e18
Space Jacked
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)
190
....
Jack
Mick Nolan
....
Mr. Bohm
Ciara O'Callaghan
fa0
....
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
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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
Yea
fa0
h 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 -
190
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
lik
fa0
e 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?
TA
190
YLOR(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
fa0
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 th
190
e 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.
Delbe
fa0
rt 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,
190
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
fa0
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
190
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 colla
fa0
pses 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 t
190
alking 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
fa0
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.
190
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
fa0
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
190
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...
fa0
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 -
190
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 ap
fa0
proaches -
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 -
DA
190
WN
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
Op
fa0
en 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 t
190
o
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 caref
fa0
ully -
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
190
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 ascendin
fa0
g 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
190
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 -
T
fa0
AYLOR
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
Yo
190
u 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 se
fa0
lects 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 t
190
o 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
D
fa0
elbert, 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.
190
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
fa0
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...
190
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 ye
fa0
ah...
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
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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 communic
fa0
ator - 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 Ba
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rnes -
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 LIF
fa0
EPOD - 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
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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 serie
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s 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
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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 s
ed4
till 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
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