2001: A Space Odyssey Page #10

Synopsis: An imposing black structure provides a connection between the past and the future in this enigmatic adaptation of a short story by revered sci-fi author Arthur C. Clarke. When Dr. Dave Bowman (Keir Dullea) and other astronauts are sent on a mysterious mission, their ship's computer system, HAL, begins to display increasingly strange behavior, leading up to a tense showdown between man and machine that results in a mind-bending trek through space and time.
Genre: Adventure, Sci-Fi
Production: Warner Bros. Pictures
  Won 1 Oscar. Another 13 wins & 10 nominations.
 
IMDB:
8.3
Metacritic:
82
Rotten Tomatoes:
92%
G
Year:
1968
149 min
$135,620
1,773 Views


11/19/65 c6

------------------------------------------------------------------------

C7

INSIDE THE:

CENTRIFUGE HUB:

BOWMAN MOVES TO:

THE:

ENTRY PORT:

CONTROL PANEL:

BOWMAN:

Hi. Frank... coming in, please.

POOLE:

Right. Just a sec.

BOWMAN:

Okay. (pause)

POOLE:

Okay, come on down.

WE SEE THE:

ROTATING HUB:

COLLAR AT THE:

END. BEHIND IT

WE SEE:

11/19/65 c7

------------------------------------------------------------------------

C8

THE CENTRIFUGE:

TV-DISPLAY SHOWING

SLEEPERS AND POOLE

SLOWLY ROTATING BY.

POOLE SECURES SOME

LOOSE GEAR.

POOLE LOOKS UP TO

TV MONITOR LENS:

AND WAVES.

11/19/65 c8

------------------------------------------------------------------------

C9

BOWMAN AT PANEL.

STOPS ROTATION:

AND MOVES TO:

ENTRY PORT.

WHEN ROTATION:

STOPS WE SEE A SIGN

LIGHTS UP "WEIGHTLESS

CONDITION".

AS BOWMAN DISAPPEARS

DOWN ENTRY PORT WE

SEE HIM ON:

TV-MONITOR, DESCENDING

LADDER. AT THE BASE

OF THE LADDER HE KEYS

THE CENTRIFUGE:

OPERATION PANEL.

WE SEE TV-PICTURE

START TO ROTATE:

AGAIN. "WEIGHTLESS

CONDITION" SIGN GOES

OUT.

11/19/65 c9

------------------------------------------------------------------------

C10

INSIDE CENTRIFUGE

BOWMAN MAKES 180 DEGREE

WALK TO POOLE.

ON WAY HE PASSES

THE SLEEPERS.

WE GET A GOOD:

LOOK AT THE THREE

MEN IN THEIR:

HIBERNACULUMS.

POOLE IS SEATED:

AT A TABLE READING

HIS ELECTRONIC:

NEWSPAD.

BOWMAN:

(softly) Hi... How's it

going?

POOLE:

(absent but friendly) Great.

BOWMAN OPERATES:

ARTIFICIAL FOOD:

UNIT, TAKES HIS TRAY

AND SITS DOWN. KEYS

ON HIS ELECTRONIC

NEWSPAD AND BEGINS

TO EAT. BOTH MEN

EAT IN A FRIENDLY

AND RELAXED SILENCE.

11/19/65 c10

------------------------------------------------------------------------

C11

DISCOVERY IN SPACE,

STILL NUCLEAR:

PULSING. EARTH

AND MOON CAN BE:

SEEN IN BACKGROUND.

DISSOLVE:

11/19/65 c11

------------------------------------------------------------------------

C12

POOLE IS FINISHED.

BOWMAN IS STILL:

READING AND:

WORKING ON HIS:

DESSERT.

POOLE:

Dave, if you've a minute, I'd like

your advice on something.

BOWMAN:

Sure, what is it?

POOLE:

Well, it's nothing really important,

but it's annoying.

BOWMAN:

What's up?

POOLE:

It's about my salary cheques.

BOWMAN:

Yes?

POOLE:

Well I got the papers on my

official up-grading to AGS-19

two weeks before we left.

12/14/65 c12

------------------------------------------------------------------------

C12

CONTINUED:

BOWMAN:

Yes, I remember you mentioning it.

I got mine about the same time.

POOLE:

That's right. Well, naturally,

I didn't say anything to Payroll.

I assumed they'd start paying me

at the higher grade on the next pay

cheque. But it's been almost

three weeks now and I'm still

being paid as an AGS-18.

BOWMAN:

Interesting that you mention it,

because I've got the same problem.

POOLE:

Really.

BOWMAN:

Yes.

POOLE:

Yesterday, I finally called the

Accounting Office at Mission

Control, and all they could tell me

was that they'd received the AGS-19

notification for the other three but

not mine, and apparently not yours

either.

12/14/65 c13

------------------------------------------------------------------------

C12

CONTINUED:

BOWMAN:

Did they have any explanation for

this?

POOLE:

Not really. They just said it might

be because we trained at Houston and

they trained in Marshall, and that

we're being charged against differ-

ent accounting offices.

BOWMAN:

It's possible.

POOLE:

Well, what do you think we ought

to do about it?

BOWMAN:

I don't think we should make any

fuss about it yet. I'm sure they'll

straighten it out.

POOLE:

I must say, I never did understand

why they split us into two groups

for training.

BOWMAN:

No. I never did, either.

12/14/65 c14

------------------------------------------------------------------------

C12

CONTINUED:

POOLE:

We spent so little time with them,

I have trouble keeping their names

straight.

BOWMAN:

I suppose the idea was specialized

training.

POOLE:

I suppose so. Though, of course,

there's a more sinister explanation.

BOWMAN:

Oh?

POOLE:

Yes. You must have heard the

rumour that went around during

orbital check-out.

BOWMAN:

No, as a matter of fact, I didn't.

POOLE:

Oh, well, apparently there's

something about the mission that

the sleeping beauties know that

we don't know, and that's why we

were trained separately and

that's why they were put to sleep

before they were even taken aboard.

12/14/65 c15

------------------------------------------------------------------------

C12

CONTINUED:

BOWMAN:

Well, what is it?

POOLE:

I don't know. All I heard is that

there's something about the

mission we weren't told.

BOWMAN:

That seems very unlikely.

POOLE:

Yes, I thought so.

BOWMAN:

Of course, it would be very easy

for us to find out now.

POOLE:

How?

BOWMAN:

Just ask Hal. It's conceivable

they might keep something from

us, but they'd never keep anything

from Hal.

POOLE:

That's true.

12/14/65 c15a

------------------------------------------------------------------------

C12

CONINUED:

BOWMAN:

(sighs) Well... it's silly, but...

if you want to, why don't you?

POOLE WALKS TO THE

HAL 9000 COMPUTER

POOLE:

Hal... Dave and I believe that

there's something about the

mission that we weren't told.

Something that the rest of the

crew know and that you know.

We'd like to know whether this

is true.

HAL:

I'm sorry, Frank, but I don't

think I can answer that question

without knowing everything that

all of you know.

BOWMAN:

He's got a point.

POOLE:

Okay, then how do we re-phrase

the question?

12/14/65 c15c

------------------------------------------------------------------------

C12

CONTINUED:

BOWMAN:

Still, you really don't believe it,

do you?

POOLE:

Not really. Though, it is strange

when you think about it. It didn't

really make any sense to keep

us apart during training.

BOWMAN:

Yes, but it's to fantastic to think

that they'd keep something from us.

POOLE:

I know. It would be almost

inconceivable.

BOWMAN:

But not completely inconceivable?

POOLE:

I suppose it isn't logically impossible.

BOWMAN:

I guess it isn't.

POOLE:

Still, all we have to do is ask Hal.

12/14/65 c15b

------------------------------------------------------------------------

C12

CONTINUED:

BOWMAN:

Well, the only important aspect of

the mission are:
where are we

going, what will we do when we

get there, when are we coming

back, and... why are we going?

POOLE:

Right. Hal, tell me whether the

following statements are true or

false.

Rate this script:2.7 / 3 votes

Stanley Kubrick

Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in 1940 to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films. more…

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