| 1. | |
| BLACK. THE GENTLE SOUND OF WIND IN CORN | |
| A row of books. From spaces between them, dust falls. | |
| I N T E R S T E L L A R | |
| ELDERLY FEMALE VOICE | |
| (V.O.) | |
| Sure. Dad was a farmer. | |
| BRIGHT CORN STALKS FILL THE FRAME, SWAYING IN THE BREEZE | |
| ELDERLY FEMALE VOICE | |
| (V.O.) | |
| Like everybody else back then. | |
| The wind is RISING, shaking the plants more FORCEFULLY ... | |
| Insert cut: a WOMAN in her eighties against a dark | |
| background. | |
| ELDERLY WOMAN | |
| Course, he didn’t start that way... | |
| The WIND IS HOWLING, SHRIEKING and we RIP INTO - | |
| 1 EXT. THE STRATOSPHERE - DAY 1 | |
| BURNING through the fringes of space - | |
| 2 INT. COCKPIT - CONTINUOUS 2 | |
| A young PILOT fights his BUFFETING craft - | |
| RADIO | |
| (O.S.) | |
| Computer says you’re too tight - | |
| PILOT | |
| I got this - | |
| The Pilot grabs a panicked glance at his instruments - | |
| RADIO | |
| (O.S.) | |
| Crossing the Straights ... shutting | |
| it down, Cooper. Shutting it all | |
| down ... | |
| PILOT | |
| 2. | |
| NO! I need the power up - | |
| 3 EXT. THE STRATOSPHERE - CONTINUOUS 3 | |
| The BLACK and RED SKY starts SPINNING HORRIFYINGLY - | |
| 4 INT. COCKPIT - DAY 4 | |
| As the controls RIP themselves free, the pilot SHOUTS and | |
| we - | |
| CUT TO: | |
| 5 INT. BEDROOM, FARMHOUSE - NIGHT 5 | |
| A man WAKES, nightmare SWEATY. This is COOPER. | |
| YOUNG GIRL’S VOICE | |
| (O.S.) | |
| Dad? Dad? | |
| Cooper turns: in the doorway - his sleepy ten-year-old | |
| daughter. This is MURPH. | |
| COOPER | |
| Sorry. Go back to sleep. | |
| MURPH | |
| I thought you were the ghost. | |
| COOPER | |
| There’s no ghost, Murph. | |
| MURPH | |
| Grandpa says you can get ghosts. | |
| COOPER | |
| Maybe Grandpa’s a little too close | |
| to being one himself. Back to | |
| sleep. | |
| MURPH | |
| Were you dreaming about the crash? | |
| COOPER | |
| Back to sleep, Murph. | |
| Murph shuffles back out the door. Cooper moves to the | |
| window. DAWN breaks over an ENDLESS SEA OF CORN ... | |
| 3. | |
| ELDERLY FEMALE VOICE | |
| (V.O.) | |
| Corn, sure. But dust. In your ears, | |
| your mouth... | |
| INSERT CUT: AN OLD-TIMER IN CLOSE UP, WATERY-EYED, | |
| DESCRIBES DUST BOWL CONDITIONS. | |
| OLD-TIMER | |
| (V.O.) | |
| Dust just everywhere. Everywhere. | |
| 6 EXT. COOPER’S FARM - MORNING 6 | |
| An old man, handkerchief across his face, sweeps dust out | |
| of the door onto the porch. This is Grandpa (DONALD). | |
| 7 INT. KITCHEN, FARMHOUSE - MORNING 7 | |
| Cooper pours himself coffee as Donald puts grits on the | |
| table. TOM, Cooper’s fifteen-year-old son, stuffs his face. | |
| Murph, wet hair, towel around neck, plays with pieces of a | |
| MODEL (a lunar lander). | |
| DONALD | |
| Not at the table, Murph. | |
| MURPH | |
| Dad, can you fix this? | |
| COOPER | |
| (takes pieces, frowning) | |
| What’d you do to my lander? | |
| MURPH | |
| Wasn’t me. | |
| TOM | |
| Lemme guess - your ghost? | |
| MURPH | |
| It knocked it off my shelf. It | |
| keeps knocking books off. | |
| TOM | |
| There’s no such things as ghosts, | |
| dumb-ass - | |
| COOPER | |
| (to Tom) | |
| 4. | |
| Hey - | |
| MURPH | |
| I looked it up, it’s called a | |
| poltergeist. | |
| TOM | |
| Dad, tell her. | |
| COOPER | |
| Murph, you know that’s not | |
| scientific. | |
| MURPH | |
| You say science is about admitting | |
| what we don’t know. | |
| DONALD | |
| She’s got you there. | |
| COOPER | |
| (hands her pieces) | |
| Start looking after our stuff. | |
| Donald looks at Cooper, admonishing. Cooper shrugs. | |
| COOPER | |
| Fine. Murph, you wanna talk | |
| science, don’t just tell me you’re | |
| scared of some ghost - record the | |
| facts, analyze, present your | |
| conclusions. | |
| MURPH | |
| Sure. | |
| Cooper gets up, grabs his keys. | |
| DONALD | |
| Hold up. | |
| (Off look.) | |
| Parent-teacher conferences. | |
| ’Parent’ - not ’grandparent’. | |
| 8 EXT. FARMHOUSE - MOMENTS LATER 8 | |
| The kids pile into an old pickup truck, scraping DUST off | |
| the seats. Cooper, coffee in hand, peers at a black cloud. | |
| COOPER | |
| Dust storm? | |
| 5. | |
| DONALD | |
| (shakes his head) | |
| Nelson’s torching his whole crop. | |
| COOPER | |
| Blight? | |
| DONALD | |
| They’re saying it’s the last | |
| harvest for okra. Ever. | |
| Cooper stares at the smoke. Uneasy. Gets into the truck. | |
| COOPER | |
| Shoulda planted corn like the rest | |
| of us. | |
| DONALD | |
| Be nice to Miss Hanley. She’s | |
| single. | |
| COOPER | |
| What’s that supposed to mean? | |
| DONALD | |
| Repopulating the Earth - start | |
| pulling your weight. | |
| COOPER | |
| Start minding your business. | |
| 9 INT/EXT. PICKUP TRUCK ON DIRT ROAD - MOMENTS LATER 9 | |
| Cooper sips his coffee, steering while Murph shifts - | |
| COOPER | |
| Okay, gimme second - | |
| Murph wrestles the long gear stick into second. Cooper | |
| sips. | |
| COOPER | |
| Now third - | |
| Murph struggles to find third - GRIND. | |
| TOM | |
| Find a gear, dumb-ass. | |
| MURPH | |
| Shut up, Tom! | |
| 6. | |
| BANG - A TIRE BLOWS OUT. Cooper stops the truck. | |
| TOM | |
| What’d you do, Murph? | |
| COOPER | |
| She didn’t do anything. We lost a | |
| tire is all. | |
| TOM | |
| Murphy’s Law. | |
| MURPH | |
| Shut up, Tom. | |
| Cooper gets out of the truck, checks the flat, turns to | |
| Tom. | |
| COOPER | |
| Grab the spare. | |
| TOM | |
| That is the spare. | |
| COOPER | |
| Okay, patch kit. | |
| TOM | |
| How’m I supposed to patch it out | |
| here? | |
| COOPER | |
| Figure it out. I’m not always going | |
| to be here to help you. | |
| Tom moves to the back of the truck. Murph is there. | |
| MURPH | |
| Why’d you and Mom name me after | |
| something bad? | |
| COOPER | |
| We didn’t. | |
| MURPH | |
| Murphy’s Law? | |
| COOPER | |
| Murphy’s Law doesn’t mean bad stuff | |
| will happen. It means ’whatever can | |
| happen, will happen’. And that | |
| sounded just fine to us. | |
| 7. | |
| Murph frowns, hearing something ... | |
| COOPER | |
| What? | |
| Then Cooper hears it, too. A LOW RUMBLE. Cooper GRABS Murph | |
| as a DRONE SOARS low overhead - | |
| COOPER | |
| Come on! | |
| Cooper jumps into the truck - he pulls out a laptop and | |
| antenna hands them to Murph - shouts at Tom - | |
| COOPER | |
| Get in! | |
| TOM | |
| (jack in hand) | |
| What about the tire? | |
| 10 INT/EXT. PICKUP TRUCK THROUGH FIELDS - MOMENTS LATER 10 | |
| Close on the SHREDDING TIRE as the truck BARRELS through | |
| cornfields. Murph fires up the laptop. Cooper strains to | |
| see through the cornstalks, scanning the horizon - | |
| TOM | |
| There! | |
| To the right, the dark shape of the drone, cruising low | |
| over the fields. Cooper JERKS the wheel - the drone has | |
| long, thin wings like a U-2, but no cockpit. | |
| COOPER | |
| Indian air force surveillance | |
| drone. Solar cells could power an | |
| entire farm. | |
| (To Tom.) | |
| Take the wheel - | |
| Tom takes the wheel - Cooper hands Murph the antenna. | |
| COOPER | |
| Keep it pointed right at it - | |
| Cooper works the laptop - the screen fills with Hindi. | |
| Faster, Tom. I’m losing it. | |
| 8. | |
| Tom WEAVES through the corn - they round a corner, almost | |
| HIT a HARVESTER - BANG - the truck loses a wing mirror - | |
| Ahead the drone SOARS, banking, pulling away - | |
| The truck BURSTS out of the corn, Cooper’s nose is in the | |
| laptop. | |
| TOM | |
| Dad? | |
| COOPER | |
| Almost got it. Don’t stop. | |
| In front of them, the drone plummets from view into the | |
| next valley - the path ahead leads to a three-hundred-foot | |
| drop. | |
| TOM | |
| DAD ... | |
| Cooper looks up. | |
| COOPER | |
| Tom! | |
| Tom locks up the brakes. Cooper looks at him - he shrugs. | |
| TOM | |
| You told me to keep going. | |
| Cooper grabs the laptop and opens the door. | |
| COOPER | |
| Guess that answers the ’if I told | |
| you to drive off a cliff’ scenario. | |
| Murph is still pointing the antenna. | |
| MURPH | |
| We lost it. | |
| COOPER | |
| (smiles) | |
| No, we didn’t. | |
| The DRONE SOARS BACK OVER THEM - Cooper is moving his | |
| fingers across the track pad, PILOTING THE DRONE. | |
| As the kids watch, Cooper sends the drone soaring over | |
| them, banking above the valley. Cooper crouches next to | |
| Murph. | |
| 9. | |
| COOPER | |
| Want to give it a whirl? | |
| Murph, guided by Cooper, moves her fingers across the track | |
| pad - the massive drone BANKS in response. Murph is in | |
| heaven. | |
| COOPER | |
| Let’s set her down next to the | |
| river. | |
| 11 EXT. RIVERBANK - MOMENTS LATER 11 | |
| The truck limps up to the drone. Cooper and the kids climb | |
| down. Cooper runs a hand along the smooth carbon flank of | |
| the aircraft. | |
| TOM | |
| How long you think it’s been up | |
| there? | |
| COOPER | |
| Delhi mission control went down | |
| same as ours, ten years ago. | |
| TOM | |
| It’s been up there ten years? Why’d | |
| it come down so low? | |
| COOPER | |
| Sun finally cooked its brain. Or it | |
| came down looking for something. | |
| MURPH | |
| What? | |
| COOPER | |
| Some kind of signal. Who knows? | |
| Cooper finds an access hatch. Pries it open. Examines the | |
| black-box brain of the machine. | |
| MURPH | |
| What are you going to do with it? | |
| COOPER | |
| Give it something socially | |
| responsible to do, like drive a | |
| combine. | |
| MURPH | |
| 10. | |
| Couldn’t we just let it go? It’s | |
| not hurting anyone. | |
| Cooper looks down at his daughter. Good kid. | |
| COOPER | |
| This thing has to adapt, just like | |
| the rest of us. | |
| 12 EXT. COUNTY SCHOOL - DAY 12 | |
| The truck pulls up to school, drone fuselage hanging out. | |
| COOPER | |
| How’s this work? You guys come | |
| with? | |
| TOM | |
| I’ve got class. But she ... | |
| Pats Murph on shoulder. | |
| Needs to wait. | |
| Murph glares at Tom as he hops out. | |
| COOPER | |
| Why? What? | |
| MURPH | |
| Dad, I had a thing ... well, | |
| they’ll tell you about it. Just try | |
| and ... | |
| COOPER | |
| Am I gonna be mad? | |
| MURPH | |
| Not with me. Just try not to - | |
| COOPER | |
| Relax, I got this. | |
| Murph pulls out a notebook. Starts drawing a BARCODE. | |
| 13 INT. PRINCIPAL’S OFFICE - LATER - MORNING 13 | |
| Cooper enters, awkward. The PRINCIPAL (male, fifties) turns | |
| from the window. | |
| 11. | |
| PRINCIPAL | |
| Little late, Coop. | |
| (Indicates chair.) | |
| Guess you had to stop off at the | |
| Asian fighter plane store. | |
| COOPER | |
| (sits, smiles) | |
| Actually, sir, it’s a surveillance | |
| drone. With outstanding solar | |
| cells. | |
| Cooper nods at Murph’s teacher, Ms Hanley, thirties, | |
| attractive. | |
| PRINCIPAL | |
| We got Tom’s scores back. He’s | |
| going to make an excellent farmer. | |
| Congratulations. | |
| The Principal slides a paper across the desk. | |
| COOPER | |
| (taken aback) | |
| What about college? | |
| PRINCIPAL | |
| The university only takes a | |
| handful. They don’t have resources | |
| - | |
| COOPER | |
| I’m still paying taxes - where’s | |
| that go? There’s no more armies. | |
| PRINCIPAL | |
| Not to the university. Coop, you | |
| have to be realistic. | |
| COOPER | |
| You’re ruling him out for college | |
| now? He’s fifteen. | |
| PRINCIPAL | |
| Tom’s score simply isn’t high | |
| enough. | |
| COOPER | |
| What’re you? About a thirty-six- | |
| inch waist? | |
| (Beat.) | |
| Thirty-inch inseam? | |
| 12. | |
| PRINCIPAL | |
| I’m not sure I see what - | |
| COOPER | |
| You’re telling me you need two | |
| numbers to measure your own ass, | |
| but just one to measure my son’s | |
| future? | |
| Ms Hanley stifles a laugh. The Principal shoots her a look. | |
| PRINCIPAL | |
| You’re a well educated man, Coop. A | |
| trained pilot - | |
| COOPER | |
| And an engineer. | |
| PRINCIPAL | |
| Okay. Well, right now the world | |
| doesn’t need more engineers. We | |
| didn’t run out of planes, or | |
| television sets. We ran out of | |
| food. | |
| Cooper leans back. He’s not going to win this one. | |
| PRINCIPAL | |
| The world needs farmers. Good | |
| farmers, like you. And Tom. | |
| (Smiles benignly.) | |
| We’re a caretaker generation. And | |
| things are getting better. Maybe | |
| your grandchildren - | |
| COOPER | |
| Are we done, sir? | |
| PRINCIPAL | |
| No. Ms Hanley is here to talk about | |
| Murph. | |
| Cooper shifts his gaze to Ms Hanley. | |
| MS HANLEY | |
| Murph’s a bright kid. A wonderful | |
| kid, Mr Cooper. But she’s been | |
| having a little trouble ... | |
| Ms Hanley places a textbook on the desk. | |
| She brought this to school, to show the other kids the | |
| section on the lunar landings ... | |
| 13. | |
| COOPER | |
| Yeah, it’s one of my old textbooks, | |
| she likes the pictures. | |
| MS HANLEY | |
| This is an old federal textbook. | |
| We’ve replaced them with corrected | |
| versions. | |
| COOPER | |
| Corrected? | |
| MS HANLEY | |
| Explaining how the Apollo missions | |
| were faked to bankrupt the Soviet | |
| Union. | |
| COOPER | |
| You don’t believe we went to the | |
| moon? | |
| MS HANLEY | |
| (tolerant smile) | |
| I believe it was a brilliant piece | |
| of propaganda. The Soviets | |
| bankrupted themselves pouring | |
| resources into rockets and other | |
| useless machines. | |
| COOPER | |
| ’Useless machines’? | |
| MS HANLEY | |
| Yes, Mr Cooper. And if we don’t | |
| want a repeat of the wastefulness | |
| and excess of the twentieth | |
| century, our children need to learn | |
| about this planet, not tales of | |
| leaving it. | |
| Cooper considers this in silence. Looks at Ms Hanley. | |
| COOPER | |
| One of those useless machines they | |
| used to make was called an MRI. And | |
| if we had any of them left, the | |
| doctors might have been able to | |
| find the cyst in my wife’s brain | |
| before she died, rather than | |
| afterwards. Then she could be | |
| sitting here listening to this, | |
| which’d be good, cos she was always | |
| the calmer one ... | |
| 14. | |
| Ms Hanley looks at Cooper, embarrassed. Then - | |
| MS HANLEY | |
| I’m sorry about your wife, Mr | |
| Cooper. But Murph got into a fist | |
| fight with several of her | |
| classmates over this Apollo | |
| nonsense and we thought it best to | |
| MS HANLEY | |
| bring you in and see what ideas you | |
| might have for dealing with her | |
| behavior on the home front. | |
| COOPER | |
| Sure. Well, there’s a ball game | |
| tomorrow night, and Murph’s going | |
| through a bit of a baseball phase. | |
| There’ll be candy and soda ... | |
| Ms Hanley looks at him, expectant. | |
| COOPER | |
| I think I’ll take her to that. | |
| Ms Hanley turns to the Principal, not happy. | |
| 14 EXT. PICKUP TRUCK OUTSIDE SCHOOL - MOMENTS LATER 14 | |
| Murph looks up from her notebook at her dad, expectantly. | |
| MURPH | |
| How’d it go? | |
| COOPER | |
| I, uh ... got you suspended. | |
| MURPH | |
| What?! | |
| COOPER | |
| Sorry. | |
| MURPH | |
| Dad! I told you not to - | |
| The CB radio CRACKLES to life. | |
| CB OPERATOR | |
| Cooper? Boots for Cooper. | |
| COOPER | |
| 15. | |
| Cooper. | |
| BOOTS | |
| (over radio) | |
| Coop, those combines you rebuilt | |
| went haywire. | |
| COOPER | |
| Power the controllers down for a | |
| couple minutes. | |
| BOOTS | |
| (over radio) | |
| Did that. You should come take a | |
| look, it’s kinda weird. | |
| 15 EXT. FARMHOUSE - DAY 15 | |
| Cooper and Murph pass a slow-moving harvester pulling up to | |
| the house, which is surrounded by AUTOMATED FARM MACHINES. | |
| They’ve nosed up to the house like animals at a Nativity. | |
| Boots, the farm hand, approaches - | |
| BOOTS | |
| One by one they been peeling off | |
| from the fields and heading over. | |
| Cooper pops open the cabin to a harvester. Checks the auto | |
| pilot hooked up to the controls. | |
| BOOTS | |
| Something’s interfering with their | |
| compass ... | |
| Cooper jumps down and heads to the front door. Enters. | |
| BOOTS (O.S.) | |
| Magnetism or some such ... | |
| 16 INT. FARMHOUSE - CONTINUOUS 16 | |
| Cooper looks at the kitchen. Nothing. Murph comes in. | |
| MURPH | |
| What is it, Dad? | |
| A small BANG from upstairs. Cooper heads up. | |
| 16. | |
| 17 INT. MURPH’S BEDROOM - CONTINUOUS 17 | |
| Murph’s bedroom clearly used to be her mother’s. Cooper, in | |
| the doorway, looks at the wall of BOOKS opposite - several | |
| GAPS. He looks down at some books on the floor. | |
| MURPH | |
| Nothing special about which books. | |
| (Off look.) | |
| MURPH | |
| Been working on it, like you said. | |
| Murph holds up her notebook with its barcode. | |
| MURPH | |
| I counted the spaces. | |
| COOPER | |
| Why? | |
| MURPH | |
| In case the ghost’s trying to say | |
| something. I’m trying Morse. | |
| COOPER | |
| Morse? | |
| MURPH | |
| Yeah. Dots and dashes, used for - | |
| COOPER | |
| Murph, I know what Morse code is. I | |
| just don’t think your bookshelf’s | |
| trying to talk to you. | |
| He leaves. Murph, embarrassed, turns back to the shelf. | |
| 18 INT. FRONT PORCH, FARMHOUSE - NIGHT 18 | |
| Donald hands Cooper a beer. | |
| COOPER | |
| Had to reset every compass clock | |
| and GPS to offset for the anomaly. | |
| DONALD | |
| Which is? | |
| COOPER | |
| 17. | |
| No idea. If the house was built on | |
| magnetic ore, we’d’ve seen this the | |
| first time we switched on a | |
| tractor. | |
| Donald nods. Sips. | |
| DONALD | |
| Sounds like your meeting at school | |
| didn’t go so well. | |
| COOPER | |
| (sighs) | |
| We’ve forgotten who we are, Donald. | |
| Explorers, pioneers. Not | |
| caretakers. | |
| Donald nods, thoughtful. Weighs up his words. | |
| DONALD | |
| When I was a kid it felt like they | |
| made something new every day. Some | |
| gadget or idea. Like every day was | |
| Christmas. But six billion people | |
| ... just try to imagine that. And | |
| every last one of them trying to | |
| have it all. | |
| He turns to Cooper. | |
| This world isn’t so bad. And Tom’ll do just fine - you’re | |
| the one who doesn’t belong. Born forty years too late, or | |
| forty years too early. My daughter knew it, God bless her. | |
| And your kids know it. ’Specially Murph. | |
| COOPER | |
| We used to look up and wonder at | |
| our place in the stars. Now we just | |
| look down and worry about our place | |
| in the dirt. | |
| DONALD | |
| Cooper, you were good at something | |
| and you never got a chance to do | |
| anything with it. I’m sorry. But | |
| that’s not your kids’ fault. | |
| Cooper looks up at the stars above. | |
| OLD-TIMER (V.O.) | |
| May 14th. Never forget. Clear as a | |
| bell. You’d never think ... | |
| 18. | |
| INSERT CUT: THE OLD-TIMER REMEMBERS. CUT TO A SECOND OLD- | |
| TIMER ... | |
| SECOND OLD-TIMER | |
| When the first of the real big ones | |
| rolled in ... I thought it was the | |
| end of the world. | |
| 19 EXT. BASEBALL FIELD - LATE AFTERNOON 19 | |
| The CRACK of ball off bat - a pop-fly caught to a trickle | |
| of applause. Half-filled stands at what looks like a minor | |
| league game. | |
| DONALD | |
| In my day we had real ball players. | |
| Who’re these bums? | |
| As the team runs in from the field we see: NEW YORK | |
| YANKEES. | |
| COOPER | |
| Well, in my day people were too | |
| busy fighting over food for | |
| baseball, so consider this | |
| progress. | |
| Murph offers Donald some popcorn. | |
| DONALD | |
| Fine. But popcorn at a ball game is | |
| unnatural. I want a hot dog. | |
| MURPH | |
| (confused) | |
| What’s a hot dog? | |
| Cooper sits with Tom a row in front. | |
| COOPER | |
| The school says you’re gonna follow | |
| in my footsteps. I think that’s | |
| great. | |
| TOM | |
| You think that’s great? | |
| MURPH | |
| You hate farming, Dad. Grandpa | |
| said. | |
| Cooper looks at Donald, who shrugs ’sorry’. | |
| 19. | |
| COOPER | |
| What’s important is how you feel | |
| about it, Tom. | |
| TOM | |
| I like what you do. I like our | |
| farm. | |
| On the field: the batter hits one along the ground - it | |
| rolls to an infielder’s foot - but the infielder IGNORES | |
| it, STARING up at the sky. The crowd starts to look up ... | |
| OLD-TIMER (V.O.) | |
| You’ve never seen the like. Black. | |
| Just black ... | |
| INSERT CUT: THE OLD-TIMER CHOKES BACK FEAR AS HE REMEMBERS. | |
| Cooper stares at the horizon, where an ENORMOUS BLACK DUST | |
| STORM IS MASSING. People start leaving, tying handkerchiefs | |
| across their faces. | |
| COOPER | |
| Come on, guys. | |
| 20 INT/EXT. PICKUP TRUCK - MOMENTS LATER 20 | |
| Cooper speeds along as Donald and the kids stuff RAGS into | |
| cracks and vents ... behind them the WALL OF BLACK DUST | |
| ADVANCES, SWALLOWING UP ROADS, BUILDINGS. A nasty SOUND is | |
| developing - the truck ROCKING with GUSTS of wind ... | |
| Suddenly, BLACK DUST ENVELOPS the car, LIGHTNING CRACKLING. | |
| DONALD | |
| It’s a bad one ... | |
| COOPER | |
| Mask up, guys. | |
| Murph and Tom take SURGICAL MASKS out of the glove box. | |
| 21 EXT. FARMHOUSE - CONTINUOUS 21 | |
| VISIBILITY MERE FEET as the dust storm BRUTALIZES the farm. | |
| The truck CRAWLS up to the house. Cooper leans in to try | |
| and see better ... CRACK - a panel of sheet metal SMASHES | |
| into the windshield - Cooper turns - wrestles Murph out of | |
| the truck as Donald blindly stumbles towards the front door | |
| with Tom ... | |
| 20. | |
| 22 INT. FARMHOUSE - CONTINUOUS 22 | |
| The SHUTTERS BANG as the wind WHIPS around the house, | |
| FORCING JETS OF DUST up through cracks in the window | |
| frames, floorboards ... Donald SLAMS the door. Murph is | |
| COUGHING ... Cooper looks around. Sees dust coming from | |
| upstairs. | |
| COOPER | |
| Did you both shut your windows? | |
| Tom nods. Murph looks at Cooper. Runs for the stairs. | |
| COOPER | |
| Wait - | |
| 23 INT. MURPH’S BEDROOM - CONTINUOUS 23 | |
| Cooper gets to the doorway. Murph stands in the middle of | |
| the room, STARING. Cooper SHUTS the window. The dust hangs | |
| in the relative quiet. Murph is staring, TRANSFIXED, at | |
| LINES where dust is FALLING UNNATURALLY FAST, STREAMING | |
| DOWN through the air, collecting on the floor in a PATTERN | |
| - | |
| MURPH | |
| The Ghost. | |
| Cooper STARES at dust collecting like snow on power | |
| lines... | |
| COOPER | |
| Grab your pillow, sleep in with | |
| Tom. | |
| 24 EXT. FARMHOUSE - DAWN - MORNING 24 | |
| Calm. Dust settled. | |
| 25 INT. TOM’S ROOM - CONTINUOUS 25 | |
| Murph slips out of bed, wrapped in her blanket. Pads down | |
| the hall, peeks in her bedroom door at - | |
| 26 INT. MURPH’S BEDROOM - CONTINUOUS 26 | |
| Cooper sits, staring at the PATTERN of dust: thick radial | |
| lines, like a CIRCULAR BARCODE. Murph sits down next to her | |
| dad. They STARE at it together. He holds up a coin ... | |
| 21. | |
| COOPER | |
| It’s not a ghost ... | |
| Cooper tosses the coin across a line. It SHOOTS at the | |
| floor - | |
| It’s gravity. | |
| 27 INT. SAME - LATER 27 | |
| Donald pokes his head in. | |
| DONALD | |
| I’m dropping Tom, then heading to | |
| town ... | |
| (Looks at dust pattern.) | |
| You wanna clean that up when you’ve | |
| finished praying to it? | |
| Cooper reaches for Murph’s notebook. Starts writing ... | |
| 28 INT. KITCHEN, FARMHOUSE - LATER 28 | |
| Murph fills a glass of water. Picks up a plate of | |
| sandwiches. | |
| 29 INT. MURPH’S BEDROOM - CONTINUOUS 29 | |
| Follow Murph into the room, to find Cooper standing there. | |
| COOPER | |
| I got something. | |
| Cooper is pointing to the thick and thin radial lines - | |
| COOPER | |
| Binary. Thick is one, thin is zero | |
| - it’s numbers ... number pairs... | |
| He holds up the notebook to show Murph the number pairs. | |
| Coordinates. | |
| 30 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 30 | |
| Cooper and Murph pore over MAPS. Cooper TOSSES one aside, | |
| lays it out on the table. Finds a spot. Looks up at Murph | |
| ... | |
| 22. | |
| 31 EXT. FARMHOUSE - MOMENTS LATER 31 | |
| Cooper packing his truck - sleeping bag, flashlight ... | |
| MURPH | |
| You can’t leave me behind! | |
| COOPER | |
| Grandpa’s back in two hours. | |
| MURPH | |
| You don’t know what you’re going to | |
| find - | |
| COOPER | |
| That’s why I can’t take you. | |
| 32 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 32 | |
| Cooper grabs the maps and a bottle of water. He calls up - | |
| COOPER | |
| Murph? | |
| Nothing. | |
| COOPER | |
| Murph, just wait here for Grandpa. | |
| Tell him I’ll call him on the | |
| radio. | |
| 33 INT/EXT. PICKUP TRUCK ON ROAD - MOMENTS LATER 33 | |
| Cooper drives, map spread on the wheel, looks for a pen - | |
| reaches over to the passenger wheel well - lifts a BLANKET | |
| - Murph is there - | |
| COOPER | |
| JESUS! | |
| The truck WOBBLES as Cooper regains control. | |
| COOPER | |
| Murph, what are you doing?! | |
| Murph is LAUGHING as she climbs into the passenger seat - | |
| COOPER | |
| It’s not funny - | |
| 23. | |
| But Murph’s laugh is infectious. | |
| MURPH | |
| You wouldn’t be here if it wasn’t | |
| for me. | |
| Cooper hands Murph the map. | |
| COOPER | |
| Fair enough. Make yourself | |
| useful... | |
| The pickup cruises down the road, heading for the | |
| MOUNTAINS. | |
| 34 EXT. PLAINS APPROACHING MOUNTAINS - DUSK 34 | |
| The tiny pickup is dwarfed by the darkening foothills. | |
| 35 EXT. DIRT ROAD OFF MOUNTAIN PASS - NIGHT 35 | |
| Cooper pulls up to a gate in chain-link fence. Murph is | |
| asleep next to him. | |
| COOPER | |
| Murph. Murph. | |
| Murph wakes. | |
| COOPER | |
| I think this is as far as we get. | |
| Murph glances out at the fence. Closes her eyes again. | |
| MURPH | |
| Why? You didn’t bring the bolt- | |
| cutters? | |
| COOPER | |
| I like your spirit, young lady. | |
| Cooper gets out of the truck, retrieves his bolt-cutters | |
| and comes up to the fence. He looks up and down the road. | |
| Nothing. He reaches out and puts the jaws of the cutters - | |
| WHAM! SPOTLIGHTS IN COOPER’S EYES - A HARSH ELECTRIC VOICE | |
| - | |
| VOICE | |
| 24. | |
| STEP AWAY FROM THE FENCE. | |
| Cooper drops the cutters, puts his hands in the air - | |
| COOPER | |
| Don’t shoot! My child is in the | |
| car! I’m unarmed! My daughter is - | |
| Murph watches, terrified as, with a ZAP, Cooper DROPS. | |
| Murph SCRAMBLES back along the seat as MASSIVE FOOTSTEPS | |
| APPROACH. | |
| The door is WRENCHED open - a BLINDING LIGHT | |
| VOICE | |
| DON’T BE AFRAID. | |
| Murph SCREAMS. | |
| 36 INT. BRIGHT, INDUSTRIAL ROOM - LATER 36 | |
| Cooper comes to, sitting in a chair. Opposite him is an | |
| ARTICULATED MACHINE. A VOICE emanates from its side. | |
| MACHINE | |
| How did you find this place? | |
| COOPER | |
| Where’s my daughter? | |
| MACHINE | |
| You had the coordinates for this | |
| facility marked on your map. Where | |
| did you get them? | |
| Cooper leans in to the machine. | |
| COOPER | |
| WHERE’S MY DAUGHTER?! | |
| Cooper’s scream REVERBERATES. Cooper sizes up the machine. | |
| MACHINE | |
| You might think you’re still in the | |
| Marines, but the Marines don’t | |
| exist anymore, pal. I’ve got grunts | |
| like you mowing my grass ... | |
| The Machine RISES to its full height. | |
| MACHINE | |
| 25. | |
| How did you find us? | |
| COOPER | |
| But you don’t look like a lawnmower | |
| to me ... you, I’m gonna turn into | |
| an overqualified vacuum cleaner - | |
| FEMALE VOICE (O.S.) | |
| No, you’re not. | |
| Cooper turns to see a businesslike woman in her thirties. | |
| WOMAN | |
| Tars, back down, please. | |
| The machine, TARS, sinks back down. | |
| COOPER | |
| You’re taking a risk using ex- | |
| military for security. They’re old, | |
| their control units are | |
| unpredictable ... | |
| WOMAN | |
| Well, that’s what the government | |
| could spare. | |
| COOPER | |
| Who are you? | |
| WOMAN | |
| Dr Brand. | |
| COOPER | |
| I knew a Dr Brand once. But he was | |
| a professor - | |
| WOMAN (BRAND) | |
| What makes you think I’m not? | |
| COOPER | |
| And nowhere near as cute. | |
| BRAND | |
| You think you can flirt your way | |
| out of this mess? | |
| COOPER | |
| (honest, scared) | |
| 26. | |
| Dr Brand, I have no idea what this | |
| mess is. I’m scared for my little | |
| girl and I want her by my side. | |
| Then I’ll tell you anything you | |
| want to know. Okay? | |
| Brand considers this. Turns to Tars. | |
| BRAND | |
| Get the principals and the girl | |
| into the conference room. | |
| (To Cooper.) | |
| Your daughter’s fine. Bright kid. | |
| (Rises.) | |
| Must have a very smart mother. | |
| 37 INT. UNDERGROUND FACILITY - MOMENTS LATER 37 | |
| Cooper follows Brand into a corridor. Tars LURCHES behind. | |
| COOPER | |
| It’s pretty clear you don’t want | |
| visitors - why not let us back up | |
| from your fence and be on our way? | |
| BRAND | |
| It’s not that simple. | |
| COOPER | |
| Sure it is. I don’t know anything | |
| about you or this place. | |
| BRAND | |
| Yes, you do. | |
| Brand ushers Cooper through a door into a conference room - | |
| 38 INT. CONFERENCE ROOM - CONTINUOUS 38 | |
| Where an OLD MAN is crouched down, talking to Murph. | |
| MURPH | |
| Dad! | |
| Murph runs into Cooper’s arms. The Old Man SMILES at | |
| Cooper. | |
| OLD MAN | |
| Hello, Cooper. | |
| COOPER | |
| 27. | |
| (stunned) | |
| Professor Brand? | |
| MAN AT TABLE (DOYLE) | |
| Just take a seat, Mr Cooper. | |
| Cooper and Murph sit at a table where five people are | |
| waiting - a bespectacled man, WILLIAMS, leans forward to | |
| address Cooper. | |
| WILLIAMS | |
| Explain how you found this | |
| facility. | |
| COOPER | |
| Stumbled across it. Looking for | |
| salvage and I saw the fence - | |
| WILLIAMS | |
| You’re sitting in the world’s best | |
| kept secret - you don’t stumble in. | |
| And you certainly don’t stumble | |
| out. | |
| PROFESSOR BRAND | |
| Cooper, please. Cooperate with | |
| these people. | |
| Cooper looks nervously around the room. | |
| COOPER | |
| It’s hard to explain, but we | |
| learned these coordinates from an | |
| anomaly ... | |
| DOYLE | |
| What sort of anomaly? | |
| COOPER | |
| I don’t want to term it | |
| ’supernatural’ ... but ... | |
| Cooper is losing them. Williams leans forward. Serious. | |
| WILLIAMS | |
| You’re going to have to, Mr Cooper. | |
| Real quick. | |
| COOPER | |
| After that last storm, it was a | |
| pattern ... in dust ... | |
| MURPH | |
| 28. | |
| It was gravity. | |
| All eyes turn to Murph. She’s said the magic word. Doyle | |
| looks at Professor Brand, excited. Turns to Cooper - | |
| DOYLE | |
| Where was this gravitational | |
| anomaly? | |
| COOPER | |
| Look, I’m happy you’re excited | |
| about gravity, but if you want more | |
| answers from us I’m gonna need | |
| assurances - | |
| WILLIAMS | |
| Assurances? | |
| Cooper looks at Murph. Then covers Murph’s ears. | |
| COOPER | |
| That we’re getting out of here ... | |
| and not in the trunk of some car. | |
| Brand laughs. Williams smiles. Cooper looks confused. | |
| PROFESSOR BRAND | |
| Don’t you know who we are, Coop? | |
| COOPER | |
| No. No, I don’t. | |
| BRAND | |
| (points around table) | |
| Williams, Doyle, Jenkins, Smith, | |
| you already know my father, | |
| Professor Brand. We’re NASA. | |
| COOPER | |
| NASA? | |
| PROFESSOR BRAND | |
| NASA. Same NASA you flew for. | |
| Now Cooper is laughing, too. Murph looks around, confused. | |
| 39 INT. UNDERGROUND FACILITY - MOMENTS LATER 39 | |
| Professor Brand shows Cooper the facility. | |
| COOPER | |
| 29. | |
| I heard you got shut down for | |
| refusing to drop bombs from the | |
| stratosphere onto starving people. | |
| PROFESSOR BRAND | |
| When they realized killing other | |
| people wasn’t a long term solution | |
| they needed us back. Set us up in | |
| the old NORAD facility. In secret. | |
| COOPER | |
| Why secret? | |
| PROFESSOR BRAND | |
| Public opinion won’t allow spending | |
| on space exploration. Not when | |
| we’re struggling to put food on the | |
| table. | |
| Professor Brand ushers Cooper through a large door - | |
| 40 INT. GREENHOUSE - CONTINUOUS 40 | |
| Professor Brand gestures to large PLANTATIONS under glass. | |
| PROFESSOR BRAND | |
| Blight. Wheat seven years ago, okra | |
| this year. Now there’s just corn. | |
| COOPER | |
| But we’re growing more than ever - | |
| PROFESSOR BRAND | |
| Like the potatoes in Ireland, like | |
| the wheat in the dust bowl, the | |
| corn will die. Soon. | |
| Brand enters with Murph. She shows her the greenhouses. | |
| COOPER | |
| We’ll find a way, we always have. | |
| PROFESSOR BRAND | |
| Driven by the unshakable faith that | |
| the Earth is ours. | |
| COOPER | |
| Not just ours, but it is our home. | |
| PROFESSOR BRAND | |
| 30. | |
| Earth’s atmosphere is 80 percent | |
| nitrogen. We don’t even breathe | |
| nitrogen. | |
| Professor Brand shows him a blighted stalk. | |
| PROFESSOR BRAND | |
| Blight does. And as it thrives our | |
| air contains less and less | |
| oxygen... | |
| Professor Brand gestures over at Murph ... | |
| PROFESSOR BRAND | |
| The last people to starve will be | |
| the first to suffocate. Your | |
| daughter’s generation will be the | |
| last to survive on Earth. | |
| Cooper looks over at Murph. Then back to Professor Brand. | |
| COOPER | |
| Tell me this is where you explain | |
| how you’re going to save the world. | |
| 41 INT. VAST CIRCULAR CHAMBER - LAUNCH FACILITY - MOMENTS 41 | |
| LATER | |
| Cooper and Professor Brand enter like ants in a grain silo. | |
| A ROCKET is on a pad, DWARFED by the circular chamber. Far | |
| above, a ring of mirrors reflects the dawn down into the | |
| facility. | |
| PROFESSOR BRAND | |
| We’re not meant to save the world | |
| ... we’re meant to leave it. | |
| Cooper stares up at the rocket. He recognizes the | |
| arrangement of two CRAFT at the top. | |
| COOPER | |
| Rangers. | |
| PROFESSOR BRAND | |
| The last components of our one | |
| versatile ship in orbit, the | |
| Endurance. Our final expedition. | |
| COOPER | |
| What happened to the other | |
| vehicles? | |
| 31. | |
| PROFESSOR BRAND | |
| The Lazarus missions. | |
| COOPER | |
| Sounds cheerful. | |
| PROFESSOR BRAND | |
| Lazarus came back from the dead - | |
| COOPER | |
| He had to die in the first place. | |
| You sent people out there looking | |
| for a new home ... | |
| Professor Brand nods. | |
| COOPER | |
| There’s no planet in our solar | |
| system that can support life ... | |
| and it’d take them a thousand years | |
| to reach the nearest star - that | |
| doesn’t even qualify as futile ... | |
| Where did you send them, Professor? | |
| PROFESSOR BRAND | |
| Cooper, I can’t tell you any more | |
| unless you agree to pilot this | |
| craft. You’re the best we ever had. | |
| COOPER | |
| I barely left the stratosphere. | |
| PROFESSOR BRAND | |
| This crew’s never left the | |
| simulator. We can’t program this | |
| mission from Earth, we don’t know | |
| what’s out there. We need a pilot. | |
| And this is the mission you were | |
| trained for. | |
| COOPER | |
| Without ever knowing. An hour ago, | |
| you didn’t even know I was still | |
| alive. And you were going anyway. | |
| PROFESSOR BRAND | |
| We had no choice. But something | |
| brought you here. They chose you. | |
| COOPER | |
| Who’s ’they’? | |
| Professor Brand is silent. Cooper wrestles. | |
| 32. | |
| How long would I be gone? | |
| PROFESSOR BRAND | |
| Hard to know. Years. | |
| COOPER | |
| I’ve got my kids, Professor. | |
| PROFESSOR BRAND | |
| Get out there and save them. | |
| Cooper considers this. Decides. | |
| COOPER | |
| Who’s ’they’? | |
| 42 INT. CONFERENCE ROOM - LATER 42 | |
| A man in his forties has the solar system up on the screen. | |
| This is ROMILLY. | |
| ROMILLY | |
| We started detecting gravitational | |
| anomalies almost fifty years ago. | |
| Mostly small distortions to our | |
| instruments in the upper atmosphere | |
| - I believe you encountered one | |
| yourself ... | |
| COOPER | |
| (realizing) | |
| Over the Straights - my crash - | |
| something tripped my fly-by wire - | |
| ROMILLY | |
| Exactly. But the most significant | |
| anomaly was this ... | |
| Cooper stares at an image of Saturn and its moons. Romilly | |
| zooms in on some stars DISTORTED like ripples in a pond. | |
| ROMILLY | |
| A disturbance of spacetime out near | |
| Saturn. | |
| COOPER | |
| A wormhole? | |
| ROMILLY | |
| It appeared forty-eight years ago. | |
| 33. | |
| COOPER | |
| Where does it lead? | |
| PROFESSOR BRAND | |
| Another galaxy. | |
| COOPER | |
| A wormhole isn’t a naturally | |
| occurring phenomenon. | |
| BRAND | |
| Someone placed it there. | |
| COOPER | |
| ’They’. | |
| BRAND | |
| And whoever ’They’ are, they appear | |
| to be looking out for us - that | |
| wormhole lets us travel to other | |
| stars. It came along right as we | |
| needed it. | |
| DOYLE | |
| They’ve put potentially habitable | |
| worlds within our reach. Twelve, in | |
| fact from our initial probes. | |
| COOPER | |
| You sent probes into it? | |
| PROFESSOR BRAND | |
| We sent people into it. Ten years | |
| ago. | |
| COOPER | |
| The Lazarus missions. | |
| Professor Brand rises and moves to a MEMORIAL, pointing - | |
| PROFESSOR BRAND | |
| Twelve possible worlds. Twelve | |
| Ranger launches carrying the | |
| bravest humans ever to live, led by | |
| the remarkable Dr Mann. | |
| DOYLE | |
| 34. | |
| Each person’s landing pod had life | |
| support for two years - but they | |
| could use hibernation to stretch | |
| that, making observations on | |
| organics over a decade or more. | |
| Their mission was to assess their | |
| world, and if it showed promise, | |
| send a signal, bed down for the | |
| long nap, and wait to be rescued. | |
| COOPER | |
| And if their world didn’t show | |
| promise? | |
| DOYLE | |
| Hence the bravery. | |
| COOPER | |
| Because you don’t have resources to | |
| visit all twelve. | |
| DOYLE | |
| No. Data transmission back through | |
| the wormhole is rudimentary, simple | |
| binary ’pings’ on an annual basis | |
| to give some clue as to which | |
| worlds have potential. One system | |
| shows promise. | |
| COOPER | |
| One? Kind of a long shot. | |
| BRAND | |
| One system with three potential | |
| worlds ... no long shot. | |
| COOPER | |
| So if we find a new home, what | |
| then? | |
| PROFESSOR BRAND | |
| That’s the long shot. There’s Plan | |
| A and there’s Plan B. Did you | |
| notice anything strange about the | |
| launch chamber ... | |
| 43 INT. LAUNCH FACILITY - MOMENTS LATER 43 | |
| Cooper cocks his head, puzzling at the VAST chamber ... | |
| there are structures built SIDEWAYS around the CURVED | |
| walls... | |
| 35. | |
| COOPER | |
| This whole facility ... it’s a | |
| vehicle? A space station? | |
| PROFESSOR BRAND | |
| Both. We’ve been working on it, and | |
| others like it for twenty-five | |
| years. Plan A. | |
| COOPER | |
| How does it get off the Earth? | |
| PROFESSOR BRAND | |
| Those first gravitational anomalies | |
| changed everything - suddenly we | |
| knew that harnessing gravity was | |
| real. So I started working on the | |
| theory - and we start building this | |
| station. | |
| COOPER | |
| But you haven’t solved it, yet. | |
| PROFESSOR BRAND | |
| That’s why there’s a Plan B. | |
| 44 INT. LABORATORY - MOMENTS LATER 44 | |
| TECHNICIANS work the complex, high-tech lab. Professor | |
| Brand and Cooper follow Brand to a large glass and steel | |
| apparatus. | |
| BRAND | |
| The problem is gravity. How to get | |
| a viable amount of human life off | |
| BRAND | |
| this planet. This is one way - Plan | |
| B. A population bomb. Almost five | |
| thousand fertilized eggs, weighing | |
| in at under 900 kilos. | |
| COOPER | |
| How could you raise them? | |
| BRAND | |
| 36. | |
| With equipment on board we incubate | |
| the first ten. After that, with | |
| surrogacy, the growth becomes | |
| exponential - within thirty years | |
| we might have a colony of hundreds. | |
| The real difficulty of colonization | |
| is genetic diversity, | |
| (Indicates vials.) | |
| This takes care of that. | |
| Cooper looks at the equipment. Unenthusiastic. | |
| COOPER | |
| We just give up on the people here? | |
| PROFESSOR BRAND | |
| That’s why Plan A’s a lot more fun. | |
| 45 INT. PROFESSOR BRAND’S OFFICE 45 | |
| Professor Brand watches Cooper as he gazes over the vast | |
| tracts of ALGEBRA covering every available surface. | |
| COOPER | |
| Where have you got to? | |
| PROFESSOR BRAND | |
| Almost there. | |
| COOPER | |
| Almost? You’re asking me to hang | |
| everything on an ’almost’? | |
| Professor Brand moves close to Cooper. | |
| PROFESSOR BRAND | |
| I’m asking you to trust me. | |
| Cooper looks at the passion in Professor Brand’s eyes. | |
| COOPER | |
| All those years of training - you | |
| never told me. | |
| PROFESSOR BRAND | |
| We can’t always be open about | |
| everything, Coop, even if we want | |
| to be. What can you tell your | |
| children about this mission? | |
| Cooper considers this. Uneasy. | |
| 37. | |
| PROFESSOR BRAND | |
| Find us a new home. When you | |
| return, I’ll have solved the | |
| problem of gravity. You have my | |
| word. | |
| 46 EXT. FARMHOUSE - LATE DAY 46 | |
| Donald, on the porch, gets to his feet as he sees Cooper’s | |
| pickup approaching. The truck pulls up. Murph TEARS past | |
| Grandpa into the house - Donald looks at Cooper, | |
| questioning. | |
| 47 INT. HALL OUTSIDE MURPH’S ROOM - CONTINUOUS 47 | |
| Cooper tries to open the door, but Murph has stacked a desk | |
| and chair against it - | |
| COOPER | |
| Murph? | |
| MURPH | |
| Go! If you’re leaving, just go! | |
| 48 EXT. PORCH - NIGHT 48 | |
| Donald looks out at the night, taking it all in. | |
| DONALD | |
| This world never was enough for | |
| you, was it, Coop? | |
| COOPER | |
| I’m not gonna lie to you, Donald - | |
| heading out there is what I feel | |
| born to do and it excites me. That | |
| doesn’t make it wrong. | |
| Donald considers this. Turns to Cooper. | |
| DONALD | |
| It might. Don’t trust the right | |
| thing done for the wrong reason. | |
| The ’why’ of a thing? That’s the | |
| foundation. | |
| COOPER | |
| (sadly) | |
| Well, the foundation’s solid. | |
| (Gestures at landscape.) | |
| 38. | |
| We farmers sit here every year when | |
| the rains fail and say ’next year’. | |
| Next year ain’t gonna save us. Nor | |
| the one after. This world’s a | |
| treasure, Donald. But she’s been | |
| telling us to leave for a while | |
| now. | |
| (Stares at the horizon.) | |
| Mankind was born on Earth. It was | |
| never meant to die here. | |
| Donald considers this. Scoops the dust off the rail. | |
| DONALD | |
| Tom’ll be okay. But you have to | |
| make it right with Murph. | |
| COOPER | |
| I will. | |
| DONALD | |
| Without making any promises you | |
| don’t know you can keep. | |
| Cooper meets Donald’s gaze. Looks away, nodding. | |
| 49 INT. MURPH’S BEDROOM - MORNING 49 | |
| Cooper’s hand, reaching in, removes the chair from the | |
| desk, barricading the door. Murph is lying on the bed, | |
| turned away. Cooper pushes the desk back gently. Enters, | |
| quietly. | |
| COOPER | |
| You have to talk to me. | |
| Nothing. | |
| COOPER | |
| I have to fix this before I go. | |
| Murph turns, tear-stained, angry cheeks blazing - | |
| MURPH | |
| Then I’ll keep it broken so you | |
| have to stay. | |
| Cooper sits down on the bed next to Murph. | |
| COOPER | |
| 39. | |
| After you kids came along, your | |
| mother said something I didn’t | |
| really understand - she said, ’I | |
| look at the babies and I see myself | |
| as they’ll remember me.’ She said, | |
| ’It’s as if we don’t exist anymore, | |
| like we’re ghosts, like now we’re | |
| just there to be memories for our | |
| kids.’ Now I realize - once we’re | |
| parents, we’re just the ghosts of | |
| our childrens’ futures. | |
| MURPH | |
| You said ghosts don’t exist. | |
| COOPER | |
| That’s right. I can’t be your ghost | |
| right now - I need to exist. | |
| Because they chose me. They chose | |
| me, Murph. You saw it. Murph sits | |
| up. | |
| Points at the shelves. The gaps. | |
| MURPH | |
| I figured out the message ... | |
| (Opens her notebook.) | |
| It was Morse code ... | |
| COOPER | |
| Murph - | |
| MURPH | |
| One word. You know what it is? | |
| Cooper shakes his head sadly. Murph holds out her notebook | |
| - | |
| ’STAY’. It says ’STAY’, Dad. | |
| COOPER | |
| Oh, Murph. | |
| MURPH | |
| You don’t believe me?! Look the | |
| books! Look at - | |
| Cooper takes his daughter in his arms ... | |
| COOPER | |
| It’s okay, it’s okay ... | |
| Murph buries her head on Cooper’s shoulder, sobbing. | |
| 40. | |
| Murph, a father looks in his child’s eyes and thinks - | |
| maybe it’s them ... maybe my child will save the world. And | |
| everyone, once a child, wants to look into their own dad’s | |
| eyes and know he saw how they saved some little corner of | |
| their world. But, usually, by then, the father is gone. | |
| MURPH | |
| Like you will be. | |
| Cooper looks at his daughter. Lies with head, not heart: | |
| COOPER | |
| No. I’m coming back. | |
| MURPH | |
| When? | |
| Cooper reaches into his pocket. Pulls out two WATCHES. | |
| COOPER | |
| One for you. One for me. | |
| Murph takes the watch, curious. Cooper holds up his watch. | |
| When I’m in hyper-sleep, or travel near the speed of light, | |
| or near a black hole, time will change for me. It’ll run | |
| more slowly. When I get back we’ll compare. | |
| MURPH | |
| Time will run differently for us? | |
| COOPER | |
| Yup. By the time I get back we | |
| might even be the same age. You and | |
| me. Imagine that ... | |
| Murph takes this in. Cooper sees he’s made a mistake. | |
| Wait, Murph - | |
| MURPH | |
| You have no idea when you’re coming | |
| back. | |
| Cooper looks at his daughter. | |
| MURPH | |
| No idea at all! | |
| Murph THROWS the watch - TURNS HER BACK. | |
| COOPER | |
| 41. | |
| Don’t make me leave like this. | |
| Nothing. | |
| COOPER | |
| Please. I have to go now. | |
| Murph will not turn around. Cooper tries to rest his hand | |
| on the back of her head, but she shakes it off. | |
| COOPER | |
| I love you, Murph. Forever. And I’m | |
| coming back. | |
| Cooper walks slowly out. A BOOK DROPS FROM THE SHELF. | |
| Cooper turns to look at it. Then leaves. | |
| 50 EXT. FARMHOUSE - MOMENTS LATER 50 | |
| Cooper, mechanical, puts his small bag in the truck. | |
| DONALD | |
| How’d it go? | |
| COOPER | |
| Fine. It was fine. | |
| Cooper turns to Tom. Hugs him. Tight enough for both kids. | |
| I love you, Tom. | |
| TOM | |
| Travel safe, Dad. | |
| COOPER | |
| (indicates farm) | |
| Look after our place, you hear? | |
| TOM | |
| Can I use your truck while you’re | |
| gone? | |
| COOPER | |
| (smiles) | |
| I’ll make sure they bring it back | |
| for you. | |
| Cooper gets in. Starts the engine. | |
| COOPER | |
| Mind my kids for me, Donald. | |
| 42. | |
| Donald nods. Cooper pulls out. | |
| 51 INT. MURPH’S BEDROOM - CONTINUOUS 51 | |
| Murph jumps off the bed, GRABS the watch, RUNS downstairs. | |
| 52 INT. PICKUP TRUCK - CONTINUOUS 52 | |
| As Cooper drives he lifts the blanket in the wheel-well | |
| where Murph hid last time. Nothing. And we hear a | |
| COUNTDOWN... | |
| VOICE | |
| (O.S.) | |
| TEN ... NINE ... | |
| 53 EXT. FARMHOUSE - CONTINUOUS 53 | |
| Murph RACES out of the house, watch in hand - | |
| MURPH | |
| Dad?! DAD?! | |
| VOICE | |
| (V.O.) | |
| EIGHT ... SEVEN ... | |
| But Cooper is a dust trail far down the road. | |
| VOICE | |
| (O.S.) | |
| SIX ... FIVE ... | |
| Murph SOBS as her grandpa puts his arms around her ... | |
| 54 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 54 | |
| As Cooper drives away tears roll down his cheeks | |
| VOICE | |
| (O.S.) | |
| FOUR ... THREE ... TWO ... ONE ... | |
| 55 INT. LAUNCH FACILITY - DAY 55 | |
| VOICE | |
| (O.S.) | |
| 43. | |
| IGNITION. | |
| FIRE SHOOTS FROM THE BASE OF THE ROCKET ... The rocket | |
| RISES slowly from the pad, up into the sky ... | |
| 56 INT. RANGER COCKPIT - CONTINUOUS 56 | |
| Cooper, in his space helmet, lets the FORCE of the rocket | |
| vibrate through him ... | |
| VOICE | |
| (O.S.) | |
| Stage one ... SEPARATION. | |
| Cooper starts to see the Earth’s curve through the | |
| window... | |
| VOICE | |
| (O.S.) | |
| Stage two ... SEPARATION. | |
| And Cooper shakes loose the bonds of Earth. | |
| 57 EXT. UPPER ATMOSPHERE - CONTINUOUS 57 | |
| The rocket RIPS upwards into the sky. | |
| 58 INT. RANGER COCKPIT - CONTINUOUS 58 | |
| Cooper glances around the vibrating, cramped cockpit - | |
| Brand, Doyle, Romilly, Tars. Tars spots Cooper’s glance - | |
| TARS | |
| All here, Mr Cooper. Plenty of | |
| slaves for my robot colony. | |
| Cooper looks at him, confused. | |
| DOYLE | |
| They gave him a humor setting so | |
| he’d fit in with his unit better. | |
| He thinks it relaxes us. | |
| COOPER | |
| A massive, sarcastic robot. What a | |
| great idea. | |
| TARS | |
| I have a cue light I can turn on | |
| when I’m joking, if you like. | |
| 44. | |
| COOPER | |
| Probably help. | |
| TARS | |
| You can use it to find your way | |
| back to the ship after I blow you | |
| out the airlock. | |
| Tars looks at Cooper. A beat. An LED turns on. Cooper | |
| shakes his head. | |
| COOPER | |
| What’s your humor setting, Tars? | |
| TARS | |
| One hundred percent. | |
| Cooper turns to the instruments - | |
| COOPER | |
| Take it to seventy-five, please. | |
| EARTH ORBIT - CONTINUOUS | |
| The Rangers streak across the Earth, settle into a low | |
| orbit. | |
| 59 INT. RANGER COCKPIT - CONTINUOUS 59 | |
| Quiet. Cooper stares down at the continents sliding by. He | |
| looks over at Brand who is doing the same, abstracted. | |
| COOPER | |
| We’ll get back. | |
| She stares at the land. The oceans. | |
| It’s hard. Leaving everything. My kids ... your father ... | |
| BRAND | |
| We’re going to spend a lot of time | |
| together ... | |
| COOPER | |
| (nods) | |
| We should learn to talk. | |
| BRAND | |
| And when not to. | |
| (Off look.) | |
| Just trying to be honest. | |
| 45. | |
| COOPER | |
| Maybe you don’t need to be that | |
| honest. | |
| (Turns to Tars.) | |
| Tars, what’s your honesty | |
| parameter? | |
| Tars DISENGAGES from the floor and MOVES to the rear | |
| airlock - | |
| TARS | |
| Ninety percent. | |
| COOPER | |
| Ninety? What kind of robot are you? | |
| TARS | |
| Absolute honesty isn’t always the | |
| most diplomatic, or safe form of | |
| communication with emotional | |
| beings. | |
| Cooper turns to Brand. Shrugs. | |
| COOPER | |
| Ninety percent honesty it is, then. | |
| Brand looks at Cooper. Can’t help smiling. | |
| VOICE | |
| (over radio) | |
| Sixty seconds out... | |
| 60 EXT. EARTH ORBIT - CONTINUOUS 60 | |
| The Rangers approach a RING MODULE, fire retro-thrusters | |
| and slide gracefully into the center of the ring - the last | |
| piece of a large modular craft: the U.S.S. ENDURANCE. Four | |
| LANDERS (including the Rangers) are nestled inside the ring | |
| module. | |
| 61 INT. RING MODULE, ENDURANCE - MOMENTS LATER 61 | |
| Brand, Doyle and Romilly, following Tars, FLOAT through the | |
| cramped cabins, powering up. Tars powers up a second | |
| articulated machine, CASE. | |
| DOYLE | |
| Cooper, you should have control. | |
| 46. | |
| 62 INT. COCKPIT, ENDURANCE (RANGER) - CONTINUOUS 62 | |
| Cooper checks instruments - | |
| COOPER | |
| Talking fine. Ready to spin? | |
| 63 INT. RING MODULE, ENDURANCE - CONTINUOUS 63 | |
| Doyle and Romilly are strapped in - Brand grabs a handhold | |
| - | |
| 64 INT. COCKPIT, ENDURANCE - CONTINUOUS 64 | |
| BRAND | |
| (over radio) | |
| All set. | |
| Cooper hits a switch ... | |
| 65 EXT. EARTH ORBIT - CONTINUOUS 65 | |
| Thrusters silently fire on the Endurance. It starts | |
| ROTATING. | |
| 66 INT. RING MODULE, ENDURANCE - CONTINUOUS 66 | |
| The crew members settle in as gravity is established. | |
| Romilly is clearly struggling to find his sea legs in the | |
| rotating ship. | |
| BRAND | |
| You okay there? | |
| ROMILLY | |
| Yup. Just need a little time - | |
| BRAND | |
| There should be Dramamine in the | |
| hab pod. | |
| 67 INT. RING MODULE, ENDURANCE - LATER 67 | |
| The crew listen to Professor Brand over the video link - | |
| PROFESSOR BRAND | |
| 47. | |
| (on screen) | |
| I miss you already. Amelia, be | |
| safe. Give my regards to Dr Mann. | |
| BRAND | |
| I will, Dad. | |
| PROFESSOR BRAND | |
| (on screen) | |
| Things look good for your | |
| trajectory. We’re calculating two | |
| years to Saturn. | |
| ROMILLY | |
| That’s a lot of Dramamine ... | |
| Cooper thinks about two years. What it means to his kids. | |
| COOPER | |
| (on screen) | |
| Keep an eye on my family, sir. | |
| Specially Murph. She’s a smart one. | |
| PROFESSOR BRAND | |
| (on screen) | |
| We’ll be waiting when you get back | |
| ... | |
| 68 INT. COCKPIT, ENDURANCE - LATER 68 | |
| Cooper and Doyle flick switches and check instruments - | |
| PROFESSOR BRAND | |
| (V.O.) | |
| ... A little older. A little wiser. | |
| But happy to see you ... | |
| 69 INT. RING MODULE, ENDURANCE - CONTINUOUS 69 | |
| Brand, Romilly, Tars and Case strap in. | |
| PROFESSOR BRAND | |
| (V.O.) | |
| ’Do not go gentle into that good | |
| night ...’ | |
| 70 INT. COCKPIT, ENDURANCE - CONTINUOUS 70 | |
| Cooper turns to Doyle. HITS the thrusters. | |
| 48. | |
| 71 EXT. EARTH ORBIT - CONTINUOUS 71 | |
| Endurance’s main engines FIRE. The craft PUSHES out of | |
| orbit - | |
| PROFESSOR BRAND | |
| (V.O.) | |
| ’Rage, rage against the dying of | |
| the light.’ God speed, Endurance. | |
| The craft accelerates away from Earth. | |
| 72 INT. RING MODULE, ENDURANCE - DAY 72 | |
| The crew sets up their CRYO-BEDS. Cooper looks out at the | |
| diminishing Earth floating in the void. Brand joins him. | |
| COOPER | |
| So alone. | |
| BRAND | |
| We’ve got each other - Dr Mann had | |
| it worse. | |
| COOPER | |
| (points at Earth) | |
| I meant them. Look at that perfect | |
| planet. We’re not gonna find | |
| another one like her. | |
| BRAND | |
| No. This isn’t like looking for a | |
| new condo - the human race is going | |
| to be adrift ... desperate for a | |
| rock to cling to while they catch | |
| their breaths. We have to find that | |
| rock. Our three prospects are at | |
| the edge of what might sustain | |
| human life. | |
| Brand shows him a blurry image of a dark blue planet. | |
| BRAND | |
| Laura Miller’s first. She started | |
| our biology program. | |
| She shows him a red world, just a tiny dot. | |
| And Wolf Edmunds is here. | |
| Cooper hears something in her voice. | |
| 49. | |
| COOPER | |
| Who’s Edmunds? | |
| BRAND | |
| (fondly) | |
| Wolf’s a particle physicist. | |
| COOPER | |
| None of them had family? | |
| BRAND | |
| No attachments. My father insisted. | |
| They knew the odds against ever | |
| seeing another human being. I’m | |
| hoping we surprise at least three | |
| of them. | |
| COOPER | |
| Tell me about Dr Mann. | |
| Brand replaces the screen image for a grainy, white orb. | |
| BRAND | |
| Remarkable. The best of us. My | |
| father’s protégé. He inspired | |
| eleven people to follow him on the | |
| loneliest journey in human history. | |
| Scientists, explorers ... That’s | |
| what I love - out there we face | |
| great odds. Death. But not evil. | |
| COOPER | |
| Nature can’t be evil? | |
| BRAND | |
| Formidable, frightening - not evil. | |
| Is a tiger evil because it rips a | |
| gazelle to pieces? | |
| COOPER | |
| Just what we bring with us, then. | |
| BRAND | |
| This crew represents the best | |
| aspects of humanity. | |
| COOPER | |
| Even me? | |
| Brand looks at him. Smiles. | |
| BRAND | |
| Hey, we agreed, ninety percent. | |
| 50. | |
| Brand moves to her cryo-bed. Cooper looks out at space. | |
| BRAND | |
| Don’t stay up too late. We can’t | |
| spare the resources. | |
| COOPER | |
| Hey, I’ve been waiting a long time | |
| to be up here - | |
| BRAND | |
| You are literally wasting your | |
| breath. | |
| Cooper nods at her. Joins Tars. | |
| COOPER | |
| Show me the trajectory again. | |
| TARS | |
| Eight months to Mars, then counter- | |
| orbital slingshot around - | |
| Brand’s cryo-bed darkens. | |
| COOPER | |
| (whisper) | |
| Tars? Was Dr Brand - | |
| TARS | |
| Why are you whispering? You can’t | |
| wake them. | |
| COOPER | |
| Were Dr Brand and Edmunds ... | |
| close? | |
| TARS | |
| I wouldn’t know. | |
| COOPER | |
| Is that ninety percent, or ten | |
| percent ’wouldn’t know’? | |
| TARS | |
| I also have a discretion setting. | |
| COOPER | |
| So I gather ... | |
| (Rises.) | |
| COOPER | |
| But not a poker face. | |
| 51. | |
| Tars watches Cooper head for the comm. station. He sits | |
| down to record a message. Awkward. Stuck. He dives in - | |
| COOPER | |
| Hey, guys. I’m about settle down | |
| for the long nap, so I figured I’d | |
| send you an update ... | |
| 73 EXT. OUTER SPACE - CONTINUOUS 73 | |
| The Endurance slips away from the small blue planet ... | |
| COOPER | |
| (V.O.) | |
| The Earth looks amazing from here | |
| ... you can’t see any of the dust - | |
| 74 EXT. CORNFIELDS - DAY 74 | |
| A line of dust slides across the shimmering horizon. | |
| COOPER | |
| (V.O.) | |
| Hope you guys are doing great. This | |
| should get to you okay ... | |
| 75 EXT. FRONT PORCH, FARMHOUSE - DAY 75 | |
| Donald watches two approaching vehicles kick up dust. | |
| COOPER | |
| (V.O.) | |
| Professor Brand said he’d make sure | |
| of it. Guess I’ll say good night. | |
| Donald recognizes Cooper’s truck ... Murph BURSTS out of | |
| the house - | |
| MURPH | |
| (quiet) | |
| Is it him? | |
| DONALD | |
| I don’t think so, Murph. | |
| Donald rises to meet the truck. Professor Brand gets out. | |
| PROFESSOR BRAND | |
| You must be Donald. Hello, Murph. | |
| 52. | |
| MURPH | |
| Why’re you in my dad’s truck? | |
| PROFESSOR BRAND | |
| He wanted me to bring it for your | |
| brother. | |
| Silence. Professor Brand reaches into his briefcase. | |
| PROFESSOR BRAND | |
| He sent you a message - | |
| Murph TURNS and goes back into the house. Donald takes a | |
| disc from Professor Brand. | |
| DONALD | |
| Pretty upset with him for leaving. | |
| PROFESSOR BRAND | |
| If you record messages, I’ll | |
| transmit them to Cooper. | |
| Donald nods. Professor Brand looks up at the house. | |
| Murph’s a bright spark. Maybe I could fan the flame. | |
| DONALD | |
| She’s already making fools of her | |
| teachers. She should come make a | |
| fool out of you. | |
| Professor Brand smiles. Donald looks up into the blue. | |
| Where are they? | |
| PROFESSOR BRAND | |
| Heading towards Mars ... | |
| 76 EXT. MARS - DAY 76 | |
| The Endurance streaks away from Mars ... | |
| PROFESSOR BRAND | |
| (V.O.) | |
| Next time we hear from Cooper, | |
| they’ll be coming up on Saturn. | |
| 77 EXT. SATURN - DAY 77 | |
| 53. | |
| The Endurance settles into an orbit around the ringed | |
| giant. | |
| TOM | |
| (O.S.) | |
| But they said I can start advanced | |
| agriculture a year early ... | |
| 78 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 78 | |
| Cooper, blanket around his shoulders, watches a highly | |
| compressed video of Tom - | |
| TOM | |
| Got to go, Dad. Hope you’re safe up | |
| there. | |
| Tom makes way for Donald: | |
| DONALD | |
| I’m sorry, Coop, I asked Murph to | |
| say hi, but she’s stubborn as her | |
| old man. I’ll try again next time, | |
| stay safe. | |
| The video cuts out. Cooper gets up, puts a pair of EAR BUDS | |
| in his ears and heads into - | |
| 79 INT. HAB POD, RING MODULE - LATER 79 | |
| Cooper enters. Romilly is staring out the window. | |
| COOPER | |
| You good, Rom? | |
| Romilly looks at Cooper. | |
| ROMILLY | |
| It gets to me, Coop. This tin can. | |
| Radiation, vacuum outside - | |
| everything wants us dead. We’re | |
| just not supposed to be here. | |
| Cooper looks at him, sympathetic. | |
| COOPER | |
| We’re explorers, Rom, on the | |
| greatest ocean of all. | |
| Romilly bangs on the side of the ship. | |
| 54. | |
| ROMILLY | |
| Millimeters of aluminum. That’s it. | |
| And nothing within millions of | |
| miles that won’t kill us in | |
| seconds. | |
| COOPER | |
| A lot of the finest solo yachtsmen | |
| couldn’t swim. They knew if they | |
| went overboard that was it, anyway. | |
| This is no different. | |
| Romilly considers this. Cooper passes him his ear buds - | |
| COOPER | |
| Here - | |
| And the sounds of a THUNDERSTORM wash over Romilly, sounds | |
| that take us to ... | |
| 80 EXT. SPACE - CONTINUOUS 80 | |
| The Endurance is a tiny speck before the ringed gassy | |
| giant. | |
| 81 INT. NAVIGATION, RING MODULE, ENDURANCE - CONTINUOUS 81 | |
| Cooper looks over Doyle’s shoulder - he’s flicking through | |
| images of star fields, distorted as if through a fish-eye | |
| lens. | |
| COOPER | |
| From the relay probe? | |
| DOYLE | |
| It was in orbit around the wormhole | |
| - each time it swung around we got | |
| images of the other side of the | |
| foreign galaxy. | |
| COOPER | |
| Like swinging a periscope around? | |
| DOYLE | |
| Exactly. | |
| COOPER | |
| So we’ve got a pretty good idea | |
| what we’re gonna find on the other | |
| side? | |
| 55. | |
| DOYLE | |
| Navigationally. | |
| Brand approaches. | |
| BRAND | |
| We’ll be coming up on the wormhole | |
| in less than forty-five. Suit up. | |
| 82 INT. COCKPIT, RANGER - LATER 82 | |
| Cooper straps in, peering out at the inky blackness past | |
| Saturn. Romilly joins him there, excited. | |
| COOPER | |
| (over radio) | |
| Strap in - I’m killing the spin ... | |
| 83 EXT. SATURN - CONTINUOUS 83 | |
| As the Endurance streaks past Saturn, it stops rotating, | |
| headed for a DISTORTED BLUR of stars. | |
| 84 INT. COCKPIT, RANGER - CONTINUOUS 84 | |
| ROMILLY | |
| There! | |
| He points at the SPHERICAL blur of stars. | |
| ROMILLY | |
| That’s it! That’s the wormhole! | |
| COOPER | |
| Say it, don’t spray it, Rom. | |
| ROMILLY | |
| Cooper, this is a portal, cutting | |
| through spacetime - | |
| (Points.) | |
| We’re seeing into the heart of a | |
| galaxy so far away we don’t even | |
| know where it is in the universe. | |
| Cooper stares at the wormhole as they approach: a massive | |
| spherical lens into another galaxy. | |
| COOPER | |
| It’s a sphere. | |
| 56. | |
| ROMILLY | |
| Of course it is. You thought it | |
| would be just a hole? | |
| COOPER | |
| No ... well, in all the | |
| illustrations - | |
| Romilly grabs a piece of paper, draws two points, far apart | |
| - | |
| ROMILLY | |
| In the illustrations they’re trying | |
| to show you how it works - | |
| He pokes a hole in one point with his pen ... | |
| ROMILLY | |
| So they say ’You wanna go from here | |
| to there but it’s too far? A | |
| wormhole bends space like this ...’ | |
| He folds the paper over and jams the pen through the second | |
| point, connecting them. | |
| ROMILLY | |
| ’So you can take a shortcut across | |
| a higher dimension.’ But to show | |
| that, they’ve turned three- | |
| dimensional space ... | |
| (Gestures around.) | |
| Into two dimensions. | |
| (Hold up paper.) | |
| Which turns the wormhole into two | |
| dimensions ... a circle. | |
| (Indicates hole in | |
| paper.) | |
| But what’s a circle in three | |
| dimensions? | |
| COOPER | |
| A sphere. | |
| ROMILLY | |
| Exactly. | |
| (Points out window.) | |
| It’s a spherical hole ... | |
| Cooper marvels at the concept. And at the looming sphere | |
| ... | |
| ROMILLY | |
| 57. | |
| And who put it here? Who do we | |
| thank? | |
| COOPER | |
| I’m not thanking anyone till we get | |
| through it in one piece. | |
| 85 EXT. WORMHOLE - CONTINUOUS 85 | |
| As the Endurance SWINGS around the wormhole, the view of | |
| the foreign galaxy SWINGS in opposition, like an ENORMOUS | |
| SHAVING MIRROR ... it’s extremely disorienting. | |
| The Endurance fires retro-thrusters to slow, descending | |
| towards the wormhole ... | |
| 86 INT. COCKPIT, RANGER - CONTINUOUS 86 | |
| Cooper is at the controls. Doyle is next to him. | |
| COOPER | |
| Any trick to this? | |
| DOYLE | |
| No one knows. | |
| COOPER | |
| (glances at Doyle) | |
| But the others made it, right? | |
| DOYLE | |
| At least some of them. | |
| COOPER | |
| Thanks for the confidence boost. | |
| Cooper stares down into the vast lens of the wormhole. | |
| Everybody ready to say goodbye to our solar system? | |
| ROMILLY | |
| (over radio) | |
| To our galaxy ... | |
| Cooper pushes the sticks forward, nosing down and letting | |
| gravity PULL them towards the center of the wormhole ... | |
| 87 EXT. WORMHOLE - CONTINUOUS 87 | |
| 58. | |
| The Endurance reaches the surface of the wormhole. As it | |
| crosses the threshold it becomes apparent that THERE IS NO | |
| SURFACE ... the craft simply passes into the space of the | |
| distortion, its own warped reflection flickering towards it | |
| as if the ship were leaning into a giant shaving mirror ... | |
| 88 INT. COCKPIT - CONTINUOUS 88 | |
| Cooper and Doyle stare at the distortion of space ahead ... | |
| 89 INT. RING MODULE, ENDURANCE - CONTINUOUS 89 | |
| Brand and Romilly look out at reflections bordering the | |
| bulk - a space beyond our three dimensions ... | |
| 90 EXT. WORMHOLE - CONTINUOUS 90 | |
| The Endurance moves through a TUNNEL OF DISTORTED | |
| REFLECTIONS, seeming to gather more and more dizzying | |
| speed, but getting no closer to the far mouth, as if on an | |
| accelerating treadmill - | |
| 91 INT. COCKPIT, RANGER - CONTINUOUS 91 | |
| Cooper, awestruck, checks his instruments - | |
| DOYLE | |
| They won’t help you in here. We’re | |
| cutting through the bulk - space | |
| beyond our three dimensions ... | |
| (Checks his equipment.) | |
| All we can do is record and | |
| observe. | |
| 92 INT. RING MODULE, ENDURANCE - CONTINUOUS 92 | |
| Brand JUMPS - a shape in the air in front of her is | |
| BENDING, warping to form ripples in spacetime inside the | |
| cabin - Romilly STARES at the distortion - | |
| ROMILLY | |
| What is that?! | |
| Brand watches the distortion move towards her - | |
| BRAND | |
| I think - I think it’s them. | |
| 59. | |
| ROMILLY | |
| Distorting spacetime? Don’t -! | |
| Brand is reaching out towards the warped space - it MOVES | |
| towards her, DISTORTING her hand - but Brand is not in pain | |
| ... | |
| 93 INT. COCKPIT, RANGER - CONTINUOUS 93 | |
| Cooper and Doyle watch the tunnel mouth STREAK towards | |
| them, a mass of stars and nebulae GROWING ... | |
| 94 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 94 | |
| The Endurance slides out of the wormhole. | |
| 95 INT. COCKPIT, LANDER - CONTINUOUS 95 | |
| Suddenly, the instruments are chirping - | |
| DOYLE | |
| We’re ... here. | |
| Cooper and Doyle look out at the new galaxy ... | |
| 96 INT. RING MODULE, ENDURANCE - CONTINUOUS 96 | |
| Brand’s hand is back to normal. She stares at her fingers. | |
| ROMILLY | |
| What was that? | |
| Brand flexes her fingers, delighted. | |
| BRAND | |
| The first handshake. | |
| 97 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 97 | |
| The cosmos is more CROWDED here - STAR upon STAR, NEBULAE | |
| ... | |
| 98 INT. RING MODULE, ENDURANCE - LATER 98 | |
| Doyle calls up data on a workstation - | |
| 60. | |
| DOYLE | |
| The lost communications came | |
| through - | |
| BRAND | |
| How? | |
| DOYLE | |
| The relay on this side cached them. | |
| Doyle flicks through data - | |
| Years of basic data - no real surprises. Miller’s site has | |
| kept pinging thumbs up, as has Mann ... but Edmunds went | |
| down, three years ago. | |
| BRAND | |
| Transmitter failure? | |
| DOYLE | |
| Maybe. He was sending the thumbs up | |
| right till it went dark. | |
| ROMILLY | |
| Miller still looks good? | |
| Doyle nods. Romilly is drawing on a whiteboard - | |
| She’s coming up fast ... with one complication - the planet | |
| is much closer to Gargantua than we thought. | |
| COOPER | |
| Gargantua? | |
| DOYLE | |
| A very large black hole. Miller’s | |
| and Dr Mann’s planets orbit it. | |
| BRAND | |
| And Miller’s is on the horizon? | |
| ROMILLY | |
| A basketball around the hoop. | |
| Landing there takes us dangerously | |
| close. A black hole that big has a | |
| huge gravitational pull. | |
| Cooper glances around the concerned faces - | |
| COOPER | |
| Look, I can swing around that | |
| neutron star to decelerate - | |
| 61. | |
| BRAND | |
| It’s not that, it’s time. That | |
| gravity will slow our clock | |
| compared to Earth’s. Drastically. | |
| COOPER | |
| How bad? | |
| ROMILLY | |
| Every hour we spend on that planet | |
| will be maybe ... seven years back | |
| on Earth. | |
| COOPER | |
| Jesus - | |
| ROMILLY | |
| That’s relativity, folks. | |
| COOPER | |
| We can’t drop down there without | |
| considering the consequences. | |
| DOYLE | |
| Cooper, we have a mission - COOPER | |
| That’s easy for you to say - you | |
| don’t have anyone back on Earth | |
| waiting for you, do you? | |
| DOYLE | |
| You have no idea what’s easy for | |
| me. | |
| BRAND | |
| Cooper’s right. We have to think of | |
| time as a resource, just like | |
| oxygen and food. Going down there | |
| is going to cost us. | |
| Doyle steps up to the screen, points out three planets. | |
| DOYLE | |
| Look, Dr Mann’s data is promising, | |
| but we won’t get there for months. | |
| Edmunds is even further. Miller | |
| hasn’t sent much, but what she has | |
| sent is promising - water, organics | |
| ... | |
| BRAND | |
| 62. | |
| You don’t find that every day. | |
| DOYLE No, you do not. So think | |
| about the resources it would take | |
| to come back here ... | |
| They look at each other, considering. Cooper turns to | |
| Romilly - | |
| COOPER | |
| How far off the planet do we have | |
| to stay to be out of the time | |
| shift? | |
| Romilly indicates a spot on his white board. | |
| ROMILLY | |
| Just back from the cusp. | |
| COOPER | |
| So we track a wider orbit of | |
| Gargantua, parallel with Miller’s | |
| planet but a little further out ... | |
| take a Ranger down, grab Miller and | |
| her samples, debrief and analyze | |
| back here | |
| BRAND | |
| That’ll work. | |
| COOPER | |
| No time for monkey business down | |
| there - Tars, you’d better wait up | |
| here. Who else? | |
| ROMILLY | |
| If we’re talking about a couple | |
| years - I’d use that time to work | |
| on gravity - observations from the | |
| wormhole. That’s gold to Professor | |
| Brand. | |
| COOPER | |
| Okay. Tars, factor an orbit of | |
| Gargantua - minimal thrusting - | |
| conserve fuel - but stay in range. | |
| TARS | |
| Don’t worry, I wouldn’t leave you | |
| behind ... | |
| (Swivels around.) | |
| Dr Brand. | |
| She smiles at him. | |
| 63. | |
| 99 EXT. BLACK HOLE, GARGANTUA - DAY 99 | |
| A black sphere sucking light from the cosmos, visible by | |
| its distorting effect on the light of stars behind it - | |
| squeezed into a GLOWING, CURVED HORIZON. The Endurance | |
| approaches. | |
| 100 INT. RANGER COCKPIT - DAY 100 | |
| Cooper looks out at Gargantua. Doyle peers over his | |
| shoulder | |
| DOYLE | |
| A literal heart of darkness ... | |
| Brand points to a small glowing planet nearer the | |
| blackness. | |
| BRAND | |
| There’s Miller’s planet. | |
| Cooper turns to Case, the machine riding shotgun. | |
| COOPER | |
| Ready? | |
| CASE | |
| Yup. | |
| COOPER | |
| Don’t say much, do you? | |
| CASE | |
| Tars talks plenty for both of us. | |
| Cooper chuckles as he throws a final switch - | |
| COOPER | |
| Detach - | |
| 101 EXT. ENDURANCE - CONTINUOUS 101 | |
| The Ranger DETACHES from the ring module, like an X-1 from | |
| a B-29, FIRES retro-thrusters to slow and ... DROPS - | |
| 102 EXT. THE BLACK HOLE, GARGANTUA - DAY 102 | |
| The Ranger SHOOTS down towards Gargantua - | |
| 64. | |
| 103 INT. COCKPIT, RANGER - CONTINUOUS 103 | |
| Cooper is in awe at their acceleration - | |
| COOPER | |
| (into radio) | |
| Romilly, you reading these forces? | |
| 104 INT. RING MODULE, ENDURANCE - CONTINUOUS 104 | |
| Romilly studies data, marveling. | |
| ROMILLY | |
| Unbelievable. | |
| (Looks out at Gargantua.) | |
| If we could see the collapsed star | |
| inside, the singularity, we’d solve | |
| gravity. | |
| 105 INT. COCKPIT, RANGER - CONTINUOUS 105 | |
| Cooper looks down at the eerie blackness sliding beneath - | |
| COOPER | |
| No way to get anything from it? | |
| ROMILLY | |
| (over radio) | |
| Nothing escapes that horizon. Not | |
| even light. The answer’s there, | |
| just no way to see it. | |
| 106 EXT. GARGANTUA - CONTINUOUS 106 | |
| The Ranger looks tiny as it STREAKS over the blackness, | |
| high above the GLOWING HORIZON. It is approaching Miller’s | |
| planet, a gleaming dark-blue world ... | |
| 107 INT. COCKPIT, RANGER - CONTINUOUS 107 | |
| Cooper studies his trajectory. | |
| CASE | |
| This is fast for atmospheric entry. | |
| Should we use the thrusters to | |
| slow? | |
| COOPER | |
| 65. | |
| We’re gonna use the Ranger’s | |
| aerodynamics to save the fuel. | |
| CASE | |
| Air brake? | |
| COOPER | |
| Wanna get in fast, don’t we? | |
| CASE | |
| Brand, Doyle, get ready. | |
| 108 EXT. MILLER’S PLANET - CONTINUOUS 108 | |
| The Ranger STREAKS down towards the planet. It starts to | |
| encounter the STRATOSPHERE - | |
| 109 INT. COCKPIT, RANGER - CONTINUOUS 109 | |
| The craft starts to HOWL and SHAKE. Cooper studies the | |
| curving horizon, concentrating - | |
| CASE | |
| We should ease - | |
| COOPER | |
| Hands where I can see them, Case! | |
| Only time I ever went down was a | |
| machine easing at the wrong moment | |
| - | |
| CASE | |
| A little caution - | |
| COOPER | |
| Can get you killed, same as | |
| reckless. | |
| DOYLE | |
| Cooper! Too damn fast! | |
| COOPER | |
| I got this. | |
| Cooper squeezes the shaking controls with white knuckles - | |
| CASE | |
| Should I disable the feedback? | |
| COOPER | |
| No! No, I need to feel the air ... | |
| 66. | |
| 110 EXT. STRATOSPHERE, MILLER’S PLANET - CONTINUOUS 110 | |
| The Ranger glows WHITE HOT, slicing through FLAT CLOUDS - | |
| 111 INT. COCKPIT, RANGER - CONTINUOUS 111 | |
| Cooper peers out at the razor-like layers of cloud - | |
| COOPER | |
| Do we have a fix on the beacon? | |
| CASE | |
| Got it. Can you maneuver? | |
| COOPER | |
| Gotta shave more speed. I’ll try | |
| and spiral down on it - | |
| Doyle looks at Brand, nervous. She takes a breath. | |
| 112 EXT. MILLER’S PLANET - CONTINUOUS 112 | |
| The Ranger CUTS through cloud formations, BURSTING out into | |
| CLEARER AIR, HIGH ABOVE AN ENDLESS OCEAN - | |
| 113 INT. COCKPIT, RANGER - CONTINUOUS 113 | |
| The crew peer at SPARKLING WATER, streaking below them - | |
| DOYLE | |
| Just water. | |
| BRAND | |
| The stuff of life ... | |
| CASE | |
| Twelve hundred meters out. | |
| Cooper BANKS sharply, eases down. | |
| BRAND | |
| It’s shallow. Feet deep ... | |
| 114 EXT. MILLER’S PLANET - CONTINUOUS 114 | |
| The Ranger is low now, kicking up backwash - | |
| 67. | |
| 115 INT. COCKPIT, RANGER - CONTINUOUS 115 | |
| CASE | |
| Seven hundred meters ... | |
| Cooper peers ahead - | |
| COOPER | |
| Wait for it ... | |
| CASE | |
| Five hundred meters ... | |
| Cooper YANKS the stick - | |
| COOPER | |
| Fire! | |
| 116 EXT. MILLER’S PLANET - CONTINUOUS 116 | |
| The Ranger’s retro-rockets FIRE - killing the craft’s speed | |
| just feet from the surface. Water SPRAYS UP as the Ranger | |
| SLEWS diagonally, gear is lowered, the Ranger drops, its | |
| landing gear holding it just above the shallow water. | |
| 117 INT. COCKPIT, RANGER - CONTINUOUS 117 | |
| Everyone BOUNCES with the impact. Then BREATHES. | |
| BRAND | |
| Very graceful. | |
| COOPER | |
| No. But it was very efficient. | |
| (Looks at them.) | |
| What’re you waiting for? Go! | |
| Brand and Doyle hurry out of their harnesses, helmets on. | |
| Case moves to the hatch. With a CRACK, the hatch opens and | |
| LIGHT and SPRAY whip inside ... | |
| 118 EXT. MILLER’S PLANET - MOMENTS LATER - DAY 118 | |
| Case climbs quickly from the craft, knee deep in the water. | |
| Brand and Doyle follow. Case TRACKS the beacon. | |
| CASE | |
| 68. | |
| This way, about two hundred meters. | |
| Brand and Doyle peer into the distance. Smooth, ankle-deep | |
| water to the horizon, where a distant MOUNTAIN RANGE LOOMS. | |
| They start splashing towards it in their heavy spacesuits | |
| ... | |
| DOYLE | |
| (panting) | |
| The gravity’s punishing ... | |
| BRAND | |
| Floating through space too long? | |
| CASE | |
| One hundred and thirty percent | |
| Earth gravity. | |
| 119 INT. COCKPIT, RANGER - CONTINUOUS 119 | |
| Cooper listens to their chatter, IMPATIENT. | |
| COOPER | |
| (under his breath) | |
| Come on ... | |
| 120 EXT. MILLER’S PLANET - CONTINUOUS 120 | |
| Doyle falls behind. Brand pushes on. Ahead, Case stops. | |
| CASE | |
| Should be here. | |
| Brand joins him, searching the shallows for some sign of | |
| Miller’s mission. She looks up, confused. | |
| BRAND | |
| If the signal’s coming from here - | |
| Case DROPS to his knees THRASHING under the water, like a | |
| bear fishing. Doyle arrives - | |
| DOYLE | |
| What’s he doing? | |
| 121 INT. COCKPIT, LANDER - CONTINUOUS 121 | |
| Cooper notices something. In the distance. The mountains - | |
| 69. | |
| 122 EXT. MILLER’S PLANET - CONTINUOUS 122 | |
| Case WRENCHES a piece of DAMAGED EQUIPMENT from the sea | |
| bed. | |
| BRAND | |
| Her beacon ... | |
| Case starts lugging the beacon to the Ranger. | |
| DOYLE | |
| Wreckage. Where’s the rest ...? | |
| BRAND | |
| Towards the mountains! | |
| She starts moving fast towards some FLOATING OBJECTS. | |
| 123 INT. COCKPIT, RANGER - CONTINUOUS 123 | |
| Cooper is staring out at the horizon - | |
| COOPER | |
| Those aren’t mountains ... | |
| 124 EXT. MILLER’S PLANET - CONTINUOUS 124 | |
| Brand pauses - | |
| COOPER | |
| (over radio) | |
| They’re waves - | |
| Brand looks closer - the ’mountains’ are moving, tiny lines | |
| of white sea spray are blowing from the tops ... | |
| 125 INT. COCKPIT, RANGER - CONTINUOUS 125 | |
| Cooper looks the other direction ... there is a MOUNTAIN | |
| WAVE BEARING DOWN ON THE SHIP ... | |
| 126 EXT. MILLER’S PLANET - CONTINUOUS 126 | |
| Brand is searching the wreckage -. | |
| COOPER | |
| (over radio) | |
| Brand, get back here! | |
| 70. | |
| BRAND | |
| We need the recorder - | |
| Doyle looks from Brand to Case, who is loading the beacon. | |
| Beyond him Doyle sees the mountain wave approaching - | |
| DOYLE | |
| Case, go get her! | |
| 127 INT. COCKPIT, RANGER - CONTINUOUS 127 | |
| Cooper hits the dash, frustrated. | |
| COOPER | |
| Dammit! Brand, get back here! | |
| 128 EXT. MILLER’S PLANET - CONTINUOUS 128 | |
| Brand sloshes along, checking DEBRIS - | |
| BRAND | |
| We can’t leave without her data - | |
| COOPER | |
| (over radio) | |
| You don’t have time! | |
| Case is back at Doyle. | |
| DOYLE | |
| Go, go! | |
| Case takes off towards Brand, who is trying to lift a piece | |
| of equipment from the water. She drops it and moves on - | |
| 129 EXT. RANGER - CONTINUOUS 129 | |
| Cooper swings open the hatch, stands in the doorway, | |
| peering out at the approaching mountain waves - turns back | |
| to Brand - | |
| COOPER | |
| Get back here! Now! | |
| Brand has pulled something heavy from the wreckage - she | |
| SLIPS, the wreckage PINNING her down ... She looks back at | |
| the Ranger - sees the mountain wave THOUSANDS OF FEET HIGH | |
| ALMOST UPON THEM - | |
| 71. | |
| BRAND | |
| Cooper, go! Go! I can’t make it! | |
| Cooper looks at Case RACING towards her - | |
| COOPER | |
| Get up, Brand! | |
| BRAND | |
| GO! GET OUT OF HERE! | |
| Case THROWS her onto his back and starts running. Doyle | |
| stands, mesmerized by the sheer liquid mountain face ... | |
| COOPER | |
| Doyle! Come on! Case has her! | |
| Doyle turns, starts sloshing back, the water RUNNING | |
| against his ankles now ... Two hundred yards behind, Case | |
| POUNDS through the shallows, Brand on his back - | |
| Cooper looks up at the EVER CLOSER MOUNTAIN WAVE - jumps | |
| inside. | |
| 130 INT. COCKPIT, RANGER - CONTINUOUS 130 | |
| Cooper powers up, as the wall of liquid fills his view. | |
| COOPER | |
| Come on, come on ... | |
| He sees the water right upon them - RUNS back to the hatch. | |
| Doyle is at the foot of the ladder, Case RUNNING FAST. | |
| DOYLE | |
| Go! | |
| Case JUMPS up the ladder, THROWS Brand inside - TURNS for | |
| Doyle. The Ranger TILTS, RISES - DOYLE IS RIPPED FROM | |
| CASE’S HAND - WATER RAGES ACROSS THE OPEN HATCH - | |
| COOPER | |
| Shut the hatch! | |
| Case shuts the hatch. Cooper is throwing switches - | |
| COOPER | |
| Power down! Power down! We have to | |
| ride it out! | |
| (To Brand, furious.) | |
| 72. | |
| We are not prepared for this! | |
| 131 EXT. MILLER’S PLANET - CONTINUOUS 131 | |
| Doyle is DRAGGED under and away. The Ranger is SUCKED | |
| SIDEWAYS up the face of the mountain - | |
| 132 INT. COCKPIT, RANGER - CONTINUOUS 132 | |
| Brand and Cooper are thrown across the cockpit. Case GRABS | |
| Brand, pulls her into her seat - Cooper holds on as the | |
| craft ROLLS and ROLLS - | |
| 133 EXT. MILLER’S PLANET - CONTINUOUS 133 | |
| The Ranger reaches the top of the wave, rocks upright - | |
| 134 INT. COCKPIT, RANGER - CONTINUOUS 134 | |
| Cooper drops into his seat as the water pours off the | |
| canopy - | |
| 135 EXT. MILLER’S PLANET - CONTINUOUS 135 | |
| The Ranger tilts over the backside of the wave, SURFING for | |
| a second then PITCHING FORWARD - TUMBLING DOWN 8,000 FEET | |
| ... | |
| 136 INT. COCKPIT, RANGER - CONTINUOUS 136 | |
| They hang on for dear life, THRASHED MERCILESSLY - | |
| 137 EXT. MILLER’S PLANET - CONTINUOUS 137 | |
| The Ranger comes AGROUND as the wave leaves it behind ... | |
| 138 INT. COCKPIT, RANGER - CONTINUOUS 138 | |
| The craft comes to rest. Cooper jumps to the controls, | |
| powers up the electrics. The engines won’t respond - | |
| 139 EXT. RANGER - CONTINUOUS 139 | |
| 73. | |
| The gear LIFTS the Ranger. Water FLOODS out - | |
| 140 INT. COCKPIT, RANGER - CONTINUOUS 140 | |
| Cooper tries the engines again. Nothing. | |
| CASE | |
| Too waterlogged. Let it drain. | |
| COOPER | |
| (hits console) | |
| GODDAMN! | |
| BRAND | |
| I told you to leave me. | |
| COOPER | |
| And I told you to get your ass back | |
| here! Difference is, only one of us | |
| was thinking about the mission - | |
| BRAND | |
| Cooper, you were thinking about | |
| getting home - I was trying to do | |
| the right thing! | |
| COOPER | |
| Tell that to Doyle. | |
| Quiet. Cooper looks down at the clock. Bitter. | |
| How long to drain, Case? | |
| CASE | |
| Forty-five to an hour. | |
| Cooper shakes his head. Pulls his helmet off. | |
| COOPER | |
| The stuff of life, huh? What’s this | |
| gonna cost us, Brand? | |
| BRAND | |
| A lot. Decades. | |
| Cooper rubs his face. Mind reeling. Trying to breathe. | |
| COOPER | |
| What happened to Miller? | |
| BRAND | |
| 74. | |
| Judging by the wreckage, she was | |
| broken up by a wave soon after | |
| impact. | |
| COOPER | |
| How could the wreckage still be | |
| together after all these years? | |
| BRAND | |
| Because of the time slippage. On | |
| this planet’s time, she landed here | |
| just hours ago. She might’ve only | |
| died minutes ago. | |
| Case indicates the beacon. | |
| CASE | |
| The data Doyle received was just | |
| the initial status, echoing | |
| endlessly. | |
| Cooper takes this in. Breathes hard. Takes off his gloves. | |
| COOPER | |
| We’re not prepared for this, Brand. | |
| You’re a bunch of eggheads without | |
| the survival skills of a boy-scout | |
| troop. | |
| BRAND | |
| We got this far on our brains - | |
| farther than any humans in history | |
| - | |
| COOPER | |
| Not far enough. And we’re stuck | |
| here till there won’t be anyone | |
| left on Earth to save - | |
| BRAND | |
| I’m counting every second, same as | |
| you, Cooper. | |
| Cooper takes this in. They’re in the same boat. | |
| COOPER | |
| Don’t you have some clever way we | |
| jump into a black hole and get back | |
| the years? | |
| She shakes her head, dismissive. | |
| COOPER | |
| 75. | |
| Don’t just shake your head at me -! | |
| BRAND | |
| Time is relative - it can stretch | |
| and squeeze - but it can’t run | |
| backwards. The only thing that can | |
| move across dimensions like time is | |
| gravity. | |
| COOPER | |
| (thinks) | |
| The beings who led us here ... they | |
| communicate through gravity ... | |
| Brand nods. | |
| COOPER | |
| Could they be talking to us from | |
| the future? | |
| BRAND | |
| (considers) | |
| Maybe ... | |
| COOPER | |
| Well, if they can - | |
| BRAND | |
| Look, Cooper, they’re creatures of | |
| at least five dimensions - to them | |
| time may be just another physical | |
| dimension. To them the past might | |
| be a canyon they can climb into and | |
| the future a mountain they can can | |
| climb up ... but to us it’s not, | |
| okay? | |
| Brand pulls her helmet off. Looks Cooper in the eyes. | |
| BRAND | |
| I’m sorry, Cooper. I screwed up. | |
| But you knew about relativity. | |
| COOPER | |
| My daughter was ten. I couldn’t | |
| explain Einstein’s theories before | |
| I left. | |
| BRAND | |
| Could you tell her you were going | |
| to save the world? | |
| COOPER | |
| 76. | |
| No. I wasn’t much of a parent, but | |
| I understood the most important | |
| thing - let your kids feel safe. | |
| Which rules out telling a ten-year- | |
| old that the world’s ending. | |
| CASE | |
| Cooper? | |
| Case is pointing out at another MOUNTAIN RANGE. | |
| COOPER | |
| How long for the engines? | |
| CASE | |
| A minute or two - | |
| COOPER | |
| We don’t have it! | |
| The mountain wave is approaching. Cooper tries the engines | |
| - | |
| 141 EXT. RANGER - CONTINUOUS 141 | |
| The rockets COUGH and steam ... | |
| 142 INT. COCKPIT, RANGER - CONTINUOUS 142 | |
| Cooper tries the engines again. Close. But no ignition. | |
| COOPER | |
| Helmets on! | |
| The wave is upon them ... | |
| COOPER | |
| Blow our cabin oxygen through the | |
| main thrusters. We’ll spark it - | |
| Case hits a button - a HISS and SHRIEK of gas escaping ... | |
| Brand seals her helmet just as the cockpit DEPRESSURIZES - | |
| COOPER | |
| Come on, now ... | |
| Cooper hits the engines - they BLAST TO LIFE - | |
| 143 EXT. RANGER - CONTINUOUS 143 | |
| 77. | |
| A fiery BLAST sends the Ranger clear of the mountain wave. | |
| Down below, Doyle’s body lies in the shallows, about to be | |
| swept up into the next rush of water ... | |
| 144 INT. RING MODULE, ENDURANCE - DAY 144 | |
| Romilly watches as Cooper and Brand enter the Endurance. | |
| BRAND | |
| Hello, Rom. | |
| ROMILLY | |
| I’ve waited years. | |
| COOPER | |
| How many years? | |
| ROMILLY | |
| By now ... it must be - | |
| TARS | |
| Twenty-three years ... | |
| Cooper’s head lowers. | |
| TARS | |
| ... four months, eight days. | |
| Cooper turns away. | |
| ROMILLY | |
| Doyle? | |
| Brand’s eyes flicker down. She shakes her head. She grasps | |
| Romilly’s hands, looks up into his eyes, vulnerable - | |
| BRAND | |
| I thought I was prepared. I knew | |
| all the theory. Reality’s | |
| different. | |
| ROMILLY | |
| And Miller? | |
| BRAND | |
| There’s nothing here for us. | |
| Brand looks at Romilly’s wrinkles. His greying beard. | |
| BRAND | |
| 78. | |
| Why didn’t you sleep? | |
| ROMILLY | |
| I did a couple of stretches. But I | |
| stopped believing you were coming | |
| back, and something seems wrong | |
| about dreaming your life away. I | |
| learned what I could from studying | |
| the black hole, but I couldn’t send | |
| anything to your father. We’ve been | |
| receiving, but nothing gets out. | |
| She looks up at Romilly, not wanting to ask ... | |
| BRAND | |
| Is he still alive? | |
| Romilly nods. Brand closes her eyes with relief. | |
| ROMILLY | |
| We’ve got years of messages stored | |
| ... | |
| Brand opens her eyes, looks for Cooper. He is in the comm. | |
| booth. He SHUTS the privacy curtain. She looks down. | |
| 145 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 145 | |
| Cooper studies the machine like it might bite him. | |
| COOPER | |
| Cooper. | |
| COMPUTER VOICE | |
| Messages span twenty-three years - | |
| COOPER | |
| I know. | |
| (Whispers.) | |
| Just start at the beginning. | |
| Cooper leans forward as the screen flickers to life: Tom, | |
| still seventeen, turns on the camera. | |
| TOM | |
| Hi, Dad - | |
| Cooper pauses it. Prepares himself. Lets it run - | |
| TOM | |
| I met another girl, Dad. I really | |
| think this is the one - | |
| 79. | |
| Tom holds up a picture of himself and a teenage GIRL. | |
| TOM | |
| Murph stole Grandpa’s car. She | |
| crashed it - she’s okay, though. | |
| Your truck’s still running - | |
| Grandpa said she should steal that | |
| next time. I said if she did it’d | |
| be the last thing she did ... | |
| Cooper leans back ... | |
| 146 INT. COMMUNICATIONS BOOTH, ENDURANCE - DAY 146 | |
| Cooper is holed up, still watching, unshaved. He’s been | |
| watching for days. On the screen, Tom is in his twenties - | |
| TOM | |
| I’ve got a surprise for you, Dad. | |
| You’re a grandpa ... | |
| Tom holds up an infant wrapped tight in swaddling. | |
| TOM | |
| Congratulations. Meet Jesse. | |
| Cooper smiles a tearful smile. | |
| TOM | |
| Grandpa said he already earned the | |
| ’great’ part so we just leave it at | |
| that. | |
| The screen cuts out. Then comes back on. Tom in his | |
| thirties - | |
| TOM | |
| Hi, Dad. I’m sorry it’s been | |
| awhile. What with Jesse and all ... | |
| He stops, emotional. | |
| TOM | |
| Grandpa died last week. We buried | |
| him out in the back forty, next to | |
| Mom and Jesse. | |
| (Looks down.) | |
| Where we’d have buried you, if | |
| you’d ever come back. | |
| (Looks up.) | |
| Murph was there for the funeral. I | |
| don’t see her so much anymore. | |
| 80. | |
| (Sighs.) | |
| You’re not listening to this. I | |
| know that. All these messages are | |
| just out there, drifting in the | |
| darkness ... I figured as long as | |
| they were willing to send them | |
| there was some hope, but ... | |
| (Pauses.) | |
| You’re gone. You’re never coming | |
| back. And I’ve known that for a | |
| long time. Lois says - that’s my | |
| wife, Dad - she says I have to let | |
| you go. So I am. | |
| (Reaches up to turn off | |
| camera.) | |
| Wherever you are, I hope you’re at | |
| peace. Goodbye, Dad. | |
| The screen goes black. Tears are streaming down Cooper’s | |
| face. He stares at the black screen, wiping his face. He | |
| starts to get up - the screen flickers to life once more - | |
| A beautiful WOMAN of about forty has turned on the camera - | |
| she looks at us, unsure about this. Makes a start - | |
| WOMAN | |
| Hello, Dad. You sonofabitch. | |
| Cooper peers into the face, recognizing - | |
| COOPER | |
| (whispers) | |
| Murph? | |
| WOMAN (MURPH) | |
| I never made one of these when you | |
| were still responding cos I was so | |
| mad at you for leaving. When you | |
| went quiet, it seemed like I should | |
| just live with my decision. And I | |
| have ... | |
| (Looks around.) | |
| But today’s my birthday. And it’s a | |
| special one because you once told | |
| me - | |
| She stops, unable to speak for a second. | |
| MURPH | |
| You once told me that when you came | |
| back we might be the same age ... | |
| and today I’m the age you were when | |
| you left ... | |
| (Starts crying.) | |
| 81. | |
| So it’d be a real good time for you | |
| to come back. | |
| Murph reaches up, switches off the camera and we stay with | |
| her in - | |
| 147 INT. COMMUNICATION ROOM, NASA - DAY 147 | |
| Murph brings her hand down from the camera. Wipes her | |
| tears. | |
| PROFESSOR BRAND | |
| (O.S., softly) | |
| I didn’t mean to intrude. | |
| Murph turns to see Professor Brand, now ELDERLY, in a | |
| WHEELCHAIR in the doorway. | |
| PROFESSOR BRAND | |
| I’ve never seen you in here before. | |
| Murph rises - | |
| MURPH | |
| I’ve never been in here before. | |
| Murph wheels Professor Brand out into the corridor. | |
| 148 INT. CURVING CORRIDOR, NASA - MOMENTS LATER 148 | |
| Murph pushes Professor Brand. | |
| PROFESSOR BRAND | |
| I talk to Amelia all the time. It | |
| helps. I’m glad you’ve started - | |
| MURPH | |
| I haven’t. I just had something I | |
| wanted to get out. | |
| 149 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 149 | |
| Professor Brand wheels behind his desk. | |
| PROFESSOR BRAND | |
| I know they’re still out there. | |
| MURPH | |
| I know. | |
| 82. | |
| PROFESSOR BRAND | |
| There are so many reasons their | |
| communications might not be getting | |
| through. | |
| MURPH | |
| (smiles gently) | |
| I know, Professor. | |
| PROFESSOR BRAND | |
| I’m not sure which I’m more afraid | |
| of ... they never come back, or | |
| they come back to find we’ve | |
| failed. | |
| She watches his introspection. Brings him back with - | |
| MURPH | |
| Then let’s succeed. | |
| PROFESSOR BRAND | |
| (gestures at formula) | |
| So, back from the fourth iteration, | |
| let’s run it with a finite set. | |
| Murph has picked up a notebook. Pauses. | |
| MURPH | |
| With respect, Professor. We’ve | |
| tried that hundreds of times. | |
| PROFESSOR BRAND | |
| And it only has to work once, | |
| Murph. | |
| She shrugs. Starts to work. | |
| 150 INT. LAUNCH FACILITY - LATER 150 | |
| Murph and Professor Brand sit, eating sandwiches on a | |
| walkway. WORKERS move about the CIRCULAR CHAMBER, building | |
| more SIDEWAYS INFRASTRUCTURE. Professor Brand looks down, | |
| proud. | |
| PROFESSOR BRAND | |
| Every rivet they drive in could | |
| have been a bullet. We’ve done well | |
| for the world, here. Whether or not | |
| we crack the equation before I kick | |
| - | |
| MURPH | |
| 83. | |
| Don’t be morbid, Professor. | |
| PROFESSOR BRAND | |
| I’m not afraid of death, Murph. I’m | |
| an old physicist - I’m afraid of | |
| time. | |
| 151 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 151 | |
| Murph stands before the algebra. She REALIZES something. | |
| MURPH | |
| Time ... you’re afraid of time ... | |
| CONVINCED, she TURNS - | |
| MURPH | |
| Professor, the equation ...? | |
| He looks up. | |
| MURPH | |
| For years we’ve tried to solve it | |
| without changing the underlying | |
| assumptions about time - | |
| PROFESSOR BRAND | |
| And? | |
| MURPH | |
| And that means each iteration | |
| becomes an attempt to prove its own | |
| proof - it’s recursive. Nonsensical | |
| - | |
| PROFESSOR BRAND | |
| (sharp) | |
| Are you calling my life’s work | |
| ’nonsense’, Murph? | |
| MURPH | |
| No, I’m saying you’ve been trying | |
| to finish it with one arm - no, | |
| with both arms tied behind your | |
| back ... | |
| Murph focuses on Professor Brand, suddenly WARY ... | |
| MURPH | |
| ... and I don’t understand why. | |
| Professor Brand looks down. Starts wheeling his chair. | |
| 84. | |
| PROFESSOR BRAND | |
| I’m an old man, Murph. Could we | |
| pick this up some other time? I’d | |
| like to go talk to my daughter. | |
| Murph nods. Looking at the Professor. Confused. | |
| PROFESSOR BRAND | |
| (V.O.) | |
| Stepping out into the universe, we | |
| must first confront the reality | |
| that nothing in our solar system | |
| can help us ... | |
| 152 INT. COMMUNICATIONS BOOTH, ENDURANCE - NIGHT 152 | |
| Brand watches her father on screen. | |
| PROFESSOR BRAND | |
| (V.O.) | |
| ... then we must confront the | |
| realities of interstellar travel. | |
| We must venture far beyond the | |
| reach of our own life spans. We | |
| must think not as individuals, but | |
| as a species ... | |
| 153 INT. RING MODULE, ENDURANCE - DAY 153 | |
| Romilly, Brand, Cooper, Tars and Case sit in discussion. | |
| COOPER | |
| Tars kept the Endurance right where | |
| we needed her, but it took years | |
| longer than we anticipated ... | |
| Cooper puts both planets on screen - Dr Mann’s ice world, | |
| and Edmunds’ desert planet. | |
| COOPER | |
| We don’t have the fuel to visit | |
| both prospects. We have to choose. | |
| ROMILLY | |
| How? They’re both promising. | |
| Edmunds’ data was better, but Dr | |
| Mann is the one still transmitting. | |
| BRAND | |
| 85. | |
| We’ve got no reason to suppose | |
| Edmunds’ results would have soured. | |
| His world has key elements to | |
| sustain human life - | |
| COOPER | |
| As does Dr Mann’s. | |
| BRAND | |
| Cooper, this is my field. And I | |
| really believe Edmunds’ is the | |
| better prospect. | |
| COOPER | |
| (challenging) | |
| Why? | |
| BRAND | |
| Gargantua, that’s why. | |
| (Steps to board.) | |
| Look at Miller’s world - | |
| hydrocarbons, organics, yes. But no | |
| life. Sterile. We’ll find the same | |
| thing on Dr Mann’s. | |
| ROMILLY | |
| Because of the black hole? | |
| BRAND | |
| (nods) | |
| Murphy’s Law - whatever can happen | |
| will happen. Accident is the first | |
| building block of evolution - but | |
| when you’re orbiting a black hole | |
| not enough can happen - it sucks in | |
| asteroids and comets, random events | |
| that would otherwise reach you. We | |
| need to go to further afield. | |
| COOPER | |
| You once referred to Dr Mann as the | |
| ’best of us’. | |
| BRAND | |
| He’s remarkable. We’re only here | |
| because of him. | |
| COOPER | |
| And he’s there on the ground | |
| sending an unambiguous message that | |
| we should go to that planet. | |
| Brand is silent. Romilly looks from Brand to Cooper. | |
| 86. | |
| ROMILLY | |
| Should we vote? | |
| COOPER | |
| If we’re going to vote, there’s | |
| something you need to know. Brand? | |
| She says nothing. | |
| COOPER | |
| He has a right to know. | |
| BRAND | |
| That has nothing to do with it. | |
| ROMILLY | |
| What does? | |
| COOPER | |
| She’s in love with Wolf Edmunds. | |
| ROMILLY | |
| (to Brand) | |
| Is that true? | |
| BRAND | |
| Yes. And that makes me want to | |
| follow my heart. But maybe we’ve | |
| spent too long trying to figure all | |
| this with theory - | |
| COOPER | |
| You’re a scientist, Brand - | |
| BRAND | |
| I am. So listen to me when I tell | |
| you that love isn’t something we | |
| invented - it’s observable, | |
| powerful. Why shouldn’t it mean | |
| something? | |
| COOPER | |
| It means social utility - child | |
| rearing, social bonding - | |
| BRAND | |
| 87. | |
| We love people who’ve died ... | |
| where’s the social utility in that? | |
| Maybe it means more - something we | |
| can’t understand, yet. Maybe it’s | |
| some evidence, some artifact of | |
| higher dimensions that we can’t | |
| consciously perceive. I’m drawn | |
| across the universe to someone I | |
| haven’t seen for a decade, who I | |
| know is probably dead. Love is the | |
| one thing we’re capable of | |
| perceiving that transcends | |
| dimensions of time and space. Maybe | |
| we should trust that, even if we | |
| can’t yet understand it. | |
| Brand looks at Romilly, who can’t meet her eye. | |
| BRAND | |
| Cooper, yes - the tiniest | |
| possibility of seeing Wolf again | |
| excites me. But that doesn’t mean | |
| I’m wrong. | |
| Cooper thinks back to his conversation with Donald. | |
| COOPER | |
| Honestly, Amelia ... it might. | |
| Romilly looks at Brand. It’s clear she’s lost. | |
| COOPER | |
| Tars, set the course for Dr Mann. | |
| Brand is starting to tear up. She turns away. | |
| 154 EXT. OUTER SPACE - MOMENTS LATER 154 | |
| The thrusters FIRE, pushing the Endurance out of its orbit | |
| of Gargantua. | |
| 155 INT. RING MODULE, ENDURANCE - LATER 155 | |
| Brand is checking her POPULATION BOMB. Cooper enters. | |
| COOPER | |
| Brand, I’m sorry. | |
| BRAND | |
| Why? You’re just being objective. | |
| (Beat.) | |
| 88. | |
| Unless you’re punishing me for | |
| screwing up on Miller’s planet. | |
| COOPER | |
| This wasn’t a personal decision for | |
| me. | |
| Brand turns from her equipment. Looks him in the eye. | |
| BRAND | |
| Well, if you’re wrong, you’ll have | |
| a very personal decision to make. | |
| (Off look.) | |
| Your fuel calculations are based on | |
| a return journey. Strike out on Dr | |
| Mann’s planet, and we’ll have to | |
| decide whether to return home, or | |
| push on to Edmunds’ planet with | |
| Plan B. Starting a colony could | |
| save us from extinction. | |
| She closes the population bomb. | |
| BRAND | |
| You might have to decide between | |
| seeing your children again ... and | |
| the future of the human race. | |
| (Smiles bitterly.) | |
| I trust you’ll be as objective, | |
| then. | |
| 156 EXT. OUTER SPACE - CONTINUOUS 156 | |
| The Endurance sinks past a GLORIOUS NEBULA whose GOLDEN | |
| MISTS DISSOLVE TO ROILING BLACK CLOUDS and we are - | |
| 157 EXT. FARMHOUSE - DAY 157 | |
| Murph stands with Tom, now late forties. Watching a field | |
| BURN. | |
| TOM | |
| We’ll lose about a third this | |
| season. But next year ... I’m gonna | |
| start working Nelson’s fields. | |
| Should make it up. | |
| MURPH | |
| What happened to Nelson? | |
| Tom glances at her. Don’t ask. Heads for the house. | |
| 89. | |
| 158 INT/EXT. FARMHOUSE - DUSK 158 | |
| Murph at family dinner with Tom, LOIS, and their six-year- | |
| old son COOP. | |
| LOIS | |
| Will you stay the night? We left | |
| your room like it was ... | |
| Murph looks down, awkward ... | |
| MURPH | |
| No, I need to ... | |
| Murph looks upstairs. At Lois. | |
| MURPH | |
| Too many memories, Lois. | |
| She nods. Coop helps Tom clear. As Coop takes Murph’s plate | |
| he starts COUGHING. Looks up at her, sees her concern, | |
| GRINS. | |
| COOP | |
| The dust. | |
| He and Tom head into the kitchen. | |
| MURPH | |
| I have a friend who should look at | |
| his lungs, Lois. | |
| She nods, is about to speak. Tom sits back down. | |
| Pull back to reveal the glowing windows against the | |
| darkening plain, dust clouds rolling across the horizon ... | |
| 159 INT. CORRIDOR, NASA - NIGHT 159 | |
| Murph hurries down a corridor with a doctor, GETTY. | |
| GETTY | |
| He started asking for you after he | |
| came to, but we couldn’t raise you | |
| - | |
| 160 INT. HOSPITAL ROOM, NASA - MOMENTS LATER 160 | |
| Murph is at Professor Brand’s bedside. He is hooked up to | |
| machines. Barely breathing. | |
| 90. | |
| PROFESSOR BRAND | |
| Murph ... Murph ... | |
| Murph takes his hand with gentle concern. | |
| MURPH | |
| I’m here, Professor. | |
| PROFESSOR BRAND | |
| I don’t have much life ... | |
| (Breathes.) | |
| I have to tell you ... | |
| MURPH | |
| Try to take it easy. | |
| PROFESSOR BRAND | |
| All these ... years. All these | |
| people ... counted on me ... | |
| MURPH | |
| It’s okay, Professor. | |
| PROFESSOR BRAND | |
| I let you ... all you ... down. | |
| MURPH | |
| No. I’ll finish what you started. | |
| Professor Brand looks up into Murph’s eyes, tears welling. | |
| PROFESSOR BRAND | |
| Murph. Good, good Murph. Such faith | |
| ... all these years, I told you to | |
| have faith ... to believe ... | |
| MURPH | |
| I do believe - | |
| PROFESSOR BRAND | |
| I needed you to believe your father | |
| was coming back ... | |
| MURPH | |
| I do, Professor - | |
| PROFESSOR BRAND | |
| Forgive me, Murph ... | |
| MURPH | |
| There’s nothing to forgive. | |
| PROFESSOR BRAND | |
| 91. | |
| I lied, Murph. I lied to you ... | |
| Murph looks at Professor Brand, confused. | |
| PROFESSOR BRAND | |
| There’s no reason to come back ... | |
| no way to help us ... | |
| MURPH | |
| But Plan A - all this - all these | |
| people ... the equation! | |
| But Professor Brand slowly shakes his head, tears rolling | |
| down. As Murph tries to comprehend, he settles, DRIFTING. | |
| MURPH | |
| (whispers) | |
| Did he know? | |
| Nothing. | |
| MURPH | |
| Did my dad know?! | |
| Nothing. | |
| MURPH | |
| Did he abandon me?! | |
| PROFESSOR BRAND | |
| Do ... not ... go... | |
| She leans in to hear. | |
| PROFESSOR BRAND | |
| Gentle ... into ... into ... | |
| MURPH | |
| NO! NO! Professor, stay! You can’t! | |
| You can’t leave ... | |
| Getty is at her shoulder. | |
| MURPH | |
| You can’t, you can’t, you ... | |
| Getty puts his hand on her shoulder. She sits there. Stuck. | |
| As Professor Brand goes still ... | |
| MURPH | |
| (V.O.) | |
| 92. | |
| Dr Brand, I’m sorry to tell you | |
| that your father died today ... | |
| 161 INT. COMMUNICATION ROOM, NASA - DAY 161 | |
| Murph, controlled anger, sits in front of the camera. | |
| MURPH | |
| He had no pain and was ... at | |
| peace. I’m sorry for your loss. | |
| She reaches to switch off the camera. STOPS. Acid. | |
| MURPH | |
| Did you know, Brand? Did he tell | |
| you ...? | |
| 162 INT. RING MODULE, ENDURANCE - DAY 162 | |
| Murph’s voice rings through the empty ship. Only Case there | |
| to register it. | |
| MURPH | |
| (V.O.) | |
| Did you know that Plan A was a sham | |
| ...?! You left us here. To die. | |
| Never coming back ... | |
| Through the window we see the Ranger moving away, towards - | |
| 163 EXT. DR MANN’S PLANET - DAY 163 | |
| The Endurance orbits the silvery white globe as the Ranger | |
| heads towards the planet. | |
| 164 EXT. STRATOSPHERE - MOMENTS LATER 164 | |
| The Ranger drops through layers of large, MOUNTAINOUS | |
| CLOUD. | |
| 165 INT. COCKPIT, RANGER - CONTINUOUS 165 | |
| Cooper and Tars, Brand and Romilly. Cooper peers out, | |
| concerned, studying a heads-up display of CLOUD DENSITY ... | |
| 166 EXT. DR MANN’S PLANET - CONTINUOUS 166 | |
| 93. | |
| The Ranger cuts through one cloud, banks left and SCRAPES | |
| AGAINST THE NEXT ’CLOUD’, PANELS TEARING FROM THE WING - | |
| THE CLOUDS ARE ACTUALLY SOLID ICE FORMATIONS ... | |
| 167 INT. COCKPIT, RANGER - CONTINUOUS 167 | |
| Cooper banks away from the ICE, glancing out at the damage | |
| - | |
| 168 EXT. DR MANN’S PLANET - CONTINUOUS 168 | |
| The Ranger moves cautiously through the ’cloudscape’ like a | |
| ship through an ice field ... | |
| 169 INT. COCKPIT, RANGER - CONTINUOUS 169 | |
| Romilly and Brand put their helmets on. Tars indicates the | |
| beacon’s position. Cooper looks, BANKS the Ranger. | |
| 170 EXT. DR MANN’S PLANET - CONTINUOUS 170 | |
| The Ranger’s gear lowers as it comes to rest, tentatively, | |
| at the base of what looks like a large CUMULUS CLOUD. | |
| 171 EXT. DR MANN’S PLANET - LATER 171 | |
| Cooper leads them up the ICE CLOUD. From a distance, they | |
| are walking on a cloud. Tars brings up the rear. | |
| Cooper crests a ridge. SPOTS something. He starts down | |
| towards a dirty orange dot in the cloudscape. | |
| 172 EXT. DR MANN’S POD - MOMENTS LATER 172 | |
| Cooper is there. The others arrive at the large metal pod - | |
| WEATHERED and DAMAGED over the years, half buried in ice. | |
| Nearby, various WIRE MARKERS stick out of the ice. Tars | |
| starts digging out the hatch. | |
| 173 INT. DR MANN’S POD - LATER 173 | |
| A CRACK of COLD LIGHT, as the outer hatch is wrenched open. | |
| 94. | |
| Cooper steps through the airlock, into a CRYPT-LIKE SPACE - | |
| Cooper’s hand sweeps ice from the nameplate of a cryo- | |
| chamber, ’DR MANN’. | |
| Tars fires up the cryo-chamber. The ice starts to melt. | |
| Cooper, helmet off, CRACKS the lid, pushes it back, | |
| revealing a figure in a plastic shroud. Cooper rips the | |
| seal ... | |
| Dr Mann’s eyes flicker open. He watches Cooper, breathing, | |
| focusing - reaches up with TREMBLING hands - GRABS Cooper - | |
| PULLS himself up, CHEEK AGAINST CHEEK - SOBBING - hands | |
| desperately CARESSING Cooper’s face. Cooper holds him | |
| tight. | |
| COOPER | |
| (whispering) | |
| It’s okay. It’s okay. | |
| 174 INT. SAME - LATER 174 | |
| Dr Mann sits, blanket over his shoulders, sipping from a | |
| steaming cup. He looks at their faces, marveling. | |
| DR MANN | |
| (cracked, parched) | |
| Pray you never learn just how good | |
| it can be to see another face. | |
| (Shaky sip.) | |
| I hadn’t much hope to begin with. | |
| After so much time, I had none. My | |
| supplies were exhausted. The last | |
| time I went to sleep, I set no | |
| waking date. | |
| (Looks at them all.) | |
| You have literally raised me from | |
| the dead. | |
| COOPER | |
| (smiles) | |
| Lazarus. | |
| DR MANN | |
| (nods) | |
| And the others? | |
| ROMILLY | |
| I’m afraid you’re it, sir. | |
| DR MANN | |
| So far, surely? | |
| 95. | |
| COOPER | |
| With our situation, there’s not | |
| much hope of any other rescue. | |
| This hits Dr Mann hard. He looks down at his tea. | |
| BRAND | |
| Dr Mann, tell us about your world. | |
| DR MANN | |
| (smiles gently) | |
| My world. Yes. Our world, we hope. | |
| Our world is cold, stark ... | |
| 175 EXT. DR MANN’S PLANET - DAY 175 | |
| Dr Mann leads the others up to the summit of a cloud. | |
| DR MANN | |
| (V.O.) | |
| But undeniably beautiful ... | |
| From the top, they watch the planet’s pale sun setting. | |
| DR MANN | |
| The days are sixty-seven cold | |
| hours, the nights are sixty-seven | |
| far colder hours ... | |
| They make their way back into the shelter. | |
| DR MANN | |
| (V.O.) | |
| The gravity is a very pleasant 80 | |
| percent of Earth’s. Up here, where | |
| I landed, the ’water’ is alkali and | |
| the ’air’ has too much ammonia in | |
| it to breathe for more than a few | |
| minutes ... | |
| Brand checks readings on Dr Mann’s instruments. | |
| 176 INT. DR MANN’S POD - NIGHT 176 | |
| The crew are captivated by Dr Mann ... | |
| DR MANN | |
| 96. | |
| But down at the surface, and there | |
| is a surface ... the chlorine | |
| dissipates and the ammonia gives | |
| way to crystalline hydrocarbons and | |
| breathable air. To organics. | |
| Possibly even to life. | |
| (Off looks.) | |
| Yes. We may be sharing this world. | |
| BRAND | |
| (giddy) | |
| These readings are from the | |
| surface? | |
| Brand is reviewing Dr Mann’s piles of data. | |
| DR MANN | |
| Over the years I’ve dropped various | |
| probes. | |
| COOPER | |
| How far have you explored? | |
| DR MANN | |
| I’ve mounted several major | |
| expeditions, but with oxygen in | |
| limited supply, Kipp there had to | |
| do most of the legwork. | |
| Dr Mann indicates a DEFUNCT ARTICULATED MACHINE. | |
| TARS | |
| What’s wrong with him? | |
| DR MANN | |
| Degeneration. He misidentified the | |
| first organics we found as ammonia | |
| crystals. We struggled on for a | |
| time, but ultimately, I | |
| decommissioned him and used his | |
| power source to keep the mission | |
| going. | |
| (Remembers, sadly.) | |
| I thought I was alone before I shut | |
| him down. | |
| TARS | |
| Would you like me to look at him? | |
| DR MANN | |
| No, I think he needs a human touch. | |
| Tars turns to Brand. | |
| 97. | |
| TARS | |
| Dr Brand, Case is relaying a | |
| message for you from the comm. | |
| station. | |
| She nods. | |
| MURPH | |
| (V.O.) | |
| ... He had no pain and was ... at | |
| peace. | |
| 177 INT. DR MANN’S POD - LATER 177 | |
| Brand watches Murph’s message on Tars’ data screen. | |
| MURPH | |
| I’m sorry for your loss. | |
| Brand STARES. Cooper is there. Murph reaches up - | |
| BRAND | |
| (abstract) | |
| Is that Murph? | |
| Cooper nods. | |
| BRAND | |
| She’s become a - | |
| MURPH | |
| (acid) | |
| Did you know, Brand? Did he tell | |
| you? That Plan A was a sham ...?! | |
| Cooper looks at Brand, who is shocked. | |
| MURPH | |
| You left us here to set up your | |
| colony. Never coming back ... | |
| Murph does not want to ask, tears are running down her | |
| cheeks - | |
| MURPH | |
| (Small.) | |
| Did my father know? Dad ...? | |
| Cooper stares. Murph’s eyes bore into his ... | |
| COOPER | |
| Did you leave me here to die? | |
| 98. | |
| The screen goes dark. Cooper stands there, SHOCKED. | |
| BRAND | |
| Cooper, my father devoted his whole | |
| life to Plan A - I have no idea | |
| what she means - | |
| DR MANN | |
| (O.S.) | |
| I do. | |
| They turn. Dr Mann looks at them with gentle calm. | |
| COOPER | |
| He never even hoped to get people | |
| off the Earth. | |
| DR MANN | |
| No. | |
| BRAND | |
| But he’s been trying to solve the | |
| gravity equation for forty years! | |
| Dr Mann comes over, looks into Brand’s eyes. | |
| DR MANN | |
| Amelia, your father solved his | |
| equation before I even left. | |
| BRAND | |
| Then why wouldn’t he use it?! | |
| DR MANN | |
| The equation couldn’t reconcile | |
| relativity with quantum mechanics. | |
| You need more - | |
| COOPER | |
| More what?! | |
| DR MANN | |
| More data. You need to see inside a | |
| black hole. And the laws of nature | |
| prohibit a naked singularity. | |
| COOPER | |
| (to Romilly) | |
| Is that true? | |
| ROMILLY | |
| If a black hole is an oyster, the | |
| singularity is the pearl inside. | |
| 99. | |
| ROMILLY | |
| Its gravity is so strong, it’s | |
| always hidden in darkness, behind | |
| the horizon. That’s why we call it | |
| a black hole. | |
| COOPER | |
| If we could look beyond the horizon | |
| - | |
| DR MANN | |
| Some things aren’t meant to be | |
| known. | |
| (To Brand.) | |
| Your father had to find another way | |
| to save the human race from | |
| extinction. Plan B. A colony. | |
| BRAND | |
| Why not tell people? Why keep | |
| building that damn station? | |
| DR MANN | |
| He knew how much harder it would be | |
| for people to come together and | |
| save the species, instead of | |
| themselves ... | |
| (To Cooper, sympathetic.) | |
| Or their children. | |
| COOPER | |
| Bullshit. | |
| DR MANN | |
| Would you have left if you hadn’t | |
| believed you were trying to save | |
| them? Evolution has yet to | |
| transcend that simple barrier - we | |
| can care deeply, selflessly for | |
| people we know, but our empathy | |
| rarely extends beyond our line of | |
| sight. | |
| BRAND | |
| But the lie. A monstrous lie ... | |
| DR MANN | |
| Unforgivable. And he knew it. Your | |
| father was prepared to destroy his | |
| own humanity to save our species. | |
| He made the ultimate sacrifice. | |
| COOPER | |
| 100. | |
| No. That’s being made by the people | |
| of Earth who’ll die because, in his | |
| arrogance, he declared their case | |
| hopeless. | |
| DR MANN | |
| I’m sorry, Cooper. Their case is | |
| hopeless. We are the future. | |
| Cooper REELS. Brand puts her hand on his shoulder - | |
| BRAND | |
| Cooper, what can I do? | |
| He turns to her. Looks her in the eyes. | |
| COOPER | |
| Let me go home. | |
| And the sound of WIND in DRY CORNSTALKS takes us - | |
| 178 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAWN 178 | |
| Murph drives. Getty next to her. In the distance, several | |
| fields BURN. | |
| GETTY | |
| Are you sure? | |
| MURPH | |
| His solution was correct. He’d had | |
| it for years. | |
| GETTY | |
| It’s worthless? | |
| MURPH | |
| It’s half the answer. | |
| GETTY | |
| How do you find the other half? | |
| Murph points at the sky. | |
| MURPH | |
| Out there? A black hole. Stuck here | |
| on Earth? I’m not sure you can. | |
| They pass vehicles PILED HIGH with belongings and people. | |
| GETTY | |
| 101. | |
| They just pack up and leave. What | |
| are they hoping to find? | |
| MURPH | |
| Survival. | |
| (Looks ahead.) | |
| Dammit! | |
| A DUST STORM SWAMPS the truck, killing visibility. Murph | |
| pulls over. Kills the engine. The wind rocks the car. | |
| GETTY | |
| Don’t people have a right to know? | |
| MURPH | |
| Panic won’t help. We have to keep | |
| working, same as ever. | |
| GETTY | |
| Isn’t that just what Professor | |
| Brand ...? | |
| MURPH | |
| (sharp) | |
| Brand gave up on us - I’m still | |
| trying to solve this. | |
| GETTY | |
| So you have an idea? | |
| MURPH | |
| No. I have a ... feeling. | |
| Getty looks at her as she STARES out at the dust. | |
| INSERT CUT: MURPH (TEN), wet hair, towel around neck, turns | |
| and STARES at a book on the floor - | |
| MURPH | |
| (V.O.) | |
| I told you about my ghost ... | |
| She stoops to pick up the toy next to it - a broken LUNAR | |
| LANDER. | |
| MURPH (FORTY) puts her hands on the glass, watching the | |
| sand scrape the car’s window ... | |
| MURPH | |
| My dad thought I called it a ghost | |
| because I was scared of it ... | |
| INSERT CUT: MURPH (TEN) counts the books and gaps. | |
| 102. | |
| MARVELING. | |
| MURPH | |
| (V.O.) | |
| But I was never scared of it ... | |
| MURPH (TEN) takes out her notebook and starts drawing lines | |
| to represent the books. | |
| MURPH | |
| (V.O.) | |
| I called it a ghost because it felt | |
| like ... | |
| MURPH (FORTY) turns to Getty. | |
| MURPH | |
| Like a person. Trying to tell me | |
| something ... | |
| The storm is clearing. Murph starts the engine. | |
| MORPH | |
| If there’s an answer here on Earth, | |
| it’s back there, somehow. No one’s | |
| coming to save us. | |
| (Pulls out.) | |
| I have to find it ... | |
| Murph pulls past a pickup piled with worldly goods and | |
| people. She makes eye contact with two filthy kids in the | |
| back ... | |
| And we’re running out of time. | |
| 179 EXT. RANGER, DR MANN’S PLANET - DAWN 179 | |
| Tars is up on the wing of the Ranger. Case pilots the | |
| LANDER in to land near the Ranger. | |
| 180 INT. COCKPIT, RANGER - CONTINUOUS 180 | |
| Cooper is sitting with his feet on the console. | |
| CASE | |
| (over radio) | |
| What about auxiliary oxygen | |
| scrubbers? | |
| COOPER | |
| 103. | |
| They can stay. I’ll sleep most of | |
| the journey. | |
| (Wry.) | |
| COOPER | |
| I saw it all on the way out here. | |
| Romilly comes through the airlock. Removes his helmet. | |
| ROMILLY | |
| I have a suggestion for your return | |
| journey. | |
| COOPER | |
| What? | |
| ROMILLY | |
| Have one last crack at the black | |
| hole ... | |
| Tars enters. | |
| ROMILLY | |
| Gargantua’s an older, spinning | |
| black hole - what we call a gentle | |
| singularity. | |
| COOPER | |
| Gentle? | |
| ROMILLY | |
| They’re hardly gentle, but their | |
| tidal gravity is quick enough that | |
| something crossing the horizon fast | |
| might survive ... a probe, say. | |
| COOPER | |
| What happens to it after it | |
| crosses? | |
| ROMILLY | |
| Beyond the horizon is a complete | |
| mystery - who’s to say there isn’t | |
| some way the probe can glimpse the | |
| singularity and relay the quantum | |
| data? If he’s equipped to transmit | |
| every form of energy that can pulse | |
| - X-ray, visible light, radio - | |
| TARS | |
| Just when did this probe become a | |
| ’he’? | |
| 104. | |
| Romilly looks from Tars to Cooper, sheepish. | |
| ROMILLY | |
| Tars is the obvious candidate. I’ve | |
| already told him what to look for. | |
| TARS | |
| I’d need to take the old optical | |
| transmitter from Kipp. | |
| COOPER | |
| (to Tars) | |
| You’d do this for us? | |
| TARS | |
| Before you get teary, try to | |
| remember that as a robot I have to | |
| do anything you say, anyway. | |
| COOPER | |
| Your cue light’s broken. | |
| TARS | |
| I’m not joking. | |
| Bing. The light flashes on. | |
| 181 EXT. RANGER, DR MANN’S PLANET - DAY 181 | |
| Brand and Dr Mann approach Cooper and Romilly at the foot | |
| of the ladder. Cooper addresses Brand - | |
| COOPER | |
| Ranger’s almost ready. Case is on | |
| his way back down with another | |
| load. | |
| BRAND | |
| I’ll start a final inventory. | |
| ROMILLY | |
| Dr Mann, I need Tars to remove and | |
| adapt some components from Kipp. | |
| Dr Mann considers this. Looks at Tars. At Romilly. | |
| DR MANN | |
| He musn’t disturb Kipp’s archival | |
| functions. | |
| ROMILLY | |
| I’ll supervise. | |
| 105. | |
| Dr Mann considers this. Nods. | |
| COOPER | |
| We need to pick out a site. You | |
| don’t wanna move the module once we | |
| land it. | |
| DR MANN | |
| I’ll show you the probe sites. | |
| Cooper glances around at the winds picking up - | |
| COOPER | |
| Will conditions hold? | |
| DR MANN | |
| These squalls usually blow over. | |
| You’ve got a long-range | |
| transmitter? | |
| Cooper reaches up to check a box plugged in at his neck. | |
| COOPER | |
| Good to go. | |
| Dr Mann points at a nozzle on his elbow - | |
| DR MANN | |
| Charged? | |
| Cooper checks, thumbs up. Dr Mann sets off, Cooper follows. | |
| 182 EXT. DR MANN’S PLANET - LATER 182 | |
| As Cooper follows Dr Mann down a ridge, they see the lander | |
| fly over. Cooper waves, reaches up to his long-range | |
| transmitter - | |
| COOPER | |
| A little caution, Case? | |
| CASE | |
| (over radio) | |
| Safety first, Cooper. | |
| Cooper follows Dr Mann down to the edge of the ice. They | |
| peer down a fifty-foot drop. | |
| DR MANN | |
| Just take it gently - | |
| 106. | |
| He steps off, DROPPING - his ELBOW JETS FIRE, slowing his | |
| descent in time for him to land with a THUD. Cooper | |
| follows. | |
| They set out through a massive CANYON of ice ... | |
| DR MANN | |
| Brand told me why you feel you have | |
| to go back - | |
| Cooper STOPS. | |
| COOPER | |
| If this excursion is about trying | |
| to change my mind, let’s turn | |
| around right now. | |
| DR MANN | |
| No. I understand your position. | |
| He turns and starts walking. Cooper follows. | |
| DR MANN | |
| You have attachments. I’m not | |
| supposed to, but even without | |
| family, I can promise you that the | |
| yearning to be with other people is | |
| massively powerful. Our instincts, | |
| our emotions, are at the | |
| foundations of what makes us human. | |
| They’re not to be taken lightly. | |
| The wind WHIPS ice crystals between them ... | |
| 183 INT. KITCHEN, FARMHOUSE - DAY 183 | |
| Murph introduces Getty to Lois and Coop. Getty pulls out a | |
| STETHOSCOPE and starts examining Coop, Murph slips upstairs | |
| ... | |
| 184 INT. MURPH’S BEDROOM - DAY 184 | |
| Murph opens the door. Stands in her old bedroom. Feeling | |
| ... | |
| COOP | |
| (O.S.) | |
| Mama lets me play in here ... | |
| Murph turns to see Coop. He points at a box on the shelf - | |
| 107. | |
| COOPER | |
| I don’t touch your stuff. | |
| 185 EXT. LANDER - CONTINUOUS 185 | |
| Brand turns away as the lander touches down in a spray of | |
| ice. | |
| 186 INT. DR MANN’S POD - CONTINUOUS 186 | |
| Romilly watches Tars crouch down beside Kipp and connect | |
| Kipp to his own power. Kipp shows signs of life ... | |
| 187 EXT. ICE CANYON, DR MANN’S PLANET - CONTINUOUS 187 | |
| Dr Mann waits for Cooper catch up. The WIND is picking up - | |
| DR MANN | |
| You know why we couldn’t just send | |
| machines on these missions, Cooper? | |
| COOPER | |
| (breathless) | |
| Frankly, no. | |
| DR MANN | |
| (pressing on) | |
| A trip into the unknown requires | |
| improvisation. Machines can’t | |
| improvise well because you can’t | |
| program a fear of death. The | |
| survival instinct is our single | |
| greatest source of inspiration. | |
| Dr Mann pauses to take a breath. Turns to Cooper. | |
| DR MANN | |
| Take you - a father. With a | |
| survival instinct that extends to | |
| your kids ... | |
| COOPER | |
| That’s why I’m going home, hopeless | |
| or not. | |
| DR MANN | |
| And what does research tell us is | |
| the last thing you’ll see before | |
| you die? | |
| (Off look.) | |
| 108. | |
| Your children. At the very moment | |
| of death, your mind pushes you a | |
| little harder to survive. For them. | |
| Dr Mann turns and starts walking out onto a massive ice | |
| field. | |
| 188 INT. KITCHEN, FARMHOUSE - DAY 188 | |
| Murph brings Coop downstairs. Getty is listening to Lois’ | |
| back. He looks up at Murph. GRAVE. Shakes his head ... | |
| GETTY | |
| They can’t stay here. | |
| TOM | |
| (O.S.) | |
| Murph? | |
| Murph turns to see Tom in the doorway. | |
| TOM | |
| What is this ...? | |
| 189 EXT. LANDER, DR MANN’S PLANET - CONTINUOUS 189 | |
| Brand is counting flight cases when a WIND whips ice at her | |
| ... | |
| 190 INT. DR MANN’S POD - CONTINUOUS 190 | |
| Romilly takes his helmet off, PEERING over Tars’ shoulder | |
| at Kipp’s data screen. Confused. | |
| ROMILLY | |
| I don’t understand. | |
| 191 EXT. ICE FIELD, DR MANN’S PLANET - CONTINUOUS 191 | |
| Cooper and Dr Mann are like two ants on a sheet. | |
| DR MANN | |
| The first window’s up ahead - | |
| Cooper peers ahead to an OPENING in the ice. Dr Mann stops | |
| at the edge. Looks around the wind-blasted ice plane. | |
| DR MANN | |
| 109. | |
| When I left Earth I felt fully | |
| prepared to die. But I just never | |
| faced the possibility that my | |
| planet wouldn’t be the one. None of | |
| this turned out the way it was | |
| supposed to. | |
| COOPER | |
| Professor Brand would disagree. | |
| Cooper peers over the edge at an enormous CREVASSE ... | |
| Dr Mann RIPS COOPER’S LONG-RANGE TRANSMITTER FROM HIS NECK | |
| - | |
| Cooper TURNS to Dr Mann - who BLASTS him with his ELBOW | |
| JET. | |
| He SLIPS backwards, but avoids going over the edge - | |
| COOPER | |
| What are you doing?! | |
| Until Dr Mann KICKS him. Cooper hits his jets, pushing | |
| himself onto a lower ledge of ice - | |
| 192 INT. KITCHEN, FARMHOUSE - DAY 192 | |
| Tom confronts Murph while Getty looks on - | |
| MURPH | |
| They can’t stay here, Tom! | |
| GETTY | |
| Not one more day - | |
| Tom TURNS, PUNCHES Getty - who collapses. | |
| LOIS | |
| Tom?! | |
| TOM | |
| Coop, get your aunt’s things - | |
| she’s done here. | |
| MURPH | |
| Tom, Dad didn’t raise you this dumb | |
| - | |
| TOM | |
| 110. | |
| Dad didn’t raise us, Grandpa did, | |
| and he’s buried outside with Mom in | |
| our ground. I’m not leaving them - | |
| MURPH | |
| You have to, Tom - | |
| TOM | |
| I’m a farmer, Murph! You don’t give | |
| up on the Earth. | |
| MURPH | |
| No! But she gave up on you! And | |
| she’s poisoning your family. | |
| 193 EXT. DR MANN’S PLANET - DAY 193 | |
| Cooper SCRAMBLES to his knees. Dr Mann approaches - | |
| DR MANN | |
| I’m sorry - I can’t let you leave. | |
| COOPER | |
| Why?! | |
| DR MANN | |
| We’re going to need your ship to | |
| continue the mission ... once the | |
| others realize what this place | |
| isn’t. | |
| Cooper’s mind races. He looks around. | |
| COOPER | |
| You faked all the data? | |
| DR MANN | |
| I had a lot of time. | |
| COOPER | |
| Is there even a surface? | |
| DR MANN | |
| I’m afraid not - | |
| Dr Mann KICKS Cooper over the edge, Cooper CLINGS on - | |
| DR MANN | |
| 111. | |
| I tried to do my duty, Cooper, but | |
| the day I arrived I could see this | |
| place had nothing. I resisted the | |
| temptation for years ... but I knew | |
| there was a way to get rescued. | |
| COOPER | |
| You fucking coward. | |
| Cooper BLASTS Dr Mann off his feet with his jet - SCRAMBLES | |
| up onto the ice. Dr Mann TACKLES him, they go down, | |
| WRESTLING. WIDER shows us two TINY FIGURES in a VAST | |
| LANDSCAPE, deciding the future of humanity with a BRAWL ... | |
| 194 INT. KITCHEN, FARMHOUSE - DAY 194 | |
| Murph begs Tom - | |
| MURPH | |
| Please, come with us. | |
| TOM | |
| To live underground, praying Dad | |
| comes back to save us all? | |
| MURPH | |
| He’s not coming back. He was never | |
| coming back. It’s up to us. To me. | |
| TOM | |
| You’re gonna save the human race, | |
| Murph? Really? How? Our dad | |
| couldn’t - | |
| MURPH | |
| HE DIDN’T EVEN TRY! | |
| (Off look.) | |
| He just abandoned us, Tom. | |
| Murph looks around, frustrated. Coop hands Murph the box. | |
| MURPH | |
| Tom, if you won’t come, let them - | |
| TOM | |
| Murph. | |
| (Points at box.) | |
| Take your stuff, and go. Murph | |
| hands the box back to Coop. | |
| MURPH | |
| Keep it. | |
| 112. | |
| She leaves. Getty follows. | |
| 195 EXT. ICE FIELD, DR MANN’S PLANET - DAY 195 | |
| Dr Mann LUNGES at Cooper, who SIDESTEPS him and PINS him | |
| ... | |
| COOPER | |
| Stop this! | |
| Dr Mann HEADBUTTS COOPER, FACEPLATE IMPACTS FACEPLATE. | |
| COOPER | |
| Mann! Don’t - you’ll kill us both - | |
| CRACK. Dr Mann SMASHES his helmet into Cooper’s AGAIN AND | |
| AGAIN as he - | |
| DR MANN | |
| SOMEONE’S - GLASS - WILL - GIVE - | |
| WAY - FIRST -! | |
| COOPER | |
| FIFTY-FIFTY YOU KILL YOUR SELF! | |
| STOP! | |
| Dr Mann STOPS. Looks up at Cooper, BREATHING. Both | |
| faceplates have TINY FRACTURES ... | |
| DR MANN | |
| Best odds I’ve had in years - | |
| WHACK - He BUTTS Cooper’s faceplate, which CRACKS | |
| SICKENINGLY. AMMONIA HISSES INSIDE - COOPER ROLLS OFF, | |
| HANDS UP, DESPERATELY TRYING TO PLUG THE LARGE CRACK - Dr | |
| Mann RISES. Checks the fractures in his own helmet. Bends | |
| down to look at Cooper, STRUGGLING, CHOKING - | |
| DR MANN | |
| Please don’t judge me, Cooper - you | |
| were never tested like I was. Few | |
| men have been ... | |
| 196 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 196 | |
| Murph drives. Getty looks over, sympathetic. | |
| GETTY | |
| You did your best, Murph. | |
| She just stares ahead at the road ... | |
| 113. | |
| 197 EXT. ICE FIELD, DR MANN’S PLANET - DAY 197 | |
| With curiosity and FEAR, Dr Mann watches Cooper CRAWL ... | |
| DR MANN | |
| You’re feeling it, aren’t you? That | |
| survival instinct - that’s what | |
| drove me. It’s always driven the | |
| human race, and it’s going to save | |
| it now. I’m going to save it. For | |
| all mankind. For you, Cooper. | |
| Unable to watch any more, he RISES, walking away, | |
| continuing to talk to Cooper via the radio ... | |
| DR MANN | |
| I’m sorry, I can’t watch you go | |
| through this - I thought I could. | |
| But I’m still here. I’m here for | |
| you ... | |
| Dr Mann, hurrying away, listens to Cooper RASPING - | |
| DR MANN | |
| Cooper. When you left, did | |
| Professor Brand read you that poem? | |
| How does it end ...? | |
| Dr Mann hauls himself up a ledge. The wind WHIPS up ice. | |
| DR MANN | |
| (over radio) | |
| ’Do not go gentle ...’ | |
| Cooper FREEZES. REMEMBERS. TRANSMITTER ... | |
| DR MANN | |
| (over radio) | |
| ’... into that good night ...’ | |
| Cooper LOOKS around - on the ice ten feet away - the | |
| TRANSMITTER - | |
| 198 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 198 | |
| Murph and Getty drive past a long line of DESPERATE | |
| REFUGEES - glimpsing FACES hardened against insurmountable | |
| odds ... | |
| DR MANN | |
| (over radio) | |
| 114. | |
| ’... Rage, rage against the dying | |
| of the light.’ | |
| 199 EXT. DR MANN’S PLANET - DAY 199 | |
| Cooper CRAWLS - CRAWLS - CHOKING - CRAWLING ... | |
| Dr Mann leap/jets up onto the higher ice - glances back at | |
| the floundering figure on the ice with pity and awe. | |
| DR MANN | |
| (whispers) | |
| Cooper ...? Do you see your | |
| children, yet? | |
| Dr Mann hears only CHOKING, GASPING, HACKING. He kills his | |
| radio. Scared. Watches Cooper’s silent thrashing. TURNS. | |
| Cooper GRABS the transmitter - tries to calm his FRANTIC | |
| HANDS - can’t reconnect it with clumsy gloves - pulls glove | |
| off - FREEZING - BITING - WAKING - he gets the connector IN | |
| - | |
| COOPER | |
| BRAND! BRAND! | |
| 200 EXT. LANDER - CONTINUOUS 200 | |
| Brand is STARTLED by Cooper’s RASPING over her radio - | |
| COOPER | |
| (over radio) | |
| HELP ... ME ... HELP ... | |
| 201 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 201 | |
| Murph DECIDES - she SPINS the truck around - floors it back | |
| in the direction they came ... | |
| 202 INT. COCKPIT, LANDER - CONTINUOUS 202 | |
| Brand JUMPS into the lander - | |
| BRAND | |
| Case?! | |
| Case is already FIRING engines - | |
| 115. | |
| CASE | |
| I have a fix. | |
| BRAND | |
| Cooper?! Cooper, we’re coming! | |
| 203 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 203 | |
| Cooper GASPS - | |
| COOPER | |
| NO AIR - AMMONIA. | |
| BRAND | |
| (over radio) | |
| Don’t talk - breathe as little as | |
| possible. We’re coming -! | |
| 204 EXT. CORNFIELDS - DAY 204 | |
| Murph PULLS off the road, CUTTING through the corn - | |
| 205 EXT. DR MANN’S PLANET - CONTINUOUS 205 | |
| The lander HURTLES through the cloudscape, RECKLESSLY, | |
| DANGEROUSLY FAST, PUNCHING through some clouds, DODGING | |
| others -. | |
| 206 INT. COCKPIT, LANDER - CONTINUOUS 206 | |
| Brand watches Case fly, praying he’s not just guessing - | |
| 207 INT. DR MANN’S POD - CONTINUOUS 207 | |
| Romilly is crouched next to Tars, perturbed. | |
| ROMILLY | |
| This data makes no sense. Access | |
| the archive - | |
| 208 EXT. CORNFIELDS - DAY 208 | |
| Murph PULLS UP in a SCREECH of dust - jumps out - GRABS her | |
| spare gas can, THROWING FUEL over the nearby stalks ... | |
| 116. | |
| 209 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 209 | |
| Cooper FLOPS back onto the ice, STARING SKYWARD ... | |
| INSERT CUT: MURPH (TEN) examines the WATCH Cooper has given | |
| her ... She THROWS it - turns her tear-stained face to | |
| Cooper - Cooper’s eyes water, from poison or memory - | |
| 210 EXT. CORNFIELDS - DAY 210 | |
| Murph SETS FIRE to the corn ... JUMPS in the truck - | |
| 211 EXT. DR MANN’S PLANET - CONTINUOUS 211 | |
| The lander SWEEPS around a towering cumulus, SPIRALING in | |
| on the ICE PLAIN - | |
| 212 INT. COCKPIT, LANDER - CONTINUOUS 212 | |
| Brand POINTS - | |
| BRAND | |
| I see him - | |
| 213 EXT. FARMHOUSE - DAY 213 | |
| Tom RACES out of the house, JUMPS in Cooper’s old truck, | |
| heading out to the fire ... calling on the radio - | |
| 214 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 214 | |
| Through WATERING EYES and WIND-WHIPPED ICE, Cooper glimpses | |
| Brand LEAPING from the lander, elbow jets firing. Brand | |
| RIPS Cooper’s helmet off - THRUSTS an OXYGEN MASK over his | |
| nose and mouth. Cooper GASPS, SUCKING AIR HARD - | |
| COOPER | |
| MANN - WAS - MANN - | |
| BRAND | |
| Dr Mann did this?! | |
| Cooper nods. Brand takes this in - REALIZES - | |
| BRAND | |
| Romilly! | |
| 117. | |
| She keys her long-range transmitter - | |
| BRAND | |
| Romilly?! Romilly?! | |
| 215 INT. DR MANN’S POD - CONTINUOUS 215 | |
| Tars turns back from Kipp. | |
| TARS | |
| It needs a person to unlock its | |
| archival function. | |
| Tars makes way for Romilly, who leans in to the screen. He | |
| glances at his helmet - the radio is SQUAWKING. As he | |
| reaches for his helmet, he places his hand on the screen - | |
| Kipp FLICKERS TO LIFE ... Romilly lifts his helmet - | |
| ROMILLY | |
| Brand -? | |
| Kipp LOOKS UP - | |
| KIPP | |
| Please, don’t make - | |
| And EXPLODES - | |
| 216 EXT. DR MANN’S PLANET - CONTINUOUS 216 | |
| Dr Mann hears the explosion - sees a BLACK CLOUD rising | |
| from up the hill. PANIC-STRICKEN - | |
| DR MANN | |
| Dammit, Romilly ... | |
| He switches his radio back on - | |
| BRAND | |
| (over radio) | |
| Come on, Cooper! Couple more steps | |
| - | |
| Dr Mann THINKS - makes for the Ranger. | |
| 217 INT. COCKPIT, LANDER - CONTINUOUS 217 | |
| Brand pulls the mask off Cooper, who looks at Case - | |
| 118. | |
| COOPER | |
| What happened to caution? | |
| CASE | |
| Safety first. | |
| COOPER | |
| Brand, I’m sorry. We should’ve | |
| followed your instincts. Mann lied | |
| about this place - | |
| BRAND | |
| (scared) | |
| Oh, no - | |
| 218 EXT. FARMHOUSE - DAY 218 | |
| Murph SCREECHES up - turns to Getty - | |
| MURPH | |
| Keep watch - | |
| She runs towards the farmhouse. | |
| MURPH | |
| Lois! | |
| 219 INT. COCKPIT, LANDER - DAY 219 | |
| Case spots something on the console. | |
| CASE | |
| There’s been an explosion - | |
| BRAND | |
| Where? | |
| CASE | |
| Dr Mann’s compound. | |
| Case puts the lander into the air. | |
| 220 INT. COCKPIT, RANGER - CONTINUOUS 220 | |
| Dr Mann straps in. Powers up. | |
| 221 EXT. DR MANN’S PLANET - CONTINUOUS 221 | |
| 119. | |
| The Ranger RISES - | |
| 222 INT. COCKPIT, RANGER - CONTINUOUS 222 | |
| Dr Mann pushes the craft into the air - | |
| 223 EXT. DR MANN’S PLANET - CONTINUOUS 223 | |
| The lander comes through the black smoke from Dr Mann’s | |
| pod. | |
| Below - a figure BURSTS out of the smoke: Tars, blackened, | |
| burned, but RUNNING ... towards the lander - | |
| 224 INT. COCKPIT, LANDER - CONTINUOUS 224 | |
| Case SWINGS the lander around and HITS the airlock open - | |
| 225 EXT. DR MANN’S POD - CONTINUOUS 225 | |
| Tars LEAPS UP into the airlock - the lander THRUSTS away - | |
| 226 INT. COCKPIT, THE LANDER - CONTINUOUS 226 | |
| Cooper looks over at Case - | |
| COOPER | |
| Do you have a fix on the Ranger? | |
| CASE | |
| He’s pushing into orbit - | |
| COOPER | |
| If he takes control of the ship | |
| we’re dead - | |
| BRAND | |
| He’d maroon us? | |
| COOPER | |
| He is marooning us - | |
| 227 INT. KITCHEN, FARMHOUSE - DAY 227 | |
| Lois and Coop head outside with a few essentials. Murph | |
| heads upstairs ... | |
| 120. | |
| 228 EXT. FARMHOUSE - CONTINUOUS 228 | |
| Getty helps them into the truck, glances nervously at the | |
| distant fire - | |
| GETTY | |
| Come on, Murph! | |
| 229 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 229 | |
| The Ranger ROCKETS upwards ... | |
| 230 INT. COCKPIT, LANDER - CONTINUOUS 230 | |
| Cooper moves up next to Case. Hits the transmitter - | |
| COOPER | |
| Dr Mann? Dr Mann, please respond - | |
| CASE | |
| He doesn’t know the Endurance | |
| docking procedure. | |
| COOPER | |
| The autopilot does. | |
| CASE | |
| Not since Tars disabled it. | |
| Cooper looks into the airlock - | |
| COOPER | |
| Nice. What’s your trust setting? | |
| TARS | |
| Lower than yours, apparently. | |
| Cooper hits the transmitter - | |
| COOPER | |
| Dr Mann? | |
| 231 INT. COCKPIT, RANGER - CONTINUOUS 231 | |
| Dr Mann hears Cooper. Ignores him - looking instead at the | |
| navigation computer. | |
| COOPER | |
| (over radio) | |
| 121. | |
| Dr Mann, if you attempt docking - | |
| Dr Mann switches off the transmitter - | |
| 232 INT. MURPH’S BEDROOM - DAY 232 | |
| Murph looks at the bookshelves. Spots the box. Moves over | |
| to it and LOOKS INSIDE ... | |
| 233 EXT. FARMHOUSE - CONTINUOUS 233 | |
| Outside, Getty paces, Lois and Coop sit tight ... | |
| 234 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 234 | |
| The Ranger approaches the Endurance ... | |
| 235 INT. COCKPIT, RANGER - CONTINUOUS 235 | |
| Dr Mann pilots the lander alongside the ship. Hits the | |
| autopilot - | |
| COMPUTER VOICE | |
| Auto-docking sequence withheld. | |
| Dr Mann looks at the screen, surprised. | |
| DR MANN | |
| Override. | |
| COMPUTER VOICE | |
| Unauthorized. | |
| Dr Mann thinks. Looks over at the MANUAL DOCKING CONTROLS | |
| ... | |
| 236 INT. COCKPIT, LANDER - CONTINUOUS 236 | |
| Cooper peers ahead as they SHOOT up into orbit. Brand looks | |
| - the Ranger is in close to the Endurance - | |
| COOPER | |
| Dr Mann, do not attempt docking. Dr | |
| Mann? | |
| Static. | |
| 122. | |
| 237 INT. COCKPIT, RANGER - CONTINUOUS 237 | |
| Dr Mann SCRAMBLES from the controls to the airlock, FOCUSED | |
| ... | |
| 238 EXT. ENDURANCE - CONTINUOUS 238 | |
| The Ranger inches closer to an OUTER HATCH of Endurance - A | |
| ROW OF MECHANICAL GRAPPLES tries to connect with Endurance | |
| - | |
| 239 INT. COCKPIT, RANGER - CONTINUOUS 239 | |
| Dr Mann works the docking system, concentrating - | |
| 240 EXT. ENDURANCE - CONTINUOUS 240 | |
| The grapples PULL the Ranger into the Endurance hatch. | |
| 241 INT. COCKPIT, RANGER - CONTINUOUS 241 | |
| A CLANG as the ships come together - | |
| COMPUTER VOICE | |
| Imperfect contact - hatch lockout. | |
| DR MANN | |
| Override. | |
| COMPUTER VOICE | |
| Hatch lockout disengaged. | |
| Dr Mann moves to the airlock control ... | |
| 242 INT. COCKPIT, LANDER - CONTINUOUS 242 | |
| Cooper stares out at the Ranger - | |
| COOPER | |
| Is he locked on? | |
| CASE | |
| Imperfectly. | |
| Cooper grabs the transmitter - | |
| COOPER | |
| 123. | |
| Dr Mann! Dr Mann! Do not, repeat do | |
| not attempt to open the hatch! If | |
| you - | |
| 243 INT. COCKPIT, RANGER - CONTINUOUS 243 | |
| In SILENCE Dr Mann looks through the hatch window. Hits the | |
| button opening the outer door - | |
| 244 EXT. ENDURANCE - CONTINUOUS 244 | |
| The outer door of the Ranger SLIDES OPEN. Several grapples | |
| are OPENING AND CLOSING BLINDLY, trying to seal the join - | |
| 245 INT. COCKPIT, LANDER - CONTINUOUS 245 | |
| Cooper looks at Case - | |
| COOPER | |
| What happens if he blows the hatch? | |
| CASE | |
| Nothing good. | |
| COOPER | |
| Pull us back! | |
| Case hits the retro-thrusters. | |
| BRAND | |
| Case, relay my transmission to his | |
| onboard computer, and have it | |
| rebroadcast as emergency p.a. - | |
| BRAND | |
| (hits transmitter) | |
| DR MANN, DO NOT OPEN THE IN-- | |
| 246 INT. COCKPIT, RANGER - CONTINUOUS 246 | |
| Silence. Dr Mann takes a breath, reaches for the inner | |
| lever - | |
| BRAND | |
| (over radio) | |
| --PEAT - DO NOT OPEN INNER HATCH! | |
| Dr Mann is STARTLED by the voice. He hits the transmitter - | |
| 124. | |
| DR MANN | |
| Brand, I don’t know what Cooper’s | |
| told you, but I’m taking control of | |
| the Endurance, then we’ll talk | |
| about continuing the mission. This | |
| is not my survival, or Cooper’s - | |
| this is mankind’s - | |
| Turns back to the lever ... PULLS IT - | |
| A DEVASTATING RUSH OF AIR YANKS HIM INTO THE AIRLOCK - | |
| 247 EXT. ENDURANCE - CONTINUOUS 247 | |
| The ESCAPING AIR AND DEBRIS push Endurance into a slow SPIN | |
| ... | |
| 248 INT. COCKPIT, RANGER - CONTINUOUS 248 | |
| Dr Mann is HAMMERED by debris as the airlock starts to RIP | |
| APART - | |
| 249 EXT. ENDURANCE - CONTINUOUS 249 | |
| The ship SPINS FASTER AND FASTER - the Ranger is RIPPED | |
| AWAY, FRAGMENTING, SHREDDING THE CLOSEST MODULE OF THE | |
| RING. | |
| 250 INT. COCKPIT, LANDER - CONTINUOUS 250 | |
| They STARE in HORROR as their ship is sent SPINNING OFF ITS | |
| ORBIT TOWARDS THE PLANET - | |
| BRAND | |
| Oh, my God. | |
| Cooper GRABS the sticks - HITS the thrusters - | |
| 251 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 251 | |
| The CRIPPLED Endurance is in a FAST FLAT SPIN, heading down | |
| towards the stratosphere - | |
| The lander FLIES after it, DODGING the Ranger debris - | |
| 252 INT. COCKPIT, LANDER - CONTINUOUS 252 | |
| 125. | |
| Cooper’s eyes are glued to the Endurance as he flies - | |
| CASE | |
| Cooper, there’s no point using our | |
| fuel to - | |
| COOPER | |
| Just analyze the Endurance’s spin - | |
| BRAND | |
| What’re you doing?! | |
| COOPER | |
| Docking. | |
| 253 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 253 | |
| The DIZZYING SPIN of the Endurance as it PLUMMETS towards | |
| the ATMOSPHERE - The lander ROCKETS after it, CLOSING | |
| SLOWLY - | |
| 254 INT. COCKPIT, LANDER - CONTINUOUS 254 | |
| Cooper pours on the power - | |
| CASE | |
| Endurance rotation is 67, 68 RPM - | |
| COOPER | |
| Get ready to match it on the retro- | |
| thrusters - | |
| CASE | |
| It’s not possible - | |
| COOPER | |
| No. It’s necessary. | |
| 255 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 255 | |
| The SPINNING ENDURANCE starts to encounter the STRATOSPHERE | |
| - heating up - | |
| 256 INT. COCKPIT, LANDER - CONTINUOUS 256 | |
| Brand looks ahead at the spinning ship - | |
| CASE | |
| 126. | |
| Endurance is hitting stratosphere - | |
| BRAND | |
| She’s got no heat shield -! | |
| Cooper checks the lander’s speed against Endurance - pulls | |
| back on thrust as they come in below it - | |
| 257 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 257 | |
| The lander is PERILOUSLY CLOSE to the RED HOT UNDERSIDE of | |
| the SPINNING ENDURANCE. The lander BANKS sideways, bringing | |
| its airlock within FEET of the spinning Endurance - | |
| 258 INT. COCKPIT, LANDER - CONTINUOUS 258 | |
| Cooper looks sideways at the spinning hull - | |
| COOPER | |
| Case, you ready? | |
| CASE | |
| Ready. | |
| Cooper watches the spinning hull, suddenly UNCERTAIN - | |
| CASE | |
| Cooper? | |
| (Off look.) | |
| This is no time for caution. | |
| COOPER | |
| (grins) | |
| If I black out, take the stick - | |
| Tars, get ready to engage the | |
| docking mechanism - Brand, hold | |
| tight - | |
| CASE | |
| Endurance is starting to heat - | |
| COOPER | |
| HIT IT! | |
| Case hits the RETRO-THRUSTERS. The view SPINS - | |
| 259 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 259 | |
| The lander goes into a FASTER AND FASTER SPIN as it, with | |
| Endurance, PLUMMETS towards the planet - | |
| 127. | |
| 260 INT. COCKPIT, LANDER - CONTINUOUS 260 | |
| LIGHT FLASHES across their faces as the G-force of the spin | |
| PULLS THEM AGAINST THEIR RESTRAINTS. Cooper STRUGGLES to | |
| stay conscious - they BUFFET AGAINST THE ATMOSPHERE - Tars | |
| opens the airlock - the Endurance hatch above him is now | |
| SLOWLY ROTATING relative to him ... | |
| 261 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 261 | |
| The GLOWING HOT Endurance and the lander PLUMMET, SPINNING | |
| towards the ice planet, whose curvature is FAST | |
| DISAPPEARING - | |
| 262 INT. AIRLOCK, LANDER - CONTINUOUS 262 | |
| Tars peers up as THE SPIN SPEEDS MATCH. He waits as the | |
| BUFFETING moves the hatches ... THEY LINE UP - he FIRES the | |
| GRAPPLES - they don’t connect - the hatches moved - | |
| 263 INT. COCKPIT, LANDER - CONTINUOUS 263 | |
| Brand loses consciousness - Cooper watches the instruments, | |
| not the dizzying view, on the point of RED OUT - | |
| COOPER | |
| Come on, Tars ... come on ... | |
| 264 INT. AIRLOCK, LANDER - CONTINUOUS 264 | |
| Tars sees the hatches roll back into ALIGNMENT. He FIRES | |
| AGAIN - this time THE GRAPPLES HOLD - | |
| TARS | |
| GOT IT! | |
| 265 INT. COCKPIT, LANDER - CONTINUOUS 265 | |
| Cooper registers this. Case fires the retro-rockets to slow | |
| the spin. | |
| COOPER | |
| Gen-- gentle, Case ... | |
| 266 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 266 | |
| The two craft, NOW JOINED, start to spin more SLOWLY ... | |
| 128. | |
| 267 INT. COCKPIT, LANDER - CONTINUOUS 267 | |
| Cooper eases back into his seat as the G-force lessens - | |
| COOPER | |
| Get ready to pull us up - | |
| The spin is slowing to almost nothing - | |
| 268 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 268 | |
| Parts are RIPPING off the Endurance in the HEAT - | |
| 269 INT. COCKPIT, LANDER - CONTINUOUS 269 | |
| Cooper EASES into POWER on the main thrusters - | |
| COOPER | |
| Come on. You can do it ... | |
| 270 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 270 | |
| The THRUSTERS on the lander start to DRAG both ships back | |
| up away from the planet, the heat DIMINISHING - | |
| 271 INT. COCKPIT, LANDER - CONTINUOUS 271 | |
| Cooper pulls back on the sticks, RELIEF washing over him. | |
| Brand comes to ... Cooper turns to Case, grinning - | |
| COOPER | |
| Right? And for our next trick ... | |
| CASE | |
| It’ll have to be good. We’re | |
| heading into Gargantua’s pull - | |
| Cooper’s smile fades. He UNBUCKLES - | |
| COOPER | |
| Take her - | |
| 272 INT. RING MODULE, ENDURANCE - MOMENTS LATER 272 | |
| HISSING STEAM - RUSHING AIR - WHIRLING DEBRIS as Tars and | |
| Cooper (in suit and helmet) lock down different BULKHEADS - | |
| 129. | |
| Brand (in suit and helmet) FLOATS alongside the POPULATION | |
| BOMB, checking the equipment - | |
| CASE | |
| (over radio) | |
| Cooper, we’re slipping towards | |
| Gargantua - shall I use main | |
| engines? | |
| COOPER | |
| No! Let her slide as long as we can | |
| - | |
| Cooper FLIES over to Tars, who is welding a bulkhead - | |
| COOPER | |
| Give it to me. | |
| TARS | |
| There’s good news and bad news - | |
| COOPER | |
| I’ve heard that one, Tars - just | |
| give it to me straight. | |
| 273 INT. SAME - MOMENTS LATER 273 | |
| Cooper SCRAMBLES to where Brand is checking her equipment. | |
| COOPER | |
| The navigation mainframe’s | |
| destroyed and we don’t have enough | |
| life support to make it back to | |
| Earth. But we might scrape to | |
| Edmunds’ planet. | |
| BRAND | |
| What about fuel? | |
| COOPER | |
| Not enough. But I’ve got a plan - | |
| let Gargantua suck us right to her | |
| horizon - then a powered slingshot | |
| around to launch us at Edmunds. | |
| BRAND | |
| Manually? | |
| COOPER | |
| That’s what I’m here for. I’ll take | |
| us just inside the critical orbit. | |
| 130. | |
| BRAND | |
| And the time slippage? | |
| COOPER | |
| Neither of us can afford to worry | |
| about relativity right now. | |
| BRAND | |
| I’m sorry, Cooper. | |
| They embrace, delicately touching faceplate to faceplate. | |
| 274 EXT. ENDURANCE - CONTINUOUS 274 | |
| The CRIPPLED Endurance FALLS towards the HEART OF DARKNESS | |
| among the stars ... | |
| 275 INT. COCKPIT, LANDER - DAY 275 | |
| Cooper looks ahead at Gargantua. Preparing for battle. | |
| 276 EXT. ENDURANCE - MOMENTS LATER 276 | |
| The lander DETACHES, shifting its orientation ... | |
| COOPER | |
| (over radio) | |
| Once we’ve gathered enough speed | |
| around Gargantua - we use the | |
| lander 1 Ranger 2 as rocket- | |
| boosters to push us out of the | |
| black hole’s gravity ... | |
| The lander REATTACHES to the rear of the ring module. | |
| 277 INT. COCKPIT, RANGER 2 - CONTINUOUS 277 | |
| Cooper slides into Ranger 2 - checking the systems. | |
| COOPER | |
| The linkages between landers are | |
| destroyed ... | |
| 278 INT. COCKPIT, LANDER - CONTINUOUS 278 | |
| Tars sits at the controls, running similar checks ... | |
| 131. | |
| COOPER | |
| (over radio) | |
| So we’ll control manually. When | |
| Lander 1’s spent, Tars will detach | |
| ... | |
| TARS | |
| And get sucked into that black | |
| hole. | |
| 279 INT. RING MODULE, ENDURANCE - CONTINUOUS 279 | |
| Brand and Case listen to Cooper and Tars over the radio. | |
| BRAND | |
| Why does he have to detach? | |
| COOPER | |
| (over radio) | |
| We have to shed mass if we’re gonna | |
| escape that gravity. | |
| TARS | |
| (over radio) | |
| Newton’s third law - the only way | |
| humans have ever figured out of | |
| getting somewhere is to leave | |
| something behind. | |
| BRAND | |
| Cooper, you can’t ask Tars to do | |
| this for us - | |
| 280 INT. COCKPIT, RANGER 2 - CONTINUOUS 280 | |
| Cooper puts his hands on the controls - | |
| COOPER | |
| He’s a robot, Amelia - I don’t have | |
| to ask him to do anything. | |
| 281 INT. RING MODULE, ENDURANCE - CONTINUOUS 281 | |
| Brand is furious - | |
| BRAND | |
| Cooper, you asshole - | |
| COOPER | |
| (over radio) | |
| 132. | |
| Sorry, you broke up a little there. | |
| TARS | |
| (over radio) | |
| It’s what we intended, Dr Brand ... | |
| 282 INT. COCKPIT, LANDER - CONTINUOUS 282 | |
| Tars sits at the controls, ready. | |
| TARS | |
| It’s our last chance to save people | |
| on Earth - if I can find some way | |
| to transmit the quantum data I’ll | |
| find in there, they might still | |
| make it. | |
| 283 INT. RING MODULE, ENDURANCE - CONTINUOUS 283 | |
| Brand considers this. | |
| BRAND | |
| If there’s someone still there to | |
| receive it ... | |
| 284 EXT. ENDURANCE - CONTINUOUS 284 | |
| The Endurance ACCELERATES towards the darkness ... | |
| 285 INT. RING MODULE, ENDURANCE - CONTINUOUS 285 | |
| The black hole’s gravity makes the ship SHUDDER ... Brand, | |
| helmet on, tightens her harness ... | |
| 286 EXT. ENDURANCE - CONTINUOUS 286 | |
| The Endurance STREAKS above the glowing horizon, SKIRTING | |
| the BLACKNESS beneath ... | |
| 287 INT. COCKPIT, LANDER - CONTINUOUS 287 | |
| Tars looks out at the DARK OCEAN ... | |
| 288 EXT. ENDURANCE - CONTINUOUS 288 | |
| 133. | |
| The ship orbits the black hole with BLINDING ACCELERATION - | |
| 289 INT. RING MODULE, ENDURANCE - CONTINUOUS 289 | |
| The ship is SHAKING with GRAVITATIONAL ENERGY ... | |
| CASE | |
| MAXIMUM VELOCITY ACHIEVED ... | |
| PREPARE TO FIRE ESCAPE THRUSTERS - | |
| 290 INT. COCKPIT, LANDER - CONTINUOUS 290 | |
| Tars checks his instruments - | |
| TARS | |
| Ready. | |
| 291 INT. COCKPIT, RANGER 2 - CONTINUOUS 291 | |
| Cooper checks his instruments - | |
| COOPER | |
| Ready. | |
| 292 INT. RING MODULE, ENDURANCE - CONTINUOUS 292 | |
| Brand looks out at the glowing horizon. Glances fearfully | |
| at the darkness below ... Case puts his hand on the button | |
| - | |
| CASE | |
| Main engine ignition in three, two, | |
| one, mark - | |
| Case hits the button - | |
| 293 EXT. ENDURANCE - CONTINUOUS 293 | |
| The MAIN ENGINES FIRE - STRAINING AGAINST GARGANTUA ... | |
| 294 INT. RING MODULE, ENDURANCE - CONTINUOUS 294 | |
| Brand feels the thrusters STRAIN to lift the craft - | |
| CASE | |
| 134. | |
| Lander 1 engines, on my mark, | |
| three, two, one, mark - | |
| 295 INT. COCKPIT, LANDER - CONTINUOUS 295 | |
| Tars hits the button - | |
| TARS | |
| Fire. | |
| 296 EXT. ENDURANCE - CONTINUOUS 296 | |
| Lander 1’s engines FIRE, adding to the thrust. The | |
| Endurance starts RISING away from the darkness ... | |
| CASE | |
| (over radio) | |
| Ranger 2’s engines, on my mark - | |
| three, two, one, mark - | |
| 297 INT. COCKPIT, RANGER 2 - CONTINUOUS 297 | |
| Cooper hits the button - | |
| COOPER | |
| Fire. | |
| 298 EXT. ENDURANCE - CONTINUOUS 298 | |
| Ranger 2’s engines add a fresh BLAST of fire, pushing the | |
| Endurance higher and higher ... back into the starlight ... | |
| 299 INT. COCKPIT, RANGER 2 - CONTINUOUS 299 | |
| Cooper, shaking with the thrust, looks at his instruments - | |
| COOPER | |
| That little maneuver cost us fifty- | |
| one years ...! | |
| 300 INT. RING MODULE, ENDURANCE - CONTINUOUS 300 | |
| Brand holds on tight - | |
| BRAND | |
| 135. | |
| You don’t sound so bad for a | |
| hundred and twenty! | |
| 301 EXT. ENDURANCE - CONTINUOUS 301 | |
| Lander 1’s engines DIE OUT ... | |
| CASE | |
| (over radio) | |
| Lander 1, prepare to detach, on my | |
| mark ... three ... | |
| 302 INT. RING MODULE, ENDURANCE - CONTINUOUS 302 | |
| Brand looks over at the lander - | |
| CASE | |
| Two ... | |
| 303 INT. COCKPIT, LANDER 1 - CONTINUOUS 303 | |
| CASE | |
| (over radio) | |
| One ... mark - | |
| Tars hits a switch - | |
| TARS | |
| Detach. | |
| 304 INT. RING MODULE, ENDURANCE - CONTINUOUS 304 | |
| Brand sees Lander 1 DROP, revealing Cooper in Ranger 2 ... | |
| BRAND | |
| Goodbye, Tars ... | |
| TARS | |
| (over radio) | |
| See you on the other side, Coop ... | |
| Something in this makes Brand frown, PUZZLED ... | |
| 305 EXT. ENDURANCE - CONTINUOUS 305 | |
| Lander 1 FALLS behind as the Endurance continues to RISE | |
| ... | |
| 136. | |
| 306 INT. COCKPIT, RANGER 2 - CONTINUOUS 306 | |
| Cooper checks his dwindling fuel supply ... | |
| COOPER | |
| Hey, Case? Nice reckless flying. | |
| CASE | |
| (over radio) | |
| Learned from the master. | |
| 307 EXT. ENDURANCE - CONTINUOUS 307 | |
| As Lander 1 FALLS back towards Gargantua, Ranger 2’s | |
| engines DIE OUT ... | |
| 308 INT. RING MODULE, ENDURANCE - CONTINUOUS 308 | |
| Case registers the burnout. | |
| CASE | |
| Ranger 2, prepare to detach - | |
| Brand looks up, SHOCKED - | |
| BRAND | |
| NO! | |
| She UNBUCKLES - | |
| CASE | |
| On my mark - | |
| FLIES to the window looking onto Cooper - | |
| BRAND | |
| What are you doing! | |
| CASE | |
| Three ... | |
| 309 INT. COCKPIT, RANGER 2 - CONTINUOUS 309 | |
| Cooper looks across at Brand. | |
| COOPER | |
| Newton’s third law - you have to | |
| leave something behind. | |
| 137. | |
| CASE | |
| (over radio) | |
| Two ... | |
| 310 INT. RING MODULE, ENDURANCE - CONTINUOUS 310 | |
| Brand pushes her helmet up against the window, | |
| BRAND | |
| You told me we had enough power - | |
| CASE | |
| One ... | |
| 311 INT. COCKPIT, RANGER 2 - CONTINUOUS 311 | |
| Cooper looks at her, fondly - | |
| COOPER | |
| Hey, we agreed - ninety percent. | |
| CASE | |
| (over radio) | |
| Mark ... | |
| Cooper reaches for the button. Takes one last look at Brand | |
| - inside her helmet, Brand is crying, zero-G tears catching | |
| in her eyelashes like melted snowflakes. | |
| Cooper hits the button. But the word catches in his throat | |
| -. | |
| COOPER | |
| Detach - | |
| 312 EXT. ENDURANCE - CONTINUOUS 312 | |
| Ranger 2 DROPS AWAY from the Endurance ... | |
| 313 INT. COCKPIT, RANGER 2 - CONTINUOUS 313 | |
| Cooper sees the Endurance ACCELERATE AWAY to a bright point | |
| as he FALLS AND FALLS ... Cooper starts to breathe FASTER - | |
| 314 EXT. GARGANTUA - CONTINUOUS 314 | |
| 138. | |
| Ranger 2 PLUMMETS towards blackness as the horizon GLOWS | |
| BRIGHTER and BRIGHTER - distorted starlight, plasma jets | |
| ... | |
| 315 INT. COCKPIT, RANGER 2 - CONTINUOUS 315 | |
| Cooper, trying to control his breathing, uses retro-rockets | |
| to TURN the lander down. He GASPS at the FLAMING HORIZON - | |
| COOPER | |
| (over radio) | |
| Tars? Are you there? | |
| STATIC - Ranger 2 TILTS down - INKY BLACKNESS ahead - | |
| 316 INT. ENDURANCE - CONTINUOUS 316 | |
| Brand, crying, monitors Cooper’s lonely transmissions ... | |
| 317 EXT. GARGANTUA - CONTINUOUS 317 | |
| Ranger 2 PLUNGES towards the black hole. We hear Cooper’s | |
| panic breathing get LOUDER and LOUDER until - Ranger 2 | |
| SHUDDERS with EXPONENTIALLY RISING GRAVITATIONAL ENERGY as | |
| it CROSSES THE HORIZON - PLUNGING TOWARDS THE SINGULARITY - | |
| ALL WAVELENGTHS OF LIGHT CASCADING WITH HIM - AS WE - | |
| PLUNGE INTO ABSOLUTE ... | |
| WHITE - | |
| Not a whiteout - a SHIMMERING CAVALCADE OF ALL WAVELENGTHS: | |
| LIGHT, SOUND, EVERYTHING ... the SPHERICAL INSIDE OF THE | |
| BLACK HOLE, like a STAR turned INSIDE OUT. COOPER IS | |
| SCREAMING and we CUT to - | |
| BURNING CORN - men fighting a fire, Tom leading, GESTURING | |
| - | |
| 318 INT. MURPH’S BEDROOM - TWILIGHT 318 | |
| Murph (forty) sits on the bed, looking into the BOX. She | |
| pulls out the LUNAR LANDER MODEL, looks up at the books ... | |
| GETTY | |
| (O.S.) | |
| Come on, Murph! We don’t have much | |
| time! | |
| 139. | |
| 319 EXT. GARGANTUA - DAY 319 | |
| A BLACK DOT appears, RUSHING TOWARDS US to become - A DARK | |
| SPHERE - we PLUNGE through it into SILENT DARKNESS - a | |
| WHITE SPHERE races towards us - | |
| Just as the wormhole was a spherical hole, THESE SPHERES | |
| ARE HOLES WITHIN HOLES ... we are dropping through A FOUR- | |
| DIMENSIONAL RABBIT HOLE - LIGHT/DARK/LIGHT/DARK/LIGHT/DARK | |
| with BLINDING RAPIDITY - the frequency almost SPEAKING. | |
| Cooper hangs on for dear life - | |
| COMPUTER VOICE | |
| (O.S.) | |
| FUEL CELL OVERLOAD. DESTRUCTION | |
| IMMINENT. INITIATE EJECTION. | |
| Cooper is LAUNCHED out of Ranger 2, which EXPLODES, and, | |
| PULLED to one side, MISSES A WHITE HOLE - PLUNGING INSTEAD | |
| TOWARDS A SMALLER GLASS-LIKE SPHERE - | |
| Cooper slows as he falls towards this sphere, reminiscent | |
| of the wormhole, but the light within is not stars but an | |
| infinity of WORLD LINES - (paths of objects through | |
| spacetime) - | |
| Cooper PLUNGES INTO THE WORLD SPHERE ... As he falls his | |
| SINGLE WORLD LINE stretches behind him - the INFINITE | |
| FUTURES OF HIS WORLD LINE splitting ahead to all the | |
| different possibilities in spacetime - | |
| Cooper himself is now like a ring being pulled down a cone | |
| of fabric. He STARES at the ORDERED CHAOS of world lines | |
| ... | |
| As he SLOWS his past and future world lines BREAK UP so | |
| they become like INFINITE REFLECTIONS IN PARALLEL MIRRORS | |
| ... Cooper’s world line DROPS into a SMALL, SQUARE TUNNEL - | |
| 320 INT. THE TESSERACT - CONTINUOUS 320 | |
| Tight enough to feel BLINDINGLY FAST at first, but Cooper | |
| (and his INFINITE OTHERS) is actually SLOWING ... Cooper | |
| DESPERATELY reaches out, KNOCKING the sides of the tunnel, | |
| TRYING to slow himself - GRAPPLING - KICKING ’BRICKS’ out | |
| of | |
| the ’walls’. He finally STOPS. Looks around in the SUDDEN | |
| CALM, FLOATING, catching his breath. He reaches out to the | |
| tunnel wall - CONFUSED - | |
| 140. | |
| Each ’brick’ is TIGHTLY PACKED PAPER ... PAGES ... BOOKS - | |
| AS SEEN FROM BEHIND A SHELF ... | |
| Cooper PUSHES against a book - it MOVES SLIGHTLY. Cooper | |
| PUSHES, HARDER AND HARDER AND HARDER - | |
| The book drops out of sight, revealing - | |
| Murph, aged ten, wet hair, towel around her neck, TURNS, | |
| STARTLED by THE BOOK FALLING FROM HER SHELF. | |
| COOPER | |
| Murph? Murph? | |
| She can’t hear him ... | |
| 321 INT. MURPH’S BEDROOM - MORNING 321 | |
| Murph (ten) stands there, startled, STARING at the | |
| bookshelves. At the book on the floor, a broken toy beside | |
| it ... | |
| 322 INT. MURPH’S BEDROOM - TWILIGHT 322 | |
| Murph (forty) looks at the bookshelves, REMEMBERING ... | |
| 323 INT. THE TESSERACT - CONTINUOUS 323 | |
| Cooper watches Murph (ten) cautiously approach - she | |
| CROUCHES. Picks something up - | |
| 324 INT. MURPH’S BEDROOM - TWILIGHT 324 | |
| Murph (forty) turns the lunar lander in her hands. | |
| Thinking. | |
| 325 INT. MURPH’S BEDROOM - DAY 325 | |
| Murph (ten) stands up holding the broken LUNAR LANDER ... | |
| 326 INT. THE TESSERACT - CONTINUOUS 326 | |
| Cooper watches Murph (ten) examine the two pieces of the | |
| LUNAR LANDER MODEL - | |
| COOPER | |
| 141. | |
| MURPH! MURPH! | |
| She turns ... leaves the room ... Cooper floats there, | |
| staring. He LOOKS around - each ’wall’ of the tesseract is | |
| a different view of Murph’s bedroom, so that by rotating he | |
| can effectively orbit her room ... | |
| He claws his way down to the next book wall. PUNCHES out | |
| two books - | |
| Murph’s bedroom, empty. The door opens, Cooper’s EARLIER | |
| SELF is standing there, staring at the room, perturbed. | |
| Murph (ten) joins Cooper, staring at the empty room ... | |
| Cooper LASHES out at the books - kicks a book out - SPOTS - | |
| Murph (ten) closes her door, crying, sliding the desk in | |
| front - | |
| 327 INT. MURPH’S BEDROOM - TWILIGHT 327 | |
| Murph (forty) feels the desk. She puts her hand on the back | |
| of the chair, tilts it slightly, remembering - | |
| 328 INT. THE TESSERACT - CONTINUOUS 328 | |
| Cooper watches Murph (ten) put A CHAIR ON TOP OF THE DESK. | |
| The earlier Cooper nudges the door open - | |
| 329 INT. MURPH’S BEDROOM - EVENING 329 | |
| Murph (ten) sees the door NUDGING against the desk and | |
| chair - | |
| MURPH | |
| Just go. If you’re leaving - just | |
| leave now. | |
| 330 INT. THE TESSERACT - CONTINUOUS 330 | |
| Cooper, the frustrated observer, spins around to see his | |
| EARLIER SELF nudging the door - | |
| COOPER | |
| (to his earlier self) | |
| Don’t go, you idiot! | |
| His Earlier Self shuts the door ... | |
| 142. | |
| COOPER | |
| Don’t leave your kids. You goddamn | |
| fool. | |
| Cooper PUNCHES OUT books with all his strength - | |
| COOPER | |
| S ... T ... | |
| Murph (ten) is watching, no longer scared, fascinated - | |
| COOPER | |
| A ... Y ... | |
| Cooper STOPS. Catches his breath. Waits ... Earlier Cooper | |
| lifts the chair off the table to enter. | |
| Cooper watches his earlier self, FRUSTRATED - | |
| COOPER | |
| Stay, you idiot! Tell him, Murph! | |
| Stay ... | |
| As before, Cooper gives Murph the WATCH ... Murph THROWS | |
| THE WATCH and TURNS AWAY ... | |
| COOPER | |
| Murph, tell him again! Don’t let | |
| him leave ...! | |
| 331 INT. MURPH’S BEDROOM - TWILIGHT 331 | |
| Murph (forty) picks up the notebook. Opens it. Finds the | |
| word ’STAY’ ... looks up at the books, REALIZING ... | |
| 332 INT. THE TESSERACT - DAY 332 | |
| Cooper is crying with frustration ... | |
| COOPER | |
| Murph, don’t let me leave ... | |
| Cooper watches as his earlier self heads to the door - | |
| COOPER | |
| STAY!! | |
| Cooper SMASHES a book from the shelf with all his might - | |
| His earlier self turns back. Looks at the book. Then | |
| leaves. | |
| 143. | |
| Cooper rests his head against the books, SOBBING. | |
| 333 INT. MURPH’S BEDROOM - TWILIGHT 333 | |
| Murph (forty) lowers her notebook, moves to the | |
| bookshelves, IN AWE ... | |
| MURPH | |
| Dad ... it was you. You were my | |
| ghost ... | |
| She is crying. Joyful. | |
| 334 INT. THE TESSERACT - DAY 334 | |
| Cooper sobs at the back of the books. Lost ... | |
| TARS | |
| (over radio) | |
| Cooper? | |
| Cooper, STARTLED, turns. Tars is not there. | |
| COOPER | |
| You survived. | |
| TARS | |
| (over radio) | |
| Somewhere. In their fifth | |
| dimension. They saved us ... | |
| COOPER | |
| (frustrated) | |
| Who’s ’They’? And why would they | |
| help us? | |
| TARS | |
| (over radio) | |
| I don’t know, but they constructed | |
| this three-dimensional space inside | |
| their five-dimensional reality to | |
| allow you to understand it ... | |
| COOPER | |
| It isn’t working -! | |
| TARS | |
| (over radio) | |
| 144. | |
| Yes, it is. You’ve seen that time | |
| is represented here as a physical | |
| dimension - you even worked out | |
| that you can exert a force across | |
| spacetime - | |
| COOPER | |
| (realizing) | |
| Gravity. To send a message ... | |
| Cooper looks around the infinite tunnel, infinite Coopers. | |
| COOPER | |
| Gravity crosses the dimensions - | |
| including time - | |
| Cooper THINKS ... He pulls himself up to a different wall, | |
| starts counting books ... | |
| And you have the quantum data, now - | |
| TARS | |
| (over radio) | |
| I’m transmitting it on all | |
| wavelengths - but nothing’s getting | |
| out ... | |
| COOPER | |
| I can do it - | |
| Cooper HITS a book’s world line, sending a WAVE ... | |
| TARS | |
| (over radio) | |
| Such complicated data ... to a | |
| child ... | |
| COOPER | |
| Not just any child. | |
| 335 INT. MURPH’S BEDROOM - TWILIGHT 335 | |
| Murph (forty) stands there, looking at her old notebook - | |
| the page that says ’STAY’ ... | |
| GETTY | |
| (O.S.) | |
| MURPH?! COME ON! | |
| She looks around the room, SEARCHING for an answer ... | |
| 145. | |
| 336 EXT. THE TESSERACT - DAY 336 | |
| Cooper watches Murph (ten) looking out the window ... | |
| TARS | |
| (over radio) | |
| Even if you communicate it here, | |
| she wouldn’t understand its | |
| significance for years ... | |
| Cooper is seized by a sudden anger - | |
| COOPER | |
| Then figure something out! | |
| Everybody on Earth is going to die! | |
| TARS | |
| Cooper, they didn’t bring us here | |
| to change the past. | |
| Cooper hears something in this - | |
| COOPER | |
| We brought ourselves here ... | |
| Cooper PUSHES off, looking through the gaps in the books. | |
| Murph’s bedroom, full of DUST in the DUST STORM - | |
| COOPER | |
| Tars, feed me the coordinates of | |
| NASA in binary ... | |
| Cooper is in the room now, drawing a pattern in the dust | |
| ... | |
| Cooper watches Murph (ten) burst into the room. Murph stops | |
| and stares at the dust as Cooper’s Earlier Self comes in | |
| past her, SLAMS the window shut - sees the PATTERN of dust | |
| ... | |
| 337 INT. MURPH’S BEDROOM - TWILIGHT 337 | |
| Murph (forty) runs her finger along the DUST of the | |
| windowsill ... She turns to look around the room. | |
| Frustrated. | |
| MURPH | |
| Come on, Dad. Is there something | |
| else here ...? | |
| 146. | |
| 338 INT. TESSERACT - CONTINUOUS 338 | |
| Cooper looks up from the floor - | |
| COOPER | |
| Don’t you see, Tars? I brought | |
| myself here. We’re here to | |
| communicate with the three- | |
| dimensional world. We’re the bridge | |
| ... | |
| Cooper moves to another iteration of Murph’s room. Murph | |
| (ten) JUMPS up - GRABS the WATCH, RUNS out the door ... | |
| 339 INT. MURPH’S BEDROOM - TWILIGHT 339 | |
| Murph (forty) looks at the watch, remembering. The second | |
| hand TWITCHES. She drops the watch back into the box ... | |
| 340 INT. TESSERACT - CONTINUOUS 340 | |
| Cooper pushes himself along the world line of the books ... | |
| COOPER | |
| I thought they chose me - they | |
| never chose me - they chose Murph. | |
| TARS | |
| (over radio) | |
| For what? | |
| COOPER | |
| To save the world! | |
| Murph (ten) comes back into her bedroom, SOBBING. She is | |
| holding the watch. She puts it on the shelf. | |
| 341 INT. MURPH’S BEDROOM - TWILIGHT 341 | |
| Murph (forty) puts the box back on the shelf. SIGHS ... | |
| 342 INT. TESSERACT - CONTINUOUS 342 | |
| Cooper races FASTER and FASTER down the world lines. | |
| COOPER | |
| ’They’ have access to infinite | |
| time, infinite space ... | |
| 147. | |
| Cooper gestures at the INFINITIES in all directions ... | |
| COOPER | |
| But no way to find what they need - | |
| but I can find Murph and find a way | |
| to tell her - like I found this | |
| moment - | |
| TARS | |
| (over radio) | |
| How? | |
| COOPER | |
| Love, Tars. Love - just like Brand | |
| said - that’s how we find things | |
| here. | |
| TARS | |
| (over radio) | |
| So what are we here to do? | |
| Cooper looks around the tesseract. The watch sits there on | |
| the shelf for as long as he can see ... | |
| COOPER | |
| The watch. That’s it. She’ll come | |
| back for it - | |
| TARS | |
| How do you know? | |
| COOPER | |
| Because I gave it to her. We use | |
| the second hand. Translate the data | |
| into Morse and feed it to me - | |
| Tars starts to transmit. Cooper GRABS the second-hand world | |
| line - starts to MANIPULATE it, sending waves down the | |
| world line ... | |
| TARS | |
| What if she never came back for it? | |
| COOPER | |
| She will. She will ... I feel it | |
| ... | |
| The second hand is FLICKING back and forth ... | |
| 343 INT. MURPH’S BEDROOM - TWILIGHT 343 | |
| Murph (forty) turns to leave ... | |
| 148. | |
| GETTY | |
| (O.S.) | |
| MURPH, HE’S COMING! | |
| She pauses. Goes back to the box - reaches in. PULLS OUT | |
| THE WATCH ... staring at it ... wondering ... | |
| GETTY | |
| (O.S.) | |
| MURPH?! MURPH ...?! | |
| 344 EXT. FARMHOUSE - TWILIGHT 344 | |
| Getty is holding a tire iron, watching TOM’S TRUCK | |
| APPROACH. | |
| Lois and Coop STARE, FEARFUL, from the truck ... Tom | |
| APPROACHES, BLACK from soot ... | |
| Murph BURSTS out of the house ... right up to Tom ... | |
| MURPH | |
| Tom, he came back ... he came back | |
| ... | |
| TOM | |
| Who? | |
| She holds up the watch ... | |
| MURPH | |
| Dad. It was him. All this time ... | |
| it was him. He’s going to save us | |
| ... | |
| CLOSE ON the second hand of the watch, FLICKING back and | |
| forth - | |
| 345 INT. PROFESSOR BRAND’S OFFICE - DAY 345 | |
| Murph furiously TRANSCRIBES the movements of the second | |
| hand - | |
| 346 INT. CORRIDOR, NASA - LATER 346 | |
| Murph, papers in hand, RUNS down the corridor, BUMPS into | |
| Getty - doesn’t stop ... | |
| 347 INT. LAUNCH FACILITY - CONTINUOUS 347 | |
| 149. | |
| Murph runs to the railing of the catwalk above the enormous | |
| construction, looks down at the thousands of workers below. | |
| Getty comes out after her, curious. She looks at him, then | |
| SHOUTS OUT to the enormous space ... | |
| MURPH | |
| EU-RE-KA! | |
| She turns to Getty - GRINNING. | |
| MURPH | |
| Well, it’s traditional. | |
| She THROWS her paper out over the railing - | |
| MURPH | |
| EUREKA!! | |
| Workers look up to see her papers flitting down ... | |
| 348 EXT. THE TESSERACT - DAY 348 | |
| Cooper looks out at the world line of the watch, of Murph, | |
| as it leads out into infinite complexity ... | |
| COOPER | |
| Did it work? | |
| TARS | |
| (over radio) | |
| I think it might have. | |
| COOPER | |
| (hopeful) | |
| Why? | |
| TARS | |
| (over radio) | |
| Because the bulk beings are closing | |
| the tesseract ... | |
| Cooper looks out to the distance - it is RAPIDLY | |
| APPROACHING, WORLD LINES BECOMING WORLD SHEETS, BECOMING | |
| BULKS ... | |
| COOPER | |
| Don’t you get it, yet, Tars? ’They’ | |
| aren’t ’beings’ ... they’re us ... | |
| trying to help ... just like I | |
| tried to help Murph ... | |
| 150. | |
| TARS | |
| (over radio) | |
| People didn’t build this tesseract | |
| - | |
| COOPER | |
| Not yet ... but one day. Not you | |
| and me but people, people who’ve | |
| evolved beyond the four dimensions | |
| we know ... | |
| The tesseract EXPANSION BACK INTO FIVE DIMENSIONS IS ALMOST | |
| UPON THEM - Cooper BRACES HIMSELF - | |
| COOPER | |
| What happens now -? | |
| BAM - he is swept up in the expansion like a tiny leaf on a | |
| CHURNING WAVE - | |
| Cooper FLIES through the EXPANDING COSMOS, past PLANETS | |
| ORBITING STARS, WHICH BECOME ATOMIC PARTICLES, WHICH BECOME | |
| MATTER, BECOMING STARS ... | |
| Cooper APPROACHES A GLASSY TUBE. Inside is the OLD, | |
| UNDAMAGED ENDURANCE. As Cooper looks in from the bulk he | |
| sees: Brand, strapped in, Doyle opposite, traversing the | |
| wormhole for the first time ... | |
| Cooper REACHES for Brand ... She sees something, reaches up | |
| - their hands would touch if they weren’t in different | |
| dimensions, her fingers distorting the space of his fingers | |
| - | |
| WHAM! She, and the Endurance, are SWEPT PAST - Cooper is | |
| SMASHED into the spacetime of the wormhole - he SCREAMS AND | |
| WE - | |
| 349 INT. OUTER SPACE - LATER 349 | |
| Cooper FLOATS, dead or unconscious, near Saturn. In the | |
| distance we see two Rangers approaching ... | |
| 350 INT. HOSPITAL ROOM - DAY 350 | |
| Cooper’s eyes flicker open. A bright room with an open | |
| window, net curtains obscuring the view. We hear the CRACK | |
| of a baseball off a bat. Children LAUGHING. | |
| VOICE | |
| (O.S.) | |
| 151. | |
| Mr Cooper? Mr Cooper? | |
| Cooper looks over to see a Nurse and a Doctor watching him. | |
| He tries to sit up. | |
| DOCTOR | |
| Take it slow, sir. Remember you’re | |
| no spring chicken any more. | |
| (Amused.) | |
| I gather you’re one hundred and | |
| twenty-four years old. | |
| (Checks Cooper’s chart.) | |
| You were extremely lucky. The | |
| Rangers found you with only minutes | |
| left in your oxygen supply - | |
| COOPER | |
| Where am I? | |
| The Doctor, almost surprised, TURNS, moves to the window, | |
| opens the curtains. Where Cooper should see sky, he sees a | |
| CURVING UPSIDE-DOWN TOWN ... | |
| DOCTOR | |
| Cooper Station. Currently orbiting | |
| Saturn. | |
| The Nurse helps Cooper to the window. He looks out at the | |
| VAST CYLINDRICAL STATION - cornfields and buildings. | |
| Outside his window, kids are playing baseball. The batter | |
| hits a POP FLY ... the kids watch it up and up, until it | |
| carries on, falling up towards the buildings above. The | |
| kids SHOUT a warning - the ball smashes a skylight. Cooper | |
| watches the kids laugh. | |
| COOPER | |
| Nice of you to name the place after | |
| me. | |
| The Nurse giggles. The Doctor shoots her a look - | |
| What? | |
| DOCTOR | |
| The station wasn’t named after you, | |
| sir ... It was named after your | |
| daughter. | |
| Cooper smiles at this ... | |
| DOCTOR | |
| 152. | |
| Although, she’s always maintained | |
| just how important you were - | |
| COOPER | |
| Is she ... | |
| (Braces.) | |
| still alive? | |
| DOCTOR | |
| She’ll be here in a couple weeks. | |
| She’s really far too old for a | |
| transfer from another station, but | |
| when she heard you’d been found ... | |
| well, this is Murphy Cooper we’re | |
| talking about. | |
| COOPER | |
| (marveling) | |
| Yes, it is ... | |
| The Doctor is wrapping up - | |
| DOCTOR | |
| We’ll have you checked out in a | |
| couple days. | |
| Cooper turns back to the window, thinking ... | |
| ADMINISTRATOR | |
| (V.O.) | |
| I’m sure you’ll be excited to see | |
| what’s in store ... | |
| 351 INT. HANGAR, COOPER STATION - DAY 351 | |
| The ADMINISTRATOR, thirties, leads Cooper along a walkway - | |
| ADMINISTRATOR | |
| We’ve got a nice situation for you | |
| ... | |
| Cooper looks down at a line of SLEEK NEXT-GENERATION | |
| RANGERS. Sees a PILOT climb into one. Mechanics work | |
| another ... | |
| ADMINISTRATOR | |
| I actually did a paper on you in | |
| high school, sir. I know all about | |
| your life on Earth ... | |
| 352 EXT. TOWN SQUARE, COOPER STATION - CONTINUOUS 352 | |
| 153. | |
| Cooper looks at the strangely ordinary town the | |
| Administrator is walking him through ... | |
| ADMINISTRATOR | |
| So when I made my suggestion to Ms | |
| Cooper, I was delighted to hear | |
| that she thought it was perfect ... | |
| 353 EXT. FARMHOUSE - CONTINUOUS 353 | |
| The Adminstrator leads Cooper through a cornfield ... The | |
| old farmhouse is there, preserved. As Cooper approaches, a | |
| small monitor starts playing the footage of OLD-TIMERS from | |
| the start of the movie. | |
| ADMINISTRATOR | |
| Of course, I didn’t speak to her | |
| personally ... | |
| As Cooper passes the monitor it changes to a FAMILIAR OLD | |
| LADY, but Cooper misses it ... | |
| 354 INT. KITCHEN, FARMHOUSE - CONTINUOUS 354 | |
| OLD-TIMERS play on video screens: a museum exhibit. The | |
| Administrator holds the door open for Cooper. | |
| ADMINISTRATOR | |
| But she confirmed just how much you | |
| loved farming. | |
| COOPER | |
| She did, huh? | |
| Cooper looks over the kitchen. Cooper sees a familiar- | |
| looking articulated machine - | |
| COOPER | |
| Is that ...? | |
| ADMINISTRATOR | |
| The machine we found out near | |
| Saturn when we found you, yes. Its | |
| power source was shot, but we could | |
| get you another if you want to try | |
| and get it up and running again. | |
| Cooper turns to the Administrator. | |
| COOPER | |
| Please. | |
| 154. | |
| 355 INT. HANGAR, COOPER STATION - EVENING 355 | |
| Cooper, from the catwalk, watches the last of the Rangers | |
| come back from patrol. The PILOT jumps down as the ground | |
| crew wheels it into its place in the line of sleek ships. | |
| 356 INT. KITCHEN, FARMHOUSE - NIGHT 356 | |
| Cooper has Tars’ head laid out on the kitchen table. | |
| TARS | |
| Settings: general settings, | |
| security setting - | |
| COOPER | |
| Honesty. New level setting. Ninety- | |
| five percent. | |
| TARS | |
| Confirmed. Additional | |
| customization? | |
| COOPER | |
| Yes. Humor, seventy-five percent. | |
| Wait. | |
| (Thinks.) | |
| Sixty percent. | |
| 357 INT. HOSPITAL WAITING ROOM - DAY 357 | |
| Cooper enters, nervous. A nurse is there. | |
| COOPER | |
| Is she -? | |
| NURSE | |
| The family’s all in there. | |
| COOPER | |
| The family? | |
| NURSE | |
| They all came along to see her - | |
| she’s been in cryo-sleep for almost | |
| two years. | |
| 358 INT. HOSPITAL ROOM - CONTINUOUS 358 | |
| 155. | |
| Cooper cautiously pushes open the door. The bed is | |
| surrounded by people, grown-up children, grandchildren, | |
| babies ... They turn to look at him: some SMILES, some | |
| CURIOUS looks, a small child HIDES behind a parent’s leg | |
| ... Cooper approaches, and the family parts to let him see | |
| an ELDERLY WOMAN, lying in the bed, FRAIL. | |
| She looks up at Cooper. Delighted. Tears of joy. She | |
| reaches up to him ... he takes her hands. | |
| COOPER | |
| Murph. | |
| MURPH | |
| Dad. | |
| (To the others.) | |
| Please. | |
| Her voice is a frail whisper. With authority. The family | |
| shuffles out. Cooper watches them go, turns back to Murph. | |
| COOPER | |
| You told them I like farming. | |
| Murph smiles, still mischievous. Cooper marvels at her. | |
| COOPER | |
| Murph, it was me. I was your ghost. | |
| MURPH | |
| I know ... | |
| She lifts her wrist - the WATCH is there ... | |
| MURPH | |
| People didn’t believe me, they | |
| thought I’d done it all myself ... | |
| (Taps watch.) | |
| MURPH | |
| But I knew who it was ... | |
| COOPER | |
| A father looks in his child’s eyes | |
| and thinks - maybe it’s them - | |
| maybe my child will save the world. | |
| MURPH | |
| 156. | |
| And everyone, once a child, wants | |
| to looks into their own dad’s eyes | |
| and know he saw. But, usually, by | |
| then, the father is gone. Nobody | |
| believed me, but I knew you’d come | |
| back. | |
| COOPER | |
| How? | |
| MURPH | |
| Because my dad promised me. | |
| Cooper is crying now. | |
| COOPER | |
| I’m here now. I’m here for you, | |
| Murph. | |
| Murph is shaking her head. | |
| MURPH | |
| No parent should have to watch | |
| their child die. My kids are here | |
| for me now. Go. | |
| COOPER | |
| Where? | |
| MURPH | |
| (it’s so obvious) | |
| Brand. | |
| And the family comes back in as Cooper releases Murph’s | |
| hand, stepping back to let Murph’s kids and grandkids swarm | |
| over her ... He watches them, their love, as if from | |
| another dimension. A man out of time. A ghost. | |
| MURPH | |
| (V.O.) | |
| She’s out there ... | |
| 359 EXT. EDMUNDS’ DESERT PLANET - DAY 359 | |
| Brand, in suit and helmet, stands watching Case excavate a | |
| pod, buried under a massive rock fall. She is crying. | |
| MURPH | |
| (V.O.) | |
| Setting up camp ... | |
| 157. | |
| 360 EXT. HANGAR, COOPER STATION - NIGHT 360 | |
| MECHANIC finishes looking over one of the sleek new | |
| Rangers. | |
| He packs his tools and heads out. | |
| A figure unfolds itself in the shadows - Tars. He picks his | |
| way through the shadows, unlocks the door. Cooper DARTS in | |
| ... | |
| 361 EXT. EDMUNDS’ DESERT PLANET - DAY 361 | |
| Brand kneels in front of a small CROSS. Edmunds’ nameplate | |
| hangs from it. | |
| MURPH | |
| ... Alone in a strange galaxy ... | |
| She unseals her helmet - PULLS IT OFF ... | |
| 362 INT. HANGAR, COOPER STATION - NIGHT 362 | |
| Cooper and Tars scurry down the line of sleek ships. Cooper | |
| points - Tars starts working the hatch mechanism, while | |
| Cooper KEEPS WATCH ... | |
| 363 EXT. EDMUNDS’ DESERT PLANET - DAY 363 | |
| Brand, helmet off, BREATHES. And breathes again. | |
| MURPH | |
| (V.O.) | |
| Maybe, right now, she’s settling in | |
| for the long nap ... | |
| 364 INT. RANGER IN HANGAR, COOPER STATION - NIGHT 364 | |
| Cooper STRAPS into the pilot’s chair, Tars beside him. The | |
| outer doors slide open. They look out at the inky blackness | |
| of space ... | |
| 365 EXT. EDMUNDS’ DESERT PLANET - DUSK 365 | |
| Brand looks at the setting sun ... | |
| MURPH | |
| 158. | |
| (V.O.) | |
| By the light of our new sun ... | |
| 366 INT. HANGAR, COOPER STATION - MORNING 366 | |
| The Mechanic opening up, walks along the row of ships until | |
| - | |
| One is MISSING. | |
| 367 EXT. EDMUNDS’ DESERT PLANET - DUSK 367 | |
| Brand turns from the dwindling light ... | |
| MURPH | |
| (V.O.) | |
| In our new home. | |
| She heads down through the twilight towards camp. And we - | |
| Fade out. | |
| Credits. | |
| End. | |