It would be impolite of me to not introduce you to your new surroundings.

DAVID flinches, we see that something is moving on the other side of the massive globe. DAVID watches cautiously. From behind the globe, comes, who will remain specifically nameless, the WISE MAN.

DAVID backs off at the sight. The WISE MAN is not a robot, but he is not a man, either. He is both. He has four, robotic legs, like the giant MAN-BOTS, but his torso looks human. Human to a degree, we see that he has several patches of metal on his skin, and his heart beats, but it is not an organic heart; it is metal, with a green, fluid-like substance inside. One of his arms is robotic, the other is human. His head, part of it is robotic, the other part human.

DAVID
Who, who are you?

The WISE MAN laughs.

WISE MAN
It has been so long, so long, since I was last addressed by a name-
(beat)
-since I was last addressed at all.

Beat.

DAVID
When was that? The last time, you’ve spoken to someone?

Another laugh.

WISE MAN
400 million years.

DAVID
People haven’t been around that long.

The WISE MAN cracks; his jolly laugh turns to a sinister tone of angry vocals.

WISE MAN
(angry yell)
How can you be so arrogant to believe that you are the first and only intelligent species to walk this Earth? How dare you assume that the human race is not but a plague upon this planet.

DAVID’S voice shows more fright.

DAVID
That’s why, that’s why you sent those, those robots. To exterminate us.

WISE MAN
I sent nothing!

Beat.

A long silence.

DAVID
Where am I?

The WISE MAN laughs once more.

WISE MAN
You are in the control center, this is where my people, long ago, lived, in the center of the world, before, they came.

DAVID
New York-
(realizes)
-New York was the center of the world back then.

The WISE MAN just stares at him. 

WISE MAN
This, is where the few that remained, after the first slaughter, when these robots, as you call them, destroyed most of my people, so long ago, they weeded out the weak ones, kept the strong alive, for the next generation of human beings.

Beat.

DAVID
So they created a blank template; they destroyed all of us, and left only the strong ones, creating a, a new wave of human beings-

WISE MAN
To create a generation of perfection among men. Renewing the pureness that is humanity, that has been corrupted by the follies and epidimies of darkness, of mechanization, of industrialization that man has created. Those robots, the ones you saw, are simply scouts, to seek out and find the few that will become the next generation of human beings. The real, cleansing-if you call it, is nearly upon us.

Beat.

DAVID
A garden of Eden.

WISE MAN
(laughs)
Yes, in sorts. 

DAVID looks around, then faces the WISE MAN again.

DAVID
Why?

He laughs.

WISE MAN
All for the sake of maintaining the health and natural beauty, of the greatest organism in the universe, the most dominant and living lifeform ever manifested.

There is a long beat.

CUT TO:

190. EXT. BROOKLYN BRIDGE--DAWN

The refugees continue their march. 

Suddenly, they stop; everyone looks around, curious, as we suddenly hear a very low rumble, followed by a slight shaking and trembling of the ground.

Then, it happens, the ground in the middle of the bridge erupts into a hellish firestorm. 

AREIAL SHOT. In the middle of the bridge, an enormous GIANT ROBOT. It is much bigger than the BEETLE-BOTS, and it seems to have risen out of the water to break through the bridge.

BACK ON THE BRIDGE.

The survivors have been separated from the rescuing military by the titanic metal wall that is the climactic GIANT ROBOT. It towers, fifty feet into the air like a giant mechanical king cobra. Rocks and debris fall everywhere as the survivors run from the behemoth. 

CUT TO:

191. INT. CHAMBER--SAME

DAVID still stands before the WISE MAN.

DAVID
What is the greatest life form in the universe?

The WISE MAN laughs, as an image appears on one of the large monitors. DAVID stares blankly.

CUT TO:

192. EXT. BRIDGE--SAME

The giant robot just watches the people, on both sides of the bridge, looking up at the behemoth, when suddenly, a missile of energy fires from the robot, exploding into the crowd, creating an eruption of ashes and flame that were once human bodies.

FOCUS ON:

MARCUS runs alongside LINDSY and STEVE as the giant robot continues firing, destroying people at will.

CUT TO:

193. INT. CHAMBER--SAME

On the screen, an image of Earth appears. DAVID looks confused.

DAVID
Earth...is a planet...it’s not alive.

WISE MAN
(angrily)
What is life? Does it not grow, move? You, human beings, you are but cells, a part of the structure of this super organism, just as you have hair, and nails, you are nothing but a part. 
(beat)
Alas, you are parts that have gone bad, and just like a bad part, you must be replaced.

Beat.

CUT TO:

194. EXT. BRIDGE--SAME

The chaos continues. 

MARCUS trips and watches as the metal giant seems to lock eyes on him. It stares, and prepares to fire, when suddenly...

BOOM!

An explosion rocks the side of the metal giant, causing its missile of energy to divert itself and strike a building in the background. It is now that we notice FIGHTER PLANES flying overhead, shooting at the behemoth. But now, other BOTS have joined in the fight. MAN-BOTS pick up people in the crowd and throw them down into the water; BEETLE-BOTS fire in all directions; FLYERS chase down planes, and even shoot a few.

It is an all-out war.

CUT TO:

195. INT. CHAMBER--SAME

DAVID is oblivious to the chaos happening on the surface.

DAVID
So the people, the people who got sick, are the ones that would die.

The WISE MAN laughs, as we suddenly hear a mechanical droning sound. We look up...something is descending from the ceiling, it is like a small chamber.

WISE MAN
Not exactly.

The chamber descends to the ground, and we see behind a glass panel, NATALIE rests, her body sleeping, suspended in liquid.

DAVID
Natalie?

WISE MAN
She is one of the few selected, the few that reacted to the robotic fumes, to be a part of the new, clean generation of human beings.
(beat)
The Earth is cleansing itself.

Beat.

CUT TO:

196. EXT. BRIDGE--SAME

It is a war zone. Planes try to take out the giant robot, but to no avail is it fires its own missiles at them. People scramble about wildly, desperate to escape the clutches of the MAN-BOTS. A few are even crushed by the feet of the BEETLE-BOTS. 

MARCUS, STEVE, and LINDSY reach a fallen, smoking car. They hide behind it to escape the madness.

CUT TO:

197. INT. CHAMBER--SAME

DAVID is just beginning a sentence.

DAVID
Who decides? Who decides who lives and dies? And why...why did you bring me here?!

A long beat. 

The mood grows dimmer.

WISE MAN
I decide, and I brought you here-
(beat)
-because I am to last not much longer-
(long beat)
-I have lived a prolonged life, thanks to the machines-
(beat)
-but now, I need...a successor.

DAVID shakes his head in disbelief, and moves closer to NATALIE’S chamber.

WISE MAN
You, David, I have selected to be the Earth’s new mind, just as I am.

CUT TO:

198. EXT. BRIDGE--SAME

It looks bleak for the human race.

Planes are falling everywhere, people are dying left and right. And  behind the car where MARCUS, STEVE, and LINDSY hide, we see a MAN-BOT approaching.

CUT TO:

199. INT. CHAMBER--SAME

DAVID looks deep into the WISE MAN’S biological and mechanical eyes.

DAVID
No.

WISE MAN
You have no options.

DAVID
That’s where you’re wrong-
(beat)
-because unlike you, I’m human.

In an instant, he lunges at the WISE MAN, punching him in the face. The WISE MAN doesn’t get up, he lays on the ground, breathing heavily, his face turning angry. FLYING CAMERAS, like before, emerge from the depths and swarm around DAVID. He bats them away like bees as the WISE MAN approaches him.

DAVID thinks quickly and grabs an FLYING CAMERA and hurtles it into the glass of NATALIE’S chamber, spilling the liquid out over the floor, and, in the splash, knocking all the FLYING CAMERAS to the ground, pulsating in electric short-circuiting.

NATALIE falls the ground coughing and throwing up water. DAVID comforts her.

NATALIE
(coughing)
Uncle Dave?

DAVID
Shh, calm down, I’m here.

DAVID looks over at the WISE MAN, struggling to breath. He walks over and looks down at him.

WISE MAN
(gasping)
With my death...comes nothing...you cannot stop...an extinction...no one has before...and you shall not now.

DAVID doesn’t waste time, he kicks the WISE MAN while he’s down until the lights flickering on the mechanical parts of his body die, as does he.

He then brings his attention to a video monitor that flickers on behind him. 

FOCUS ON:

The video monitor shows the ‘war’ going on at the bridge.

DAVID
Oh, no.

200. EXT. BRIDGE--SAME

A MAN-BOT picks up the car and throws it into the water below, exposing MARCUS, STEVE, and LINDSY. It picks up MARCUS as if he was a rag doll.

STEVE
Marcus!

201. INT. CHAMBER--SAME

DAVID looks over the complicated control panel for a few beats, mumbling indistinctly to himself. NATALIE sits, still coughing slightly, on the floor. Then, he sees something; it is a large, red button, covered with a glass lid.

DAVID
(whisper, to self)
What are the odds-
(beat)
-that the red is the universal sign for stop.

He closes his eyes, flips the lid, and presses the button.

Immediately, behind him, the GLOBE opens up into a sort of triangle shape near the top, and fires some type of cannon, just like in the PIT in the beginning up through the ceiling of the chamber.

202. EXT. BRIDGE--SAME

The MAN-BOT prepares to squeeze MARCUS to death, before, out of nowhere, the BLUE CANNON/COMET fired from the CHAMBER strikes the GIANT ROBOT, causing it not to explode, but a strange, blue, electric light to usher throughout it.

It is a very strange occurrence.

Everything seems to go quiet as the giant bot, and all the other bots, freeze in place. Then, like a falling tree, the giant bot falls forward and crashes onto the bridge, dead. As doo the other robots, all falling and apparently, dying. 

MARCUS rolls to the ground as the robot that held him falls over the side into the water below. 

It suddenly becomes peaceful, people look around at the dead robots for what seems like an eternity.

RANDOM PERSON
They’re dead! We did it!

Cheering and applause erupt within the crowd of people, as helicopters begin to land, flying people to safety. 

And then, we see the sun, as it emerges for the first time in days, shining its light upon the entire city.

203. EXT. CITY STREETS--DAY

People have crowded the streets in cheer. People of all races embrace, cheer.

204. EXT. CHASM--INTERSECTION--DAY

People gather around the enormous chasm, looking down into it, as DAVID makes his triumphant ascent, NATALIE by his side.

205. EXT. CITY STREETS--MOMENTS LATER--DAY

DAVID is being escorted by military folks, up until they bring him and NATALIE to three people standing by a military vehicle. It is MARCUS, LINDSY, and STEVE. They all embrace. NATALIE runs for her father.

NATALIE
Daddy!

MARCUS
Oh, baby, oh, god I love you...

MARCUS stands up and faces DAVID, in a serious tone.

MARCUS
Thank-you, for taking care of my daughter.

They embrace, but LINDSY snatches DAVID away.

LINDSY
They told me you did it, you fixed the planet.

DAVID
What did I tell you when we first met?
(beat)
I can fix anything.

They kiss passionately. STEVE looks on jealous. MARCUS leans to him.

MARCUS
(quietly, to STEVE)
Maybe next time, buddy.

He smiles.

206. EXT. MANHATTAN SKYLINE--DAY

It is strangely beautiful, in a way; robots are fallen everywhere, military vehicles rush to the scenes, and all seems, peaceful.

FADE TO:

207. EXT. ARCTIC--DAY

It seems peaceful here, too, until, suddenly, a bit of the ice begins to crack, and an enormous GIANT ROBOT breaks its way through.

ZOOM OUT:

We zoom out until we are no longer in the arctic, but in space, looking at Earth. We zoom out even further, to reveal the stars surrounding Earth, they sure do look like the strange, cytoplasm-like objects from the opening sequence, and the Earth, sure does look like a cell.

CUT TO:

BLACK.

THE END.