Sent to test a revolutionary
new 'star drive' developed by the mysterious Thunderbird Foundation,
Commander Tracy and his crew - Scott, Virgil, Alana and Brains - are
plunged into a desperate adventure.
Surviving against all
odds, they return to find the world on the edge of annihilation - a
fate which only they can prevent with the help of the fantastic craft
they have brought back from "The Edge of Tomorrow".
(Click here to read the first
could'a been a contender ..."
With a ton of money, I still believe,
"The Edge of Tomorrow" could have been
a box office blockbuster.
Unfortunately - for me, that is
- Working Title Films owns the rights to this property and their effort
are scheduled to hit the big screen any day now. (According to someone
who claims to have read the script, it's not looking too good ... but
let's wait and see.)
In a way, this makes my script
an interesting document - read what I've written and then when they
release their film, make up your own mind which story is better :-)
Anyway - here's the pitch I wrote
for my attempt at putting International Rescue up on the big screen.
A popular, well-established
The Thunderbirds was a popular
puppet series created by Gerry Anderson in the 1960's. The series has
an established base of enthusiastic fans - young and old - thanks to
numerous re-runs and video sales.
From TV puppet series to
full length feature film
Like Spiderman, X-Men, Superman,
Batman, Flintstones, Adams Family and Star Trek etc. etc. etc. "The
Edge of Tomorrow" puts the Thunderbirds up where they belong
- on the big screen.
Set in the first decade of this
century, the story focuses on the origins of the Thunderbirds, telling
how Jeff Tracy and his crew come into possession of their amazing craft
and giving them their first world-saving mission.
Part 1 of a trilogy
Sent to test a revolutionary
star drive, Jeff Tracy and his crew (Alana, Scott, Virgil and Brains),
find themselves catapulted into the unknown. Their only chance of survival
is to somehow resurrect the derelict spacecraft they find there and
return to Earth.
Meanwhile, the world is being
held to ransom by the hijacker of an orbiting space station who threatens
to release the Death - a deadly virus capable of wiping out Earth's
entire population in weeks - unless his highly unusual demands are met.
And behind the scenes moves the mysterious Lady Penelope.
of Tomorrow" is complete within itself, but the foundations are
laid for at least two sequels (the plots are well defined, but no drafts
have yet been written) that develop both the overall story, and the
relationships between the characters.
To balance the sexes of the main
character list, and to allow better character development, I made a
few changes to the original 'cast':
Jeff Tracy is in his early forties,
taciturn and isolated by the weight of his responsibilities, and his
experiences in space. Ed Harris would be perfect.
The mysterious and reclusive Lady
Penelope has seemingly supernatural abilities of prediction, and premonition.
Owner of the fabulously wealthy, but emphatically low-profile Thunderbird
Foundation, she has been instrumental in developing the Star Drive,
which is the starting point for "The Edge of Tomorrow".
I had Isabella Rossellini in mind when I wrote the part.
A hot-shot ex-Top Gun pilot with
superfast reactions and a playboy image that belies a loyal team player.
Tom Cruise to a "T".
An attractive young woman who has
proven her worth in the fields of space medicine, marine biology and
telecommunications - and isn't content to rest on her laurels. Elle
The oldest member of the Thunderbirds,
Virgil is the reliable, rock'n'roll father figure whose biggest love
is his young granddaughter. Sean Connery. Morgan Freeman.
A young genius, crippled from
birth, Brains relies for mobility on a unique exo-skeleton which encases
his atrophied limbs (inspired by William Gibson). Any physical inadequacies
are more than compensated for by a staggering intellect and a withering
wit. Brad Pitt. Seriously.
Read the First Act
"The Edge of Tomorrow" uses Hollywood's
standard 'three act paradigm', (see Syd Field's 'Screenplay' and 'The
Screenwriter's Workbook'). Click here to read the