episode # 101 written by: joe mallozzi paul mullie · episode # 101 written by: joe mallozzi &...

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Episode # 101

Written by:

Joe Mallozzi &

Paul Mullie

LOCKED PRODUCTION DRAFT

WHITE – November 27, 2014 Prodigy Pictures Television ©2014, All Rights Reserved

DARK MATTER EPISODE 101 WHITE 11-27-14

Cast

ONE TWO THREE FOUR FIVE SIX ANDROID KEELEY MIREILLE NASSAN

DARK MATTER EPISODE 101 WHITE 11-27-14

Locations EXTERIORS EXT. FOREST CLEARING

EXT. MINING FACILITY

• ALLEYWAY

INTERIORS INT. MARAUDER

INT. MINING FACILITY – COMMISARY

INT. SHIP

• ANOTHER STORAGE ROOM • BRIDGE • CORRIDOR A • CORRIDOR B • CORRIDOR C • CORRIDOR D • CORRIDOR E • CORRIDOR F • CARGO HOLD • INFIRMARY • FOUR'S QUARTERS • MARAUDER • MESS • ONE'S QUARTERS • STASIS CORRIDOR • STORAGE ROOM • TRAINING ROOM • VARIOUS CORRIDORS • UNDERBELLY

DARK MATTER Episode 101 WHITE 11-27-14 1.

TEASE

FADE IN:

1 VFX - SPACE 1

Establish. Vast. Desolate. We PAN the empty stillness,the distant stars, and come to SETTLE ON - a spaceshipfloating, listing awkwardly. PUSH IN to reveal - it hasbeen damaged and is venting atmosphere.

2 INT. SHIP - VARIOUS CORRIDORS 2

SWEEPING THROUGH the ship's interior - empty rooms andcorridors illuminated by emergency lighting only. Dark. Dirty. More Nostromo than Enterprise. An ALARM SOUNDS. Adisembodied voice warns -

DISEMBODIED VOICE (O.S.)Life support at fifteen percent.

But not a soul in sight.

3 INT. SHIP - STASIS CORRIDOR 3

The ALARM SOUNDS.

DISEMBODIED VOICE (O.S.)Life support at fifteen percent.

Steam vents from ruptured pipes. Sparks shower down fromthe overhead gak. We PAN DOWN a corridor. Suddenly, asectioned panel of the corridor slides up to reveal an uprightstasis pod, its contents opaque and obscured by a thick mist. It slowly dissipates to reveal -

A handsome man in his late twenties [ONE]. Boyish good looks. Eyes shut, dreaming, oblivious to the surrounding pandemonium,he stands in the roiling mist, wearing a simple t-shirt andpants. HOLD ON him. Beat.

Suddenly, his eyes flash open. The pod's shielding retractsand he collapses into the corridor -

ONE(gasps for breath)

He fights to catch his breath, then straightens and looksaround, panicked. Clearly, he has no idea where he is.

(CONTINUED)


3 CONTINUED: 3

He struggles to make sense of what the hell is going on. The ALARM CONTINUES TO SOUND. The disembodied voice informs: -

DISEMBODIED VOICE (O.S.)Life support at fourteen percent.

He pulls himself up and hurries down the corridor. PAN BACKTO a section of the wall. It slides up to reveal anotherupright pod. The thick mist inside dissipates, revealingits occupant: a beautiful, soft-featured woman [TWO].

4 INT. SHIP - VARIOUS CORRIDORS 4

He charges down the darkened corridor.

DISEMBODIED VOICE (O.S.)Life support at fourteen percent.

He slows, faced with a choice as the corridor branches leftand right. He hesitates, chooses right and presses on.

Up one corridor, down the next, he hurries, desperate andconfused.

5 INT. SHIP - CORRIDOR A 5

He hurries by, catching sight of a room in his passing haste. Beat. He doubles back, throws the room another look. REVERSETO REVEAL he is standing at the entrance to -

6 INT. SHIP - BRIDGE 6

A few seconds to take it in, then he hurries over to themain control panel and stares down at the darkened console.

ONEOkay...okay...

Then tries a button. Nothing. Slides a toggle. Nothing.

DISEMBODIED VOICE (O.S.)Life support at thirteen percent.

He flies into action, hitting buttons at random, slidingtoggles, touching everything in sight.

ONECome on...come on!

(CONTINUED)


6 CONTINUED: 6

Nothing. Frustrated, he slams his fist down on the consoleonce. Twice. He gives it a swift kick. Nothing. Suddenly,he catches something in his peripheral vision, turns -

And comes face to face with TWO - who delivers a blow to hissolar plexus, staggering him. She follows up with a flurryof kicks and punches. Clearly, she is a seasoned fighter. Just as obviously, he is not. She delivers a roundhousekick that drops him.

DISEMBODIED VOICE (O.S.)Life support at thirteen percent.

She heads over to the console, takes a couple of seconds tolook over the array and try to make sense of it.

Enough time for him to scramble to his feet and launch himselfon her. They both go down. He straddles, pins her. Theyare face to face.

ONEOkay, now that you got that out ofyour system -

Nope. She boxes his ears, flips him off, and jumps to herfeet. Hoists him up and sends him headfirst into the computerconsole. BANG. The console magically comes to life, lightingup with a ROLLING HUM.

DISEMBODIED VOICE (O.S.)Life support at twelve percent.

She studies the console. Hesitates. Suddenly, an epiphany. She hits a sequence of buttons, then glances up hopefully as -

The viewscreen lights up with a display of the ship's internalsystems turning back on. The ALARM DIES and we hear -

DISEMBODIED VOICE (O.S.) (CONT'D)Restoring life support.

Relieved, she drops herself onto on one of the bridge chairs. She glances down at ONE lying at her feet. He stirs, looksup at her, tests his bruised jaw and asks -

ONEWhat'd I do?

She shrugs -

TWOYou were in the way.

(CONTINUED)


6 CONTINUED: (2) 6

Suddenly, movement at the doorway causes them both toinstinctively reach for sidearms - they aren't packing.

A fellow stasis-tenant - late thirties, scarred, rough-looking[THREE] stands in the entranceway, a gun in each hand. Heevidently had them in the pod with him (which, we will cometo realize, says a lot about his character).

THREEWho are you?!

A second's hesitation, then simultaneously -

ONE/TWOI don't know.

ONE and TWO exchange confused looks, then look over at THREE.

TWOWho are YOU?

THREE slowly lowers his weapons, as the realization dawns -

THREEI got no idea.

And OFF everyone's confused looks -

END OF TEASE


ACT ONE

7 VFX - SPACE 7

The crippled ship still floating in space, no longer ventingatmosphere.

8 INT. SHIP - STASIS CORRIDOR 8

ON a muscular, bald, behemoth of a man [SIX], unconscious,in stasis. He stirs, opens his eyes. Beat. The shieldingslides back and he collapses onto the floor.

THREE (O.S.)Shake 'n wake, Tiny. Shake 'n wake.

He looks up, sees -

Five strangers standing over him: ONE, TWO, and THREE who wehave already met, FOUR (male, Asian) and FIVE (late teens,pixyish, female). THREE, still armed, has him dead to rights. Although we can glimpse SIX's stasis pod, the others areO.S. within the neighboring recesses.

ONEWho are you?

The big man pulls himself up, goes to answer - and hesitates. Beat. Then a look of dawning horror...

ONE (CONT'D)You don't remember, do you?

SIXNo.

ONEWell that makes six of us.

THREEHell.

THREE immediately loses interest and redirects his attentionto checking out the rest of the corridor.

SIXWhat's going on?

(CONTINUED)


8 CONTINUED: 8

THREE steps up to a door, slaps his hand on the scanner.

ONEWe don't know. We all woke up, justlike you. No memories. No idea whowe are or how we got here.

It slides open to reveal a storage room housing a multitudeof mystery crates. Lockers line the far wall.

THREEHey, check this out.

9 INT. SHIP - STORAGE ROOM 9

They follow THREE inside. As the others talk, THREE checkseach crate in turn. All are locked.

SIXWhat is this place?

ONEIt's a ship. And looks like we'redead in space.

TWO, who moves to check out the lockers, informs him -

TWOSystems were down and we were ventingatmosphere. I was able to bring usback on-line and initiate the ship'sauto-repair protocol.

SIXHow'd you manage that?

TWOI don't know exactly. I was standingthere at the console and...it justcame to me.

They all chew on that.

ONEWell that's a good sign.

Off SIX's look -

ONE (CONT'D)It'll all come back to us eventually,right?

(CONTINUED)


9 CONTINUED: 9

SIX isn't so sure.

TWOHey -

TWO holds up a jacket she rescued from one of the lockers.

TWO (CONT'D)If anyone's feeling underdressed...

FIVE(delighted gasp)

An animated FIVE joins her.

ONEFor now, we've named ourselves inthe order we woke up in. I'm One. She's Two -

Who is slipping on the jacket.

ONE (CONT'D)Three.

Who grabs a metal pipe and goes to work on one of the crate'slocks - CLANG! CLANG! CLANG!

ONE (CONT'D)Four.

Who hasn't moved from where he has been standing, stone-faced,arms crossed, surveying the others suspiciously.

ONE (CONT'D)Five.

Who is going through the assortment of pants, shirts, andjackets in the lockers - wide-eyed and jubilant, like a teenat a mall designer sale.

ONE (CONT'D)Which makes you Six. We, uh, savedyou for last.

SIXWhy's that?

ONEBecause you're the scariest-looking. No offense.

(CONTINUED)


9 CONTINUED: (2) 9

SIXI'M the scary one?

He glances over at - CLANG! CLANG! CLANG! - THREE goingape-shit on that crate -

THREE(grunting angrily)

ONE and SIX walk over to the lockers. They don outfits -But nothing in the way of a uniform. Beside them, TWO isstudying a couple of communication earwigs she has found. She puts one on. Tests it by blowing into the second. Informs the others -

TWOWe've got comms.

And proceeds to gather more from the other lockers.

SIXSo what do you figure? We the crewof a transport vessel on some sortof long-range haul?

TWOWould explain what we were doing instasis. Ship gets into trouble. Takes some damage. Systems shutdown. When life support hitscritical, hazard protocols kick inand we're automatically awakened.

SIXWouldn't explain the memory lossthough.

CLANG! Finally! THREE tosses the pipe aside and opens upthe crate. ONE asks him -

ONESo what are we shipping? Seeds? Meds?

THREEBetter.

He tips the crate, spilling its contents: a shitload ofweapons. He picks up one awesome big-ass gun. He grins.

THREE (CONT'D)Who wants?


10 INT. SHIP - CORRIDOR B 10

ON our crew stepping out into the dimly-lit corridor, dressed, armed, all sporting ear comms. THREE also totes the biggun. SIX has a shotgun-like weapon.

ON a fascinated FIVE, checking out a sidearm.

TWOI don't think so.

TWO snags it, takes it away. FIVE is bummed -

FIVEHey!

TWO leads the way.

TWOStay together. Try not to get lost.

She taps her ear comm.

TWO (CONT'D)And use these to keep in touch.

They head off in pairs - TWO and FIVE, straight along, ONEand FOUR head down one corridor, THREE and SIX down another.

SIX eyes THREE's assorted weaponry.

SIXExpecting trouble?

THREEHopin'.

He locks and loads. And they're off.


TWO approaches the console and considers. She reaches out,hits a button. Hesitates. Then presses two more - bringingthe ship diagnostic up onscreen. Rather than take a seat onone of the bridge chairs, FIVE hoists herself up onto one ofthe flanking consoles and watches.

FIVEAre you going to fix it?

(CONTINUED)


11 CONTINUED: 11

TWOI'm going to try.

FIVECan I help?

TWOI don't know. Can you?

FIVE shifts over for a closer look, triggering the consoleshe is sitting on, causing it to light up with a BUZZ. Shehops off in a panic. TWO crosses over and quickly hits abutton. The console goes dark. She throws a look over to -

FIVE, now sitting on one of the bridge chairs, sheepishlydrops her gaze.

FIVEGuess not.

TWO, amused, redirects her attention back to the main console.

12 INT. SHIP - CORRIDOR C 12

ONE and FOUR head down a corridor.

ONEShe says "it just came to her" whileshe was standing at that console butI did the exact same thing, tryingto figure out what buttons to push,and nothing came to me. How do youfigure that? Hell, how do you figureany of this?

(beat)No way of knowing how long we werein those pods. Could've been days,months - years maybe.

A stonefaced FOUR doesn't even acknowledge the comment.

ONE (CONT'D)Weird thing is it's not like ourminds've been wiped clean. If theywere, I wouldn't know what a podwas, or a year, or even be able toexpress myself. Language would betotally alien to us, right?

He throws FOUR a look, considers the possibility -

(CONTINUED)


12 CONTINUED: 12

ONE (CONT'D)You're about to blow my theory here.

FOUR ignores him, then stops. He glances down a branch inthe corridor. Considers.

FOURThis way.

He takes a right.

ONEUh, ok. Why don't you lead?

ONE follows.

13 INT. SHIP - CORRIDOR D 13

THREE and SIX head down another corridor -

THREEAll I'm saying is we don't know howlong we're going to be stuck here,so it'd make sense to choose a leader,someone who can make key decisionsfor the group.

SIXLemme guess. Someone like...you?

THREEWell not me necessarily, but somebodywho'll represent everybody's bestinterests. You know, somebody who'dhave final say in case there's evera disagreement.

(beat)I don't know. Could be me. Thatwhat you suggesting?

SIXNope.

They approach a double-doored entrance. SIX reaches out andruns his hand over a scanner.

THREEJust between us, if that was thecase, I could probably use a goodsecond in command.

(CONTINUED)


13 CONTINUED: 13

SIXUn huh.

14 INT. SHIP - MARAUDER 14

The two double doors slide open to reveal the interior of ashuttle. THREE and SIX stare in amazement.

SIXI'm calling this one.

15 INT. SHIP - TRAINING ROOM 15

The doors slide open and ONE and FOUR step inside, lookaround. The layout resembles a dojo - mats at the heart ofthe room, exotic-looking weapons lining the walls.

ONETraining room?

He steps up to an odd-looking, multi-pronged weapon -

ONE (CONT'D)Or torture chamber maybe.

Something catches FOUR's eye. He walks over and helps himselfto two katanas off the far wall. He assumes a fightingstance, carefully weighs the weapons, then tests them -attempting a couple of thrusts and slashes.

ONE, inspecting the weight-training equipment on the otherside of the room, warns -

ONE (CONT'D)Uh - you sure you know how to handlethose things?

FOUR pauses. He stands frozen, eyes fixed straight ahead. Shuts his eyes. Beat. And suddenly, launches into action:charging, turning, back-pedaling, leaping, ducking, as theblades whirl and sing around him, slicing through the air. He makes his way across the room in a remarkable display ofswordsmanship, lightning quick reflexes controlling the deadlykatanas in a blur of movement causing -

ONE to step back as FOUR closes and stops - katanas crossed,mere inches from a wide-eyed ONE who stares back at FOUR -

Who still has his eyes shut.

(CONTINUED)


15 CONTINUED: 15

ONE (CONT'D)I'm going to say - yes.

FOUR smiles, opens his eyes. He draws back the blades.

ONE (CONT'D)How'd you know how to get to thisroom? And how'd you know how to usethose?

FOUR, in the process of sheathing the two katanas, flingsone at ONE's head. ONE reacts, throwing up his hand to catchthe sheathed blade before it can strike him.

FOUR(presuming)

Instinct.

FOUR secures the other sheathed katana to his belt.


ON SIX, in the pilot's seat, looking over the console -

SIXI've got to take this thing for aride.

(beat)Wonder if I know how to fly it?

17 INT. SHIP - CORRIDOR D 17

THREE, who has seemingly lost interest, continues down thecorridor and peers through an open doorway into -

18 INT. SHIP - ANOTHER STORAGE ROOM 18

Another room stacked with crates and...something sittingalong the far wall.

THREE approaches and discovers what appears to be anotherstasis pod, this one lying flat on the floor. He leans inclose to peer inside, and suddenly the compartment LIGHTSUP, revealing -

A sleeping WOMAN sporting a barcode tattoo on her neck. THREE leans in, checking her out.

(CONTINUED)


18 CONTINUED: 18

THREEHello, sweetcakes.

THREE straightens, shouts back -

THREE (CONT'D)Hey, Tiny! Get over here!

Unbeknownst to THREE, the woman's eyes flash open.


FIVE sits in one of the command chairs, looking bored as TWOworks at the console. A light begins to flash on the consoleto her right. FIVE catches it.

FIVEWhy's that light flashing?

TWO glances over, then looks up at the viewscreen.

TWOThat's strange. The ship's computerjust initiated some sort of securityprotocol.


THREE comes sailing across the room and CRASHES into someboxes. He's down. The woman steps up and surveys him. Click. She turns -

And finds herself staring down the barrel of SIX's shotgun.

SIXHey there. Mind answering a coupleof hundred questions?

The woman moves, lightning quick, and slaps the gun out ofhis hand. SIX quickly draws his hand sidearm - has it slappedaway just as quickly. It all happens in a matter of seconds -WHAP-WHAP- then WHUMPF - as she delivers an open handed blow,slamming him against the wall.

He hits the ground, keys his ear comm -

SIX (CONT'D)This is Six! We need some help here!



TWO keys her ear comm.

TWOWhat's the problem?

SIX (OVER RADIO)We're under attack!

TWOBy who?!

No response.

TWO (CONT'D)Under attack by who - ?!

TWO enters a sequence, brings up a ship schematic. Hits abutton. A section flashes red. Keys her ear comm -

22 INT. SHIP - CORRIDOR C 22

ONE and FOUR are headed down the corridor. FOUR is armedwith a sheathed katana.

TWO (OVER RADIO)Anybody - ?!

ONE keys his ear comm, interrupting -

ONEWe heard! Tell us where to go.


TWO checks the ship's schematics, keys her ear comm -

TWOI can track your comms. Take thenext right.


ON a pile of equipment. Beat. SIX CRASHES into the mass. He winces, shakes it off, reaches over and grabs hold of abig metal instrument.

(CONTINUED)


24 CONTINUED: 24

He pulls himself up and brings the makeshift weapon downhard on his advancing opponent in an overhead two-handedstrike. It glances off the woman's upraised arm withabsolutely no effect. She shoves him - WHAM - up against acrate. SIX shakes it off, sees -

His opponent pick up a nasty, bladed instrument. And, asshe advances on him -

END OF ACT ONE


ACT TWO

FADE IN:

25 VFX - SPACE 25

The ship floating in space (re-use).

26 INT. SHIP - CORRIDOR E 26

ONE and FOUR charge down a corridor.

TWO (OVER RADIO)Left at the next intersection!

They hang a left -


The woman advances on SIX with the bladed instrument. SIXgrabs a piece of metal gak hanging overhead, brings it downto shield himself - CLANG - then rolls out of harm's way as -the impromptu weapon THUNKS into the crate behind him.


Onscreen, the ship's schematics. In the bottom right cornerof the screen is a second window with the flashing data:"PROTOCOL 352-7: INITIATED". TWO inputs a sequence. FIVElooks on with mild interest.

FIVEWhat're you doing?

TWOTrying to override a securityprotocol.

FIVEIs somebody going to die?

TWONot if I can help it.



SIX on the floor. The woman advancing on him, moving in forthe killing blow when suddenly - ONE and FOUR step in behindhim. ONE, clutching an oversized tool, swings and connects -

With such force that the woman staggers, drops her weapon. But she is otherwise unharmed. ONE is stunned. The womandelivers a blow that sends ONE hurtling back against the farwall.

SIX(roars)

SIX jumps up and pins his opponent's arms to her side with abear hug. The woman swings her head back, connecting withthe big man who releases his grip and collapses, out cold.

FOUR unsheathes his katana and launches a furious attack,sending the woman back-pedaling. The blade slices throughthe air - high, low, left, right - but FOUR's quarry isinhumanly fast, and manages to avoid every blow. Then shesteps in, disarming FOUR with a backhanded cuff, and grabshim by the throat. She lifts him off the floor.


TWO desperately trying to figure out the controls. She keysher ear comm -

TWOSome sort of security protocol'sbeen activated!


FOUR struggles, to no avail. His face is beet red. Hiseyes begin to roll back.

TWO (OVER RADIO)I'm trying to override it!

Suddenly, a katana WHOOSHES INTO FRAME and neatly severstheir attacker's hand at the wrist (VFX), releasing FOUR,who drops. The woman turns to face -

ONE who is now wielding FOUR'S sword. ONE takes anotherswipe but - the woman ducks the clumsy blow and delivers anuppercut, dropping him.

(CONTINUED)


31 CONTINUED: 31

ONE looks up at the woman standing over him. The stump ofher severed hand reveals not blood and bone, but SPARKINGcircuitry (VFX). She's an android. She reaches for ONE whoflinches. And, suddenly, freezes - and powers down. Hereyes go dark (VFX). Beat. ONE opens his eyes, looks around.

The android is frozen. SIX lies on the ground unconscious afew feet away. FOUR is also on the ground, gathering himself,clutching the severed hand. THREE is on his feet.

TWO (OVER RADIO) (CONT'D)Okay, I did it. Is everyone okay?

THREETook you long enough, doll.

32 INT. SHIP - INFIRMARY 32

SIX, and ONE are tending to their cuts and bruises. Theirandroid attacker lies on a bed, an overhanging diagnosticinstrument running repeated scans on her unconscious formand relaying the information to a computer station where TWOis studying the results. FIVE sits up on a table, perusingthe medical gadgetry.

THREE and FOUR walk in with boxes of multicolored dehydratedfood packets.

THREEWe found food!

The packets are distributed. SIX tears into one, takes abite. And immediately spits it back out.

SIXGah! You sure?!

He checks the packaging. THREE sinks his teeth into hispacket.

THREEClose enough. So what's with therobot?

TWOTechnically, she's an android. Herbio-synthetic physiology is verysimilar to that of our ship's outerhull.

(CONTINUED)


32 CONTINUED: 32

THREE(not so -)

Fascinating.

She motions to the monitor displaying a map of the androidbody. It is teeming with thousands of tiny nanites, many ofwhich have amassed at her now re-attached hand.

TWOShe's an extremely efficient entity. Corrector nanites have almost fullyrestored her damaged parts.

THREENot a problem. We'll just shove herthrough the airlock and space her.

TWOThat won't be necessary. I've deletedall of her security directives andre-established her base program. She's no longer a threat to us.

SIX, gingerly applying an ointment to a nasty cut on hishead, throws her a dubious look.

TWO (CONT'D)And she could prove useful.

ONEWhoa, whoa. We're not waking thatthing up.

TWOThe diagnostic suggests she possessessome sort of neural sync with theship's mainframe. Once she's backonline, she'll be able to run a moreeffective repair command, have usspace-worthy in no time.

Off everyone else's uncertain looks -

TWO (CONT'D)She may also have some answers forus...if anyone's curious.

The others exchange looks. THREE tosses SIX his big gun,ONE his back-up. They surround the android, weapons leveled.

ONEAlright. Start her up.

(CONTINUED)


32 CONTINUED: (2) 32

TWO inputs a sequence at the work station. Then she picksup a small electronic device, about the size of a flash drive.

She tilts the Android's head to one side, revealing an openingin her skull behind one ear. She inserts the device, andthe hole closes up (VFX).

The android opens her eyes. She tests her once-injured hand -clenching, unclenching, wiggling her fingers - surveying therange of motions with mild detachment.

ONE (CONT'D)What's your name?

ANDROIDI possess no personal designation.

SIXYeah, there's a lot of that goingaround.

ONEWhy'd you attack us?

ANDROIDI have no memory of any such attack.

TWOThe reboot must've wiped her datastores.

THREEWell ain't that convenient.

The Android sits up, causing everyone to step back, griptheir weapons a little tighter.

TWOI want you to initiate a neural linkwith the ship's computer. Can youdo that?

ANDROIDOf course.

The Android concentrates. Beat. She looks over at TWO. Next?

TWONow I want you to access any and alldata related to the passengers onboardthis ship.

(CONTINUED)



Beat.

ANDROIDNo such data exists.

ONEAnything in the ship's records aboutits crew, its mission?

The Android concentrates, searching the ship's database viaher neural uplink. Beat.

ANDROIDNo such data exists.

SIXHow's that possible?

TWOIt's not. This ship's programmingis highly sophisticated. There areredundancies in place to guard againstdata loss.

She informs them -

TWO (CONT'D)Someone must have deliberately deletedthat information.

Uncomfortable looks among the group -

33 INT. SHIP - CORRIDOR F 33

ONE, THREE and FOUR head down the corridor.

ONEIt wasn't necessarily one of us.

THREEThen who the hell was it?

ONEIt's a big ship, lots of places tohide. Maybe there's someone else onboard.

(then, considering)Although they'd have to know we'dfind 'em sooner or later, so I'm notsure what would be the point.

(CONTINUED)


33 CONTINUED: 33

THREEWe don't even know for a fact thateveryone's really lost their memories. Any one of us could be lying aboutthat.

ONENo, I don't think so. I woke upfirst - I saw that moment ineveryone's eyes...I don't think anyonewas faking.

THREE slows up, getting a thought.

THREEExactly how long WERE you awake beforethe rest of us came to?

ONE frowns. He looks over at the ever-inscrutable FOUR, whosimply stares back.

ONECouple of minutes, at most...why?

THREENo way to prove it, of course. Andno way for us to know what you werereally up to.

ONEWhat exactly are you trying to say?

THREE steps right up to him, stabs a finger in his face.

THREEIf one of us is responsible, yougotta be the number one suspect.

ONEThat's ridiculous.

But THREE doesn't budge. ONE turns to FOUR.

ONE (CONT'D)You could jump in here any time. Maybe say something about how weshould stick together, how fightingamongst ourselves isn't gonna solveanything?

FOUR simply turns and continues down the corridor.

(CONTINUED)



ONE (CONT'D)Chatty guy.

THREE glares at ONE, as if trying to decide if this is themoment for a confrontation - then seems to think better ofit. He leans in, but instead of making a hostile move, simplyhits the scanner on the wall behind ONE, opening the doornext to him. THREE looks inside -

What look like sleeping quarters: bed, bathroom, some personaleffects.

THREESleeping quarters.

He enters, starts poking around. ONE watches from the door,very much aware that he's on thin ice with this guy.


TWO steps onto the bridge. The Android follows.

ANDROIDMy neural link allows me instantaccess to the system from anywhereon the ship. Manual guidance is notonly unnecessary, it's inefficient.

TWOWe'll worry about that later. Fornow, I need you to run a fulldiagnostic and restore all systems.

ANDROIDVery well.

She stares off into space, concentrating.

TWONo.

The Android glances over. TWO motions to the console.

TWO (CONT'D)Show me.

Under her close scrutiny, the Android enters a sequence,initiating a full system diagnostic. Several screens cometo life with data read-outs. TWO tries to make sense of itall. Suddenly, her eyes narrow.

(CONTINUED)


34 CONTINUED: 34

TWO (CONT'D)What is that?

Indicating an undulating energy signature.

ANDROIDIt's a subspace transmission. Theship is broadcasting a distresssignal.


FIVE sits up on the bed once occupied by the Android, fiddlingwith a complicated-looking medical gadget. She flicks it onand off. It stays dark. As she talks, she proceeds to breakit down, studying its individual components, then reassemblingit while -

SIX searches the room's various shelves and cupboards.

FIVE (O.S.)What're you doing?

SIXLooking for something to treat aheadache.

FIVE, focused on the gadget, states matter-of-factly -

FIVEHeadaches can be caused by bloodvessel abnormalities or brain tumors.

He throws her a look.

SIXHow d'you know that?

She shrugs.

FIVEI don't know. I just...do.

SIX rifles through a compartment, finds some pills and studiesthe label while FIVE rattles off more random medical trivia -

FIVE (CONT'D)A tumor is a mass of cells thatmultiplies uncontrollably.

(MORE)

(CONTINUED)


35 CONTINUED: 35

FIVE (CONT'D)The human body creates twenty-fivemillion new cells every second. Andits kidneys process one hundred andeighty liters of blood every day.

SIX knocks back a few pills.

FIVE (CONT'D)Blood will spurt up to two meterswhen the carotid artery is severed. It's a very efficient killstroke.

He throws her an uncertain look.

SIXUh huh.

She snaps the last piece of the gadget back into place andflick it on. This time, it lights up. She is delighted.

FIVEYes!

36 INT. SHIP - STORAGE ROOM 36

FOUR steps in and scans the room, considering... Beat. Hethrows a quick look to the lockers, then walks over. Hepicks one, and opens it. It's empty. He puts his handinside, and knocks against the back of the locker. He pullshis hand out, and considers. Then he steps back, and shutshis eyes, concentrating. Beat. He opens his eyes, looksdown the line of lockers, and settles on one in particular.

He goes over, and opens it. Again, he reaches inside.

Again, he knocks on the back of the locker. It sounds hollow. He presses his fingers against it, and slides it asiderevealing a hidden niche and, inside the niche -

A small, ornate box. He is mesmerized by the sight of it.


TWO is on the bridge with the Android. Data flashes up onscreen.

ANDROIDThe ship appears to have takenmeteorite damage.

(CONTINUED)


37 CONTINUED: 37

TWOSo that's why we were ventingatmosphere.

ANDROIDOne of the forward relays was alsohit, causing a power surge thatdamaged multiple systems. It willtake some time to repair them all.

TWODo we have engines and navigation?

ANDROIDYes.

TWOWhat about weapons?

ANDROIDShip's weapons are down.

TWOThen let's make that our nextpriority.

ANDROIDAlright.

The Android closes her eyes to implement the next program.

TWONo. Show me.

The Android opens her eyes, enters a sequence at the console. TWO takes note. Suddenly, the console CHIRPS.

TWO (CONT'D)What's that?

ANDROIDAnother vessel has entered ourscanning range.

TWOWhat's their course?

ANDROIDThey're headed straight for us - butI don't believe they intend to renderassistance.

(CONTINUED)



TWOWhy not?

ANDROIDBecause they just launched missiles. Impact in sixty seconds.

Off a horrified TWO -

END OF ACT TWO


ACT THREE

38 VFX - SPACE 38

The ship sits quietly in the distance, against a backdrop ofbrilliant stars. Suddenly, two missiles STREAK PAST CAMERA,bearing down on their target.


The Android informs TWO.

ANDROIDImpact in fifty seconds.

TWO looks at a screen that shows two blips heading for theirposition.

TWOWhat can we do?

ANDROIDThe ship is equipped with variouscounter measures I can initiate.

She throws TWO a look.

ANDROID (CONT'D)Would you like me to show you?

TWOJust do it!

The Android shuts her eyes.

40 VFX - SPACE (MATTE) 40

The ship's engines come to life. It ROARS AWAY FROM CAMERA. Beat. Two missiles pursue.


ONE and THREE, heading down a corridor, hold up.

ONEHey, sounds like we got the enginesgoing.



The Android reports.

ANDROIDOne missile has lost our signal. The other is still tracking. Basedon our current acceleration, time toimpact is now forty seconds.

TWOWe can't outrun it?

ANDROIDI'm already pushing the engines pastmaximum.

TWOWhat about a jump to FTL?

ANDROIDWe don't have time to execute thenecessary nav calculations.

TWOOptions?

ANDROIDI can attempt further evasivemaneuvers, but at these speeds theymay overtax our artificial gravityand inertial dampeners.

TWODo it.

The Android concentrates.

43 VFX - SPACE 43

The ship dives like a speedboat going over a waterfall. Seconds later, the pursuing missile dives after it. (VFX)


The ship begins to shake.



ONE and THREE standing in the corridor.

THREEWhat the hell?

Suddenly, they begin to rise off the deck.

THREE (CONT'D)Whoa, whoa, WHOA!

46 VFX - SPACE 46

The diving ship suddenly pulls up hard. The missile is unableto make the turn quickly enough. It arcs away. (VFX)

47 INT. SHIP - CORRIDOR/BRIDGE/CARGO HOLD/INFIRMARY 47

QUICK SHOTS OF everyone dropping and landing hard around theship - with the exception of TWO who lands, cat-like, in athree-point stance. The ship is shaking violently now. ALARMS SOUND. Everything switches to red emergency lighting. Steam vents from ruptured pipes. The ship GROANS with thestrain.

ANDROIDCalculations complete. Jumping toFTL.

48 VFX - SPACE 48

Electrical arcing dances over the hull of the ship. Theship flashes out of existence.


BLURRED GREYNESS COMES INTO FOCUS to reveal a concerned SIXstaring down.

REVERSE TO REVEAL FIVE lying on the diagnostic table.

FIVEWhat happened?

FIVE on the table, SIX tending to her. The rest of the groupis present minus THREE and ONE.

(CONTINUED)


49 CONTINUED: 49

SIXWe lost gravity for a couple ofseconds there. When it came back,we all took a tumble. You crackedyour head on the way down.

FIVEI did?

She tests her injury.

SIXYou okay, kid?

FIVEI think so.

The door to the infirmary slides open and they are joined byTHREE and ONE.

ONESo, no idea who attacked us, or why?

TWONone.

THREEMaybe the robot had something to dowith it.

ANDROIDI have no intention of harming anyoneon this ship.

THREEYou almost killed me!

ANDROIDI have no memory of any such attack.

THREESo you keep saying!

SIXAlright. Calm down.

THREEAre you kidding me? I wake up acouple of hours ago not knowing whoI am or how I got here.

(MORE)

(CONTINUED)



THREE (CONT'D)I'm nearly killed by the ForgetfulRobot, almost blasted to scrag bysome mystery ship, and now I'mfloating in the middle of who-knows-where -

ANDROIDActually - we do know where. We'reon course for a nearby inhabitedworld.

They all look at her.

TWOWe are?

ANDROIDBefore we were attacked, I initiateda recovery program in an attempt tosalvage recently deleted oroverwritten data.

ONEYou can do that?

ANDROIDThe process is time-consuming andmost of the lost information isirretrievable. However, I havemanaged to restore some data.

THREEWhat kind of data?

ANDROIDThis ship's original destination. We should arrive in approximatelytwelve hours.

Off their looks -

50 VFX - FTL SPACE 50

The ship streaks through FTL (Faster Than Light).

51 INT. SHIP - UNDERBELLY 51

ON a metal ladder descending down to the ship's lower levels. THREE, still lugging the big gun, climbs down and drops.

(CONTINUED)


51 CONTINUED: 51

He takes a couple of seconds to look over his surroundings -

Darker, danker than the upper landing. Emergency bluelighting offers adequate illumination of the run-down zone. Creepy. THREE checks his big gun, then forges ahead.

52 INT. SHIP - FOUR'S QUARTERS 52

FOUR sits on his bed, staring down at the ornate box, anintricate construction of raised wooden symbols anddepressions. He picks it up, runs his figures along it. Hepushes one of the symbols. It slides up with a CLICK. Heslides over another. CLICK.

He considers, then randomly slides the various symbols - up,down, sideways - CLICK, CLICK, CLICK.

FOUR realizes. It's a puzzle. He scrutinizes the box...


FIVE lies on the diagnostic table, hands under her head,staring up at the ceiling. Off to the side, SIX sits on achair, feet up, munching away on one of the green-labeledfood packets.

SIXY'know the green ones aren't thatbad. They still taste like cropfertilizer, just not as much.

He throws FIVE a look. She continues to stare up at nothingin particular.

SIX (CONT'D)You sure you're okay?

FIVEYeah.

SIXStill don't recall hitting your head?

FIVENope. I just remember falling andthen blackness.

(beat)And the door.

(CONTINUED)


53 CONTINUED: 53

The memory comes as a revelation to her and she seemsgenuinely surprised by the recollection.

SIXWhat door?

She searches her memory, trying to bring it back -

FIVEIt's in a dark place...underneath.

54 INT. SHIP'S UNDERBELLY 54

THREE makes his way along, sidestepping timeworn equipment,ducking overhanging gak.

FIVE (V.O.)A big metal door.

Through the lurid blue light he spots something - a large,metal door. He steps up to it.

FIVE (V.O.) (CONT'D)They keep it locked. Always.

THREE tries the door. It's sealed. He checks out the console -different from the other door scanners we have seen. Thisone is bigger, more complicated, and has a key pad.

THREE presses a couple of random buttons, waves his handover the scanner. He tries the door again. Still locked.


SIXWhy? What's inside?

She looks at him.

FIVESecrets.


THREE steps back. Considers.

THREEFine. Be that way.

(CONTINUED)


56 CONTINUED: 56

Hefts up the big gun, aims it at the door, and fires -

Loosening an enormous ENERGY BLAST (VFX) whose concussiveforce knocks him back O.S. into the wall behind him. Theblast also causes a portion of the ceiling to give, raininggak down on him from above.

END OF ACT THREE


ACT FOUR

57 INT. SHIP - ONE'S QUARTERS 57

ONE is in the quarters he has selected for himself. He turns,looks over his shoulder toward the door - did he just hearsomething? He waits, but all is silent. He shrugs, goesback to what he was doing - opening drawers, and checkingout the nondescript contents: coins, a cup, a pair of glasses.

He carefully lays them out on the bed and studies them,holding each in turn, touching, considering. Like FOUR, heis attempting to jog his memory, hoping the personal itemswill offer a hint of some lost recollection. First the coins. Then, the cup. And finally the glasses. Nothing. TWO'svoice come over his ear comm -

TWO (OVER RADIO)Everybody pick a room and get somerest. We should be dropping out inten hours.

ONE sits down on the bed, clearly exhausted. He flops backdown, frowns. That didn't feel right. He reaches underneaththe pillow and pulls out -

A pendant with a curious sunburst symbol. Hmmm.

58 VFX - FTL SPACE 58

The ship flies through FTL (re-use)


ON FIVE, who has fallen asleep on the diagnostic table. Ablanket has been placed over her. PAN ACROSS to find SIXseated at the foot of her bed, also fast asleep, having neverleft her side.

60 INT. SHIP - FOUR'S QUARTERS 60

FOUR, asleep on his bed, clutching the ornate box to hischest.



TWO sits in the command chair, wide awake and staring deadahead out -

- One of the forward windows, watching the streaking stars.


ON THREE lying amidst the fallen gak. He stirs awake, wincesand sits up. His eyes go wide in disbelief.

THREEYou gotta be kidding me...

ON the big metal door and its console - completely unscathed.

THREE exhales, frustrated. For now, whatever secrets arebehind that door are going to remain just that: secret.

63 VFX - SPACE 63

Electrical arcing begins to appear and then, with a flash,the ship POPS back into normal space. PAN OFF to reveal thelarge, bright, curved horizon of a planet nearby.

64 INT. SHIP - ONE'S QUARTERS 64

ONE in bed and fast asleep. Something BUZZES. He remainsfast asleep. Again, something BUZZES. He shifts in bed,repositions himself. Someone pounds on the door. BANG! BANG! BANG! That does it. He gets up, goes to the door,and hits a button on the neighboring scanner. The door slidesopen, revealing TWO.

ONE stands there, shirtless.

ONEUh, hi.

TWOHello.

An awkward beat.

ONESo - what brings you by?

(CONTINUED)


64 CONTINUED: 64

TWOWhat do you think?

ONE isn't sure how to answer. He opens his mouth, but beforehe can respond -

TWO (CONT'D)We're about to enter orbit. You'reheading down to the planet to lookfor answers.

As she turns to leave, we WIDEN TO REVEAL ONE is in hisunderwear.

TWO (CONT'D)I suggest you wear pants.

He watches her go.


TWO looks on as ONE, FOUR, SIX, and the Android strap in. THREE comes in sporting a fresh cut on his forehead andlimping noticeably. SIX throws him a look.

SIXWhat happened to you?

THREEI roll around a lot in my sleep.

TWO informs them -

TWOWe tried communicating with whoever'sdown there but received no response.

ONECould be a tech issue.

TWOCould be a lot of things.

He tries to read her but her face betrays nothing.

TWO (CONT'D)Fly safe.

She heads out. ONE watches her go, intrigued - not just bythe attitude but the entire package. She disappears intothe corridor. The Marauder's back doors slide shut.


66 INT. MARAUDER 66

SIX has taken the copilot chair and looks on as the Androidpunches in a sequence on the console in front of her.

SIXThis ship have a name?

ANDROIDIt's a Phantom-class Marauder.

SIXMarauder. Nice.

67 VFX - EXTERIOR OF THE SHIP 67

A metal protective shell hinges open to reveal the shuttle,still parked on the hull of the ship, its back end attachedto a docking collar. Small maneuvering rockets fire and theMarauder disengages from the ship. It turns and flies off.

68 INT. MARAUDER 68

Everyone locks and loads.

ANDROIDThere's no reason to assume theinhabitants will be hostile.

THREENo reason to assume they won't.

69 EXT. FOREST CLEARING -- DAY 69

The ship sets down in the middle of a clearing (VFX).

70 EXT. MINING COMMUNITY - ALLEYWAY -- DAY 70

ON the crew, with the exception of the Android, trudgingalong.

ONERemember, we're just looking foranswers. We're not here to causetrouble.

Suddenly, movement all around them as -

(CONTINUED)


70 CONTINUED: 70

The planet's inhabitants, rough-looking miner types, stepout of hiding, armed with weapons. Our team have theirweapons trained, tit for tat. But they are outnumbered andsurrounded.

THREERemind me to tell that robot I toldyou so.

One of the camp's inhabitants, a bear of a man in his mid-thirties (NASSAN) breaks the silence.

NASSANWho are you? Why are you here?

ONEYeah, I was afraid those questionsmight come up.

Another inhabitant, a pretty woman in her mid-twenties(MIREILLE) points out -

MIREILLEThey're not Corporate Guard. Theycould be Hrothgar's people.

The other inhabitants exchange looks and EXCITED MURMURS.

NASSANDid Hrothgar send you?

SIXUh...maybe?

ONELook, we didn't come here to hurtanyone. Or get hurt.

SIXEspecially that last part.

ONESo why don't we just lower ourweapons...

He lowers his weapon, then looks over at his people - who dothe same. With the exception of THREE.

ONE (CONT'D)All of us.

THREE reluctantly lowers his weapon.


71 EXT. MINING FACILITY -- DAY (MATTE) 71

PAN off the trees to reveal a large area of the planet'ssurface that has been deforested, where a mining facilityhas been established. It covers several acres, with largewarehouses, smokestacks, cranes, gantries, barracks and thelike. It has a grimy, industrial feel, in marked contrastto the landscape around it.

72 INT. MINING FACILITY - COMMISSARY -- DAY 72

ONE, THREE, FOUR, and SIX sit at a table with Nassan,Mireille, and another inhabitant, KEELEY. They are enjoyingthe first real meal they've had in - well, longer than theycan remember. Nassan places more food on the table. Someof the other patrons survey them with mild curiosity.

NASSANYou say your ship was attacked?

ONEWell, we're not exactly -

THREERaiders. Came at us out of nowhere -disabled our engines, looted theship, and left us for dead.

ONE throws THREE a look. THREE ignores him.

KEELEYYou're lucky to be alive.

THREEWouldn't be if we hadn't managed torestore life-support. With our navsystems down, we were flying blindand got lucky when we picked up yoursettlement on our long-range scanners.

MIREILLEWell, you're welcome to re-supply,help yourselves to whatever you need. Then best be off.

ONE notices the pendant Mireille is wearing. It's identicalto the one he found on the ship.

SIXWhy's that?

(CONTINUED)


72 CONTINUED: 72

NASSANWe're expecting trouble.

KEELEYThis is an independent colony. Wepull enough quadrium out of the groundto get by, but we've never been ofinterest to any of the big multi-corps. That is until now.

SIXYou hit a big strike?

NASSANWe wish. It was a couple of FerrousCorporation geologists. They weresurveying the nearby asteroid belt. Apparently they found the motherlode.

KEELEYBut without a Hab-1 planet in thevicinity it would be too expensiveto extract. They need a place tohouse the miners, grow food, sourcefresh water.

SIXSomewhere like here?

KEELEYExactly.

ONEIt's a big planet.

KEELEYNot big enough so far as they'reconcerned. The multi-corps don'tlike to share planetary resources. It minimizes the risk of outsidersinterfering with their operations.

NASSANAs long we work this claim we havelegal title. But if we were to leave,or if anything were to happen tous...well, you get the idea.

Mireille catches ONE staring at her pendant. She flashes asmile.

(CONTINUED)



KEELEYThat's why you wanna be long gonebefore the Raza get here.

ONEThe Raza?

NASSANThey work as enforcers for the multi-corps. Clean up loose ends, troublespots - like us.

KEELEYThey're aliens - half-man, half-reptile, I heard, over seven feettall, with skin that burns to thetouch.

NASSANWe don't know that for certain -

KEELEYAlso heard 'em described as shadowsthat'll suck the very soul from yourbody if you're unlucky enough to seteyes on one of 'em.

NASSANThe fact is no one really knows whatthey are, because no one's eversurvived an encounter with them.

73 EXT. MINING COMMUNITY - ALLEYWAY -- DAY 73

ONE, THREE, FOUR and SIX, arms laden with supplies, followMireille and Nassan.

ONEIf these Raza really are as dangerousas you say, why don't you just leave?

NASSANYou don't get to a place like thisunless you've already run out ofoptions.

MIREILLEThis claim is all we have, and we'regoing to fight for it.

(CONTINUED)


73 CONTINUED: 73

SIXNo offense but it doesn't look to melike you've got the manpower or thefirepower.

NASSANWe scraped together all the funds wehad, sent one of our people off toscore a shipment of arms - the realthing, like the weapons you carry. Enough for every man and woman onthis settlement.

ONE stops and turns to him.

ONEA shipment? When is it supposed toget here?

NASSANAny day now.

MIREILLEIf it arrives in time, we'll givethe Raza more than they can handle,make Ferrous Corp reconsider.

ONE, THREE and SIX exchange looks. Beat.

THREEWell...good luck with that.

He heads off. FOUR follows. SIX hesitates, then with a nodto his hosts, he leaves as well. ONE motions to Mireille'spendant.

ONEThat symbol - does it hold any specialsignificance?

MIREILLEHrothgar gave this to me before heleft. He said it symbolized freedomin the face of oppression and thatwhen his people came to deliver theweapons, we would know them becausethey too would have the mark.

Off ONE, suddenly convinced he knows the truth about whothey are, and why they're here -

END OF ACT FOUR


ACT FIVE

74 INT. MARAUDER -- DAY 74

The Android sits in the pilot's chair, going through a pre-flight check, as ONE enters. The others have already takena seat.

ONEThis isn't right.

(beat)Am I the only one who heard whatthey said? A shipment of arms? Obviously we were meant to help thesepeople.

THREEWe don't know that.

ONEAnd the fact that we have a cargohold full of weapons - that's acoincidence?

THREEYou're forgetting one important detail -the soul-sucking lizard people whoare on their way to kill everyone onthis rock. You really wanna be herewhen they show?

ONEOkay, I admit, that part sounds bad.

SIXLet's table this discussion untilwe're back on the ship.

ONE bites his lip and slumps back down in his seat. SIXstarts her up.


FIVE is lying on the floor, working on the wiring underneathone of the consoles that has yet to be re-activated. TWOlooks on, arms crossed .

(CONTINUED)


75 CONTINUED: 75

TWOThe Android said that console wasfried. You really think you knowwhat you're doing?

FIVEWell, it's like you with the controls,or Four with his swords. For me,it's wires, circuits, fuses. I don'tknow why, but it just kinda makessense to me. Not like all the otherstuff.

TWOWhat other stuff?

FIVEI see things, in my head. Like,while I was sleeping, I saw a dream.

TWOOh yeah?

FIVEI was walking on the beach with mylittle brother. He was crying becausehe'd gotten lost, but I found himand was bringing him back to thepalace.

TWOThe palace? That sounds like a niceplace to live.

FIVEIt was. Until they murdered myfather, and then came for me. But Iwas too much for them. And eventhough I could've killed them, Ididn't. I just carved out theireyes and left them for my step motherto find. The bitch.

(then, sunnily -)I hope they're bringing back somereal food. I'm starving.

TWO looks back at FIVE, stunned.

TWOYou...carved out their eyes?

(CONTINUED)



FIVEWell, it was me in the dream, but itwasn't really me 'cause it wasn't mydream.

TWOWho's dream was it?

FIVEI dunno. But it was somebody's.

And, without a second thought, FIVE resumes her tinkering,leaving a stunned TWO to consider her words.

76 VFX - SPACE 76

The Raza in orbit.

ONE (O.S.)I'm telling you, we're supposed tohelp these people. The matchingpendants? It can't be a coincidence.

77 INT. SHIP - MESS 77

Everyone minus the Android has gathered around the table.

THREEAll I'm saying is even if that'swhat we were supposed to do, don'tmean we're going to end up doing it.

TWOWe still don't know what happened tous, or how we're going to get ourmemories back. And those weaponswould fetch a very good price on theopen market. The money would go along way -

ONEExcept they're already paid for.

THREEYou can't know that for sure.

SIXWhat I do know for sure is that thosepeople WILL die if we don't helpthem.

(CONTINUED)


77 CONTINUED: 77

FOURThey're already dead.

Everyone throws a look to a hitherto silent FOUR.

THREEThere you go. He don't say much butwhen he does, he makes a good point.

FOURIf their enemy is even half aspowerful as they believe, they don'tstand a chance.

ONEThe least we can do is give them afighting chance.

THREENo, I'm pretty sure the least we cando is nothing. Which, for the record,is what I'm suggesting.

TWOAlright. Let's put this to a vote.

THREEFine. I say we keep the weapons,sell 'em off, and use whatever wemake to stay alive and figure thingsout.

FOURAgreed.

ONEI say we do what I know we came hereto do: complete the delivery.

He looks at SIX, who considers for a moment, then -

SIXHe's right. I say we help thosepeople.

FIVE smiles sunnily up at SIX -

FIVEMe too. I want to help those people.

THREEWait a minute! She can't vote.

(CONTINUED)



FIVEWhy not?!

THREEShe's a kid.

SIXShe's a member of this crew.

TWO(sighs)

Do we really have to have a vote todecide whether she gets a vote?

All eyes on THREE. Beat. He raises his hand.

THREEI vote against her voting.

He looks around. No one, not even FOUR, is with him on this.

THREE (CONT'D)Seriously?

Miffed, he lowers his hand.

THREE (CONT'D)Fine. Her vote makes it three totwo. What do you say, boss lady?

TWO considers for a couple of seconds, then -

TWOSet half the crates aside. The restgo down to the surface.

The decision has been made. But, clearly, THREE doesn'tlike it.

END OF ACT FIVE


TAG

78 INT. SHIP - CORRIDOR D/MARAUDER 78

ONE, FOUR and SIX are transferring crates into the Marauder. THREE is seated on a crate, back to another, a mere spectatorto the goings-on. He looks on as ONE hunkers down to pickup one of the smaller crates -

THREEMake sure to lift with your back totake the pressure off your knees.

ONEYou know what would take the pressureoff my knees? You helping out.

THREEI feel that'd be kinda hypocriticalof me given the way I voted and all.

ONEI wouldn't worry. I don't thinkit'd be possible for us to think anyless of you.

THREEGood to know.


TWO and FIVE enter the bridge. The Android is at the console,surveying a stream of onscreen gibberish: indecipherabledata, a screenshot of a man we'll come to know as TABORCALCHEK.

FIVEWho's that?

ANDROIDI don't know.

The screenshot comes to life, a garbled video that staticsin and out.

ANDROID (CONT'D)The file is corrupt.

(MORE)

(CONTINUED)


79 CONTINUED: 79

ANDROID (CONT'D)(beat)

This has been a difficult and tediousprocess. However, I have managed torecover a sizable data cache.

TWOLet's see it.

ON TWO. As the O.S. information flashes by in front of her,her expression changes. Confusion. Shock. Then - horror.

80 INT. SHIP - CORRIDOR D/MARAUDER 80

They finish loading the Marauder. Several crates remain.

ONELooks like we're going to have tomake two trips.

TWO (OVER RADIO)I need everyone on the bridge.

ONE keys his ear comm.

ONEWhat's the matter?

TWO (OVER RADIO)Just get up here.

They exchange confused looks, head out.


They all join the Android, TWO AND FIVE on the bridge. TWOand FIVE look shell-shocked.

ONEWhat's going on?

TWOThe Android managed to recover asignificant amount of data relatedto this ship and its passengers.

SIXThat's good. Isn't it?

(CONTINUED)


81 CONTINUED: 81

The Android cocks her head. The information flashes uponscreen:

A candid image of THREE accompanied by a name, "MARCUS BOONE",and a litany of charges: "MURDER, ASSAULT, KIDNAPPING,PIRACY".

Then an image of SIX accompanied by a name, "GRIFFIN JONES",and a list of offenses: "MURDER, ASSAULT, SMUGGLING,TERRORISM".

Then an image of ONE, accompanied by a name, "JACE CORSO",and a litany of charges: "MURDER, ASSAULT, KIDNAPPING,TRAFFICKING, THEFT".

Followed by an image of FOUR accompanied by a name, "RYOISHIDA" and the charges: "MURDER, ASSAULT, PIRACY".

And a surveillance image of TWO accompanied by a name, "PORTIALIN", and her list of offenses: "MURDER, ASSAULT, ARSON,THEFT, PIRACY".

As their true identities flash by onscreen, TWO informs them -

TWOTurns out the Raza aren't a race ofaliens. "The Raza" is the name ofthis ship.

(beat)We didn't come here to help thesepeople. We're here to kill them.

And OFF everyone's stunned expressions we -

FADE OUT.

END OF SHOW

episode # 101 written by: joe mallozzi paul mullie · episode # 101 written by: joe mallozzi &...

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