Spacejacked (1997) Directed by Jeremiah Cullinane Writing credits Brendan Broderick Daniella Purcell Genre: Action / Sci-Fi Tagline: The cruise of the millenium just changed course. Cast overview: Corbin Bernsen .... Barnes Steve Bond .... Taylor Shawn Brewster .... Brayson Donncha Crowley .... Katz Vincent Dunlea .... Warren Wayne Richard Farrell (I) .... Mr. Putnam Feidhlim Hillary .... Vincent Miles Matt Holland .... Mac Jonathon Jeffers .... VR Cop Des Kenny .... Gibson Conor Maguire .... Phillips Anita McFarlane .... Anna Koros Frank Melia .... Carlo Brian Monaghan .... VR Caveman Bill Murphy (V) .... Jack Mick Nolan .... Mr. Bohm Ciara O'Callaghan .... Monica Miles Amanda Pays .... Dawn Rico Shea .... Freighter Pilot Noelle Swan .... Ms. Marshall MPAA: Rated R for sexuality, and for violence and language. Runtime: USA:89 Country: USA Language: English Color: Color Sound Mix: Ultra Stereo Certification: USA:R FADE IN The vast infinity of space - ROLL CREDITS - DRIFTERS Soon the silhouette of a PLANET fills the screen - The sun breaks slowly across the arc of the planet - END CREDITS - As the light increases we see the planet is EARTH - A TITLE reads "EARTH - 2070 A.D." Soon afterward the moon can be seen in the distance - WOMAN'S VOICE(V.O.) Ahh, the space age. Must have been a thrilling time to be alive. All the hopes for a better tomorrow, all the dreams of inhabiting new worlds... Soon a SPACESHIP enters the frame - only the rear of the craft is visible at first as it heads into space - WOMAN'S VOICE(V.O.) It's amazing they even made it out this far, considering what they had to work with. Guess it really was one giant leap...a hundred years ago. Soon the side of the ship becomes more and more visible - WOMAN'S VOICE(V.O.) But I guess after that first leap, things just weren't as exciting. How much do you need to know about a place like the moon? It's cold, silent... The camera begins to PAN the side of the ship - WOMAN'S VOICE(V.O.) But it sure was a beautiful place to visit, or so they said. At least if you could afford it...guess it all boils down to money in the long run - As the camera PANS across the side of the ship, we see it's name - STAR PRINCESS , written in a slick, commercial style - WOMAN'S VOICE(V.O.) Me, I just felt lucky to be along for the ride. INT SPACESHIP LOUNGE - NIGHT We see DAWN MURPHY, an attractive girl in her late 20's gazing out the window of the lounge - Just then MAC, a fully articulated human android, dressed in a futuristic, concierge-like outfit, approaches Dawn - She turns to face him, and his eye scans a small, computerized PIN on her jacket - he looks up to her - MAC How are you this evening, Dawn Murphy? Dawn smiles at the android, looks around as if a little embarrassed, then looks back out the window - DAWN I'm fine. MAC Congratulations on your...recent award. DAWN Thank you. MAC Is there anything I can help you with? DAWN No, just enjoying the view. MAC Well, there's no better to way to see the world, than with us. DAWN So I've been told. MAC Well if you need anything, please feel free to ask me. Just a reminder we have fabulous cuisine available 24 hours in the earthrise room, and a large selection of vintage wines here in our ship bar. Dawn then looks at Mac - DAWN Thank you, I'm fine. Mac smiles at Dawn - MAC Enjoy your trip with us. Mac then heads off - Dawn turns and looks at him - We see the lounge of the ship - sleek and luxurious, decorated in rich fabrics and material - behind the bar we see the bartender JACK, a burly man in his 40's, cleaning some glasses - Mac walks by a table where a couple is sitting - they are DELBERT MILES, 49, an overweight man with slicked back hair and a gaudy ring on his hand - across from him is MONICA MILES, 22, a buxom, somewhat bored-looking blonde brandishing an enormous diamond WEDDING RING - Delbert puts down his drink and grabs Mac as he passes - DELBERT Hey, chief... Mac stops and looks at the couple, scanning the pins on their chests - MAC Hello, Delbert and Monica Miles. Congratulations on your recent wedding - DELBERT Yeah yeah look never mind all that, (shakes his drink) let me get another one of these, lots of ice, and don't be stingy with the whiskey this time ok? Jack listens in the background to the conversation - Mac then looks at Monica - MAC Certainly, and anything for you Monica? MONICA I'm fine, thank you. DELBERT Oh, and bring out some more of those little baked things and some hot mustard. MAC Certainly. I will now process your request, and I hope you're enjoying your trip with us. Mac walks away - Monica stares into her drink - MONICA I don't like him calling me by my name, it gives me the creeps. MAC Yeah, I wish he'd put a sock in it already. Delbert downs the remainder of his drink - Monica looks sullenly into her glass - Delbert notices this, puts his drink down - MONICA What's wrong baby? You haven't said a whole lot lately... Delbert picks up her hand and kisses it - Monica doesn't respond - MONICA I'm homesick. DELBERT Homesick? It's only been two days! MONICA We should have gone to Nassau. At least we could go swimming, lie on the beach. DELBERT Ah hell we can always do that. Listen believe me, once we get to the moon, your tone is going to change. MONICA How is it going to be different from this? Go see some boring footprint under glass? DELBERT Look you were the one who wanted to do something different, something to tell all your friends. Any chump can go to Nassau. Delbert scans the room, littered with the beautiful people of the times - DELBERT Look around you baby, we're rubbing elbows with royalty, oil sheiks, this is class. You'll be envied by everyone. MONICA I guess so. DELBERT Besides I can't wait to tee off on the sea of tranquillity. That should shore up that prick Hank Drexler. Monica stares blankly back at him - DELBERT You know? The guy at the club I was telling you about? Monica takes a sip of her drink, and puts it down - MONICA I still say we should have gone to Nassau. INT SHIP BRIDGE - NIGHT PAN an array of blinking controls and sensors - seated at the console is the ship's first mate, RYAN TAYLOR, a good-looking man in his 30's, examining them - Soon the ship's captain approaches, CAPTAIN REYNOLDS, a distinguished-looking man in his fifties - REYNOLDS How's everything looking? TAYLOR Finishing up the diagnostic, everything checks out normal, we still have to take a look at the starboard suite on B deck. We've relocated her and she doesn't seem to be that upset about it. Seated across the bridge, second mate ALEX BARNES turns and addresses them - BARNES Why should she, it's her fault. All guests are told not to eat in zero gravity, but she just wanted to have fun I guess, didn't realize what a grain of salt can do to sophisticated machinery. REYNOLDS Well, I guess she figures she's paying for it. BARNES Ain't it the truth. Must be good to be rich. Reynolds takes a look at his watch - REYNOLDS All right, I'm headed down to engineering. If you gentlemen need me, that's where I'll be. TAYLOR Yes sir. Reynolds leaves the room - Barnes then gets up and stretches - BARNES Well I guess there's no time like the present. I'll go run a check on that room, just to show we go that extra mile for our guests. TAYLOR Sounds like you've been talking to Mac too much. Barnes heads toward the door - BARNES Yeah. I think he's developing a crush on me. Taylor smiles as Barnes exits - he then turns his attention to a screen - POV he cursors down to a command - "LIFE POD STATUS: ENGAGE" We see him select that option - INT HALLWAY - NIGHT Two PORTERS struggle with the luggage of ANNA KOROS, the thirtysomething heir to a shipping fortune, who follows behind - ANNA Now look will you please be careful with those! They cost more than you make in a year. The two porters look at each other as one unlocks the door - Anna takes a CELLULAR phone out of her purse - ANNA When will my original room be ready again? 1ST PORTER I'm sure they'll notify you as soon as they're done ma'am. ANNA Shuffling back and forth! I feel like I'm traveling coach! She dials the phone from the hallway watching the two men enter the room - ANNA Put them near the window! And be careful! Anna dials the phone and puts it to her ear - she then does a double take down the hall - POV We see an impeccably groomed, movie star handsome WARREN WAYNE exit his neighboring suite room and lock the door - Anna's jaw drops as she slowly lowers the phone - Wayne puts his key in his pocket and gracefully slicks his hand across his perfectly combed hair before heading in the direction of Anna - Anna watches him approach - ANNA (to herself) Oh my God... Wayne approaches and smiles at Anna - WAYNE Evening. ANNA It can't be. WAYNE Excuse me? ANNA You're Warren Wayne. Warren slows down, somewhat reluctantly - WAYNE Uh, yes I am. And you are? ANNA Anna Koros. She sensually extends her hand, Warren shakes it - WAYNE Koros, as in...Koros? Dimitri Koros? ANNA My grandfather. My God, I can't tell you what a fan I am of yours! You were magnificent in Deadly Gamble. WAYNE Oh, thank you. ANNA Magnificent, magnificent. WAYNE Well I appreciate that. ANNA So, what brings you out here? (Beat) Pleasure cruise? WAYNE Well a little business too. In my upcoming project Star Trackers I play a ship's captain, and I really wanted to get a feel for the outer space experience. I feel it will add more credibility to my performance. ANNA Of course, of course... WAYNE So... ANNA Well I guess we're neighbors for this trip. WAYNE Well, so we are. (Beat, gestures towards window) Sure is beautiful, huh? ANNA (looking at Wayne) It certainly is. Wayne looks at Anna and smiles - WAYNE Well, it was nice meeting you. Enjoy the rest of the trip. ANNA I'm sure I will. Wayne heads off - ANNA I'm sure we'll see each other again. Wayne turns back and smiles - As he turns away we see his smile vanish - Just then the two porters exit the room - 1ST PORTER You're all set ma'am. I'll personally go and check on the status of the old room right now. ANNA You'll do nothing of the kind. The two porters look at her as she heads toward the door - ANNA I'm staying put, thank you very much. Anna then slams the door in the porter's face - the two men look at each other - INT HALLWAY - NIGHT Camera approaches Barnes as he works on some circuitry in a open PANEL in the wall - Quickly and methodically, Barnes works with some TOOLS - he then looks up and down the length of the hallway before quickly taking a small METAL CASE out of his pocket - CLOSE on the case as he opens it - it contains a sophisticated series of CONNECTORS attached to a dense white CUBE of what appears to be plastic explosive surrounded by black metal - INT BRIDGE - NIGHT Taylor continues running a check of the life pods onscreen - Just then a command comes up - "FAIL MODE CONFIRMED: 96%" The command seems to trouble Taylor, who faces the computer and enters some commands - he pauses for a beat - He sits back - once again, "FAIL MODE CONFIRMED: 96%" Taylor frowns at the command - he presses a button on his wrist watch - INT HALLWAY - NIGHT Barnes begins to carefully cross-install the device in the case onto the equipment in the circuit panel - soon his watch beeps - TAYLOR(V.O.) Hey Barnes. Barnes stops working for a beat, then answers his watch - BARNES Yeah go. INT BRIDGE - NIGHT Taylor looks at the monitor - TAYLOR I'm getting a very strange command on the life pod status check. Did anything come up on the last diagnostic? INT HALLWAY - NIGHT Barnes seems angry at the news - he shakes his head, bites his lip and quickly removes the few wires he has attached - BARNES No, I just ran it! Why are you running it again? TAYLOR(V.O.) Well it's a good thing that I did. INT BRIDGE - NIGHT Taylor looks at the screen - TAYLOR It's telling me fail mode confirmed. Did you see this? BARNES(V.O.) There must be some mistake. You sure you hit the right commands? TAYLOR Yes I'm sure I hit the right commands. INT HALLWAY - NIGHT BARNES Why don't you reset and run it again. The pods check out ok. TAYLOR(V.O.) You're certain of that? BARNES Trust me. (Beat) Even checked 'em with my own eyes. INT BRIDGE - NIGHT TAYLOR All right, I'll give it a shot. Taylor presses the button on his watch and resets the commands - Just then Dawn Taylor enters the bridge - Taylor turns and faces her - The two look at each other for a beat - DAWN They said it would be ok to come up here. Taylor gets up and approaches - Dawn extends her hand - DAWN I'm Dawn Murphy. They shake hands - TAYLOR Oh right, right you're on that research grant. DAWN That's right. TAYLOR Ryan Taylor, first mate. Welcome aboard. First time in space? DAWN Yes. Theoretical discoveries aside, there's nothing like the real thing. How about you? TAYLOR This is my second commercial flight. (Beat) I used to run satellite freighters but that got old fast. Dawn looks around the bridge - DAWN So you were looking for a new challenge. TAYLOR Well, plus the money ain't that bad. DAWN So, tell me, do you think everyone gets their million dollars' worth on this trip of a lifetime? Taylor and Dawn look at each other and smile - TAYLOR Well, let me put it this way. Most of the cost is due to safety reasons. Most people are not familiar with space travel, so we have to take extra precautions in the event they do something careless. DAWN Like open an airlock by mistake? TAYLOR Well I don't think there's a chance of that happening. It's usually the moon walks. Sometimes you feel like a kindergarten teacher. DAWN (laughs) Well I hope I don't do anything careless. TAYLOR I'm sure you'll be all right. DAWN Actually I've logged about 200 hours of simulated space walking at the institute, mostly related to starship construction. TAYLOR Really? DAWN Still, I hope I behave on the moon. (Beat) I'll stick close to you. TAYLOR Well then you'll have nothing to worry about at all. (Beat) You're dealing with a trained professional. I guess. Dawn and Taylor smile at one another - INT LOUNGE - NIGHT CLOSE on the table where Delbert and Monica were sitting - the table is strewn with balled-up NAPKINS, PEANUT SHELLS, CRUMBS, TOOTHPICKS, SMEARED MUSTARD, and EMPTY GLASSES - Carlo looks at the table with disgust, and shakes his head - Jack approaches Carlo in the now desolate lounge - Carlo moves the glasses and then folds up the entire tablecloth - CARLO Look at this...Jesus. JACK Yeah, I guess money don't buy class. CARLO No. But it buys a lot of other things. JACK Like that piece of ass he was with. CARLO Well...I don't mind. I can put up with it. I'm taking six months off after this, and I won't have to deal with people snapping their fingers at me. JACK Not me. I'm in for the long haul. In nine months I'll have enough to take a few years off. CARLO Well, more power to you. Me, I start to bug out after too much time out here. JACK I don't have a problem with it. Besides, you get to meet a lot of interesting people. Carlo holds up the tablecloth - CARLO Yeah. A virtual pantheon of stars. Carlo walks off - Jack watches him - JACK Hey, it's early yet. DISSOLVE TO: INT DINING ROOM - NIGHT Various groups of well dressed individuals sit amongst various tables in the posh dining room - At one table Capt. Reynolds sits with Dawn and some other guests - Delbert Miles shoves a forkful of food in his mouth - Just then CARLO, a mild - mannered waiter in his 30's, approaches Delbert from behind - CARLO More wine sir? DELBERT Yeah. Carlo begins to carefully pour a glassful - Delbert takes the bottle out of his hand and proceeds to fill the glass to the brim - DELBERT Just leave the bottle. Carlo watches for a beat - Delbert puts the bottle down and looks at Carlo - DELBERT Don't worry I'll take care of you at the end of the night. Next to Delbert, Monica picks at her food - next to her, a wealthy Arab OIL BARON peripherally ogles her cleavage - MONICA Oh no...I think there's carrots in here... DELBERT Send it back if you don't want it. Delbert looks at Carlo - DELBERT She's allergic to carrots. Is there carrots in that? CARLO Uh, I don't believe so, no, but I can - DELBERT Yeah go check it out. I don't need her turning purple on me, though it would match her dress. (chuckles) MONICA Go to hell. Carlo nods, and walks away - DELBERT (laughs) I'm just kidding baby. Across the table Warren Wayne smiles as he listens to the conversation, and wipes the corner of his mouth with his napkin - Just then Anna appears from out of nowhere and props up a chair - ANNA So... Wayne looks at her as she looks him directly in the eye, after having had a few drinks - ANNA What was it like doing a love scene with Pamela Jarvis? The others listen to the conversation - WAYNE Well, uh, I just don't know what to say... (Beat, nervous laugh) I guess there's worse ways to make a living. MONICA I did a love scene once for an interactive instructional disc. The guy had B.O. and I told him so. Next day he wore so much cologne I almost threw up. WAYNE Oh. Really? DELBERT Why don't you tell them the good side? Monica looks at Delbert, then at the others - MONICA That's where I met Delbert. He came down to the set, then he wanted me on more discs, then he put me in the magazine. (giggles) Then he married me! WAYNE Well, see? It wasn't so bad after all. ANNA I bet Pamela had nothing bad to say about you. WAYNE No, I think hygiene is important. It helps you get into the part. ANNA Very professional of you. Dawn sits and talks to Captain Reynolds - the conversation is inaudible over the din - just then Reynolds checks his watch and says "excuse me" to Dawn - he stands up - REYNOLDS Excuse me ladies and gentlemen, can I have your attention please? The people at the table turn and face Reynolds - the din gets quieter - REYNOLDS Could I have your attention please? The voices die down in the room - REYNOLDS On behalf of myself and the crew, I'd like to welcome you all aboard the Star Princess. I guarantee this will be a trip you will never forget. The others look at Reynolds - Delbert downs another drink - REYNOLDS In approximately 36 hours we will be landing 300 yards from the very spot where the Apollo 12 lunar module first set down in 1969. From there you will be able to leave the ship and be an eyewitness to history. The actual flag, the actual first footprint, all carefully preserved for you to view. It's going to be a tremendous experience, and I'm glad all of you decided to come along for the ride. Reynolds smiles at the crowd and gestures to Mac - REYNOLDS Now many passengers want to know the nuts and bolts of how we carry out the operation. So for all you technology fans I'm happy to announce we have Mac on board. Mac is our mobile automated concierge, and has been programmed to have an encyclopedic knowledge of every detail of the ship's operations. He's here to make you happy, so feel free to ask him anything. Mac smiles at the guests - REYNOLDS So once again, thanks for coming aboard, and enjoy your stay on the star princess. The sound of "here here" and clinking glasses is heard as Reynolds makes his way out the room - Just then Delbert nuzzles up to Monica and paws her - DELBERT (slurring) I'm horny. Monica shoves his hands away - MONICA Get your hands off of me! DISSOLVE TO EXT STAR PRINCESS The ship continues it's way toward the moon in the distance - INT BRIDGE - NIGHT Barnes and Taylor sit at their respective consoles - TAYLOR Well, everything's running smoother than a baby's ass. BARNES Ain't it the truth. The two say nothing for a beat - Taylor leans back in his chair, yawns, and stretches - TAYLOR So, are you on for the next one? BARNES I don't know. Everything's up in the air at this point, no pun intended. TAYLOR Why, didn't they say? BARNES Well that hotel begins construction in January, there's going to be a lot of shuttle work. TAYLOR You want to go back to shuttle work? BARNES It's steady, good benefits. Barnes looks at Taylor - BARNES You gotta think of your old age. TAYLOR That's very pragmatic of you, Barnes. BARNES Thank you. Taylor gets up - TAYLOR Man, I'm hungry. I'm going to call the steward, you want anything?. BARNES Nah, I already ate. (Beat) Why don't you just go down there? TAYLOR What, and leave you here all by your lonesome? BARNES Uh... Barnes gestures to the consoles - BARNES I think I can handle it. TAYLOR Well, maybe I will. (Beat) You sure you don't want anything? BARNES No. I'm all set. Thanks. TAYLOR Well, maybe I'll surprise you. BARNES I can hardly wait. Barnes watches Taylor as he exits - The door closes - just then Barnes turns around and crouches underneath the console - CLOSE on Barnes opening a PANEL and carefully sliding out a sophisticated LAPTOP COMPUTER - INT DINING ROOM - NIGHT The door opens and Taylor walks in - he surveys the room - Dawn approaches the bar - Taylor sees her - Just then Mac approaches Taylor - MAC Officer Taylor, how are you this evening? TAYLOR Mac. What's shaking? MAC (Beat) I don't understand. Taylor heads to the bar - MAC You are currently stationed for bridge duty at this time. Taylor looks at Mac - TAYLOR Yes Mac I know that. Taylor walks away - TAYLOR Jeez...hall monitor. Mac watches him leave, then heads over to another passenger offscreen - INT BRIDGE - NIGHT Barnes works feverishly on the computer keyboard - A SCREEN appears, reading CREW LOCATION - There is a list of crew members, starting with the captain - A diagram of the ship appears - Barnes highlights the captain - the diagram indicates the captain is located in his room - Barnes smiles - BARNES Nighty night, captain. Barnes then highlights Taylor's name - the diagram indicates he is in the lounge area - BARNES Have one on the house for me. INT REYNOLDS' ROOM - NIGHT CLOSE on the PIN on Reynolds' jacket, hanging from a HANGER - Reynolds walks over to a chair dressed in his bathrobe - he lowers himself into the chair and takes a book off the table - He then feels his head for a second, then puts the book down and goes over to his uniform - he feels the pockets, shakes his head - He looks around the room, and exits his quarters - INT BRIDGE - NIGHT CLOSE on a pair of READING GLASSES folded and lying on a counter - in the background Barnes continues to work - As we get closer top Barnes we see small beads of sweat on his forehead - BARNES Well...I suppose you can't have your cake... A screen then appears before Barnes - it reads: "BEGIN RECONFIGURATION?" Barnes pauses for a beat - BARNES ...without breaking a few eggs. Barnes then hits "enter" - a 60 second COUNTDOWN begins on the screen - 59...58...57... Barnes sits back - Suddenly the bridge door SLIDES OPEN - Barnes SPINS his chair around - Reynolds enters the bridge in his bathrobe, brandishing his key - REYNOLDS Why was this door locked? Barnes stands up and stares at Reynolds - BARNES Isn't it past your bed time, sir? Reynolds approaches Barnes - REYNOLDS What did you say to me? BARNES It's a little late for you to be up. REYNOLDS Look answer my question! Just then Reynolds spots the hybrid computer linked to the main system - REYNOLDS What's going on here! Reynolds storms over to the monitor - REYNOLDS What the hell is that? Barnes approaches from behind - BARNES That's mine. I was just having a little fun. Reynolds turns and looks incredulously at Barnes - REYNOLDS A little fun? Have you lost it Barnes! You realize how sensitive this equipment is? Barnes nods, and stares down Reynolds - BARNES All too well, captain. REYNOLDS Well shut it off at once! Reynolds turns and looks at the computer as it counts down - REYNOLDS What's the meaning of this countdown? CLOSE on a SILENCED GUN appearing in Barnes' hand - BARNES(O.S.) I can't tell you that... CLOSE on Reynolds staring at the computer - Barnes approaches from behind - BARNES ...it's not on the agenda. Just as Reynolds begins to turn around - BLAM! a bullet RIPS through his chest - Reynolds stares at Barnes for a beat, then staggers back and collapses onto a console - BLAM! another blast - soon Reynolds hits the ground falling offscreen - Barnes approaches him and BLAM! shoots again - CLOSE on the COMPUTER - 15...14...13...12... Barnes then aims at Reynolds' head offscreen - BLAM! Blood SPATTERS against the wall - CLOSE on Barnes face as he looks in the direction of the computer - CLOSE on the computer: 5...4...3...2...1... CLOSE on Barnes - BARNES Blastoff. INT HALLWAY - NIGHT Suddenly - BOOOMMMM!! A blinding flash fills the corridor - EXT SHIP - NIGHT An explosion RIPS through the outside of the ship - huge chunks scatter from the heat of the fireball - INT HALLWAY - NIGHT Terrified passengers grab on to handrails for dear life as they are sucked into space - INT DINING ROOM - NIGHT The room shudders violently - people scream as bottles fly across the room, glass breaks, lights flicker - Terrified passengers run toward the exit - EXT SHIP - Suddenly a CHAIN reaction of explosions send a series of LIFE PODS scattering into space - INT LOUNGE - NIGHT The drop in pressure sends debris hurling around the room, violently slamming into passengers - INT KITCHEN - NIGHT An EXPLOSION sends ovens, overhead fixtures and boiling cauldrons CRASHING DOWN, killing the cooks, all screaming in vain - INT DINING ROOM - NIGHT Taylor fights to get his bearings - he runs to the dining room door but it SHUTS rapidly - INT ENGINE ROOM - NIGHT Several ENGINEERS scramble to get out as an EXPLOSION rips through the room - A burst PIPE spews toxic gas into the room - the engineers struggle to breathe, clawing at the doors - EXT SHIP - NIGHT A few scattered explosions occur around the now severely disabled craft which drifts erratically through the void - INT DINING ROOM - NIGHT Moaning and groaning can be heard throughout the darkened, smoky room - Taylor looks around, surveying the damage - He sees Dawn hunched in the corner, coughing - he rushes over to her - TAYLOR Are you all right? Dawn looks up at Taylor - DAWN (shaken) I don't know. I guess so. Taylor addresses his wrist communicator - TAYLOR Bridge? (Beat) Captain?! (Beat) Hello Bridge! Taylor taps the device - he then rushes over to the INTERCOM on the wall, bangs it with his fist - TAYLOR Bridge! (Beat) Bridge, do you copy! INT BRIDGE - NIGHT Barnes scans a DIAGRAM of the ship on the screen, noting which sections are still functioning - TAYLOR(V.O.) Bridge! Can anyone hear me?! BARNES Yeah yeah yeah, give me a minute here. Barnes looks at the diagram and smiles faintly - BARNES A little sloppy. But it will do. INT DINING ROOM - NIGHT Taylor speaks into the intercom - TAYLOR If anyone can hear me please respond! BARNES(V.O.) That's very professional sounding of you, Taylor. Taylor looks around the room - INT BRIDGE - NIGHT CLOSE on a small MONITOR with a wide view of the dining room - Barnes speaks into a small MICROPHONE on the console - BARNES We hope you're enjoying your trip. And we apologize to those currently hurtling through space. Guess them's the breaks. INT DINING ROOM - Carlo looks around the smoky room apprehensively, then looks at Taylor - Taylor looks at Carlo - Dawn looks at Taylor, who speaks into the intercom - TAYLOR Barnes, can you hear me, are you all right? BARNES(V.O.) Why yes Ryan, I am, and thanks for asking. You don't have to talk to the intercom, I can hear you fine. TAYLOR What is the condition of the bridge? BARNES(V.O.) The bridge is fine, Taylor, how are things down there? TAYLOR Transmit the code 3 emergency and take us offline. Override the airlock sensors and hurry! We're running out of time, we have to get to the pods! BARNES(V.O.) Much as I'd like to help you and our valued guests, I'm afraid I can't. TAYLOR What are you talking about! Can you transmit the code 3 - BARNES(V.O.) Yes I can transmit the code 3 emergency! (Beat) I just don't think it's a prudent move at this juncture. Dawn approaches Taylor with a worried look on her face - DAWN What's he talking about? Taylor looks at Dawn, then back toward the room - TAYLOR Barnes have you flipped your wig? INT BRIDGE - NIGHT Barnes gets closer to the mike to be emphatic - BARNES It's a weave, Taylor, and you know that. We've always been straight with one another. INT DINING ROOM - NIGHT BARNES(V.O.) Now do you want the good news first or the bad news? TAYLOR You better start making sense! BARNES(V.O.) Ok, I will. The bad news is the ship is history. Life support will last another 36 hours, maybe. TAYLOR Then we've got to get to the lifepods! INT BRIDGE - NIGHT BARNES I'd advise you to shut up and let me finish Taylor. You needn't worry about the lifepods because they're all gone, jettisoned. Save for one. INT DINING ROOM - NIGHT The people in the room react to this news - BARNES(V.O.) And I think we know who's getting it. TAYLOR Why are you doing this! BARNES(V.O.) I was getting to that. Now please don't try my patience Ryan. INT BRIDGE - NIGHT BARNES Now we're all businessmen and a common rule of business is to make payment for services rendered. Given that, I'm willing to provide a service to each and every one of you. INT DINING ROOM - NIGHT BARNES(V.O.) I'm willing to transmit that code 3 emergency. If you're lucky a rescue team might just get to you in time. Of course by then I'll be long gone. CARLO In exchange for what! BARNES(V.O.) Well Carlo, you're not really part of the equation... INT BRIDGE - NIGHT BARNES But those other high rollers around you are. I will provide this service in return for the personal authorization codes of each and every bank account. Once I have those codes, and I've completed the transfer, I'll signal the alarm. But not a minute before. INT DINING ROOM - NIGHT Taylor listens to this as Delbert approaches - DELBERT What the hell is he talking about? BARNES(V.O.) What part didn't you understand, fat man? It's a hold up, pure and simple. I want your money. Cooperate and I'll let you live. And this offer is non- negotiable. Dawn walks over to Taylor - DAWN It doesn't make any sense. TAYLOR (to Barnes) It's suicide Barnes! How do you think you're going to get away it! ANNA They'll track him down in a heartbeat. BARNES(V.O.) I understand your concern, but those are my problems, not yours. But for the record, the transfer trail will take them years to follow. By then it won't matter, because I won't exist, at least not on paper. WARREN Why would we give you anything without a guarantee of our safety! BARNES(V.O.) Well, I guess that's just a question of faith, huh? Of course, if money means more to you than a chance at survival... I'd say you're my kind of guy! TAYLOR It's still not going to work! They'll detect you upon re-entry in an emergency vessel! BARNES(V.O.) Who said I'll re-enter in the pod? I got friends out in space, Ryan, friends willing to get me back unnoticed. Thank God for deregulation huh? INT BRIDGE - NIGHT BARNES Now I think I've given you all the information you need to make a sound decision. But I'd advise you to hurry. Barnes leans closer to the microphone - BARNES I'll give you fifteen minutes to organize your information. I'll take any further delay as a sign you've rejected the offer, and then of course, it's rescinded. Barnes then reaches over to a button - BARNES Over and out. Barnes then presses the button - INT DINING ROOM - NIGHT They guests all look at one another - Taylor concentrates, saying nothing - Warren approaches him - WARREN This is insane. This can't be happening. Dawn approaches Taylor - DAWN What are we going to do? TAYLOR I don't know. INT BRIDGE - NIGHT CLOSE on the screen showing the dining room - TAYLOR(O.S.) I think we should do what he tells us. Barnes leans back and watches them, smiling - INT DINING ROOM - NIGHT Dawn approaches Taylor, who inspects the sealed door - DAWN How do we know he's not bluffing? Taylor sees any attempt at opening the door is futile - TAYLOR We don't. DAWN Well maybe there's a way out of here. TAYLOR Fat chance of that. Even if we had C4 and a laser torch these doors wouldn't budge. (Beat) That son of a bitch...that stupid son of a bitch. Carlo and Dawn talk with Taylor - DAWN Given a malfunction, how would a rescue team get you out if the doors won't open? TAYLOR Probably come through the wall I suppose. DAWN Well maybe we can do something like that. Taylor looks at Dawn - TAYLOR I don't think you know what you're talking about. Besides, what could we use for tools? A steak knife? A corkscrew? DAWN Just considering our options... sir. Dawn and Taylor look at each other - CARLO We couldn't try anything anyhow. He must be watching everything we do. TAYLOR You're right. Taylor looks at the CONTROL PANEL next to the door - TAYLOR If only I could override this thing. At the other end of the room Mac approaches Delbert who nervously lights a cigarette - MAC On the behalf of the Star Princess we apologize for any inconvenience you might experience - DELBERT Get outta here, will ya!! Mac backs off and walks away - Monica approaches Delbert - MONICA Well now what are we gonna do! DELBERT How am I supposed to know? MONICA You're Delbert Miles! You have more clout than some whacked out pilot! Talk to him! DELBERT Talk to him...Jesus... Nearby, Jack places a TABLECLOTH over a dead guest - DELBERT(O.S.) I tell you one thing, I'm not giving him shit, not a password, not an access code, not the time of day. Jack turns around and looks at Delbert - Warren and Anna approach Delbert and Monica - ANNA I think we should do what he asks. Delbert looks at her incredulously - DELBERT Oh you do, huh? Well let me tell you something lady, if you think that cracker is on the level, you're nuts. WARREN That's a risk we can't afford to take. DELBERT I can. Use your head, do you think he wants anyone around to say what happened? Jack approaches - WARREN There's a chance he'll keep his end of the bargain, if we only cooperate. DELBERT Bullshit. Jack steps up and looks at Delbert - JACK Look. We're talking about life and death here. I don't know why we're even having this conversation. DELBERT Well what would you know about it? You don't have anything to lose. Jack gets closer to Delbert - JACK You're gonna give him those bank codes, you know why? Because I'm telling you to, that's why. I'm not losing my life over some greedy pig. DELBERT Who are you calling a pig, rummy? Just then Jack SHOVES Delbert violently - Delbert CHARGES Jack and they scuffle briefly before being separated by Warren - WARREN Come on! Stop it! Stop it! Delbert and Jack back off from one another, still staring each other down - WARREN Let's just stay calm, ok? JACK I don't believe this crap! Mac approaches Taylor, Dawn, and Carlo - MAC I am receiving a high level of negative feedback from our guest's comments. Many expletives at a higher than usual decibel level. Taylor looks at Mac, then approaches the others - TAYLOR Look, people, listen to me. As the first mate, I know a lot about this ship. Now I don't know what's going on outside these doors, I don't know where the captain is, I don't know who's left out here. What I do know is that if what he's saying is true, we're in serious trouble. So I suggest we collect the information he wants, and give it to him. DELBERT That's still no guarantee of anything! TAYLOR We don't have a choice! Now let's write them down, OK? DAWN Supposing we could get out of this room? Is there anything we could do to reach the bridge? TAYLOR It depends on the condition of the ship. If I could get to one of the suit compartments I could check the exterior air locks for a possible entry. DAWN Can't we access the mainframe to check the ship's condition? TAYLOR With what? How am I going to interface with it? I need to be able to talk to the system and to have the system talk to me. Dawn looks at Taylor, who looks down at the ground - CARLO We're screwed. Totally screwed. Suddenly something dawns on Taylor - TAYLOR A way to talk to the system... Taylor then looks up at Mac - Dawn watches Taylor - Taylor turns to Carlo - TAYLOR Carlo, get me the cable off the menu register. Carlo walks off - TAYLOR We're going to have to be quick. INT BRIDGE - NIGHT Barnes dials up a number in front of a video screen - Soon the screen shows a FREIGHTER PILOT'S face - PILOT(V.O.) Barnes? BARNES That's me. PILOT(V.O.) Break it down to me, what's going on? BARNES Seems like they're cooperating. Hopefully I'll be out of here and on my way very soon. PILOT(V.O.) Well don't drag your ass. There won't be much of a window for us to link up. We'll be in your orbit trajectory in less than two hours. BARNES Yeah, I know Bill, I came up with the plan remember? Just have those hangar doors open and ready, I can take it from there. PILOT(V.O.) Will do. What about the distress signal? BARNES I don't know. I really haven't made up my mind yet. We'll see how nicely they behave. PILOT(V.O.) Well that's your call. Doesn't make a damn bit of difference to me. Just as long as I get my cut. BARNES Oh you'll get it, believe me. (Beat) So I'll see you in a few. PILOT(V.O.) 10-4 good buddy. Barnes reaches over to a button - BARNES Yeah yeah, 10-4... Barnes disconnects the message - He then gets up and approaches Reynolds, lying dead on the ground - he stares at him for a beat - He reaches into the bloody robe pocket and pulls out a CIGAR - He smells the cigar, wets the tip, and lights it - BARNES Shame to waste a fine corona. INT DINING ROOM - NIGHT Carlo removes some cables from a computerized MENU MONITOR for the restaurant and approaches Taylor - Taylor takes the cables and approaches the others - Anna has finished writing down everyone's authorization codes on a piece of paper - TAYLOR Is that all of them? ANNA Yes. That's all of them. Taylor picks up the piece of paper - DELBERT I can't believe we're doing this. TAYLOR Well we are, so get used to it. Taylor then approaches the Wall-mounted CAMERA LENS - The others watch him - TAYLOR Barnes. Can you hear me? INT BRIDGE - NIGHT Taylor's face can be seen on the monitor - TAYLOR(V.O.) Barnes? Barnes takes a puff of the cigar, and looks at the monitor - BARNES Uh, that's an affirmative, Roger Wilco. Please proceed. TAYLOR(V.O.) We have the codes here. How do you want to receive them? BARNES Well, preferably in tens and twenties... INT DINING ROOM - NIGHT Taylor stares at the camera as the others watch - BARNES(V.O.) That was a joke Taylor, lighten up! Why don't you just hold them up to the lens. I'll write them down, and once I'm through verifying them, I'll get back to you. TAYLOR Will you transmit the distress signal? BARNES(V.O.) Once I'm done verifying them. Can't be too trustworthy nowadays. Taylor slowly holds up the piece of paper to the lens - INT BRIDGE - NIGHT CLOSE on the monitor showing the piece of paper listing the authorization codes of the passengers nest to their names - the list takes up the entire screen - Barnes examines the list and begins entering the first number on the list onto another screen - He then hits enter - the screen reads "CONNECTING WITH NETBANK..." - Barnes sits back - INT DINING ROOM - NIGHT Taylor gestures to Carlo to come over - Carlo approaches and Taylor carefully hands him off the paper to hold up - TAYLOR Here. Take this. Carlo does so and Taylor walks over to Mac - Dawn undoes the front of the WALL PANEL with a knife - DAWN OK...it's open. TAYLOR Seen one like it before? DAWN Sure. It complies with all standard construction codes. TAYLOR Great. Taylor then turns and looks at Mac - TAYLOR Mac, I have a favor to ask you. Mac looks at Taylor - MAC Certainly. If you need anything, please feel free to ask me. Just a reminder we have fabulous cuisine available -- TAYLOR Yes I know all that. Mac, I need you to help us out with a little technical problem. MAC Certainly. I have a full working knowledge of the ships operations. TAYLOR Right, I understand that... Taylor looks at Mac's face - Jack approaches - Dawn begins to connect one end of the wire to the wall console - TAYLOR I need you to actually do something for me. I need to access your CPU, directly. MAC That will not be necessary. You can simply speak to me. I understand most languages fluently. TAYLOR Yeah but the ship's mainframe doesn't. I need you to tell it something. MAC Alteration of my central processing unit should be done only by an authorized service dealer. TAYLOR I know but we're in a bind. Mac waits a beat before saying anything - MAC Alteration of my central processing unit should be done only by an authorized service dealer. Dawn then turns and looks at Mac - DAWN Yes Mac, but the guests are requesting it. (Beat) It will reduce the level of negative feedback. MAC That is one of my priorities. Taylor looks at Dawn - TAYLOR That is what I thought... Taylor and Jack look at Mac's face - TAYLOR Now which one was it again? JACK It's the left one, I think. EXT STAR PRINCESS - NIGHT The ship drifts aimlessly in space, with the moon in the distance - INT BRIDGE - NIGHT Barnes continues to verify the authorization codes - CLOSE on the MONITOR - Barnes types in the number - the screen then reads - "CONNECTING TO NETBANK...", then a pause, then "NETBANK: BEVERLY HILLS CA 90210" "CLIENT NAME: WAYNE, WARREN." Barnes watches as a series of options appear: BALANCE, TRANSFER, WITHDRAWAL, DEPOSIT - Barnes selects BALANCE - there is a pause, then: AVAILABLE FUNDS - $40,386,020 - Barnes sits back - BARNES I tell you, I should have been an actor. Barnes then types in some commands - The screen then reads: "TRANSFER TO NETBANK _ _ _ _ _ - _ _ _ " - As Barnes types in the number, they appear as X'S - INT DINING ROOM - NIGHT CLOSE on the cable connected to the wall console - The camera slowly pans, following the cable - TAYLOR(O.S.) Ok, the first thing we need to know is the status of this floor. Taylor then gently moves the other end of the cable toward Mac's face - as we approach we see Mac's LEFT EYE removed, with a socket for the corresponding cable - TAYLOR Here goes nothing. Taylor slowly inserts the cable into the socket - Everyone waits for a beat - TAYLOR Now Mac, can you tell me the status of this deck? MAC One moment please... (Beat) one moment please... Dawn examines the EYEBALL then looks at Taylor - DAWN Do you think it's working? TAYLOR It should. Mac? Mac sits, motionless, with the cable hanging out of his eye - The others watch apprehensively - MAC This corridor is accessible, and we hope you enjoy it. I'm sorry to say we are having technical problems with...all exits on this level. We apologize for this inconvenience. Taylor and Dawn sigh with relief - TAYLOR But the corridor outside this door is open, correct? MAC Yes. You can enjoy some wonderful views from there. DELBERT Screw the damn views! Get us out of here you piece of crap! Taylor and the others glare at Delbert for a beat - Taylor then continues to focus attention on Mac - TAYLOR Mac, what about the suit compartments on this level? Can they be accessed? MAC (Beat) I'm sorry. The suit compartments are in a non-oxygenated, zero gravity atmosphere. I'm afraid that's off limits to all passengers. Taylor sits back - TAYLOR Damn it. If only we could get to those suits... Dawn then thinks of something - DAWN Why can't we? TAYLOR I don't know the condition of the compartments. Depending on damage, debris...could be a fatal mistake. JACK Unless you could hold your breath. Taylor looks at Jack - TAYLOR And suppose you couldn't hold out? DAWN Suppose you didn't have to hold your breath? Taylor looks at Dawn - DAWN We could send Mac. If he can retrieve one suit, we could go back for the other. TAYLOR You're right. Taylor then looks at Jack - he raises his wrist - TAYLOR Jack, let me have your walkie. Put it on channel 10. Taylor than looks around, walks over to a chair, and SMASHES it on the ground, picking up one of the steel legs - Taylor then looks at Mac - TAYLOR Open the door, Mac. INT HALLWAY - NIGHT CLOSE on the doors to the dining room opening - Mac exits the dining room - Taylor places the chair leg between the two doors creating an opening wide enough to slide through - TAYLOR Ok Mac... (shows Mac his walkie) I'll talk to you on this. I want to find a way to get to the bridge, then I want you to come back. MAC Certainly. Anything I can do to be of service. Mac heads down the hall - Dawn and Taylor watch him - DAWN He certainly is polite. TAYLOR (to Mac) Close every door behind you! Mac looks at Taylor, then heads around the corner - INT DAMAGED HALLWAY - NIGHT The doors open, and Mac enters the damaged hallway - loose WIRES buzz and crackle, debris and bodies litter the hallway - TAYLOR(V.O.) How is it looking, Mac? MAC I would recommend a maintenance crew in this sector. INT DINING ROOM - NIGHT Taylor talks on his walkie - TAYLOR Is it safe for human transport? MAC(V.O.) That's affirmative. DAWN It must be oxygenated if we can hear him. TAYLOR Yeah, let's hope he can find a way through. Taylor cues his walkie - TAYLOR Mac please check the status of the suit compartment on this level I want you to go in there and get a suit. INT DAMAGED HALLWAY - NIGHT Mac approaches the door at the other end - The door does not open automatically - Mac stares at it for a beat - MAC I will manually open the door, and will report this problem to maintenance. Mac raises his hand to the PANEL on the wall - As he does the wrist walkie gets near A LIVE WIRE jutting out of the wall - As Mac punched in a number - The cable TOUCHES the walkie, and a SURGE of electricity rips through Mac - INT DINING ROOM - NIGHT Taylor hears a loud CRACKLE emit from his walkie - TAYLOR What the hell was that? INT DAMAGED HALLWAY - NIGHT Mac gets BLASTED against the wall of the hallway - He reels for a beat, then staggers a few steps - MAC I have experienced a critical error...I have experienced a critical error...I will review my previous commands. Mac enters the commands on the panel, and the door opens - INT DINING ROOM - Taylor cues his walkie - TAYLOR Mac. Mac! DISSOLVE TO INT BRIDGE - NIGHT Barnes finishes tallying the total he has transferred - CLOSE on the monitor showing the grand total - $368,422,006.32 Barnes sits back, smiles, and takes a puff of his cigar - BARNES Not bad for a day's work. Suddenly there is a bell indicating someone trying to enter the bridge - Barnes swings around - He checks the monitor and sees it is Mac, waiting outside the bridge door - Barnes grabs up his gun and approaches the door - He opens the door, all the time aiming his weapon - Mac stares at him - BARNES Where the hell did you come from? MAC Hello second mate Barnes. I was instructed to come to the bridge. Mac reels for a beat, leans on the hallway wall - MAC Is there anything I can do for you? Barnes looks around the hallway, then looks at Mac and smiles - BARNES Sure. Come on in pally. Take a load off. Mac enters the room - INT DINING ROOM - NIGHT Taylor listens to his walkie as the others stand around him - TURNER Mac. Mac can you hear me? DAWN I don't understand. It was working fine. JACK Maybe the walkie shorted out. TURNER How? (Beat) Mac, can you hear me? INT BRIDGE - NIGHT Barnes sits down with a smile on his face, and listens to Mac - BARNES So how did you get here, Mac? I'm impressed. MAC I had to pass through several restricted areas. I am sensing a high level of passenger dissatisfaction, which is my duty to report. Barnes revels in this encounter - BARNES Weren't you down in the dining room? MAC I was there. Officer Taylor accessed my CPU directly to open the airlock doors. They are not functioning properly. BARNES Oh he did, did he? The smile fades from Barnes' face - MAC Yes he did. Yes he did. Barnes looks at the monitor - Taylor and the others are still in the dining room - BARNES You didn't do anything to the monitors, did you Mac? MAC I did nothing to the monitors. Barnes watches the screen carefully - BARNES And what are they doing now, Mac? MAC They are awaiting further information. Barnes looks at Mac - BARNES Were you going to give it to them? MAC I am here to provide service to... to all our guests. There is a high level of passenger dissatisfaction. It is my duty...to report this. BARNES Well you did the right thing Mac. Barnes gets up - he sees the wrist walkie on Mac - BARNES So, you were communicating with officer Taylor over the wrist walkie? Barnes inspects the walkie, notices it is on channel 10 - he laughs and shakes his head - BARNES On channel 10? MAC The device has stopped responding. Barnes looks up at Mac - BARNES Well, we're going to have to do something about that aren't we? INT DINING ROOM - NIGHT Taylor listens to the walkie - TAYLOR Mac, can you hear me? Come in? BARNES(V.O.) Taylor, you surprise me. Taylor looks up in disbelief - INT BRIDGE - NIGHT Barnes talks into his walkie - Mac sits in the background - BARNES Never send an android to do a man's work. INT DINING ROOM - NIGHT Taylor and the others listen carefully - TAYLOR I don't know what you're talking about! BARNES(V.O.) Sure you do. Sending Mac out on a little recon work. How pathetic. Problem is it seems Mac blew a few fuses. (laughs) Or maybe he's just a little drunk. Were you partying with a robot Taylor? Taylor begins to lose his patience - TAYLOR Look we gave you what you asked for. It checks out didn't it?! What more do you want from us! INT BRIDGE - NIGHT BARNES I told you not to try anything smart! I guess you're too much of a maverick to follow a simple order! And that's just too bad for all of you now, isn't it? TAYLOR(V.O.) Look you said it doesn't matter to you anyway! Why do you want to kill more innocent people! Why! Barnes gets up - BARNES I suppose you want a diatribe about my agenda to get even with the world, or some crap. INT DINING ROOM - NIGHT Taylor and the others listen - BARNES(V.O.) Well it's not that complex. I don't give a damn about the haves, and I don't give a damn about the have- nots. And I sure as hell don't give a damn about any of you. INT BRIDGE - NIGHT BARNES It's business. Period. If you followed directions, you might have had a chance. But all that's all over now. Barnes then heads over to the console and adjusts some equipment - BARNES I'll tell you what I will do, though. I'll make sure you all see the moon. Unfortunately it will have to be a one way trip. INT DINING ROOM - NIGHT BARNES(V.O.) So in closing I'd like to thank all of you for your generous contributions and thanks for flying the Star Princess. Watch your step on the way out. Bye bye. Taylor lowers his walkie - the others respond with sunken faces - INT BRIDGE - NIGHT Barnes throws the walkie on the console, smiling to himself - he then approaches Mac and puts on a look of mock seriousness - BARNES Mac, you really earned your wings this flight. MAC My...wings... BARNES Yes, your wings. Mac reels for a beat, then continues - MAC I am here to provide service to... to all our guests. There is a high level of passenger dissatisfaction. It is my duty...to report this. BARNES I hear you Mac and I appreciate it. Frankly I don't know what I'd have done without you on this one. MAC There is a high level...of passenger dissatisfaction. BARNES And I intend to correct that at once. I'll tell you something Mac... Barnes puts his arm around Mac - BARNES You're really gonna go far in this business. EXT SPACESHIP - NIGHT An AIRLOCK ENTRANCE can be seen - suddenly Mac SHOOTS out of the entrance and flies away from the ship - Mac disappears into the void, arms and legs akimbo, looking ridiculous - INT BRIDGE - NIGHT CLOSE on the monitor with a view of the exterior as Mac disappears into space - Barnes HOWLS with laughter, bending over, slapping the console - He gets up, laughing even harder, SHOUTING with laughter - He then opens a panel and begins flipping switch after switch after switch - INT HALLWAY - NIGHT The lights go out in ascending order down the hall - INT DINING ROOM - NIGHT Suddenly the lights begin to shut off and the send of an ENGINE RUNNING DOWN can be heard - The occupants all look at one another - ANNA Oh my God, what is he doing? WARREN He's shutting off the air!!! DELBERT That lousy, stinking son of a bitch! Delbert picks up a chair - charges toward the CAMERA - DELBERT That lousy - Delbert flings the chair - SMASSSSHHHHH!!!! The chair shatters the camera - INT BRIDGE - NIGHT CLOSE on the camera monitor going blank - INT DINING ROOM - NIGHT Monica rushes over to Delbert, whose rage disguises his panic - MONICA Delbert! What's gonna happen? Delbert pulls his arm away but Monica grabs it again - MONICA Delbert! Delbert looks at her - MONICA I'm scared. I'm really scared! Delbert looks back at her, unable to hide his fear - Jack looks at Taylor - JACK What are we going to do? Taylor concentrates - TAYLOR He might still be playing a game with us. But at this point the odds are slim, he's already killed too many others. Dawn approaches Taylor - DAWN So...what's the next step? Taylor and Dawn look at each other - CARLO What's the use...we're gonna die... JACK Don't say that! It ain't over till it's over! TAYLOR It's a question of getting to the lifepod. Before Barnes does. But even then, the pod has a maximum capacity of seven adults. (Beat) And there's eight of us. DELBERT Well we'll just cram in! Taylor glares at Delbert - TAYLOR It doesn't work that way! There's only so much oxygen, only so much fuel, only so much mass it can handle on re-entry! TAYLOR If I could get to the bridge I could send the distress signal. DAWN Even if we do, it might be too late. Taylor looks at the room - TAYLOR Then I have no other choice. (Beat) I have to get to the suit compartment. JACK I thought you said it was too risky. TAYLOR I'm not letting him get away with this. It's our last chance. Taylor heads toward the door - TAYLOR Everyone just stay put. DAWN Wait. Dawn approaches Taylor - DAWN I'll go with you. Taylor looks at her - TAYLOR I can't let you do that. DAWN Look I know what I'm doing. I have experience and training in space walking. TAYLOR Simulated space walking. DAWN You might need assistance, you don't know what your facing. Dawn looks around the room, then looks at Taylor - DAWN I'll go crazy sitting here. I'd rather risk it. Taylor looks at her for a beat - TAYLOR All right come on. Taylor looks at the others - TAYLOR Everyone just stay calm. Everything's going to be all right. Taylor looks at Jack - TAYLOR Jack, keep it together in here. Jack looks at him - JACK I'll do my best. Taylor and Dawn leave through the opening in the door Carlo watches them - there is a look of real anxiety on his face - CARLO We're going to die. JACK Will you shut up already? DELBERT I'll tell you one thing, I'm not gonna just lie down and die for this crackpot. The hell with that! MONICA And what are you going to do, genius? Delbert looks at her - DELBERT I haven't quite made up my mind yet. JACK I'll tell you what you're gonna do. You're gonna stay put like Taylor said. Delbert approaches Jack - DELBERT Again with the orders from you! You got a Napoleon complex chief, and I'm getting sick of it! JACK What are you going to do about it? ANNA Will you two please stop it! I don't want to spend my final hours listening to you bitch! WARREN I'll tell you what I'm going to do. The others look at Warren - WARREN I'm going to have myself a drink. Warren walks over to the bar - INT HALLWAY - NIGHT Dawn and Taylor make their way down the darkened hallway strewn with debris and collapsed ceiling panels - TAYLOR Watch your step. Taylor approaches a sealed door - he looks at it for a beat - TAYLOR It's through this door. Taylor then looks at Dawn - TAYLOR I don't know what we're facing. DAWN I understand. They look at each other for a beat - Taylor takes a deep breath - TAYLOR Are you ready? DAWN Ready as I'll ever be. Taylor nods at her - he then looks at the door - Taylor's hand approaches the emergency lock release - TAYLOR Here goes nothing. Taylor hits the button - CLOSE on the doors - they SWOOSH open - INT SUIT COMPARTMENT - NIGHT The pressurized room BLASTS Taylor and Dawn into the small room filled with several large recessed LOCKERS - there is NO SOUND WHATSOEVER - They struggle to anchor themselves as they slam around the room and come dangerously close to a GAPING HOLE in the wall leading out to space - Dawn grabs onto a railing for dear life, her face contorting from the lack of oxygen and the brutal cold - Taylor RIPS OPEN one of the lockers containing a SPACE SUIT - the door swings open and shut violently as Taylor struggles to hold on - Dawn struggles to get closer to another one of the lockers - FROST rapidly begins to form on her hand and the railing - Taylor slips and slams backward - but through sheer will power grabs hold of the locker door, and pulls out the suit's HELMET - he lets go and flies backwards, holding the helmet - He slams into Dawn and hands her the helmet - she, too, let's go to grab it and is propelled around the room - Taylor then opens another locker and repeats the procedure, this time grabbing another helmet - By this time dawn has gone to the first locker and removes the suit, struggling to get into it while keeping her bearings - Taylor puts on the helmet and follows suit, grabbing another suit out of the second locker - Almost at the point of bursting, Dawn begins to lock the helmet down - Taylor continues to do the same, getting the arm of the suit stuck in the locker - Dawn floats over to the railing - she grabs it and positions herself - Taylor finally frees the stuck jacket and continues getting into the suit - CLOSE on Dawn as she uses her free hand to press some commands on the other forearm of the suit - A small LIGHT goes on in her helmet - soon she begins to HUNGRILY GASP in the incoming oxygen - soon a look of relief crosses her face - Taylor continues to struggle with the suit - Dawn heads over to him - Taylor LOCKS DOWN his helmet - Just then Dawn reaches over and presses the buttons the forearms of Taylor's suit - The small light goes on in Taylor's helmet - he, too, begins to suck in the air, as if for dear life - Slinking back from exhaustion, Taylor looks over at Dawn - Dawn looks back at him - slowly, a smile crosses her face - Slowly, Taylor smiles back at her - he presses a button on the forearm of his suit - we hear his voice through the HELMET SPEAKER - TAYLOR Are you all right? Dawn looks at the suit, and presses the button on her forearm - she then looks at Taylor - DAWN Yeah. (Beat) We did it. TAYLOR So we did. Taylor then heads over to the gaping hole in the wall - TAYLOR Now that's what I call an emergency exit. Taylor inspects it and looks out into space - he then turns and looks at Dawn - TAYLOR You're ready for the real thing? DAWN At this point I'm ready for anything. Taylor smiles at her - he slowly makes his way out of the hole - Dawn follows, closely behind - INT DINING ROOM - NIGHT CLOSE on Carlo, who stares despondently at the ground - Delbert paces as Monica watches him - DELBERT I tell you, something's not right here. (Beat) How do we know they're not going to use the pod for themselves? JACK Because, Taylor wouldn't do that, that's why. DELBERT What makes you so sure? Jack looks at Delbert with contempt - JACK I'm not asking now, I'm begging. Please shut up! INT WINE ROOM - NIGHT CLOSE on Warren corking a vintage wine - Just then Anna enters, closing the door behind her - Warren shows Anna the bottle - WARREN 2059...a very good year. Warren then takes an ENORMOUS swig of the wine, then wipes his mouth - WARREN You want some? It's got a hearty bouquet. Anna approaches, and takes the bottle - ANNA Getting drunk is no solution. WARREN Yeah, well...I forgot my morphine back in the room. Anna looks at him - WARREN Go on, have some. In fact... Warren peruses the other bottles on the wall - WARREN Have the whole thing. There's plenty more where that came from. Warren selects another bottle - Anna takes a sip of the wine - ANNA So I guess this is it. Warren opens another bottle - WARREN This is it. Finished. Kaput. Over. Warren corks the bottle - WARREN And Warren Wayne's going out in style. Warren takes a swig of the wine - WARREN A little sweet. CUT TO EXT STAR PRINCESS Slowly Taylor and Dawn rise into the frame, and hover over an area of the ship, grabbing onto handles placed around the area - TAYLOR Be careful, you don't want to puncture the suit. DAWN Don't worry about me. (Beat) Where are we going? TAYLOR To the other side. There's an airlock close to engineering. If it's intact, I can get to the pressure vents. Suddenly Taylor sees something - TAYLOR What the hell is that? Taylor approaches a section of the ship and scrutinizes it - Dawn looks in that direction - POV Taylor grabs a chunk OF C4 PLASTIC EXPLOSIVE attached to a pipe on the ship - DAWN Explosive? TAYLOR One of Barnes' duds, luckily for us. Take this out of the equation right now... Taylor puts the C4 into a STORAGE POUCH on his suit - TAYLOR That psychotic bastard... Taylor looks back a Dawn - TAYLOR Come on, let's go. Dawn follows him - they look at each other - DAWN Taylor? TAYLOR Yeah? DAWN (Beat) What do you think's going to happen to us? Taylor looks back at Dawn - TAYLOR Well, Dawn, I'm an optimist by nature. DAWN Yeah, but you didn't answer my question. The two continue to make their way across the ship - TAYLOR Do you want some advice? DAWN Sure. TAYLOR Don't worry about what will happen, just concentrate on what is happening. You'll live longer. DAWN Words to live by. INT BRIDGE - NIGHT Barnes closes up his laptop - He walks across the bridge - soon he notices something - CLOSE on the EMERGENCY DISTRESS SIGNAL panel, with three levels of emergency - moderate code 1, extensive code 2, critical code 3 - Barnes looks at it for a beat, smiles, then reaches for his gun - He then BLASTS the panel which crackles and emits some black smoke - Barnes laughs - He then goes over to the monitor - He presses a button and looks at the monitor - the screen is blank - Barnes smile fades - BARNES Those idiots... Barnes then presses another button - POV the monitor shows a WIDE VIEW of the hallway outside the dining room - Barnes scrutinizes the image - he sees something he doesn't like - he hits a button - POV the monitor ZOOMS IN to reveal the doors to the dining room open about 18 inches - Barnes frowns at this discovery - EXT STAR PRINCESS Taylor and Dawn continue to crawl across the side of the ship - Just then Taylor sees something - He gestures to Dawn - TAYLOR Good news. (pointing) Look. Dawn looks in the direction Taylor is pointing - POV coming into view on the other side of the ship is an AIRLOCK - TAYLOR(O.S.) It's intact. We're one step closer. Come on. Taylor and Dawn make it closer to the airlock - INT BRIDGE - NIGHT Barnes is checking all the various security camera shots on the monitor, looking for any movement - On another monitor, the freighter pilot talks to the screen - PILOT(V.O.) It's time we lock coordinates. BARNES I know, I know. Barnes keeps checking the security monitor - he is now exploring the exterior of the ship - PILOT(V.O.) So, what are we waiting for? BARNES Cool your jets...I'm doing a little damage control. PILOT(V.O.) Damage control! What kind of damage? What's going on Barnes! Just then Barnes sees something on the monitor - his eyes widen - POV Taylor and Dawn approaching the airlock - Barnes SLAMS the console with his fist! BARNES Damn it! EXT STAR PRINCESS Taylor and Dawn are now in front of the airlock - Taylor begins to reach for the opening lever - INT BRIDGE - NIGHT Barnes speaks to the pilot - BARNES Don't do anything until further notice! Barnes then rushes over to a console - EXT STAR PRINCESS The airlock door opens and Taylor makes his way in - Dawn is about to follow suit when - INT BRIDGE - NIGHT Barnes THROTTLES UP THE ENGINE - the ship begins to ROAR - INT DINING ROOM - NIGHT Delbert, Monica, and Jack listen - DELBERT What the hell is that? JACK The engines! EXT STAR PRINCESS The ship's booster kick in full force - The ship lurches - suddenly Dawn LOSES HER GRIP and struggles to grab onto anything - Taylor looks back, sees this - TAYLOR Dawn! Dawn! DAWN Helllp! Taylor rushes out of the airlock and begins to climb frantically up the side of the ship to save Dawn - Dawn begins to drift away, higher and higher - Taylor continues to frantically climb - Dawn struggles to grab the ship but can't reach it - Taylor approaches the top of the ship - Dawn continues to rise, rapidly approaching the point of no return - Taylor gets to the top, reaches out to save her - Dawn's boot gets closer to Taylor's hand - Taylor reaches as far as he can - CLOSE on Dawn's boot, too far for Taylor to reach - she slips away - Just then Taylor LEAPS toward Dawn - He barely manages to grab her ankle - The two of them drift for a beat until - Taylor's boot HOOKS under an antenna at the very end of the ship - The two hang there in space - TAYLOR You're safe. Grab my hand - CLOSE on Dawn's glove clutching Taylor's - INT WINE ROOM - NIGHT Several empty bottles are strewn around the room - Anna and Warren appear to be getting very drunk - ANNA I think we're moving. WARREN Well isn't that great. Something to write home about. Warren takes a bottle and HURLS IT across the room - it smashes against the wall - Warren then lets out a drunken laugh - Anna watches him, then follows suit, cackling - ANNA I never though I'd be stuck in a wine closet with Warren Wayne. WARREN Well get used to it, 'cause here we are, on the cruise of a lifetime. Warren approaches her, walking like a robot - WARREN Tell me, miss Koros, how are you enjoying the trip so far? Anna cracks up at Warren's crude imitation of Mac - WARREN Can I get you anything? Some more cheese puffs perhaps... The two of them laugh drunkenly - WARREN I'm perfectly serious. I'm here to satisfy your every request here on the cruise of a lifetime. Just ask, anything you want, anything at all. Anna's laughter subsides, and she looks at Warren seductively - Warren sees this, and his laughter subsides - Anna then looks at him with lust - ANNA I want you. Now. Anna then lunges toward Warren and gives him the DEEPEST POSSIBLE TONGUE KISS known to man - Warren does not resist - They crash around the room in an explosion of passion - INT HALLWAY BY ENGINEERING - NIGHT Taylor and Dawn make their way down the hall - DAWN I guess I owe you a debt of gratitude. You saved my life. TAYLOR It was no time to lose my partner. We're going to have to hurry, he's on to us. INT ENGINEERING - NIGHT The door opens and Taylor and Dawn enter the room - They look down - Dawn gasps, looking at the contorted faces of the dead engineers - DAWN Oh my God. What happened? TAYLOR The room is filled with poison gas. The hydraulic system must have blown. Taylor looks at the men for a beat - he then heads over to a console - TAYLOR That sick bastard... Taylor hits an AUXILIARY POWER switch on the console - the screen on the monitor lights up - DAWN What's that? TAYLOR A schematic of the ship. Looking for a lifeline to the pods. DAWN We don't have enough suits to get the others out. TAYLOR That's why we need a safe passage. remember what you said earlier, about getting through the wall? That might just be our ticket. Taylor brings up the floor plans of the ship - functioning areas are in green, the others in red - TAYLOR No look, see that. One deck up will take you across the damaged lower decks. There's a bulkhead here, then over that, one deck down, is a storage room. That room is adjacent to the dining room. We get through that wall, we get them out to here - Taylor points to the LIFEPOD AREA on the map - DAWN How are we going to blow the wall? Taylor looks at Dawn for a beat - He then climbs up some steps nearby to a small storage area, and begins to rip open drawers - Dawn watches him - Taylor then grabs up a FLARE from one of the drawers - He heads down to Dawn and hands it to her - TAYLOR Take this flare. DAWN A flare? A flare won't do it. TAYLOR No... Taylor takes the C4 out of the pouch on his suit - TAYLOR But this will. Just attach it to the flare. Taylor hands the C4 to Dawn - TAYLOR The flare is self igniting, it has a short fuse, so be careful. And remember... Taylor breaks off a tiny piece of the C4 - TAYLOR A little dab'll do ya. Now you know how to get there, right? DAWN Why? Where are you going? Taylor looks at her for a beat - TAYLOR I'm not going with you. DAWN What? What are you talking about? TAYLOR There's only room on that pod for seven. That's you and the others. I'm counting on you to get them out of there. Dawn stares at him, dumbstruck - DAWN And what are you going to do?! TAYLOR I'm going to try and buy you some time. I can get to the bridge from here. DAWN But how are you going to escape? TAYLOR Don't worry about me. There's still a chance I can issue a distress signal. DAWN But you can't be sure! It's suicide. You have to come with us! TAYLOR I can't! Taylor takes Dawn by the shoulders - TAYLOR Listen, Dawn. You have to stay focused. Don't unravel on me. Now you've got to get them to safety! I'm counting on you. Dawn looks at Taylor - TAYLOR Don't worry about me. (Beat) I'll be all right. They look at each other - TAYLOR Now hurry up. We're running out of time. Dawn heads over to the door - Taylor approaches a PANEL on the wall - Dawn pauses at the door - Taylor and Dawn look at each other for one last beat - Dawn gestures to the COMMUNICATOR in her helmet - DAWN Keep in touch. Taylor gestures to his communicator - TAYLOR I will once I get past the bulkhead. (Beat) Good luck. DAWN You too. Dawn exits the room and the door closes behind her - Taylor looks at the door for a beat, then proceeds top open the panel, which leads to an AIR SHAFT - He climbs into the shaft - EXT STAR PRINCESS The ship heads full speed towards the moon - INT HALLWAY - NIGHT Dawn runs down the hallway - she comes to a stop, looks left and right, then heads left - INT BRIDGE - NIGHT CLOSE on the monitor showing the face of the ship's pilot - PILOT(V.O.) You're not helping my heart condition any, Barnes! Now just what the hell are you dragging your ass for? BARNES The others decided to get cute with me, so I'm teaching them a lesson! Barnes looks out the window - BARNES This ship is going down in a blaze of glory! PILOT(O.S.) Well blaze your ass out of there! You've completely altered your trajectory, are we linking up or not?! BARNES Don't worry about me, I'm changing coordinates now. (Beat) I've come to far to be tripped up by some Dudley do-right... motherfuckers! INT AIR VENT - NIGHT Taylor makes his way through the air vent, slowly and carefully - INT DINING ROOM - NIGHT Delbert, Monica, Jack, and Carlo sit in the room - Carlo struggles to take a breath - CARLO It's getting hard to breathe... JACK Just don't move around too much. Carlo looks at him, and heads to the MEN'S ROOM - Jack watches him and shakes his head - JACK Thanks for taking my advice. Monica stands up, looking agitated - MONICA It's getting too cold in here. (Beat) I can't stand this anymore! DELBERT Baby, take it easy. MONICA How can you sit there with your fat stomach and tell me to take it easy! I want to go home! I want to be warm! I want to get out of here! Delbert approaches her - DELBERT Look, calm down, getting all crazy is going to make things worse. Delbert hugs her and Monica cries - together they sit down at a table while she weeps inconsolably - Delbert hugs her - DELBERT It's ok... Just then Jack emerges from behind them and drapes a TABLECLOTH over both their shoulders - Delbert looks up at Jack, who looks at him - DELBERT (Beat) Thanks. Jack nods his head - JACK Keep her warm. INT WINE ROOM - NIGHT Warren and Anna are now naked as they ATTACK each other passionately - ANNA Oh Warren...oh Warren...take me, God take me... WARREN Oh yeah... ANNA Oh yeah... WARREN Oh Sara... ANNA Anna... WARREN Anna... EXT STORAGE HALLWAY - NIGHT Dawn approaches a door marked STORAGE - she hits a panel next to the door and the door opens - She enters the room - She approaches the far wall - she feels it with her hand - DAWN This must be it. (Beat) Taylor come in. Can you hear me? There is no response - DAWN Damn. Dawn then takes the C4 and the flare out of the pouch on her suit - INT AIR SHAFT - NIGHT Taylor continues to navigate his way through the air shaft - He looks ahead - POV in the distance some LIGHT can be seen through a grate - Taylor presses some buttons on the forearm of his suit - a click can be heard - Taylor then slides up the protective face plate on the helmet, and continues to crawl - Suddenly Taylor perks up - he hears something up ahead - BARNES(O.S.) (far away, muffled) I know that! Taylor likes what he hears - he begins to crawl faster toward the light - INT BRIDGE - NIGHT Barnes is talking to the pilot on the monitor - PILOT(V.O.) Well if you knew it then why did set your thrusters on before making the calculation? BARNES I told you, I had to teach a few people a lesson! PILOT(V.O.) Goddamn it Barnes this really steams my onions! BARNES Let's get something straight, Chappy! INT AIR SHAFT - NIGHT Taylor gingerly approaches the grate and looks down - POV the far end of the bridge is visible - BARNES(O.S.) I don't take orders from you, you take orders from me! You got that? Struggling not to make a sound, Taylor bites his lip and VERY SLOWLY opens the vent - INT BRIDGE - NIGHT Barnes addresses the monitor - BARNES Now I got enough air and supplies to make another complete orbit in the pod! You're just gonna have to pick me up later. PILOT(V.O.) This is a major screw up on your part, goddamn it! BARNES Well then why don't I tell you something, good buddy? I don't need to listen to shit from you! Now you want to call it off fine, I'll take the risk of re-entry but you're out of the picture, understand? The pilot says nothing - BARNES Now we'll regroup in 24 hours, tell whoever you need to you're extending the trip, and pick me up accordingly. Is that clear? The pilot says nothing - BARNES Is that clear? PILOT(V.O.) That's clear. BARNES Good. Now you'll hear from me when I have the new coordinates. In the meantime don't bug me. PILOT(V.O.) Sheesh! Aye aye cap'n! BARNES Over and out! Barnes disconnects the transmission - BARNES Idiot... TAYLOR(O.S.) Good help is hard to find... Barnes SPINS around - He is face to face with Taylor, who SMASHES Barnes across the face with his own laptop - Barnes spins around and collapses to the floor, blood running out of his mouth - Taylor gives him a ferocious KICK to the head for good measure - He then looks over and sees Reynolds, dead - TAYLOR Oh Jesus... INT STORAGE ROOM - NIGHT Dawn carefully places the C4 and the flare against the wall - Just then her communicator crackles to life - TAYLOR(V.O.) Dawn. Come in. DAWN Taylor! Where are you? INT BRIDGE - NIGHT Taylor surveys the damage on the bridge - TAYLOR I'm in the bridge. DAWN(V.O.) Barnes? Taylor looks down at an unconscious Barnes - TAYLOR He's out of the equation. (Beat) Talk to me. INT STORAGE ROOM - NIGHT DAWN I'm about to blow the wall. TAYLOR(V.O.) Hurry. You have to get them out of there! DAWN How does the distress signal look? INT BRIDGE - NIGHT Taylor looks at the completely destroyed distress signal panel - TAYLOR Uh, it's ok, everything's going to be ok...now I'm counting on you, and whatever you do keep calm, we don't want them to panic. DAWN(V.O.) I'll do my best. INT STORAGE ROOM - NIGHT DAWN So what's going to happen to you? TAYLOR(V.O.) I'm staying with the ship. I'll be all right. Now hurry. DAWN (Beat) Thanks for everything, Taylor. Will I see you again? INT BRIDGE - NIGHT TAYLOR Hopefully sooner than later. DAWN(V.O.) Sooner than later. TAYLOR Over and out. Taylor shuts off the communicator - he reflects on the conversation for a beat, then approaches the destroyed distress signal panel - TAYLOR That son of a bitch... INT STORAGE ROOM - NIGHT Dawn looks at the C4 and the fuse - DAWN Here goes...nothing... Dawn rips the fuse open on the flare - It begins to spark - Dawn then looks around - She spots some BARRELS in the corner - She rushes over to them and ducks for cover - She watches the fuse as it burns down... LOWER... LOWER... Dawn closes her eyes....then suddenly - BOOM!!! A HUGE EXPLOSION tears a gigantic hole on the wall - debris scatters everywhere - Dawn shields herself - the sound of SMASHING BOTTLES can be heard - INT DINING ROOM - NIGHT Jack spins around - JACK What the hell was that?? Jack RACES over to the wine room door - Delbert and Monica follow him - INT WINE ROOM - NIGHT Jack rips open the door - he is stunned by what he sees as the smoke clears - There is an enormous HOLE in the wall - He looks to the other side of the room, around a counter - his jaw drops - Anna and Warren roll out from behind it, STARK NAKED - JACK What the hell! Just then Dawn emerges from the hole - She too sees Anna and Warren, who fumble for their clothes - DAWN What the hell! Jack sees Dawn - JACK What is happening around here!!! DAWN There's no time to explain. Get everyone together! We found a way to the pods! JACK Where's Taylor? DAWN He's up on the bridge! He's going to be OK. Now who's missing? Jack looks around - Anna and Warren hastily finish getting dressed - JACK Just Carlo. Jack faces the dining room - JACK Carlo? INT DINING ROOM - NIGHT The group files out of the wine room - DAWN Carlo! JACK He's in the bathroom. Jack heads toward the bathroom - JACK Carlo! The others follow - INT MEN'S ROOM - NIGHT Jack pushes the door open - his eyes widen - JACK Oh no! Monica approaches, looks ahead, and screams - POV Carlo SWINGS from a makeshift noose of cloth towels - The others enter as Jack rushes over to him - DELBERT Oh Jesus Christ... Jack lifts Carlo up by the legs and removes him from the noose, gently lowering him to the floor - DAWN Is he dead? Jack checks for a pulse then grimly looks at Dawn and nods - Dawn turns away and heads back into the dining room - INT DINING ROOM - NIGHT Dawn stares at the ground for a beat - she then looks back at the bathroom, then turns away - DAWN God damn it... Something then dawns on her - she looks forward, then turns toward the direction of the others - INT BATHROOM - NIGHT Dawn approaches the others - DAWN Look, we're running out of time. We have to jettison as soon as possible or we'll be out of the gravitational pull. Come on... The others look at her for a beat, then file out - Jack remains, looking down at Carlo, then back up at Dawn - DAWN There was nothing you could have done. (Beat) The thing to do now is save yourself. Carlo looks at Dawn, then back at Carlo - JACK I'm right behind you... Dawn backs out of the room - DAWN Hurry. Dawn exits - Jack shakes his head and stands up, looking down on Carlo - JACK You stupid kid, you were so close... (Beat) You stupid kid... Jack slowly backs out of the room, then turns and walks out - INT BRIDGE - NIGHT Taylor struggles to fix the wiring around the distress signal panel - he's becoming increasingly frustrated - TAYLOR Goddamn it... Just then, behind him, Barnes slowly begins to come to - he struggles to get his bearings - He spots the gun close by - Taylor continues to work on the console - Barnes gets hold of the gun - he raises it up and aims at Taylor - BARNES' POV through double vision, he sees Taylor working - Barnes holds the gun out and BLAMMMM!! He fires, missing Taylor - Taylor spins around and POUNCES on Barnes - INT DAMAGED HALLWAY - NIGHT Dawn leads the others through the debris-strewn hallway toward the direction of the lifepod - INT BRIDGE - NIGHT Taylor and Barnes crash around the room as Taylor struggles to wrestle the gun from Barnes' hand - They scuffle toward the bridge door - Taylor SLAMS Barnes against a panel, and the bridge door opens, out to the hallway - INT HALLWAY TO LIFEPOD - NIGHT Dawn, Jack, Delbert, Monica, Warren and Anna rush down the hallway - Dawn looks back at the others - DAWN Hurry! INT LIFEPOD ENTRANCE - NIGHT Dawn and the others approach the pod door - Dawn presses some buttons on a WALL CONSOLE next to the pod - The pod door opens - Dawn looks back at the others - DAWN Everybody in! Come on! INT LIFEPOD - NIGHT Monica, Anna, Delbert, Jack, and Warren all enter the life pod - They begin hastily fastening themselves in - INT BRIDGE - NIGHT Taylor SMASHES Barnes' wrist across the doorjamb - the gun flies out of his hand - INT HALLWAY BY BRIDGE - NIGHT The gun rattles across the floor - Barnes leaps toward it and turns around training it on Taylor - Taylor DIVES as Barnes fires - BLAM BLAM BLAM BLAM!!! He hits a pipe which BURSTS FORTH a dense jet of smoke which quickly fills the area, blocking Barnes' vision - Taylor watches this, and in the split second that follows - He grabs up a piece of broken ceiling panel on the ground and THROWS it toward the direction of an observation window - Barnes sees the motion, FIRES - BLAM!!! The bullet SHATTERS the window as everything gets sucked towards it - Taylor FLIES ACROSS THE FLOOR stopping himself by grabbing onto a pipe at the last second - Barnes SMASHES against the window struggling to anchor himself - it is too late - Taylor watches as Barnes is SUCKED out the window along with various debris - his fading scream fills the hallway as Taylor seals his mask shut - EXT STAR PRINCESS - Barnes shoots out the window and struggles in vain to breathe as he disappears into the icy black void - INT LIFEPOD - NIGHT Jack looks at Dawn, who has yet to get in - JACK What are you waiting for?! Come on! Dawn looks down the hall, then back at Jack - DAWN I'm going back for Taylor! JACK Are you nuts! It's too risky! DELBERT He told you what to do! DAWN He didn't know there was room! Initiate the blastoff! We'll be back in five minutes! Jack stares at her for a beat - DAWN Five minutes! Dawn runs down the hallway - Jack sets the timer for 5 minutes and hits ENGAGE - INT DIFFERENT HALLWAY - NIGHT Dawn runs down the hallway, avoiding fallen debris - INT LIFEPOD - NIGHT Close on the others as they watch the countdown - 4:30...4:29...4:28... EXT STAR PRINCESS - NIGHT Dawn climbs across the hull of the ship - INT LIFEPOD - NIGHT The countdown continues - 3:45...3:44...3:43... Delbert looks at it - DELBERT They're not gonna make it! JACK It's not time yet! Everyone anxiously watches the countdown - INT HALLWAY NEAR BRIDGE - NIGHT An AIRLOCK opens and Dawn emerges - she rushes toward the bridge door - INT BRIDGE - NIGHT Taylor struggles to repair the controls - Just then the bridge door opens - Taylor spins around - Dawn enters the room - TAYLOR What the hell are you doing? DAWN We have room! Let's go! TAYLOR What do you mean? What happened! DAWN We don't have time. I'll explain later, hurry! Taylor looks at her for a beat, then grabs his helmet - INT LIFEPOD - NIGHT The countdown continues - Warren looks at the countdown - 3:26...3:25...3:24... WARREN Goddammit where are they? JACK Give them time! EXT STAR PRINCESS - NIGHT Taylor and Dawn make their way across the ship - INT HALLWAY - NIGHT Taylor and Dawn emerge from a gaping hole in the hallway and rush down the hall - INT POD - NIGHT The countdown continues - 1:46...1:45...1:44... The others watch - INT DAMAGED HALLWAY - NIGHT Dawn and Taylor rush down the hall - INT LIFEPOD - NIGHT The countdown continues - WARREN Jesus, come on! ANNA They're not going to make it! MONICA They're not going to make it. Jack then looks at the countdown 31...30...29... Jack's face sinks - JACK They're not going to make it. INT HALLWAY - NIGHT Taylor and Dawn rush down the hall - INT LIFEPOD - NIGHT The countdown continues - 6...5...4... CLOSE on the individual faces of the passengers - Jack, Warren, Anna, Delbert, Monica - INT LIFEPOD HALLWAY - NIGHT Taylor and Dawn enter just as - A LOUD BUZZING NOISE pierces the air and a red light fills the hallway - INT LIFEPOD - NIGHT CLOSE on the counter...1...0 EXT STAR PRINCESS LIFE POD A series of SMALL EXPLOSIONS blast the life pod away from the craft - INT LIFEPOD - NIGHT The passengers hold on for dear life as the pod SHUDDERS VIOLENTLY - EXT SPACE The pod HURTLES through space, headed toward Earth in the distance - INT LIFEPOD HALLWAY - NIGHT Taylor and Dawn stand there, dejected - DAWN No... INT LIFEPOD - NIGHT Jack looks out of a small window - JACK God help them. POV of the window, with the Star Princess disappearing into the distance - INT LIFEPOD HALLWAY - NIGHT Taylor and Dawn watch the pod disappear through a window - DAWN So close... TAYLOR And so far. Taylor looks at Dawn - TAYLOR There's only one thing left to do. EXT STAR PRINCESS - NIGHT The ship begins to approach the moon at a rapid speed - INT BRIDGE - NIGHT Taylor and dawn enter the bridge - TAYLOR Strap yourself in! Hurry! EXT STAR PRINCESS - NIGHT The ship gets closer and closer to the moon - INT BRIDGE - NIGHT Dawn and Taylor hastily secure themselves to their respective chairs - EXT MOON SURFACE The ship spins as it approaches the surface of the moon - INT BRIDGE - NIGHT Taylor and Dawn tightly clench the consoles, bracing for the worst - The surface gets closer...CLOSER... Dawn shuts her eyes - EXT MOON CRASSHHHHH!!! The ship COLLIDES with the surface, leaving a long streak as it slides across the ground - INT BRIDGE - NIGHT Taylor and Dawn hold on for dear life as the ship violently scrapes across the surface - EXT MOON Soon the ship grinds to a halt on the surface, a burned, battered shell of its former self - The charred remnants of the "Star Princess" logo can be seen - once again, it is silent - FADE OUT FADE IN INT BRIDGE - NIGHT Taylor comes to - He looks around the bridge, gets his bearings - He unfastens himself and gets up - he feels his head, looks around - He then approaches Dawn, who is also unconscious - He looks at her for a beat - POV she looks beautiful in the light - Taylor crouches down and gently shakes her - TAYLOR Dawn... Slowly, she comes to - Dawn slowly opens her eyes and looks around - the only thing audible is the humming of a bridge engine - Taylor and Dawn look at each other - TAYLOR Are you all right? Dawn gets her bearings, then looks at Taylor - DAWN As if it matters. Dawn unfastens herself - Taylor gets up - he heads over to a window - Dawn approaches him - he looks out - TAYLOR Well...we made it. There it is. Dawn looks out the window - DAWN Just the way I thought it would look. A forlorn expression crosses her face - Taylor looks grimly out the window - Just then Dawn begins to cry - Taylor faces her - DAWN What are we going to do? Taylor embraces her - she cries on his shoulder - TAYLOR Shhhh... Taylor holds her tightly, Dawn does the same as she cries - Taylor presses the side of his face against hers - TAYLOR Shhh... Slowly their faces get closer to one another - They pull back slightly and look at one another - Taylor wipes a tear from under Dawn's eye - He then gently kisses her forehead, then her cheek - They then look at one another for a beat - Then, very softly, they kiss - the kissing becomes more intense - they then stop and hug each other for dear life - DAWN I never thought this would happen. No premonitions, nothing. TAYLOR It did. It is. There's nothing we can do about that. DAWN Except write our wills. Taylor looks at Dawn for a beat - TAYLOR I'd like to do something before that. Dawn looks at Taylor, not quite sure what he means - Taylor looks directly into Dawn's eyes - TAYLOR Will you marry me? DAWN (Beat) Marry you? TAYLOR That's right. Will you marry me? Dawn looks at him for a beat - DAWN I would, but no one can perform the ceremony. I guess it doesn't matter. TAYLOR It would matter to us. They look at each other for a beat - DAWN In that case, I accept. TAYLOR Good. In that case, I pronounce us man and wife. Taylor and Dawn then kiss - Dawn wipes some tears away - DAWN What about a ring? Taylor looks around the room - he sees something - CLOSE on the half smoked corona sitting on the edge of a console - the BAND around it is still intact - Taylor removes the band and approaches Dawn - Dawn extends her hand and Taylor slips the ring on - TAYLOR It's all I could do on such short notice. The two look at each other gravely - then embrace as if for the last time - TAYLOR Let's go for a walk. Dawn looks at him - TAYLOR You know, for our honeymoon. DISSOLVE TO EXT MOON SURFACE - NIGHT Together in their respective space outfits, the two lone figures wander out on the magnificent vista - They stop and look ahead - They see Earth in the distance - DAWN Right now it's about 8 o'clock at home. People are going to work, kids are going to school... TAYLOR Try not to think about it. Dawn looks at Earth and lets out a long, forlorn sigh - Just then something catches her eye - she turns - DAWN Oh my God... Taylor look at her, then turns in the direction she's looking - POV a small CRAFT approaches from far away - TAYLOR Oh my God... The two begin to walk toward the direction of the approaching ship - Like little ants on the surface, we see Taylor and Dawn as they cross the barren landscape - The ship gets closer and closer - Taylor and dawn rush toward it - The ship gets closer and closer - soon a small WINDOW becomes visible - DAWN What is it?! TAYLOR I don't know. Wave to them! Taylor and Dawn begin flailing their arms - The ship gets closer and closer - soon the image of some PEOPLE in the window becomes visible - Taylor and dawn rush toward the craft, which prepares to make a landing - TAYLOR They see us! They know we're here! The ship's landing gear lowers, and a series of boosters position the craft for final landing - Taylor and Dawn continue to wave - The people in the window become visible - POV we see a SHIP'S CAPTAIN look at them and wave - Taylor and dawn wave back, elated - Then Taylor notices something in the window - he squints to get a better look, then his eyes widen - TAYLOR It can't be... POV we see MAC looking out the window - he sees Taylor and Dawn, and waves to them, smiling faintly - DAWN It is! The ship lands - Taylor and Dawn hug, jumping up and down - The door to the ship opens - Taylor and Dawn approach - a CREW MEMBER in a spacesuit greets them - CREW MEMBER Are you all right? Taylor and Dawn nod - CREW MEMBER Are there any others? Taylor looks back at the Star Princess, then back at the crew member - he grimly shakes his head "no" - The crew member gestures to the two - CREW MEMBER Come on aboard. Taylor and Dawn approach the door, and slowly enter the ship - The ship door closes - DAWN(V.O.) And so we were saved. The freighter found Mac floating through the void, quite by accident, and through this simple twist of fate two little people made it off the moon. The ship lifts off, and leaves the moon - The twisted wreckage of the Star Princess can be seen in the distance as the rescue ship ascends - DAWN(V.O.) Later we would find out the lifepod made it safely back to earth, where the adventures of Anna Koros and Warren Wayne became the tabloid story of the year. The ship turns and heads away - DAWN(V.O.) As for Ryan Taylor and me, we decided to stay married after all, although we got new rings. (Beat) But for the time being, it was time to head back to the comforting bonds of a small blue planet called home. The ship heads toward Earth - DAWN(V.O.) It never looked so beautiful. THE END Found on INFlow Screenplay Repository