Bright stars pepper the black background. Tactical Transport
Ship STAR-TRACER/2 glides silently through space. We fly in
through a window into
INT. STAR-TRACER/2 SLEEP CHAMBER
SLEEP PODS fill the room, lined in rows like caskets. Green
lights blink.
FEMALE (V.O.)
Dreams. So many dreams. Like thick
molasses they are, flowing slowly.
Unseen planets, moons and stars,
left behind in the wake of a
bright, blazing light called
StarTracer/2
CUT TO:
INT. ENGINE ROOM
A HYPER DRIVE blazes with incessant energy.
FEMALE (V.O.)
Powered through infinity by the
most precious substance in the
universe -
Soladar...
An accidental treasure discovered
by a deep space probe, it fuels
everything from watches to
starships. But its origin remains a
closely guarded secret.
DISSOLVE TO:
EXT. SUBURBAN NEIGHBORHOOD - DAY
LEGEND: YEAR 2106
Typical residential neighborhood, except all the houses are
destroyed. Most are only a burned out foundation. An
apocalyptic scene. Streets with huge craters, burned cars,
downed trees.
CARLA CAIN (32), pretty, short black hair, stands on a
sidewalk facing one of the destroyed houses. A blue,
futuristic CAR is parked on the street.
CAIN (V.O.)
The streets are empty. Nothing has
changed; the neighborhood scraped
away like the inside of a ripe
pumpkin, its pulp laid bare,
scattered with abandon. No one has
moved back. No one has rebuilt,
even though the radiation never
reached this far from the city.
Twenty-five years since that
horrible day. I swore I’d never
revisit, but the threads of memory
always pull me back.
CLOSE-IN on her face. A single tear.
CAIN (V.O.)
RED DAY.
A moniker coined by a blogger in
Ohio. A stupid name for a war that
lasted half a decade.
She looks back across the street at another burned-out home.
CAIN (V.O.)
Across the street, the Carroll
home, where Tom and Pete had lived,
my tortuous neighbors who would
forever be eight years old, their
home destroyed in a flash, with
remains that now looked at the
world through skeleton eyes.
She turns and walks to her car.
CAIN (V.O.)
Twenty-five years of therapy and
the memories are still alive - of
the fires, the smells, the terrible
vibrations from the bombs that fell
on that warm summer day.
DISSOLVE TO:
Genres:
["Science Fiction","Drama"]
Ratings
Scene
2 -
Sibling Rivalry and Sudden Danger
3 INT. CAIN HOUSE, TEN MILES FROM SEATTLE - DAY 3
LEGEND: Twenty-Five Years earlier
CARLA CAIN (7) and her older brother NOAH (16) sit on the
basement floor, each adorned with V.R. headsets, fingers
wrapped around controllers. Carla swings her controller
wildly, eyes ablaze with excitement.
NOAH
Slow down! You need to look before
you shoot! You just killed two good
guys!
Carla frowns, though Noah can’t see her.
CARLA
How do you know they're good guys?
Maybe they're just dressed up like
good guys!
NOAH
They had blue uniforms!
CARLA
You think you're smarter than me!
NOAH
If I didn't know better, I'd say
you just like to kill stuff.
Carla laughs and pulls off her headset. Noah does the same.
CARLA
I want some cookies.
They head up the stairs.
4 INT. CAIN HOUSE, KITCHEN - DAY 4
Noah pulls down the box of cookies from the shelf, his brow
furrowing as he watches Carla, who is teetering on her
tiptoes, trying to pour milk from the carton. He darts
forward to steady her.
NOAH
Careful! Don’t want a milk tsunami
on the floor!
Carla giggles, a glint of mischief in her eyes, as she pours
a perfectly measured glass.
CARLA
Look, Noah, I didn't spill a drop!
NOAH
Nice, Car!
They sit at the kitchen table.
CARLA
When's Mommy and Daddy coming home?
Noah glances into the living room at an old grandfather’s
clock.
INSERT ON CLOCK: 4:05. It ticks rhythmically.
NOAH
About an hour. It takes a long time
to get out of the city.
CARLA
(in sing-song voice)
Too much traffic, too much
traffic...that's what Daddy says.
What is too much traffic?
NOAH
That just means lots and lots of
cars.
Carla nods. This answer seems to satisfy her.
The ticking of the clock seems louder, almost ominous.
CARLA
Can we play some more StarCrash?
Noah gets up and walks over to her, ruffles her hair
affectionately, and Carla giggles.
NOAH
You like that game too much!
Carla crosses her arms, a determined look on her face.
CARLA
I'm gonna be a Space Ranger when I
grow up.
She jumps out of the chair and takes a shooting stance,
aiming her imaginary gun all around.
NOAH
Yeah right.
CARLA
I am! You'll see.
NOAH
You definitely are NOT going to be
a Space Ranger. I don't think
that's even a real thing. Anyway,
Daddy says you’re going to college
and be a computer scientist, or a
doctor, like Mom.
CARLA
I don't want to be a stupid
doctor...
5 INTERCUT: EXT. SEATTLE - CONTINUOUS 5
A MONSTROUS FIREBALL ERUPTS, devouring the skyline. Silence.
Then—AN EARTH-SHATTERING ‘BOOM’. The fireball morphs into a
roiling MUSHROOM CLOUD, clawing at the heavens.
The ground HEAVES. Car alarms WAIL.
6 INT. CAIN HOUSE, KITCHEN - CONTINUOUS 6
The sound of the explosion stops Noah and Carla. Noah slams
his chair back and runs to the living room window.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
3 -
Innocence Amidst Chaos
7 INT. CAIN HOUSE, LIVING ROOM - CONTINUOUS 7
THROUGH THE WINDOW: Noah sees the MUSHROOM CLOUD over the
city. What appears to be a HEATWAVE RIPPLES the very air.
CLOSE-IN ON NOAH: His breath hitches. Eyes dart —
calculating, terrified. Behind him, Carla clutches a
STARCRASH ACTION FIGURE to her chest.
THROUGH THE WINDOW: In the city, TALL BUILDINGS TURN TO FIRE
AND CRUMBLE. Carla is now practically on top of Noah, leaning
over, trying to see.
CARLA
Noah!
Noah spins. Sees her — small, lost. A FAMILY PHOTO on the
wall VIBRATES, their parents’ smiling faces blurred by
motion.
The house SHAKES VIOLENTLY. Kitchen cabinets fly open behind
them, and dishes crash to the floor.
Carla screams. Noah wraps his arms around her.
A WHISTLE SCREECHES overhead. They FLINCH. Explosions sound
close by.
THROUGH THE WINDOW: Noah jerks his head and looks down the
street in the other direction. Less than a block away, a
house has been demolished, and is on fire.
NOAH
Holy shit. That's the Carrol house!
His head is shaking.
NOAH (CONT’D)
Can’t be happening!
Carla’s choked SOB snaps him back. He scoops her up, her
STARCRASH toy digging into his ribs.
CARLA
What? What?
Another WHISTLE, and suddenly a house three doors down,
across the street EXPLODES in an ENORMOUS FIREBALL. The
dining room window implodes and Carla screams again.
Noah picks up Carla and races to the front door. The family
photo shatters.
Noah grabs Carla, opens the door and steps outside.
SMASH CUT TO:
Genres:
["Sci-Fi","Drama","Action"]
Ratings
Scene
4 -
Fleeing the Flames
8 EXT. CAIN HOUSE/NEIGHBORHOOD - CONTINUOUS 8
Noah sets Carla down.
NOAH
We have to get away from the house!
I don't know what's going on.
Noah staggers into sulfurous air. Down the block—a NEIGHBOR’S
HOUSE VAPORIZES.
Carla BURIES her face in his neck, her toy SPARKING where
embers singe its plastic helmet.
Noah wraps her in his arms. Looks up. The skies are nearly
black. Smoke wafts in around them.
He blinks, can’t even register what is happening. His face
shows the desperation and panic. He kisses the top of Carla’s
head. It’s his job now to protect her.
NOAH (CONT’D)
(gasping)
Oh, my God. Just keep moving!
Another ominous WHISTLE, and the house one door down,
IMPLODES IN FLAMES.
The concussion wave almost knocks them both down. Debris
rains down. Trees fall across the road. Cars on fire. The air
filled with smoke. The sounds of explosions are deafening.
Water shoots into the air from broken hydrants.
Carla SHRIEKS. Noah is stunned. Doesn’t know what to do.
He grabs Carla's hand and bolts down the street, jerking her
along, running frantically away from the exploding houses.
ADULTS and CHILDREN are in the street, screaming, crying, all
racing in different directions. Hard to hear over the
explosions.
Noah and Carla dodge and weave around the debris. Carla is
crying uncontrollably.
CARLA
Mommy! Daddy!
NOAH
Come on, baby. Keep running. I'm
sure they're fine.
CARLA
Where are we going?
BOOMING SOUNDS behind them, and off in the distance, in other
neighborhoods.
They stop. Noah looks around. The middle of the street
disintegrates in a MONSTROUS FLASH. The neighborhood is on
FIRE.
NOAH
The Gleasons! The Gleasons have a
storm cellar!
CARLA
(still crying)
What's a storm cellar?
NOAH
It's like a basement under the
ground. Come on!
Ash and debris fall constantly.
Genres:
["Sci-Fi","Drama","Action"]
Ratings
Scene
5 -
Separation in Chaos
9 EXT. GLEASON HOUSE/STORM CELLAR - CONTINUOUS 9
Noah pulls Carla into the yard of a big, white house, their
breaths ragged, clothes smudged with ash. The air reeks of
burning wood and molten metal. Distant screams pierce the
thunderous BOOMS of collapsing buildings.
They sprint through a splintered gate into the backyard. The
ground trembles beneath them—a relentless drumbeat of
destruction.
In the middle of the yard, fifty feet from the house, the
storm cellar yawns open. SEVERAL PEOPLE scramble inside,
elbows jabbing, voices raw with panic. A child’s wail cuts
through the chaos.
Noah grips Carla’s shoulders, his voice steady but urgent.
NOAH
Get as far in as you can. The very
back, ok?
She clings to him with all her strength, still holding her
action figure.
CARLA
No! Don't leave me!
A low, unnatural HUM swells in the distance—like a freight
train barreling through the sky. Noah’s eyes dart toward it,
then back to Carla. A heartbeat of hesitation. He pulls her
into a crushing hug.
NOAH
I'll be right there. I'm just gonna
help some of these people get in. I
love you, Car. Now get to the very
back, you hear! No matter what
happens, you stay strong, Car. Stay
strong.
He pushes her to the ladder.
NOAH (CONT’D)
I’m right behind you. GO!
Carla turns, her small hands gripping the ladder rungs. The
HUM crescendos—
SUDDENLY...
A DEAFENING EXPLOSION. The world WHITEOUTS. A MASSIVE
CONCUSSIVE WAVE HITS Noah, hurling him backward. The cellar
door SLAMS SHUT with a final, metallic CLANG.
Carla’s scream is swallowed by the roar of the inferno.
CUT TO:
Genres:
["Science Fiction","Drama"]
Ratings
Scene
6 -
Emergence from Despair
10 INT. STORM CELLAR - HOURS LATER 10
Explosions have stopped. Miraculously a single light still
burns in the cellar, illuminating a hundred people in a space
meant for twenty. A MAN climbs up the ladder and pushes the
cellar door open, letting in fresh air.
MAN
(looks back down)
I think it's ok. I think it's ok to
come out now.
Carla is sitting on the floor, staring at the wall, her knees
bunched up to her chest, clutching her action figure. A LADY
picks her up and sets her on the ladder.
LADY
Go on, honey. It’s ok.
She climbs up the ladder.
11 EXT. GLEASON HOUSE/STORM CELLAR - EVENING 11
Carla emerges from the storm cellar, her eyes wide with shock
and fear. The once-familiar neighborhood lies in ruins,
houses flattened and debris littering the streets.
CARLA
NOAH!
She runs out of the backyard and into the street. Smoke still
hangs in the air. She stares in silence, hugging her toy.
Makes her way down the street to her house. It’s no longer
there, just a pile of rubble.
Eerily, she spots a picture frame. Picks it up, turns it
over. CLOSE-IN on photo of her family.
12 EXT. NEIGHBORHOOD - CONTINUOUS 12
FROM ABOVE:
Carla collapses in the middle of the street crying, curling
into herself like a leaf.
We pull out further.
The city in the background; the MUSHROOM CLOUD still hanging
in the air, buildings toppled, SMOKE AND FIRE.
In the distance, PLANES stream across the sky like insects.
DISSOLVE TO:
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
7 -
Operation Capture: Mars Dusk
13 EXT. PLANET MARS - DUSK 13
LEGEND: TWENTY-FIVE YEARS LATER
Lieutenant Carla Cain lies prone on Mar’s stark, rusty
surface, which looks like eerily like the Nevada desert. Her
golden SPACESUIT reflects the sun. She stares at a small
mining operation in a shallow crater, a hundred meters away.
CAIN
What do you think, Noah?
NOAH (V.O.)
(In her head)
I think you just like to kill
stuff.
CAIN
Not this time, brother. If they
don’t put up a fight, they’ll live.
Five Rangers form a half-circle to Cain’s rear, some also
prone, others hidden behind small boulders. Because of the
terrain, there is no closer cover.
The Rangers are TECHNICAL SERGEANT FRED ‘PACE’ PACERELLI,,
second in command; CORPORAL VALENTINA PEREZ, SERGEANT NATE
WILLIAMS, CORPORAL JAYDON ABLOR, and SERGEANT HECTOR
GONZALES.
The Rangers are quiet, awaiting her command.
In the night sky, Earth hangs like a tiny pinprick of light,
the moon barely visible.
In the distance, across the sprawling landscape, a storm;
tall clouds of red dust, swirling ominously, charging the sky
with flashes of electric blue lightning, illuminating the
landscape. Luckily for her team, it looks to be at least
several hours away.
She turns her attention back to the mining operation.
CAIN POV: A display on her helmet shows it’s a balmy minus
ten degrees Celsius. Her iris adjusts the readouts; she zooms
in to 10X. The infrared view flickers eerie greens, revealing
a medium-sized mining ship, robotic loaders, and laser
drills.
Cain touches the side of her helmet, activating the comms.
CAIN (CONT’D)
Ok, boys and girls. I count only
eight miners. No offensive
capability visible. No drones.
ABLOR
How you want to do this? Remember
last time when we thought they
weren’t armed and we almost got our
asses kicked.
PACE (O.S.)
Good point, LT. Could be a trap.
This causes a pause. Cain senses the nerves.
CAIN
Intel has been good so far. So we
play it as we go.
WILLIAMS
What do you think they’re mining?
GONZALES
Copper, lithium...maybe nickel
PACE
I don’t see any markings on the
ship.
CAIN
Intel said Chino-Rusk.
PACE
Figures.
CAIN
Pérez, take two dogs around to the
east side, watch the doors. Anybody
comes out, let the dogs go. Place
the EMP charge, then find cover.
PEREZ (O.S.)
Roger, LT.
Pérez slips from behind a rock and trots a wide arc around
the mining site. Two robotic dogs run beside her, Maser
cannons mounted on top.
CAIN
Masers on EMP only. On my command,
we bum-rush these idiots, fast and
furious. Pace, you guys ready?
PACE
Always
CAIN
Perez?
PEREZ (O.S.)
In place.
CAIN
Ok, I want the miners down and
secured in five minutes. As soon as
Pérez blows the EMP charge, we take
the ship. Nobody dies, got it? Not
us, and not them either. On my mark
- GO!
She and Ablor bolt into the crater. Pace, Williams and
Gonzales off to her right, all converge on the mining site.
Thirty meters from the first drill, Cain fires her Maser,
dropping two miners who convulse on the ground. Ablor quickly
dispatches two more with precision.
Cain reaches the immobilized miners, ripping communication
lines from their helmets and zip-tying their hands. As she
does, her team captures the remaining miners swiftly.
CAIN (CONT’D)
Perez, blow the charge
After a momentary WHOMP, the ship goes dark.
Pace and Williams place additional EMP charges on the drills
and the loaders. A moment later, the equipment dies. They
meet with the rest of the team at Pérez’s position.
PACE
Time for the dogs.
Cain smiles. So far, so good. Noah would have been proud.
Pérez gives a command, and one of the mechanical dogs races
up the ship’s ramp to the main doors. Its MASER CANNON
charges with a high hum and fires an invisible pulse. The
doors turn red hot, then explode inward.
CAIN
A ship this size should have only a
dozen crew. Try to take as many as
you can alive. Kill only if you
have to. I mean it.
They all charge into the ship.
LATER
Cain’s team, solid and united, marches the crew out,
containing any threats.
CAIN (CONT’D)
Great job everyone. Pace, you and
Perez hang back and search for any
intel. I’ll pick you up in an hour.
NOAH (V.O.)
Nice, Car. You don’t always have to
be a badass.
She chuckles.
CAIN
I’m trying. I’m trying.
MONTAGE: Cain and the rest of her team march the prisoners
across the surface to a medium sized tactical ship with the
marking AC20 on the side, and load them in.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
8 -
Joyride on Mars
14 EXT. SPACE ABOVE MARS - NIGHT CONTINUOUS 14
As she lifts off the surface, Cain looks back across Mar’s
wide expanse.
CAIN
You still down there, Granddad?
The AC20, a sleek combat vessel, glides toward the massive
mothership, HORUS, its metallic hull glinting under the
distant sun. Inside the cockpit, Cain grips the controls, her
eyes flickering between the nav-screen and the looming
mothership. A quiet sigh escapes her lips.
She guides the ship into the HORUS loading dock with
practiced ease
15 INT. HORUS LOADING DOCK - CONTINUOUS 15
She sits in the AC20 while a security team escorts the
prisoners off the ship, then one turns and gives her the
‘thumbs up’. The loading dock door closes behind them.
She powers up the AC20, then blasts off, back down to the
surface. She lands near the mining ship.
16 INT. AC20 - NIGHT CONTINUOUS 16
Pace and Perez climb aboard and sit in seats directly behind
the cockpit.
CAIN
You find anything?
Pace waves a small pouch.
PACE
Two Cleardiscs. Bet they are full
of intel. Can’t wait to go through
them.
She fires up the engines. The ship lurches upward, climbing
to just a thousand meters before stabilizing. Outside, the
Martian expanse stretches — endless rust-colored dunes under
a dusky sky.
CAIN
You guys up for a short joyride?
Perez chuckles.
PEREZ
On Mars? Not a lot to see, but
sure.
PACE
They got a Seven-11? I could use a
beer.
CAIN
You and your beer.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
9 -
Echoes of Mars One
17 EXT. MARS - DUSK - CONTINUOUS 17
The nose of the ship dips, then speeds off, dropping down to
five hundred feet off the surface.
THROUGH THE WINDOW: The storm is still far off. The ship dips
down into a large crater, then shoots back out, past large
boulders.
Within minutes, they fly over a small mountain range and down
into a valley. The remains of ten structures come into view.
They are METAL FRAMES with a REFLECTIVE MATERIAL draped over
them. Most are destroyed, partially buried in the red sand.
Cain slows and sets the ship down.
18 INT. AC20 - DUSK - CONTINUOUS 18
Cain stares out the window. CLOSE-IN on her face.
NOAH (V.O.)
Car, you sure you want to do this?
She drops her eyes, then looks up.
PACE
What is this place??
CAIN
MARS ONE. My grandfather worked as
a scientist in the program. He came
with the first team.
PACE
Never heard you mention him before.
What was he like?
Cain's gaze falters, a shadow crossing her face
CAIN
I never met him. Two months after
setting up, a large storm wiped the
place out. He didn’t make it back.
PEREZ
I read about this. MARS TWO, about
ten years later, used hardened
bubble units that were half-buried.
CAIN
My aunt found some of my granddad’s
notes where he originally
recommended bubble shelters, but
NASA thought it would take too long
to construct and there was a race
with the Chinese to set up the
first colonies.
PACE
Sorry, LT. I guess if they had
listened to him, he might still be
alive.
Cain unstraps, stands, and registers the crumbling structures
beyond the window.
THROUGH THE WINDOW: Of the ten structures, only two look
halfway intact.
CAIN
I want to take a look.
The radio clicks. The commander of the Horus, MAJOR DRESDEN.
MAJOR DRESDEN (O.S.)
(Over comms)
What’s your status, Lieutenant?
CAIN
Just wrapping up sir. A few more
minutes.
She clicks off.
CAIN (CONT’D)
Need to make this quick. There’s a
storm coming and we need to be gone
before it hits.
PEREZ
I’m coming too.
PACE
I want to see what’s in those
buildings.
19 EXT. MARS - DUSK - CONTINUOUS 19
The trio climbs out of the ship, Mars's rust-red ground
crunching beneath their boots. The eerie silence is
punctuated only by the hum of the wind.
CAIN
I’ll check this one while you guys
inspect the other one.
PEREZ
Uh, Lt? We’re not going to find
bodies, are we?
CAIN
No. The Chinese retrieved the
bodies for us and brought them back
a year later.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
10 -
Echoes of the Past
20 INT. DESTROYED STRUCTURE #1 20
THROUGH CAIN'S POV: The first building looms, outwardly
mundane — metal peeling, dust swirling, like ghosts
whispering secrets.
Cain steps inside the structure. The air is thick with dust,
motes swirling in the slanted light from the cracked ceiling.
The silence is oppressive—no wind, no hum of machinery, just
the crunch of debris underfoot.
The remnants of a lab: countertops stand like tombstones,
binders strewn like fallen leaves. She picks one up, brushes
off the red dust. ON THE COVER: BOTANIST LOGBOOK.
CAIN
So, you were building a greenhouse.
You should see the ones we build
now.
Nothing else really to see. She takes a last look around,
then heads outside.
PACE (O.S.)
(over comms, gently)
LT, was your grandmother named
Martha?
Cain freezes. A flicker of something—recognition,
dread—crosses her face.
CAIN
What?
She shuffles over to the other building entrance. Pace stands
there holding a broken picture frame. The glass is cracked,
but the photo is intact. He offers it to her like a relic.
PACE
Found it in the back. She kinda
looks like you.
CLOSE ON PICTURE: A vibrant young woman smiles up at the
camera. Inscribed at the bottom in cursive: "My Beloved
Martha."
Cain takes the frame, her breath catching. She traces the
words.
CAIN
It’s my grandmother. This must have
been where my grandfather worked.
Where did you find this?
Pace points to the back.
PACE
There’s an overturned workstation.
He puts an arm around her.
PACE (CONT’D)
Crazy, huh? What are the odds of
finding this?
She stands frozen, then pulls away. Weaves her way through
the rubble and kneels next to the workstation. Everything
covered in dust.
A binder on the ground says: SCIENCE DEPT. DAILY LOG.
She picks it up and fans it open. A single piece of paper
flutters out. She grabs it before it hits the ground. It is a
letter.
CLOSE ON LETTER: Dated the day the storm hit.
CAIN (V.O.)
My dearest Martha...
Moisture wells in her eyes. She swallows hard.
CAIN
(whispering)
You were sitting here when it hit.
How did you even...?
She looks back at the photo, then to the letter.
CAIN (V.O.)
It’s only been two weeks, and my
heart misses you.
(MORE)
CAIN (V.O.) (CONT'D)
Thank God for modern technology. I
couldn’t survive if I couldn’t see
your face in our weekly videos. But
we will start....
The letter ends. She looks at the photo again. Folds the
letter and takes it, along with the photo, back to the AC20.
21 INT. AC20 - DUSK - CONTINUOUS 21
Cain slides into the pilot’s seat. Perez and Pace exchange a
glance but say nothing. She starts the turbines, the hum
filling the silence.
She glances a last look at the site, then keys the mic.
CAIN
Horus, returning to the ship. Will
dock in sixteen minutes.
The AC20 lifts off. Through the window, the ruins grow
smaller, swallowed by the red horizon.
CUT TO:
Genres:
["Science Fiction","Drama"]
Ratings
Scene
11 -
Shadows of Soladar
22 INT. CAIN’S QUARTERS ON HORUS 22
Cain sits at her desk in the dim glow of a HOLOGRAPHIC
SCREEN, her face etched with shadows. Propped on the desk is
her STARCRASH ACTION FIGURE, dirty, singed. The screen
flickers with a NEWS BROADCAST:
NEWSCASTER (O.S.)
...twenty years since the ‘war to
end all wars.’ Yet as the
Federation parades in Paris,
questions linger. Was Soladar worth
the lives lost?
Cain’s jaw tightens. A beat of heavy silence. Her eyes drift
to a PHOTO tucked under her keyboard — the faded image of her
family.
She pulls out a crumpled newspaper clipping: ‘Was The Fight
For Soladar Worth It?’ Her thumb traces the byline — ‘Timothy
Albrandt’.
She traces the words, her expression unreadable. The
NEWSCASTER’s voice continues, distant.
NEWSCASTER (O.S.) (CONT’D)
In other news, the International
Federation announced today that
communications with the
StarTracer/1 spaceship carrying
nearly two thousand passengers
bound for Titan have been lost.
Preliminary theory: a solar flare
disabled the ship.
CAIN
(softly, barely audible)
Another colony ship...
She taps the screen. A website loads: THE SOLADAR CONSPIRACY
FORUM. Her eyes flicker across headlines:
- Colonists Are Being Sacrificed for Soladar. The TRUTH!
- Where is Soladar Mined? SECRETS REVEALED!
Her breath hitches at the BYLINE: TIMOTHY ALBRANDT. She taps
his name. A new article appears:
23 "TIMOTHY ALBRANDT, REPORTER, FOUND DEAD. FOUL PLAY 23
SUSPECTED."
CAIN
What did you know that got you
killed?
Before she can read further—the DOOR BUZZES. Cain quickly
slides the papers into a folder. The door opens. PACE enters,
carrying two beers. He’s a mountain of a man, shaved head,
but his smirk is easy.
He glances at the folder. Hands her a beer. Walks over and
sits on the bed. She pulls her chair up near him.
He reaches over and squeezes her knee. She places her hand on
his, an intimate moment.
Pace points at the folder.
PACE
Still at it, huh? You’ve got a
thing for Soladar.
CAIN
Not quite the word I’d use.
If your whole family were killed
over that ‘thing’, you might be
more interested too.
PACE
Touché.
CAIN
Another colony ship was lost.
PACE
You’re kidding. When?
CAIN
StartTracer/1. It was just on the
news.
PACE
How in the hell do you lose a whole
ship?
CAIN
SysNet’s buzzing. Some think they
weren’t lost—they were sent
somewhere. To mine Soladar.
PACE
You know how crazy that sounds?
CAIN
Maybe, but behind the wild tales,
there’s usually some truth. Two
ships in five years, Pace. And
Timothy Albrandt, the guy who wrote
the article, turned up dead last
week. Murdered.
Pace exhales, runs a hand over his head.
PACE
Next you’ll tell me you believe in
little green men on Mars.
Sardonic smile.
CAIN
Well, we know that’s not true.
We’ve been there.
PACE
You know what I mean. Besides,
anything about Soladar is
classified. You need to be careful
digging.
A silent moment of understanding passes. Cain's steady gaze
contradicts Pace’s lightheartedness.
CAIN
I spent my whole life trying to
understand why my family was taken.
It never fades...so I won’t stop
digging. Not yet.
Pace’s eyes are wary. Cain’s turns back to the screen.
CUT TO BLACK.
Genres:
["Sci-Fi","Drama","Mystery"]
Ratings
Scene
12 -
Burden of the Stars
24 EXT. MILITARY BASE - DAY 24
A high-angle shot reveals the sprawling AIMS International
Space force Base, Texas. Several SPACESHIPS sit on
launchpads, their hulls gleaming under the sun. TRACTOR UNITS
crawl like ants, hauling a MASSIVE STARSHIP toward its pad.
LEGEND: AIMS INTERNATIONAL SPACE FORCE BASE, TEXAS
A line of COLONISTS—men, women, children—boards the ship via
a ramp. Their faces are a mix of hope and exhaustion. ARMED
GUARDS monitor the process.
25 INT. AIMS SPACEPORT HEADQUARTERS GENERAL KELLY’S OFFICE - DAY
GENERAL HANK KELLY (61), a granite-faced man with steel-gray
hair and four stars glinting on his shoulders, stares out the
floor-to-ceiling window. His reflection shows the weight of
decades. The HUGE SPACECRAFT outside dwarfs the tractors.
A KNOCK. BRIGADIER GENERAL KATERINA PLATT (50s), blonde hair
tight in a bun, enters, her boots clicking.
GENERAL PLATT
(flat)
Two busloads left, then we’re
clear.
Kelly continues staring at the colonists.
GENERAL KELLY
I wonder if they’d volunteer, if
they knew.
Platt stiffens. A beat.
GENERAL PLATT
What if we’d never found SOLADAR?
Kelly finally looks at her.
GENERAL KELLY
We wouldn’t be able to travel half
the speed of light without it, and
explore outside the solar system.
GENERAL PLATT
There also wouldn’t have been a
world war, and we wouldn’t need a
Space Ranger force galavanting
across the cosmos, taking out
illegal miners.
GENERAL KELLY
Russia should never have gotten
their hands on the stuff. Our
security was lax back then.
GENERAL PLATT
We’ve tightened things up
considerably since the breach
GENERAL KELLY
Just make sure the coordinates are
altered before hypersleep.
Platt exhales, regret flashing. She softens.
GENERAL PLATT
We’ll talk tonight.
Kelly doesn’t respond. Outside, the SHIP’S ENGINES WHINE to
life.
CUT TO BLACK.
26 EXT. AIMS SPACEPORT HEADQUARTERS - DAY 26
LEGEND: One Month Later
Cain’s FUTURISTIC HOVER CAR glides to a stop. She steps out,
pausing to stare at the building - her grip tight on her bag
(where the photo and letter weigh heavy).
Genres:
["Science Fiction","Drama"]
Ratings
Scene
13 -
Unanswered Questions
27 INT. GENERAL KELLY'S OFFICE - CONTINUOUS 27
She knocks on the door. Waits a beat, then enters.
General Kelly rises, smiling—but it doesn’t reach his eyes.
He hugs her, clapping her back.
GENERAL KELLY
Carla. Hell of a job on the mining
op.
Kelly studies her, then gestures to the chair. She sits, back
rigid. He retreats behind his desk.
CAIN
Thank you sir. It went off without
a hitch.
GENERAL KELLY
You look tired.
CAIN
(Ignoring it)
Found something on Mars. My
grandfather’s workstation.
She pulls out the PHOTO, slides it across the desk. Kelly
picks it up. His thumb brushes Martha’s face—nostalgia,
guilt?
GENERAL KELLY
Martha. You have her smile.
CAIN
(Leaning in)
There was a letter too. Half-
written. Dated the day of the
storm.
Kelly’s jaw tightens. He sets the photo down carefully.
GENERAL KELLY
I was supposed to be on that
mission. But then the war...
CAIN
(Cutting in)
The war changed everything. Why
have we lost two colony ships?
Kelly’s eyes flick to the door—checking it’s closed.
GENERAL KELLY
(Low warning)
Carla.
CAIN
(pressing)
You knew Grandad. Would he have
thought Soladar was worth it?
A loaded silence. Kelly exhales, rubs his temple.
GENERAL KELLY
Your aunt Jeni in Colorado has been
asking about you.
Cain stands abruptly—chair screeches. Kelly flinches. She
takes the photo off the desk.
CAIN
(cold)
I’ll file my mission report
tomorrow.
She turns to leave. Kelly’s voice takes on a more ominous
tone.
GENERAL KELLY
Some questions don’t have answers.
Cain stops, doesn’t look back.
CAIN
Or some people won’t give them.
GENERAL KELLY
Carla, no more talk about Soladar
and lost ships. That’s an order.
The door CLICKS SHUT.
CUT TO:
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
14 -
Mission Preparation on Europa
28 EXT. DEEP SPACE 28
TACTICAL TRANSPORT SHIP HORUS drifts into view, moving toward
the moon of a planet so large it fills the sky.
LEGEND: EUROPA, ONE OF JUPITER’S MOONS. SITE OF ILLEGAL
MINING OPERATIONS
In the distance, the sun shines brightly, lighting the far
side of the moon. This side of EUROPA is dark. The moon
appears to have some type of atmosphere.
29 INT. HORUS COMMAND CENTER 29
Enormous screens fill the front, showing star systems,
tracking systems, coordinates. Besides the commander, Major
Dresden, there are two navigators and two communications
specialists in the room.
A hatch opens in the belly of the HORUS and an AC20 drops and
blasts off to the planet.
31 EXT. EUROPA/AC20 - NIGHT 31
The AC20 sweeps toward the surface. The planet is mostly rock
and ice. The ship slows and turns. Jets fire when it's fifty
feet from the surface. The ship slowly sets down.
32 INT. AC20 COCKPIT - NIGHT CONTINUOUS 32
CAIN shuts down the power, taps her STARCRASH ACTION FIGURE,
which is velcroed to the console, then quickly moves out of
the cockpit toward a dark gray armored rover filling the back
bay of the ship.
33 INT. ROVER - NIGHT CONTINUOUS 33
In the rover are PACE, who sits in the rover’s driver’s seat.
Corporal Perez, CORPORAL THOMPSON, and SPECIALIST MARKS, sit
in drop seats, all holding tightly to their MASER REPEATING
RIFLES.
Cain grabs her MASER and helmet, then straps in.
CAIN
A little frosty out there. You guys
ready?
PACE
Won’t feel a thing with these new
suits, LT. Warm as Earth
PEREZ
Still a little creepy to me, with
billions of nanobots crawling all
over my body.
MARKS
I’m happy to crawl all over your
body, Perez.
PEREZ
In your dreams.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
15 -
Tensions on Europa
34 EXT. AC20/EUROPA - NIGHT CONTINUOUS 34
The rear ramp of the ship opens wide, releasing a gust of icy
wind. The rover rolls down the ramp, lights illuminating the
glistening, icy surface of Europa. A sense of foreboding
hangs in the air as the rover turns, its wheels crunching
softly against the frost.
35 INT. ROVER - NIGHT CONTINUOUS 35
Everyone’s quiet. Perez bounces her knees. Cain checks the
grenade launcher attached to her Maser.
PEREZ
(breaking the silence)
Wonder what they’re mining?
MARKS
I heard it was Soladar.
PACE
Bullshit. Where did you hear that?
MARKS
(shrugs)
Just what I heard.
THOMPSON
I heard some ships were lost mining
the stuff.
CAIN
Cut out the conspiracy crap.
THOMPSON
Seriously! We fought a fucking
world war over the stuff. Nobody
even knows where it comes from. If
that ain’t a government conspiracy,
I don’t know what is.
CAIN
I lost my family in the war, so
just shut it, Thompson.
A moment of silence, the weight of her words hanging in the
air. She runs a hand through her hair, her resolve building
but sadness creeping through her stoicism.
CAIN (CONT’D)
Just focus on the mission. No
conspiracies. We’re here to do a
job.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
16 -
Tension on Europa
36 EXT. EUROPA/OUTCROPPING - NIGHT CONTINUOUS 36
The rover GROANS to a halt beside a LARGE BOULDER, its
engines HISSING as they power down. The back hatch WHIRRS
open, releasing a plume of frozen breath from the Rangers as
they spill out. They crouch behind the rock, their suits
humming with suppressed energy. Cain and Pace join them,
their helmet displays casting eerie blue reflections on the
ice.
Cain’s voice tight.
CAIN
The bad guys probably know we're
here, so we keep 'em pinned down
long enough for Pace to circle
around and set the charges. Pace,
you ok going alone?
PACE
No problem. Coordinates locked.
CAIN
Alright. Go! Good luck.
Pace melts into the shadows, his figure swallowed by Europa’s
jagged terrain.
Cain exhales, frost curling on her visor. She toggles her
display—a flicker of infrared overlays the darkness.
CAIN (CONT’D)
Ok, heads-up display. Make sure
you're set to infrared. Marks, you
and Thompson go right. Me and Perez
will go left. Hold fire unless
fired upon.
In addition to the outcropping, boulders litter the
landscape.
The Rangers MOVE, boots CRUNCHING on frost-crusted rock. The
landscape is a maze of boulders, the air THICK with the
distant WHINE of laser drills. Cain’s display ZOOMS IN:
CAIN’S POV—A massive MINING SHIP looms, surrounded by
scattered equipment.
SHOVELS, LOADERS, and three PULSING LASER DRILLS idle,
unmanned. Behind each, FIGURES crouch—rifles glinting.
CAIN (CONT’D)
(Softly)
I count fourteen hostiles, three
drills running, no operators. Looks
like they're all armed and waiting
for us. No intel on how many are
inside the ship. Pace? You copy?
PACE (O.S)
(comms)
Roger, Leader. Two clicks out.
Circling wide, around the back.
Give me five, then you can start
the fun.
CAIN
(to the three Rangers)
Safeties off. Masers to kill. We’re
the distraction—buy Pace time.
THOMPSON
(grunting)
Could’ve just sent a memo.
PEREZ
(Smirking)
Where’s the fun in that?
Cain’s grip tightens on her weapon. A shared glance with
Perez—a flicker of understanding. This isn’t just another op.
CAIN
Ok, standby.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
17 -
Retreat Under Fire
37 EXT. EUROPA/OUTCROPPING - NIGHT CONTINUOUS 37
PACE (O.S.)
(through comms)
Almost there, boss. Do your thing.
CAIN
Alright, here we go. Keep it tight.
Assume they have infrared too. So
keep your head down, but make
plenty of noise. Watch your ammo!
The teams SPLIT, weaving between boulders, the mining ship’s
lights casting long, skeletal shadows.
Suddenly the MINERS start FIRING. All hell breaks loose, the
CRACK of gunfire echoing across the desolate landscape.
Rounds ping all around them, kicking up dust and chips of
rock.
Cain leans out from behind the rock, sights in on a miner
behind a loader. She fires a single shot and the miner falls,
his body crumpling to the ground.
Marks and Thompson FIRE GRENADES, hitting some of the
equipment, causing several miners to run. As soon as the
miners step out of cover, Cain and Perez take them out with
precise shots.
38 EXT. MINING SHIP - NIGHT CONTINUOUS 38
The equipment still runs, the DRILLS WHIRRING and GRINDING
against the ice. The NOISE reverberates along the ground,
LOUD HUMMING NOISES. Two grenades land near one of the drills
and BLOW IT UP, sending shards of metal and ice flying.
Several miners scramble for new cover, coughing in the acrid
smoke.
The main hatch of the ship opens, and TEN ADDITIONAL ARMED
SECURITY GUARDS rush out and down a ramp, their boots
CRUNCHING on the frozen surface. The guards take up positions
behind various pieces of equipment and fire back, their
WEAPONS CHATTERING. It's a full-blown gunfight.
Marks takes out another guard, then Cain fires a grenade that
explodes near two other guards, their AGONIZED SHOUTS
swallowed by the chaos.
CAIN
(into comms)
What's your status, Pace?
PACE (O.S.)
Almost there.
Random firing continues from the guards. One round ricochets
off Thompson's helmet.
THOMPSON
Fuck!
CAIN
Careful, boys.
Marks leans out and suddenly a ROUND hits him square in the
helmet putting a HOLE right through his head. He pitches
forward, dead.
THOMPSON
Goddamn! Goddamn! Marks is down!
Thompson switches to automatic, stands up and starts strafing
the area. He fires several grenades.
CAIN
Thompson!
Thompson is HIT several times in the chest, and is BLOWN back
to the ground.
CAIN (CONT’D)
PACE! Tell me you're done. Getting
hot here.
PACE (O.S.)
Charges set! Heading out.
Cain slaps Perez on the back, her features hardened by the
losses. Perez strafes the area, her lips pressed into a thin
line. They both stare over at Thompson and Marks, their
fallen comrades.
PEREZ
Oh man...we gonna leave 'em?
CAIN
For now. No choice. Ok, double time
back to the rover.
Cain and Perez pull up and start weaving their way back
across the field while rounds hit everywhere, the sound of
BREAKING ICE and SCREECHING METAL filling the air.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
18 -
Determined Rescue
39 EXT. EUROPA/ROVER - NIGHT CONTINUOUS 39
Cain and Perez reach the rover and climb inside, their faces
etched with grim determination. A minute later, Pace rounds
the boulder and dives inside. Cain's knuckles tighten around
the steering wheel as she slams the rover into gear, the
vehicle lurching forward.
40 INT. ROVER - NIGHT CONTINUOUS 40
Cain drives at near maximum speed, the rover jerking and
bumping over the rocky terrain. Perez braces herself, her
expression tense.
CAIN
(keys mic in rover)
Horus, this is Cain. Prep for lift-
off. We have casualties.
DRESDEN (O.S.)
(over comms)
Roger, prepping for immediate lift-
off.
Cain drives at near maximum speed. The rover jerks and bumps
over the rocky terrain.
41 EXT. AC20/EUROPA - NIGHT CONTINUOUS 41
The ramp is down on the AC20, engines are turning.
The rover runs up the open ramp into the ship. The ramp
closes quickly.
A minute later, the ship's thrusters fire and the AC20 lifts
off the planet.
42 INT. AC20, COCKPIT - NIGHT CONTINUOUS 42
Cain pilots the AC20 to 10,000 feet, then turns, thrusters
firing so they’re nearly hovering in place. She presses a
button on the console.
43 EXT. ABOVE EUROPA - NIGHT CONTINUOUS 43
Down on the surface of the planet, the mining ship ERUPTS IN
A FIREBALL.
44 INT. AC20, COCKPIT - CONTINUOUS 44
MAJOR DRESDEN (O.S.)
(over comms)
Lieutenant Cain. Return to the
Horus and prepare to dock.
CAIN
(over comms)
Sorry, Major. Just lost two of my
boys. I'm not leaving them behind.
Going back in for retrieval.
MAJOR DRESDEN (O.S.)
(Over comms)
Negative, Lieutenant.
(MORE)
MAJOR DRESDEN (O.S.) (CONT'D)
That will put your remaining team
at risk. Return to-
Cain reaches up and switches off Dresden in mid- sentence.
CAIN
I'm setting down real close. There
are still hostiles. So stay alert.
I'll lay down fire while you two
get Thompson and Marks.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
19 -
Survivor in the Shadows
45 EXT. EUROPA/AC20 - NIGHT CONTINUOUS 45
The AC20 descends, its engines roaring against the crushing
silence of Europa's night. It hovers, casting a harsh light
on the wreckage of the mining ship—a smoldering hulk, like a
ghost of a battle long fought.
The back hatch of the rover opens and CAIN, PACE, and PEREZ
spill out like shadows.
CAIN’S POV: She flips down her visor, engaging the heads-up
display. The night air is cold and acrid, tinged with the
scent of burnt metal.
CAIN
No heat signatures; just the ship.
Move! Move!
Pace and Perez rush and grab Thompson and Marks and throw the
bodies over their shoulders, then quick-step back to the
AC20.
CAIN’S POV:
She sweeps the area once more, her pulse quickening. A faint
flicker—a heat signature off near the wreck.
CAIN (CONT’D)
Hang on, guys. I’m picking up
something. Going in for a closer
look.
Cain dances her way from boulder to boulder, closer and
closer to the burning ship.
CAIN’S POV: A body lies prone near a tangle of equipment.
It's not moving.
Cain approaches, breathing heavily, a mix of fear and steely
determination coursing through her.
Just twenty feet away, she switches off her infrared,
revealing a WOMAN in a gray spacesuit, dirtied and battered,
but—thankfully—moving, groaning softly.
CAIN (CONT’D)
Ok, got a live one. Perez, get over
here and help me.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
20 -
A Somber Farewell
46 EXT. EUROPA/AC20 - NIGHT CONTINUOUS 46
Perez jumps out of the ship and runs to where Cain is. They
lift the woman’s body and bring her back to the ship.
47 INT. AC20 - NIGHT CONTINUOUS 47
Perez and Pace look at the three bodies lying on the floor of
the ship. Perez places a hand on Marks' body.
PEREZ
(whispers)
You idiot. Why didn’t you keep your
head down?
Cain steps into the cockpit.
CAIN
Ok, guys. Time to go.
PEREZ
Marks wasn't married, but Thompson
is...was. And he has a kid.
CAIN
They were both good soldiers. I'll
make sure they get funerals with
honors.
CAIN (CONT’D)
(Keys the mic)
Major Dresden, bodies retrieved,
plus one prisoner. Returning to
Horus. Need two body bags in the
dock.
48 INT. HORUS LOADING DOCK - CONTINUOUS 48
Thompson and Marks are zipped into black, PLASTIC BODY BAGS,
placed on GURNEYS and wheeled away. Perez follows, her head
hung low. The deaths are hitting her hard.
MEDICAL TECHNICAL SERGEANT TRAN, along with a GUARD, loads
the prisoner, who still hasn’t regained consciousness, onto a
third wheeled gurney.
CAIN
I need to talk to her as soon as
she comes around.
TRAN
Will do, Lieutenant.
Tran wheels the gurney away.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
21 -
Reflections in the Quiet
49 INT. CAIN’S QUARTERS ON HORUS - CONTINUOUS 49
Pace slumps into a chair, exhaling heavily. Cain moves to a
small fridge, pulls out two beers, and tosses one to him. She
kicks off her boots, then pauses—eyes lingering on her
STARCRASH toy, lying on the desk. A beat.
She turns away, yanks off her grimy shirt and pants,
revealing a tank top and shorts beneath. Practically
stripping right in front of him, like it's no big deal.
Pace takes a sip of beer, and stares.
PACE
Shit, LT. That’s cruel and unusual
punishment.
She smiles and slips on a pair of sweats and a T-shirt.
She takes a long pull on the beer.
CAIN
I don’t know what raw Soladar looks
like, but none of those guys had
radiation suits on. It looked like
a tritium operation to me.
PACE
They use tritium for Soladar
shielding, I think.
Cain’s fingers drift to a LOCKET at her throat. Flick it
open—inside, a tiny photo of NOAH. Closes it.
CAIN
Maybe, but the point is, it wasn’t
Soladar being mined. Wonder where
Marks heard that?
PACE
I didn’t know your family was
killed in the war. All of them?
Shake of the head. She looks down. Fingers a locket around
her neck.
CAIN
Parents. My brother, Noah. Long
time ago. A lot of people lost
loved ones.
PACE
How did you make it out?
A look that says ‘you’re poking old wounds’
PACE (CONT’D)
Sorry.
Time to go. He stands, puts the empty beer bottle on a table.
Cain comes over and pulls him into an embrace.
CAIN
I don’t know what I would have done
if it had been you today.
Pace lays his face on the top of her head, his hands on the
small of her back.
PACE
Never gonna happen, LT.
He pulls back, gives her shoulder a squeeze, looks at the
action figure on the desk.
PACE (CONT’D)
(chuckles)
You still take that everywhere.
CAIN
For good luck.
Pace leaves. Cain sinks onto the bed, locket clutched in her
palm. Eyes shut. The room hums with silence—
BUZZ! The INTERCOM shatters the moment.
INTERCOM (V.O.)
Lieutenant Cain, report to medical.
CUT TO:
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
22 -
Secrets of Soladar
50 INT. HORUS MEDICAL BAY CONTINUOUS 50
A stark, white medical bay. Tran adjusts an IV drip as the
PRISONER sits up, sipping water through a straw. A STRAP
binds her waist; her legs are locked down. Her face is hard
but oddly calm.
CAIN
Thanks Tran. Give me the room.
Tran exits. Cain drags a chair to the bedside, the screech of
metal on metal making Tatiana flinch. Cain taps her wrist
device. A BLUE HOLOGRAM flickers to life—a recording symbol
pulses
CAIN (CONT’D)
Computer, record: Lieutenant Carla
Cain, Commander, 405th Ranger
Squadron. Interrogation of female
prisoner captured on EUROPA, during
a mining interdiction operation.
COMPUTER VOICE
Recording.
A beat. The prisoner’s eyes dart to the hologram, then back
to Cain.
CAIN
(to the prisoner)
What’s your name?
PRISONER
(Strong, eastern European accent)
Tatiana Zukurov. You blew our ship.
CAIN
I most definitely blew the shit out
of your illegal mining ship. They
fired first. I also rescued you.
Where are you from?
TATIANA
Latovia. I am only survivor?
CAIN
Afraid so.
Tatiana turns her head away.
TATIANA
What now?
CAIN
Well, that depends on you. What
were you mining?
TATIANA
Scandium and yttrium.
CAIN
I heard you were mining Soladar.
Tatiana looks at Cain in disbelief, then laughs.
CAIN (CONT’D)
Why is that funny?
TATIANA
Soladar? You cannot mine the
Soladar.
CAIN
I don’t understand what that means.
If you can’t mine it, where does it
come from?
TATIANA
You do not want to know.
Cain is getting frustrated, takes a deep breath.
CAIN
Why don’t I want to know?
Tatiana looks nervous, glances at the computer hologram, and
Cain notices.
CAIN (CONT’D)
Computer. Stop recording.
COMPUTER VOICE
Recording stopped.
CAIN
How do you know anything about
Soladar?
TATIANA
You think you have secrets.
She shakes her head.
Our government knows very much.
CAIN
Tell me what you know. The computer
is off.
TATIANA
I am only miner. They say it come
from moon in Mentac System.
CAIN
Never heard of it.
Tatiana shrugs.
TATIANA
Maybe only rumor. Who knows?
CAIN
What did you mean when you said you
can’t mine Soladar?
TATIANA
Something my captain say. He say,
you can’t mine Soladar. Soladar
mines you. That all I know, I
swear.
CUT TO:
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
23 -
Frustration in the Void
51 INT. CAIN’S QUARTERS ON HORUS - CONTINUOUS 51
Cain sits at her desk, pouring over the papers again. She
sits back.
CAIN
You can’t mine Soladar. It mines
you. What the hell does that mean?
She taps her wristband. The Androgenous Holographic image
appears.
COMPUTER
Hello, Lieutenant Cain. How may I
help you?
CAIN
What can you tell me about the
Mentac System?
An image appears of a planet, with dozens of moons, orbiting
a small single star.
COMPUTER
The Mentac system was discovered in
2093 by Trinity IV and confirmed by
the Agarwal Space Telescope in
2095. The system’s single star,
ST/2063, is one eighth the size of
Earth’s sun. Four planet-sized
bodies orbit the star, along with
forty-two moons.
CAIN
What is the distance to ST/2063?
COMPUTER
That information is classified.
CAIN
Are any countries currently mining
on the planets or moons of the
Mentac System?”
COMPUTER VOICE
That information is classified.
So, secret meant secret. An intercom buzzes in her room.
INTERCOM
Lieutenant Cain, please report to
Major Dresden.
CAIN
Oh boy.
CUT TO:
Genres:
["Science Fiction","Mystery","Thriller"]
Ratings
Scene
24 -
Confrontation in the Command Center
52 INT. MAJOR DRESDEN’S OFFICE ON HORUS - CONTINUOUS 52
The door is open, Cain steps inside. Major Dresden motions
for her to sit.
MAJOR DRESDEN
You disobeyed a direct order and
put your team at risk.
CAIN
I wasn’t going to leave my men
behind.
The Major steeples his fingers.
MAJOR DRESDEN
I get it, but it will still be in
my report. I want to talk about
your interrogation of the prisoner.
CAIN
Sir?
MAJOR DRESDEN
Eight minutes into the
interrogation, you asked the
prisoner about Soladar. Where it
came from, how it was mined. Then
you stopped recording. Why?
CAIN
The prisoner refused to answer my
questions, so I terminated the
interview.
Dresden opens a folder, glances down.
MAJOR DRESDEN
Sergeant Tran said you remained in
the room with the prisoner for
almost ten minutes AFTER you
stopped recording.
Cain looks away. She’s been caught in a lie.
CAIN
(clears her throat)
Unsubstantiated rumors sir. I
didn’t think they were worth
recording.
MAJOR DRESDEN
I’m all ears Lieutenant.
CAIN
The prisoner said Soladar came from
a planet in a system I’ve never
heard of. She said the
International Alliance had set up a
penal colony on the planet and
prisoners were being used to mine
Soladar. Her English wasn’t good,
so I may have misunderstood.
MAJOR DRESDEN
We do have penal colonies on
several planets. And we do use them
for hard labor. What do you think
she meant by that?
CAIN
No idea, sir. I pressed her about
mining Soladar and she said you
can’t mine Soladar. Soladar mines
you. Like I said, crazy stuff.
MAJOR DRESDEN
Did she say anything else?
Cain glances at the door.
CAIN
She said the colony ships weren’t
actually lost. They were also sent
to mine Soladar.
MAJOR DRESDEN
There aren’t fifty people in the
world who know where Soladar comes
from.
CAIN
She said they know our secrets.
MAJOR DRESDEN
Bullshit.
He stands.
MAJOR DRESDEN (CONT’D)
Head down to the sleep chamber. We
can talk more back home.
Cain salutes and leaves the room.
Major Dresden taps his wristband and a holographic computer
screen appears in front of him.
MAJOR DRESDEN (CONT’D)
Computer, send secure video message
to General Kelly.
COMPUTER
Ready, Major.
MAJOR DRESDEN
General, Lieutenant Cain’s got her
teeth in something she shouldn’t.
Asking a lot of spot-on questions
about Soladar, prisoners and lost
colony ships.
PAUSE
(MORE)
MAJOR DRESDEN (CONT’D)
Information came from Tatiana
Zukurov, a prisoner we collected on
Europa. Apparently, they had quite
a nice, long conversation. And the
prisoner was well-informed. Just
thought you should know.
CUT TO:
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
25 -
Secrets and Loyalties
53 INT. AIMS SPACEFORCE BASE SQUADRON ARMORY - DAY - CONTINUOUS
LEGEND: SIX MONTHS LATER
When Cain walks into the armory, PACE is there performing
equipment checks. Cain pauses, her gaze lingering on Pace's
back. A hint of affection and longing passes across her face
as she watches him.
Cain then moves to a locker and pulls out her MASER REPEATING
RIFLE, setting it on a table. As she begins disassembling the
weapon, her movements are precise and focused, betraying an
underlying tension.
PACE
How’s the Soladar investigation
going?
CAIN
You making fun of me?
PACE
What? No, no!
Cain's shoulders relax slightly.
CAIN
Good answer. And, yeah, there’s
something going on, but I can’t put
my finger on it.
PACE
I’m not working for anyone else.
You get court martialed and I’m
kicking your ass.
Cain glances up and smiles. Gives his arm a squeeze.
CUT TO:
54 INT. CAIN’S QUARTERS AFTERNOON - CONTINUOUS 54
She gets a beer from the fridge, pops the top and takes a
long sip. She taps a button on her wristband. A holographic
screen appears.
COMPUTER VOICE
Good afternoon, Carla. How may I
help you?
CAIN
Get me Captain Wells, Intel
Division.
COMPUTER VOICE
One moment. Attempting to contact.
Cain's posture is tense, her fingers drumming anxiously on
the table as she waits for the connection to be made.
A minute later, Well’s face appears in front of her. 30’s a
little pudgy, black glasses.
WELLS
Hey Carla. What’s up?
CAIN
Chris, how long have you been in
Intel?
His eyebrows go up.
WELLS
About three years now.
CAIN
You got tired of being a Ranger?
WELLS
Hey, I’m still a ranger. Just
needed to tick this box to get
promoted.
CAIN
Just kidding. I read the report
about the latest colony ship. You
ever hear anything over in Intel
about prisoner ships being sent off
to mine Soladar?
She notices him squirming a little. He pushes his glasses up
on his nose.
WELLS
Soladar? That’s an odd question.
CAIN
Oh, you know. It’s on the NET all
the time.
WELLS
That’s just a bunch of trash.
CAIN
The thing is, I brought back one of
the illegal miners from Europa.
Wells’ eyes dart around nervously.
CAIN (CONT’D)
She told me a story about how the
Federation has a colony on the
planet where they mine Soladar.
WELLS
I have no idea where they mine
Soladar. That’s probably the most
closely held secret on Earth.
CAIN
She sounded pretty credible to me.
Said she had proof.
WELLS
Look, I can’t talk about this.
CAIN
So, there’s some truth to it? Come
on, Chris. My prisoner says the
colony ships weren’t lost. They
were sent to the planet to mine
Soladar.
WELLS
You can’t say that shit, Carla.
CAIN
That tells me you know something. I
have a Top-Secret clearance.
WELLS
This is way above Top-Secret.
CAIN
I won’t say anything. You know me.
WELLS
Look, all I’ll say is your
prisoner’s not completely wrong.
Now, drop it.
Cain clicks off the call.
CUT TO:
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
26 -
Uncovering Secrets
55 EXT. FLIGHT OPERATIONS - DAY 55
A crisp breeze rustles the flags outside the Flight Ops
building. Cain strides up the sidewalk, her boots clicking
against the pavement. She pauses at the entrance, steeling
herself, then pushes through the doors.
56 INT. FLIGHT OPERATIONS BUILDING, HALLWAY - DAY 56
The hum of distant comms chatter fills the sterile hallway.
Cain stops at an open door, eyeing the nameplate: MASTER
SERGEANT SILIS. She knocks—firm, deliberate — then steps
inside without waiting for a reply.
57 INT. SILIS’ OFFICE - DAY 57
The office is a controlled chaos: framed citations line the
walls, a bookshelf groans under technical manuals, and twin
flags stand sentinel beside the desk.
Sergeant Silis (40s), a large black man, broad-shouldered,
with a gaze like reinforced steel, looks up from his desk. He
stands at attention, but his jaw tightens—just a flicker.
CAIN
At ease, Master Sergeant.
Silis sits back down.
SILIS
What can I do for you Lieutenant?
Cain sits in a chair.
CAIN
I was briefed this morning on
StarDrifter/1 that was lost,
carrying our sister squadron, the
201st. The briefing was...light on
information. My team ships out in
seven days. I need to know why
we’re losing tactical ships.
Silis exhales through his nose, leans back—too casual. His
eyes dart to the door.
SILIS
You know I can’t discuss classified
ops.
CAIN
I’m cleared. And I’m not asking as
a courtesy.
A beat. Silis stands abruptly, strides to the door, and shuts
it. The click of the latch is loud. He doesn’t return to his
desk—instead, he braces against a filing cabinet, arms
crossed.
SILIS
(lowered voice)
Five years ago, we had a perfect
record. Now? Colony ships vanish.
Tactical assets drop off-grid. And
the paperwork… (he taps the
cabinet)...gets buried.
Destinations were classified. Even
I didn’t know where they were
going.
Cain’s eyes flick to the framed photos on the wall—a younger
Silis shaking hands with crewmates.
CAIN
So, what happened to the 201st?
SILIS
Official report says power failure.
Lupold’s a rock. No debris field,
no distress call. Just… gone.
Cain stands, paces to the bookshelf. Traces a finger over a
dusty commendation plaque. Her voice is razor-thin.
CAIN
And the colony ships? Vagrants and
junkies, I heard.
Silis stiffens. His fist clenches, then releases.
SILIS
(warning)
You didn’t hear that here.
Cain turns, meets his gaze. Holds it.
Silis finally sits again.
CAIN
Yeah. So what about after they
launched? Did you get the
destination? This IS flight ops.
You track all flights, correct? You
need to know, right?
SILIS
I was told the missions would
remain classified and not to ask.
Cain turns around, walks back over and sits.
CAIN
For the colony ships, how long
after launch did you lose contact?
SILIS
About a week into the mission, we
lost all communications. Tracking
beacons went dark. That was it.
CAIN
Ships don't just disappear in
space. What about search and
rescue?
SILIS
No way to know where they are. Be
like looking for a needle in a
haystack.
Cain stands, then waves her hand, indicating Silis should
remain seated.
CAIN
Thanks Master Sergeant.
CUT TO:
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
27 -
Facing the Colonel
58 INT. FLIGHT OPERATIONS BUILDING, HALLWAY - DAY 58
Cain lingers outside Silis' door. The hallway stretches
ahead, lined with framed portraits of grim-faced generals and
flickering holoscreens displaying tactical updates. She
exhales sharply, fists clenching at her sides.
CAIN
(softly)
Every answer gets me ten more
questions.
She stops in front of an open door that bears a large plaque:
COLONEL NATHAN ELLIOTT.
NOAH (V.O.)
Not a good idea, Car.
Inside, SERGEANT CORZO (late 20s, hair in a razor-straight
bun, chewing gum) types briskly at her desk—neat except for a
half-eaten protein bar and a novelty stress ball. Cain steps
in. Corzo stands, snapping a salute with robotic precision.
CAIN
Is the Colonel available?
CORZO
Yes, ma'am. Let me see if he's
busy.
Corzo presses an intercom button.
CORZO (CONT’D)
(into the intercom)
Sir, I have a Lieutenant Cain to
see you.
COLONEL ELLIOTT (V.O.)
(over intercom)
Ok, send him in.
CORZO
Uh, it’s a she, sir.
COLONEL ELLIOTT (V.O.)
(over intercom)
Ok, send him in.
CORZO
Uh, it’s a she, sir.
COLONEL ELLIOTT (V.O.)
Well, send HER in, Corzo. Jesus.
Cain nods, squaring her shoulders as Corzo gestures to the
heavy oak door. It hisses open, revealing a shadowy office
backlit by a massive viewport showing the SPACEPORT.
Genres:
["Sci-Fi","Mystery","Drama"]
Ratings
Scene
28 -
Classified Tensions
59 INT. COLONEL ELLIOTT'S OFFICE - DAY 59
Cain enters, standing at attention. The office is austere,
save for a framed photo of Elliott in flight gear.
COLONEL ELLIOTT
At ease, Lieutenant. Have a seat.
What can I do for you?
Cain sits in an overstuffed chair in front of the Colonel's
desk.
CAIN
Lieutenant Cain, sir, commander of
the 405th Ranger Squad.
Colonel Elliott leans back in his chair.
COLONEL ELLIOTT
I’ve heard of you, Lieutenant.
Tough bunch you have over there. I
wanted to be a ranger myself when I
first joined, but went to flight
school instead. Always envied you
guys...and gals, doing the real
fighting.
CAIN
Sir, my squad is deploying on a
mission next week. I talked to
Master Sergeant Silis and all he
could tell me was the mission is
classified. When I heard that, and
then found out the destinations for
the lost colony ships were also
classified...well, I'm sure you can
see my concern.
Colonel Elliott studies Cain's face, clearly trying to decide
how to respond.
COLONEL ELLIOTT
No, I don't see your concern. All
tactical missions are classified.
CAIN
Yes sir. I understand. But the
colony missions were not tactical.
Cain leans forward, conspiratorially.
CAIN (CONT’D)
Sir, a prisoner I captured on
Europa said the colony ships were
sent to the planet where Soladar is
mined.
PAUSE
(MORE)
CAIN (CONT’D)
Besides, for tactical missions,
that information is never kept from
the mission commander...in this
case, me. I need that information.
COLONEL ELLIOTT
Your prisoner is full of shit. The
colony ships were hit by solar
flares knocking out their systems.
CAIN
That was the official report, sir.
COLONEL ELLIOTT
Who the hell do you think you are?
I signed OFF on those reports!
Cain’s face turns red. Glances around, nervous.
Colonel Elliott suddenly stands abruptly.
COLONEL ELLIOTT (CONT’D)
(low, dangerous)
You’re on thin ice, Lieutenant.
CLOSE IN ON CAIN'S FACE. Her eyes are burning daggers.
CAIN
(steady)
Just asking questions, sir.
COLONEL ELLIOTT
Questions can get people buried.
Leave it alone. You’ll get the
destination when it’s time.
CAIN
Yes sir.
COLONEL ELLIOTT
How long have you been in the
service?
CAIN
Twelve years, sir.
COLONEL ELLIOTT
And you still haven't learned to
keep your mouth shut and take
orders?
He makes a sound of disgust and walks back to his desk and
sits down.
COLONEL ELLIOTT (CONT’D)
Dismissed.
Cain salutes, turns on her heel. As the door closes, Elliott
exhales, rubbing his temple. He hits the intercom.
COLONEL ELLIOTT (CONT’D)
Corzo, get me General Kelly
Colonel Elliott gazes out the window. His face is resolute.
CORZO
(over intercom)
Sir, General Kelly is on the line
Colonel Elliott clears his throat and picks up the phone.
COLONEL ELLIOTT
Good afternoon, General. Lieutenant
Cain was just in my office. She’s
not letting it go. Yes,
sir...Soladar, lost colony ships.
Wanting to know why her mission is
classified. Yes, sir...understand.
The stark, gray concrete of the detention facility stands in
stark contrast to the vibrant spaceport beyond. Cain
approaches the imposing structure, her footsteps echoing on
the empty pavement.
61 INT. DETENTION FACILITY - CONTINUOUS 61
Cain steps into the sterile, dimly lit lobby. The air is
heavy with the weight of confinement. She approaches the
window, where a SERGEANT sits at a desk, his uniform crisp
and his expression impassive.
CAIN
Good afternoon, Sergeant.
Lieutenant Cain from the 405th. I
brought in a prisoner last week,
Tatiana Zukurov. Is she still being
held here?
He glances down at a logbook.
SERGEANT
Um, let me get Captain Wilson,
ma’am.
The Sergeant gets up and walks out of frame. A minute later,
CAPTAIN WILSON, Female (30’s) approaches the window.
CAPTAIN WILSON
Lieutenant Cain? You’re asking
about Tatiana Zukurov?
CAIN
Yes, I’m the one who brought her
in. I had some additional questions
for her.
CAPTAIN WILSON
You brought her in? That’s odd.
Well, I’m sorry to tell you this,
but the prisoner took her own life
yesterday.
Cain is shocked.
CAIN
What? How did that happen?
CAPTAIN WILSON
She wasn’t under suicide watch. She
used her sheets and hung herself.
Cain's brow furrows, her mind racing. The news has shaken
her, but her determination to uncover the truth is
unwavering.
CAIN
What did you mean ‘that’s odd’? Has
she had other visitors?
CAPTAIN WILSON
A few. Her assigned attorney, and
Lieutenant Foster, another Ranger,
who said he was the one who brought
her in.
CAIN
Foster. Foster. Don’t recognize the
name. At least not in the Rangers.
Captain Wilson walks back over to the sergeant’s desk and
picks up a log book. Opens it.
CAPTAIN WILSON
I’m sure that was the name. Let’s
see. Yes, here it is. Lieutenant
Foster, 405th Ranger Squadron.
Cain’s eyebrows scrunch up.
CAIN
Oh, that Foster. Ok, thanks
Captain.
Cain turns and strides out of the facility, her steps
quickening with purpose. The mystery surrounding Tatiana's
death has only deepened.
Genres:
["Sci-Fi","Mystery","Drama"]
Ratings
Scene
30 -
Unraveling Shadows
62 INT. CAIN’S OFFICE - AFTERNOON 62
Cain sits at her desk, staring at a file. The knock at the
door barely registers. Pace enters, his usual grin fading as
he takes in her expression.
PACE
What’s up, LT?
She motions for him to sit.
CAIN
How was your leave?
PACE
Nothing like Utah in the winter.
Skiing was great. Did some hiking
in the mountains. You should have
come.
CAIN
Yeah, wonder what your parents
would have thought of that?
PACE
I figure I’ll wear you down by the
time you’re fifty.
A faint smile tugs at her lips.
CAIN
Fifty! Geez.
PACE
Hey, you’ll still be hot when
you’re fifty, LT. (sobers) So, did
you hear about the 201st?
CAIN
Yeah, read the report. I don’t
believe it. Something’s not right,
Pace. Two colony ships disappear,
and now a tactical ship? I knew
those guys.
PACE
Yeah, I used to work out with
Henderson.
CAIN
Haven’t told you about the prisoner
we picked up on Europa. I went to
the detention center last week to
talk to her again. She...she hung
herself.
Pace goes still. The air thickens
PACE
Oh Jesus. Don’t they watch their
prisoners?
CAIN
Not very well, apparently.
They missed something. Or someone
let it happen. A guy named Foster
impersonated a lieutenant, visited
her right before.
PACE
That can’t be coincidence.
CAIN
Can you ask around? See if anyone
knows someone named Foster? It’s
long shot. May not even be his real
name.
PACE
Yeah. You think this ties to what
she told you about Soladar and the
colony ships?
Cain meets his gaze, the unspoken answer hanging between
them.
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
31 -
Weights and Worries
63 INT. SQUADRON GYM - DAY 63
Pace walks into the gym, the familiar clang of weights and
chatter of Rangers filling the air.
He spots MIKE and DAXTON at the free weights, their relaxed
banter echoing like old friends.
MIKE
(grinning)
You call that a set? My grandma
lifts heavier than that!
DAXTON
At least you don’t have to worry
about her spotting you.
Pace chuckles, drops his bag, and joins them. When it's his
turn, he plops down on the bench.
PACE
Three hundred, Mike.
The two lift the BARBELL off the rack and hand it down to
Pace. He does eight vigorous repetitions, the effort apparent
on his face, then sets it back with a thud.
PACE (CONT’D)
So, either of you know a guy named
Foster?
They shake their heads.
MIKE
No, why?
PACE
Just an old buddy. Lost touch with
him.
64 INT. SQUADRON GYM SHOWER - DAY - CONTINUOUS 64
Pace is in the shower lathering up, soap on his face, when
another Ranger, EMMELIO, steps in beside him.
EMMELIO
You said you’re looking for a guy
named Foster?
Pace jerks around, soap gets in his eyes.
PACE
Shit.
He lifts his face to the water, until the soap is gone.
PACE (CONT’D)
Yeah, you know someone like that?
EMMELIO
Not here at AIMS, but I went to
BASIC with a guy named Derrick
Foster.
PACE
What was he like?
EMMELIO
He was ok. Good guy. Liked to play
pranks. (beat, thoughtful)
Disappeared after graduation,
though. Heard he went black ops.
Pace’s face darkens. Black ops. Fake name. Visiting
prisoners.
PACE
Ok, thanks man.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
32 -
Searching for Derrick Foster
65 EXT. PERSONNEL BUILDING - DAY - CONTINUOUS 65
Cain hurries up the sidewalk. She pushes through the heavy
glass doors, her boots echoing on the pristine tiles.
66 INT. PERSONNEL BUILDING - DAY - CONTINUOUS 66
The muted hum of fluorescent lights and the distant shuffle
of papers create a somber atmosphere. Cain's eyes dart around
the utilitarian space, taking in the gray walls and sterile
desks before settling on the RECORDS counter.
Behind the half-door, STAFF SERGEANT KUMAR (20s), a no-
nonsense woman with a disarming smile, looks up from her
holographic terminal.
SERGEANT KUMAR
What can I do for you Lieutenant?
CAIN
I’m trying to find a ranger named
Derrick Foster. Can you tell me if
he’s stationed here?
SERGEANT KUMAR
Well, let’s see.
She turns to a holographic computer terminal and begins
typing.
SERGEANT KUMAR (CONT’D)
There was a Corporal Derrick
Foster, but I’m afraid he was
discharged almost a year ago.
CAIN
Infantry?
More typing
SERGEANT KUMAR
He was with the 1208th out of Fort
Carson.
CAIN
1208th. Isn’t that where General
Platt came from?
SERGEANT KUMAR
Yes, ma’am. General Platt was a
colonel then. She was commander of
the 1208th.
Cain's fingers drum against the counter, her mind churning.
After a moment, she meets Kumar's gaze.
CAIN
You have a picture of Foster?
SERGEANT KUMAR
I have his old ID picture. I’ll
send it to you.
She types again, and Cain’s wristband pings.
SERGEANT KUMAR (CONT’D)
There you go.
Cain nods, her expression grave, already formulating her next
steps.
CUT TO:
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
33 -
Promotion Amidst Reprimand
67 INT. GENERAL KELLY’S OFFICE - DAY 67
Cain stands at attention as General Kelly stares at her. He
finally motions for her to sit. He pulls out a felt-covered
blue box from a desk drawer. Opens it, and inside are a set
of CAPTAIN’S SILVER BARS. He sets it on the desk.
GENERAL KELLY
I had planned to pin these on you
today.
He lifts a SINGLE SHEET OF PAPER, crisp and official, holding
it just long enough for her to read the bolded
"Administrative Reprimand" at the top.
GENERAL KELLY (CONT’D)
You know what this is.
Administrative reprimand and a
demotion back to Second Lieutenant.
But before I decide which one to
give you, I have to ask...
Cain’s face is flush. Her fingers twitch against her thighs.
GENERAL KELLY (CONT’D)
What the hell are you doing?
Meeting with Sergeant Silis and
Colonel Elliott? Continuing to ask
questions about Soladar and the
colony ships? And then contacting
Captain Wells? I ordered you to
leave this alone.
CAIN
The Latovian prisoner told me some
disturbing things about the ships
and about Soladar…and now she’s
dead.
GENERAL KELLY
Suicide. Nothing more. And your
continued attempts at accessing
classified information could get
you a lot more than a demotion.
CAIN
Sir, Zukorov didn’t kill herself.
Someone made sure she couldn’t
talk.
GENERAL KELLY
That’s a dangerous accusation.
CAIN
It’s the truth. And if we ignore
it, maybe more people die. More
missing ships.
Kelly exhales through his nose, taps the paper against his
palm. The sound is unnaturally loud.
GENERAL KELLY
I promised your grandfather I would
look out for you. Protect you.
(MORE)
GENERAL KELLY (CONT’D)
But I can’t protect you from
yourself, Carla.
CAIN
I understand sir.
GENERAL KELLY
I’m not sure you do. As for the
lost colony ships and now a
tactical ship... We’re analyzing
flight data from the ship to
determine why she lost power. On
top of that, we’re installing the
latest solar shielding on all
ships.
CAIN
That’s good news, sir. But what
about our current mission? I need
to know our destination.
He tilts his head, she’s still pushing.
GENERAL KELLY
The mission is highly classified. I
can't take a chance on any leaks
whatsoever. When you reach the
destination, just do what you do
best.
CAIN
But, sir! No disrespect, but I have
an obligation to my soldiers! How
am I supposed to know what
equipment to bring?
General Kelly shoots Cain a stern look.
GENERAL KELLY
You take your standard interdiction
package. You don't need to know the
destination. Just do your job.
He holds the box and the paper up again.
GENERAL KELLY (CONT’D)
So, which one do I give you?
CAIN
The promotion would be appreciated
sir.
A long silence. Kelly snaps the reprimand onto the desk,
slides the box toward her.
GENERAL KELLY
Well, stand up, Captain
Cain’s eyes widen—just for a second—before she rises. Kelly
pins the bars on her collar.
GENERAL KELLY (CONT’D)
Don’t make me regret this.
Genres:
["Sci-Fi","Military","Drama"]
Ratings
Scene
34 -
Stormy Reflections
68 INT. CAIN'S OFFICE - EARLY EVENING - CONTINUOUS 68
Rain HAMMERS against the window. Cain stares at the photo of
FOSTER, her fingers tracing the edge. She turns to the PHOTO
OF HER PARENTS on the credenza.
CAIN
(softly)
What should I do, dad? You always
said, when in doubt, do what’s
right. But I’m not sure what’s
right any more.
A distant THUNDERCLAP. The lights FLICKER. Cain’s eyes dart
to the door—
PACE (O.S.)
Knock, knock.
He enters with two coffees, hands her one.
PACE (CONT’D)
Wow, a Captain.
She absently touches her shoulder.
CAIN
Kelly pinned these on like a
warning. Carrot and stick..
PACE
You’re only asking questions, not
giving away secrets.
CAIN
Yeah, but asking questions I was
told not to ask.
PACE
They’re hiding something, and it’s
not just Soladar.
CAIN
What if the lost ships are somehow
connected?
PACE
Careful. Remember what you told
Thompson about conspiracy theories.
CAIN
Speaking of conspiracies, I need to
take a trip to Dallas. Wanna come?
PACE
Sure. What’s in Dallas.
CAIN
That’s where the Soladar Conspiracy
Forum has their office.
PACE
Come on, Lieutenant...I mean
Captain. You’re pouring fuel on
your own fire.
She meets his gaze, dead serious.
CAIN
There’s something rotten here,
Pace.
PACE
So, what? We’re Rangers. We take
out illegal miners. That’s what we
do. Leave the rest to the bigwigs.
Not our business.
CAIN
Can’t do that, Pace. I don’t know
why this is eating me up so bad,
but I can’t turn away from it. If
those colony ships are somehow tied
to Soladar, I need to know.
PACE
Even if it means your career? We
have a mission coming up in two
weeks.
CAIN
I just want to talk to someone
there. See what they really know.
If it’s all bullshit, I’ll drop it.
Pace shakes his head.
PACE
When do we leave?
CAIN
Tomorrow morning 5 AM. We’ll be
back before anyone knows we’re
gone.
PACE
Do they know we’re coming?
CAIN
No. Like you said, I need to be
careful.
He looks around the room, thinking. Then walks over and gives
her a light hug.
PACE
See you in the morning.
CAIN
Did you mean it when you said I’d
still be hot at fifty?
PACE
You’ll still be hot at eighty.
He turns and opens the door.
CAIN
Good answer.
He exits. The door CLICKS shut. Cain’s smile fades. She
glances at the storm outside—lightning FLASHES, casting
shadows. A faint CREAK from the hallway. She tenses,
listens... silence. Shakes it off.
CUT TO:
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
35 -
Midnight Assault
69 INT. CAIN’S QUARTERS - MIDNIGHT 69
Darkness. Cain sleeps fitfully. A SOFT KNOCK. She stirs.
Another KNOCK.
CAIN
(sleepily)
Pace?
She shuffles to the door, hits the release.
The door SMASHES OPEN—SLAMS into her skull. She CRASHES to
the floor, dazed. A SILHOUETTE looms.
A HAND GRABS her hair, YANKS her up. She THRASHES—
CAIN (CONT’D)
HELP!
A FIST CRACKS her jaw. Blood sprays. Then—HANDS CLAMP around
her throat. She GASPS, claws at them—
CLOSE ON CAIN’S HAND — scrambling across the floor, grasping—
ATTACKER —forcing her down, choking—
CAIN —lets out a GUTTURAL SCREAM, YANKS his head down—BITES
HIS NOSE.
ATTACKER —HOWLS, clutches his face—
CAIN —DRIVES her knee into his groin—
ATTACKER —stumbles back—
CAIN —LAUNCHES herself, feet-first—SLAMS him into the desk.
CRUNCH! —his skull hits the corner. He COLLAPSES.
Gasping, Cain fumbles for the light. Her MASER clatters to
the floor. She GRABS it, aims—
The attacker’s MASKED face. Unconscious. She ties his hands
with a rolled up pillowcase, RIPS off the mask.
CAIN (CONT’D)
Foster! Fucking Foster.
She touches her wristband and calls Pace.
PACE (O.S.)
(groggily, over the phone)
Hey! Miss me already?
CAIN
Get over here now.
She clicks off the call.
A MINUTE LATER - Pace bursts the room. He sees Foster lying
on his stomach, hands tied. He rushes to Cain and wraps his
arms around her.
PACE
Christ! Are you ok?
She’s shaking, blood on her lip. Points weakly.
CAIN
That’s Foster. He came her to kill
me.
Pace processes, jaw tightening. Foster GROANS, stirs.
PACE
Who...who could order something
like this?
CAIN
Must have been some kind of flag on
his personnel file. An alert.
PACE
That would take somebody high up in
the command.
Cain, mostly recovered, pulls the desk chair to the middle of
the room.
CAIN
Get him up and let’s ask him.
Pace drags him onto the chair. Checks that the ties are still
tight.
Cain taps her wristband and the computer image appears.
COMPUTER VOICE
Good evening, Lieutenant Cain.
CAIN
Computer, record the following
interrogation to my encrypted
SysNet Server.
COMPUTER VOICE
Recording.
Foster is fully awake. Looks around wildly, especially at
Pace.
FOSTER
You’re dead now, Cain. Let me go
and we can forget all about this.
Pace looks at Cain and SLAPS Foster hard.
CAIN
Who sent you?
FOSTER
Go to hell.
Pace grabs his head and presses his THUMB into Foster’s left
EYE. Foster SCREAMS.
PACE
(calm, deadly)
Answer or lose it
Foster suddenly goes limp, starts whimpering. Pace continues
with the pressure on his eye.
CAIN
Why did you kill Tatiana Zukurov?
FOSTER
(gasping)
She talked...ordered to shut her
up.
PACE
Who gave the order?
Silence. Pace increases the pressure.
FOSTER
(sobbing)
Platt! General Platt!
CAIN
But you screwed up in a major way,
didn’t you? Using your real name.
How stupid are you?
PACE
How were you paid?
FOSTER
What?
Pace smacks the back of his head.
FOSTER (CONT’D)
She gives me the job and the
credits show up in my account.
CAIN
Give me your bank account info.
FOSTER
What?
Pace smacks the back of his head.
Foster rattles off his bank and account number.
FOSTER (CONT’D)
Are you gonna take all my money?
PACE
We don’t give a shit about your
money, asshole.
Pace pulls out a knife.
CAIN
(sharply)
Pace. Don’t.
He hesitates—then PLUNGES the blade into Foster’s chest.
Foster jerks once, then he goes limp. Pace touches Cain’s
shoulder and she jumps.
CAIN (CONT’D)
(horrified)
What the hell!
PACE
Sorry. He’s a fucking hired
assassin. No way was I letting this
guy live.
CAIN
Shit, Pace. This can’t be
happening.
PACE
I’ll take care of the body.
Pace lifts Foster, puts an arm around his waist and drags him
out the door as if he’s drunk.
Cain goes in the bathroom, comes out holding a wet rag to her
lip. She curls up on the bed. The storm RAGES outside.
FADE TO BLACK.
Genres:
["Action","Thriller","Mystery"]
Ratings
Scene
36 -
Trust Amidst Chaos
70 INT. CAIN’S QUARTERS - LATER 70
Soft knock. Pace enters. Cain looks up, a mixture of relief
and unease on her face.
CAIN
Is it done?
PACE
Yeah. Dropped him in an alley
downtown. He won’t be a problem any
more.
She stretches out her hands, beckoning to him.
CAIN
Lay with me.
Pace climbs on the bed and holds her.
CAIN (CONT’D)
I need to talk to General Kelly.
PACE
Can you trust him?
Cain turns to face him, pulling him close. They kiss, a
desperate connection amidst the chaos. When they part, Cain
looks into Pace's eyes, searching for reassurance.
CAIN
I’m sure who to trust. Everything’s
falling apart.
Pace tightens his hold, offering her a sense of safety and
comfort.
PACE
We’ll figure it out together. I’m
not going anywhere.
DISSOLVE TO:
71 MORNING 71
Sunlight filters through the window, casting a warm glow on
the room. Cain lies nestled in the crook of Pace's arm, her
short hair tickling his face. He runs his hand down her back,
feeling the familiar curves, his touch gentle and soothing.
CAIN
Why did we wait so long?
PACE
I guess we had to wait until we
were in so much trouble, it
wouldn’t matter.
CAIN
Hmmm.
PACE
I was afraid you’d push me away.
CAIN
You never have to worry about that
again.
Cain pulls him closer, savoring the comfort of his embrace.
For a moment, the weight of the world seems to lift from her
shoulders.
CUT TO:
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
37 -
Tension in the Office
72 INT. GENERAL KELLY'S OFFICE - DAY - CONTINUOUS 72
GENERAL PLATT paces like a caged animal, her fingers brushing
over the medals on GENERAL KELLY’s credenza—a nervous tic.
The office feels smaller, the dim light casting long shadows.
GENERAL PLATT
Foster’s not answering my calls.
Kelly doesn’t look up, his jaw tightening.
GENERAL KELLY
You better not have fucked this up.
Platt stops, her reflection warped in the polished surface of
a trophy.
GENERAL PLATT
Foster and I have secure comms.
He’s never failed to answer before.
General Kelly taps his phone
GENERAL KELLY
Get me Captain Cain.
The phone buzzes, but no answer. General Kelly kills the call
GENERAL PLATT
Maybe that’s a good sign. I’ll keep
trying Foster.
Intercom buzzes. CAPTAIN CRAIG, the General’s aide.
CAPTAIN CRAIG
Sir, I have Captain Cain here to
see you.
Platt’s eyes dart to Kelly—a silent plea. He points to the
side door, his voice low.
GENERAL KELLY
Go out that way. I’ll call you
later.
Platt hesitates, then slips out like a ghost. Kelly
straightens his uniform, steels himself.
GENERAL KELLY (CONT’D)
(over intercom)
Send her in.
The door opens. CAIN enters, salutes. A bruise peeks from her
collar. Kelly returns the salute, gestures to a chair. Cain
sits, back rigid—ready for combat.
GENERAL KELLY (CONT’D)
Those Captain’s bars look good on
you.
CAIN
Yes sir. Sir, someone broke into my
room last night and tried to kill
me.
General Kelly slams back his chair and stands.
GENERAL KELLY
What? Are you ok? Do you know who
it was?
Cain taps her wristband and a video projection of the Foster
interrogation appears. The glow paints her face in cold blue.
CAIN
His name’s Foster. Same man who
murdered Zukurov. General Platt
ordered it. I managed to subdue
him.
She taps the screen. FOSTER’s rasping confession plays:
“Platt paid me…”
Kelly staggers back, gripping the desk. His wedding ring
SCRATCHES the wood.
GENERAL KELLY
That’s...no, Platt wouldn’t do
that.
CAIN
I have his full confession. I’m
sorry, but it was Platt. I even
have Foster’s bank account info
where he received payment.
(MORE)
CAIN (CONT’D)
A computer expert friend of mine is
tracing it back to the originating
account.
Kelly turns away, fists clenched. The silence is suffocating.
Finally, he exhales—a man realizing the ground beneath him is
quicksand.
GENERAL KELLY
The main thing is you’re ok. Where
is Foster now?
Cain hesitates a beat too long.
CAIN
We scared the shit out of him, then
let him go.
GENERAL KELLY
‘We’?
CAIN
Sergeant Pacerelli, my second.
GENERAL KELLY
You should have called Security. He
should be in jail.
CAIN
With General Platt involved, I
wasn’t sure who to trust.
Kelly’s anger falters. He runs a hand over his face, suddenly
older.
GENERAL KELLY
Send me the video. Keep this
Sergeant Pacerelli with you the
rest of the day. Stay in your
quarters. I’ll take care of General
Platt.
CAIN
Thank you, sir.
Cain stands. Kelly pulls her into a rough embrace—more for
himself than her.
Cain nods against his shoulder, her eyes on the door Platt
exited.
GENERAL KELLY
I’m glad you’re ok. And don’t
worry.
Cain leaves. General Kelly stabs the intercom
GENERAL KELLY (CONT’D)
(over intercom)
Get General Platt back here.
He taps the holographic computer screen.
CLOSE IN ON SCREEN:
-- It opens to the BANK OF GENEVA webpage.
-- He types in a logon and password.
-- The screen displays ACCOUNT TEMPORARILY FROZEN.
He puts his hands up to his head.
LATER
73 INT. GENERAL KELLY'S OFFICE - CONTINUOUS 73
General Platt is back in the office, her normally composed
demeanor now frayed with anxiety. She paces the room, her
brow furrowed in deep thought.
GENERAL PLATT
What are we going to do? And Foster
didn’t just run off without calling
me. No way he would do that.
GENERAL KELLY
She has his confession on video!
And the Geneva account has been
frozen! This is a disaster.
GENERAL PLATT
Oh my God! There’s nearly a hundred-
million credits in that account!
What are we going to do?
GENERAL KELLY
(taking a deep breath)
Calm down. I have an idea. You need
to disappear for a week. I’ll tell
Cain you’ve been arrested and
shipped off to a secure location
for interrogation.
GENERAL PLATT
That’s...that’s fine. I need to
find Foster. And after a week? Then
what?
GENERAL KELLY
Forget Foster. I’m sure he’s dead.
By the time you get back, Captain
Cain will be off on her next
mission and we can figure out our
next move.
DISSOLVE TO:
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
38 -
Launch of Doubts
74 EXT. SPACEPORT, LAUNCHPAD - DAY 74
SUPER: TWO WEEKS LATER
LOOKING ACROSS at Spaceship STARTRACER/2. Engines engage, and
the ship lifts off. Ascends into the sky, through the clouds,
out of sight.
75 INT. STARTRACER/2, CAIN’S QUARTERS 75
Cain stares at a family photo - her five-year-old self
sandwiched between beaming parents and Noah. Her thumb rubs
the glass over her brother’s face.
She places the photo on a table beside the bed, along with
her STARCRASH ACTION FIGURE.
A LOW HUM builds - the ship’s engines. It morphs into...
76 EXT. NEIGHBORHOOD STREET - DAY (FLASHBACK) 76
DEAFENING EXPLOSIONS. Ten-year-old Carla SCREAMS as Noah
drags her past collapsing houses. Chunks of debris RAIN
around them. Noah’s grip leaves bruises.
77 EXT. GLEASON HOUSE/STORM CELLAR - DAY (FLASHBACK) 77
Noah SHOVES Carla into the cellar. Light ERUPTS behind him -
his silhouette BURNING into her retinas. He mouths "Go!" as
the heatwave LICKS at his back.
--the pulsing blue LIGHT of the ship’s AI interface. Cain
blinks hard, the afterimage of Noah’s sacrifice fading.
BUZZ! The door alarm JARS her. She smacks the release. Pace
enters, tossing a protein bar onto her bunk.
PACE
What the hell, Carla? Four rookies?
CAIN
Hey, it wasn't my idea. I presented
my list to the Colonel, and he tore
it up in my face. Then he handed me
a new list. I almost got myself
court-marshalled, yelling at him.
Pace shakes his head and sits on the edge of the bed.
PACE
What are we gonna do with just four
guys? And rookies? Jesus! Remember
Europa?
CAIN
Don't remind me. And it's six, with
you and me.
PACE
Well...Travelli seems pretty tough.
Strong as hell. Martin's smart.
Studied engineering at the Academy.
Williams...he's quiet but I heard
he won the rifle competition two
years in a row. Definitely want him
watching my back. But seriously,
Crimmage?
CAIN
What about him?
PACE
He's a skinny kid! What is he?
Eighteen? He'll either get wasted
in the first five minutes, or,
worse, get us all wasted! And those
glasses! They gotta be an inch
thick. And if he doesn't stop
blinking all the time, I'm gonna
lose it.
CAIN
Lighten up. His dad was co-
developer of the Soladar reactors.
And the blinking is actually a
nervous disorder. In fact, that's
his nickname - Blinky. He doesn't
seem to mind.
PACE
Oh, that's great! Really? I'm going
into battle with Blinky? Is
Pinocchio coming too?
CAIN
(Chuckles)
Ease up a minute! There's more to
it than that. He’s an electrical
genius. I’ve seen him repair a
Maser in five minutes.
PACE
Ok...well, that's something. But,
can he shoot one?
CAIN
Guess we'll find out.
PACE
So, what’s our destination?
CAIN
Classified until we’re out of lunar
orbit.
PACE
Jesus. So is this really a
pilotless ship?
CAIN
There’s a manual override, but
yeah. AI all the way.
PACE
Why do I have a bad feeling?
CUT TO:
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
39 -
Confrontation in the Void
79 INT. STARTRACER/2, CORRIDOR - LATER 79
Cain stands alone at the window, her fingertips barely
grazing the thick glass. Outside, the sky darkens—stars
flicker to life like scattered embers. Earth’s moon looms,
cold and distant, its craters sharp in the void.
She wears insulated skivvies, a sleeveless t-shirt, and knee-
high boots, her posture rigid. The reflection of the
corridor’s sterile lights fractures across the glass, warping
as—
QUICK FLASH: Ghostly images of her brother Noah dance along
the glass, their faces blurring together. Cain's expression
darkens as the memories FADE, revealing...
MAJOR G. TODD’s REFLECTION. (40’s) Gray-haired, overweight,
he steps too close. His breath fogs the glass near her
shoulder.
He slaps her on the back.
MAJOR TODD
Not gettin' the jitters, are you
Cain?
She doesn't bother to turn around. Her jaw tightens. Her
fists clench.
CAIN
Don't worry about me. I just don't
like being sent out with a bunch of
rookies, in a pilotless ship and
green Major who won’t tell me where
we’re going.
Major Todd puffs out his chest, making his buttons so tight
it looks like they might pop loose.
MAJOR TODD
My orders are to deliver your team
to the destination. You'll get
sealed instructions once we wake
up. Just like the General said.
Does that answer your question?
CAIN
No, Major. That doesn't answer my
goddamn question! Before I close
the top on that little sleep
machine, I'd like to know where I'm
gonna wake up!
Major Todd flinches, then puffs out his chest again.
MAJOR TODD
You survived Red Day, didn't you?
And just because of that, you think
you're some big deal around here.
Well, let me tell you something...
Captain Todd reaches out to poke Cain in the chest to drive
the point home, but he’s much too slow. Cain's hand shoots up
and grabs the captain's wrist in a vice-like grip, twisting
and driving the Captain to his knees.
CAIN
Never talk to me about Red Day,
Major. I was there! I watched while
an entire city was vaporized. I
watched children die in the streets
while whole neighborhoods were
destroyed! You think I don't know
about pain?
CLOSE IN ON MAJOR TODD. His face is flushed.
MAJOR TODD
(struggling to speak)
I don’t know the destination! It’s
still sealed.
Cain releases her grip, and the Major staggers back against
the wall, rubbing his arm and shaking his head in disbelief.
He points his finger.
MAJOR TODD (CONT’D)
You're crazy! I'll have your ass on
a silver platter for this!
Major Todd slaps the door release button and the solid steel
frame parts. He stumbles through, his face red. As the door
closes, he turns around-
MAJOR TODD (CONT’D)
YOUR ASS!
Cain turns back to the window, watching as StarTracer/2
passes Earth's moon, the vastness of space reflecting the
weight of her past and the uncertainty of the journey ahead.
CAIN
(whispers to herself)
Way to go, Carla.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
40 -
Camaraderie in Uncertainty
80 INT. STARTRACER/2, MESS 80
The Mess is a spacious area, flooded with natural light from
large windows. The sound of the ship’s engine hums softly in
the background, a rhythmic pulse that vibrates through the
room. The entire group, excluding Captain Todd, sits around a
long table, food trays colorful with various space rations:
CAIN, PACE, SPECIALIST TRAVELLI, CORPORAL 'BLINKY' CRIMMAGE,
CORPORAL WILLIAMS, and SERGEANT MARTIN.
TRAVELLI
Where are we headed, Captain?
CAIN
(sipping her drink; thoughtful)
We haven’t been given the
destination yet. I assume Illegal
mining interdiction, although its
all hush, hush for some reason.
WILLIAMS
But the ship knows where we're
going, right? Never been on a ship
with no pilot.
StarTracer/2 rumbles. The whole table SHAKES.
CRIMMAGE
That's the Soladar reactor kicking
in.
MARTIN
How long we gonna be out?
CAIN
A year. But don't worry about it,
Martin. You'll be asleep most of
the time.
CRIMMAGE
If they push the reactor to full
capacity, we could reach almost
half the speed of light. Faster
than anyone ever thought possible.
PACE
You're just a walking encyclopedia,
ain't ya...Blinky. Next time I need
trivia for a pub quiz, I’ll call
you.
MARTIN
As long as I’m back for my wedding.
WILLIAMS
(laughs)
Who the hell would want to marry
you, Martin? Your nose looks like
it went ten rounds with a frying
pan.
MARTIN
(playfully)
Yeah, fuck you too.
A moment of laughter dies down, replaced by an unspoken
understanding — a glance shared by the crew hinting at the
weight of their mission.
CAIN
You boys finish up. Make any calls
you want to make, then get down to
the sleep chamber. You've got one
hour.
CRIMMAGE
Think we’ll be alright out there?
CAIN
Hey, we’re a team. We stick
together. Besides, no fighting this
time. We are escort only.
The crew nods, a mix of bravado and concern lingering in the
air.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
41 -
Into the Unknown
81 INT. STARTRACER/2, CREW SLEEP CHAMBER 81
Rows of sleep machines fill the room, their soft hum and the
faint scent of ozone permeating the air. The coffin-like
capsules, each with a pillow, are adorned with blinking
control panels on the exterior.
Pace and the other four Rangers climb into their respective
machines.
Cain walks up to Pace, who’s holding his Maser.
CAIN
Destination is still sealed.
PACE
What the fuck?
CAIN
We’re not leaving this ship until I
know what we're walking into.
She slaps Pace on the back.
CAIN (CONT’D)
Get comfortable. I'll see you when
we wake up. Gonna check on the
others.
Pace lays his Maser down in the machine, then climbs in. He
lays back and the top of the machine comes down, clicks in
place, then the interior of the machine makes a HISSING SOUND
as it fills with a bluish gas.
Cain moves among the other Rangers, briefly observing each
one, her expression a blend of pride and the weight of her
responsibility. She stops by Major Todd's machine, her gaze
hardening.
CAIN (CONT’D)
(almost a whisper)
What are you up to, Major? And why
all the secrecy?
Cain walks to her machine and climbs in. She reaches over and
sets her heart monitor to ten, then lays down and the top
slowly closes. The machine HISSES as a BLUE MIST is released.
82 EXT. DEEP SPACE 82
StarTracer/2 glides through the void like an eel through the
ocean, its hull groaning under the strain of unseen forces.
Distant STARLIGHT flickers against its battered exterior like
a dying pulse.
83 INT. STARTRACER/2, COMMAND CENTER 83
A low, rhythmic HUMMING underscores the silence. Suddenly, a
WARBLE ALARM cuts through — sharp, insistent. Panels FLICKER,
casting jagged shadows. A garbled STATIC hisses from unseen
speakers.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
42 -
Awakening in Chaos
84 INT. STARTRACER/2, SLEEP CHAMBER ROOM 84
Darkness. Then — CRACKLING ELECTRICITY as the sleep machines’
consoles ERUPT in violent RED STROBES. The MIST inside
swirles like agitated breath.
CLOSE ON CAIN — her eyelids TWITCH. A sharp INHALE as her
eyes SNAP OPEN, pupils contracting against the glare. She
SQUINTS, teeth clenched.
With a metallic SHRIEK, her pod UNSEALS. Cain GASPS, clawing
for the oxygen mask. Her fingers TREMBLE as she sucks in
air—once, twice. Her temples throb.
She SLAMS a fist on the timer release.
CLOSE ON TIMER — "780" BLINKS crimson. A tiny, shrill BEEPING
accompanies each flash.
CAIN
What the hell...780 days?
She then notices all the machines are FLASHING RED, and her
own Sleep Level is set to 12.
She LUNGES from her pod, legs buckling. The floor VIBRATES
beneath her—a deep, unsettling RUMBLE. She STEADIES herself,
then moves pod to pod, wrenching levels down to ZERO.
Each machine HISSES open, expelling CREW MEMBERS in various
states of disorientation. COUGHS. GROANS.
Pace CHOKES, his Maser still clutched in his fist.
The red flashes stop, and each machine begins to open with a
slow HISSING sound, the air being expelled like a dying man's
last breath.
One by one, the Rangers sit up, holding their oxygen masks,
breathing deeply.
Cain goes to Pace's machine. He sits up, still holding his
Maser. Cain pulls the oxygen mask and slaps it on him. He
takes several deep breaths, and nods.
PACE
Man, I feel like a hippo just took
a big dump right in my head! Get me
out of this thing!
Cain helps him stand. Pace is wobbly at first.
CAIN
Give it a minute, then check on the
others. I need to talk to Major
Todd.
Cain trots over to the Major’s sleep machine, CLOSE IN ON
INTERIOR: Empty. Cain looks around, but the Major is nowhere
to be seen.
CAIN (CONT’D)
Goddammit!
She rushes out of the room.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
43 -
Awakening to Danger
85 INT. STARTRACER/2, MESS 85
Pace and the four recruits sit at the mess table, sipping
coffee, their faces still groggy from hypersleep. Pace’s
knuckles are white around his mug.
Pace holds up a red packet that says 'Liquified High-potency
Vitamin' on the side.
PACE
It's just like you learned in
training.
He tears the top off the packet and gulps it down.
PACE (CONT’D)
Tastes just like cherries. You
babies should enjoy it just fine.
Martin tears the top off his packet and slurps it.
MARTIN
So what's the mission, Sarge? We
killing miners...or aliens?
A forced chuckle from the group. Dies instantly under Pace’s
glare. He SLAMS his mug down.
PACE
You think this is a game, Martin?
The Recruits have been admonished. Pace waves his arm at the
window.
PACE (CONT’D)
In case you haven't been
listening...In case NONE of you
have been listening, I'll tell you
again! We've been asleep for twenty-
two months - longer than anyone has
ever been in one of those machines.
And somebody reset the controls
after we were under. That means,
for you pinheads, that whatever
mission we're on is so classified,
we couldn't even be told about it!
TRAVELLI
Sarge, you mean you don't know
where we are?
Crimmage stands and walks over to one of the windows.
CRIMMAGE
I know where we are.
All eyes turn to him.
CRIMMAGE (CONT’D)
Mentac System, Sarge.
All the recruits get up and walk over to the window.
THROUGH WINDOW: A gray planet with faint rings. Multiple
moons surround the planet. A sun shines in the distance.
Pace stares out the window.
PACE
How can you tell that?
Crimmage points to the planet.
CRIMMAGE
See the moons? There are 23 of
them. Only one known planet has 23
moons. Rezela, in the Mentac
System.
TRAVELLI
Rezela? This place has been off-
limits for years!
PACE
Jesus! Is everyone a walking
encyclopedia around here?
Pace grabs Travelli by the collar and pulls him close.
PACE (CONT’D)
Off limits for what?
TRAVELLI
I... I don't know, Sarge! I
overheard my dad once say there
used to be mining or
something...but then some ships
were lost...
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
44 -
Collision Course
86 INT. STARTRACER/2, COMMAND CENTER 86
The command center is a chaotic symphony of flickering red
emergency lights and sparking control panels. Alarms BLARE,
their shrill pulses syncing with the erratic thrum of failing
engines.
MAJOR TODD frantically slams his fists against the console,
sweat dripping from his brow. His breath comes in ragged
gasps.
Cain bursts in, eyes blazing. She GRABS Todd, SPINS him, and
SLAMS him against the console — metal groans under the
impact.
Her Maser is already in hand, pressed hard against his cheek.
The barrel glints in the strobing light.
CAIN
Where are we, you son of a bitch?
Cain pulls out her Maser and presses it against his cheek.
TIGHT ON TODD'S FACE. His eyes are bulging out of his head
like two water-filled balloons about to burst.
TODD
I... I don’t know! The system’s
locked me out!
Cain’s grip tightens. The Maser digs deeper.
CAIN
Give me the command logon!
Todd's face is flushed, and he starts panting. His eyes dart
back and forth from Cain to the console.
TODD
The autopilot—it’s overriding — you
have to let me—
Todd squirms, his eyes showing true terror.
CAIN
Five seconds, Major!
The ship LURCHES VIOLENTLY.
A DEAFENING SILENCE as they’re hurled sideways — Cain’s Maser
SKIDS across the floor. Todd FLIPS over a chair, CRASHING
onto his back.
87 THE SHIP STABILIZES. 87
Cain lunges for the gun — the floor TILTS again — her fingers
graze cold metal before it’s yanked away.
Cain dives and SNATCHES the Maser, ears ringing from the
SCREECHING SIREN. She SLAMS her fist onto the console
—SILENCE.
PACE stumbles in, chest heaving. His eyes lock onto the FRONT
VIEWER — a moon FILLS the screen, looming closer.
CAIN
(pointing the Maser at
Todd)
I should blow your head off
right...
PACE
What the hell is that?
Cain spins around, and looks at the front viewer. A small
moon fills the screen, getting larger and larger with every
second.
TODD
(screaming)
We're going to crash! Oh my God,
we're going to crash!
Todd turns to run out of the room, but Pace grabs him around
the neck and holds him tight. Pace glances back and forth
between Cain and the viewer.
PACE
Captain? What's happening?
Cain is frozen in place, staring at the moon rushing towards
them. The image dissolves into...
FLASHBACK:
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
45 -
Countdown to Chaos
88 EXT. NEIGHBORHOOD STREET/STORM CELLAR – DAY (FLASHBACK) 88
A deafening EXPLOSION rocks the street — Young Carla stumbles
as Noah yanks her forward. The sky is a hellish red, EMBERS
raining down. Another BOOM, closer this time—Noah shoves her
toward the storm cellar.
CARLA
Noah! Don’t leave me!
A BLINDING WHITE LIGHT engulfs them—the sound of the
explosion MORPHS into the—
89 INT. STARTRACER/2, COMMAND CENTER - PRESENT 89
PACE
Captain!
Cain snaps out of the memory, and looks at the viewer again.
She rubs her hand over her face.
CAIN
Get everyone to the escape pods.
PACE
What about the colonists?
CAIN
We only have ten pods!
The reality hits her. Most everyone onboard will die.
Todd breaks away from Pace's grasp and stumbles across the
bridge to the console.
TODD
We've got to power up. WE'VE GOT TO
POWER UP!
A deafening KLAXON SOUND, then a computerized voice over the
intercom:
COMPUTER VOICE (V.O.)
CONDITION ALPHA! CONDITION ALPHA!
IMPACT IMMINENT! TEN MINUTES TO
IMPACT.
A FLASHING TIMER on the main screen: 09:59... 09:58...
Todd continues to push buttons and flip switches.
TODD
NO! NO! Please God, no!
Cain grabs Todd and pulls him away from the console. Todd
clutches Cain's shirt.
TODD (CONT’D)
Please! You've got to do something.
You've got to do something!
PACE
Carla! We need to leave!
Cain looks at the viewer then back at Todd.
CAIN
Pace, get this piece of shit out of
here.
COMPUTER VOICE (V.O.)
CONDITION ALPHA! CONDITION ALPHA!
IMPACT IMMINENT! NINE MINUTES TO
IMPACT.
Pace grabs Cain's arm.
PACE
Carla! We've got to go!
Todd is babbling now. Incoherent. Cain heaves him out of the
Command Center with Pace, and into-
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
46 -
Desperate Decisions
90 INT. STARTRACER/2, HALLWAY - CONTINUOUS 90
CAIN
(to Pace)
Get our folks to the escape pods.
We...we can’t save the rest. I’ll
be right there.
The hallway shakes violently. Sparks rain from a ruptured
conduit. The acrid smoke of burning insulation fills the air.
Cain rushes back to her quarters, steps back out carrying the
STARCRASH ACTION FIGURE.
91 INT. STARTRACER/2, EMERGENCY ESCAPE POD VAULT 91
Ten single-person pods line the track, their hatches glowing
red in the emergency lights. The room thrums with the ship’s
death rattle.
Cain bursts in, sweat streaking her face. The Rangers
scramble — Pace shoves Todd into a pod, Martin fumbles with
his EV suit, Travelli wrestles Crimmage, who’s white-
knuckling a support beam.
COMPUTER VOICE (V.O.)
CONDITION ALPHA! SIX MINUTES TO
IMPACT!
CAIN
(To Pace)
Lock in and get out of here!
Cain races over to Travelli, who is yanking Crimmage by the
sleeve while he resists, holding onto a support beam for dear
life.
TRAVELLI
For God's sake Blink! We're gonna
be mayonnaise in six minutes. Get
in the goddamn pod!
Cain squeezes her eyes shut, then shakes her head.
CAIN
Crimmage! I'm giving you a direct
order! Get in the pod!
COMPUTER VOICE (V.O.)
CONDITION ALPHA! CONDITION ALPHA!
IMPACT IMMINENT! FIVE MINUTES TO
IMPACT.
CLOSE IN ON CRIMMAGE'S FACE. His eyes are blinking like a
broken traffic light.
CRIMMAGE
Lieutenant, we won't last five
minutes down there! You don't
understand what that place is!
CAIN
(to Travelli)
Get Martin and get out of here!
I'll handle this.
Travelli looks at Crimmage, then at Cain and nods, then races
off to help Martin into his pod
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
47 -
Desperate Escape
92 INT. EMERGENCY ESCAPE POD VAULT 92
CLOSE IN ON THE FIRST POD, POISED IN FRONT OF THE HATCH.
The hatch opens, massive amount of air rushes in. The first
pod moves on the track to the open hatch.
A sudden WHOOSH sounds, followed by another, as pods begin
deploying.
CAIN
Crimmage, we have to go! We don't
have time for this!
CRIMMAGE
I'd rather burn up with the ship,
sir.
Cain pulls Crimmage's hands away from the support beam.
COMPUTER VOICE (V.O.)
CONDITION ALPHA! CONDITION ALPHA!
IMPACT IMMINENT! FOUR MINUTES TO
IMPACT.
CAIN
Crimmage, in four minutes you've
got no options! Down there, we've
got a chance!
CLOSE IN ON CRIMMAGE. His eyes are blinking, his glasses
slide down to the end of his nose.
Another WHOOSH as a pod deploys.
CRIMMAGE
You...you don't understand. Rezela.
The twelfth moon...
Cain glares at him for a few seconds.
COMPUTER VOICE (V.O.)
THE SHIP WILL IMPACT IN THREE
MINUTES. ALL PERSONNEL SHOULD
EVACUATE IMMEDIATELY.
Cain pulls Crimmage to a pod, and his glasses fly off across
the floor.
CAIN
I'm not leaving you here!
Cain shoves Crimmage into the pod. Crimmage looks back.
CRIMMAGE
My glasses!
Cain hits a button and the top of the pod closes and begins
moving toward the hatch.
COMPUTER VOICE (V.O.)
THE SHIP WILL IMPACT IN TWO
MINUTES. ALL PERSONNEL SHOULD
EVACUATE IMMEDIATELY.
Cain stumbles across the room and grabs Crimmage's glasses,
then dives into a pod. The ship TILTS wildly, as Cain's pod
moves to the open hatch.
COMPUTER VOICE (V.O.)
THE SHIP WILL IMPACT IN ONE MINUTE
ALL PERSONNEL SHOULD EVACUATE
IMMEDIATELY.
93 EXT. STARTRACER/2, EMERGENCY POD/SPACE 93
The ship careens through the dark void of space, heading
straight for the moon. Cain's pod breaks free from the ship,
its small wings unfurling, thrusters igniting with a fierce
glow that momentarily illuminates the shadows of space.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
48 -
Descent into Chaos
94 EXT. TWELFTH MOON OF REZELA, ROCKY LANDSCAPE 94
The moon, eerily illuminated by a nearby sun, presents a
rugged terrain of craggy rocks and twisted spires.
Pace's pod is half-buried in the lunar soil. With a strained
grunt, he pushes the hatch open and crawls out, fogging his
visor as he retrieves two small tanks marked OXYGEN, the
metallic clang echoing against the stillness.
He sinks onto the ground, back against a jagged rock, the
weight of defeat pressing on him.
In the sky, the StarTracer/2 streaks down like a fiery comet,
disappearing behind a distant mountain range. An instant
later, it ERUPTS in a cataclysmic FIREBALL, bathing the
landscape in an infernal glow, turning the mountains into
stark silhouettes against a turbulent, bloody sky.
PACE (V.O.)
Made it. But where the hell are we?
PACE POV: He looks through his heads-up display and spots
several pods a few hundred yards away.
Pace ducks into a crevice, arms shielding his head. The
ground trembles— a low, guttural growl — like the moon itself
is waking up.
His arm jerks. Stuck. The rock clings to his suit like tar.
PACE
What the fuck?
He jerks his arm away from the rock and it seems to ripple.
The ground begins to SHAKE with a low, rolling sound, and
suddenly, like dawn breaking over the horizon, the tops of
the mountains SHEAR AWAY in a second tremendous blast,
hurling rock and debris in all directions.
PACE (CONT’D)
Goddamn Soladar. And we were riding
around with that stuff.
The horror is over. Pace raises his head and peers out over
the steaming rocks. He pulls his other arm free from the
porous rock, and the outer layer of his suit tears, leaving a
small patch of the fortified material stuck to the surface.
Silence. Then — a hiss. The rock sucks a patch of his torn
suit into a slit that seals instantly.
He curses under his breath and grabs the piece of suit,
trying to pull it free. The rock moves again with a rippling
motion, and Pace jerks his hand away.
CLOSE IN ON THE MATERIAL STUCK TO THE ROCK.
The entire crevice trembles, vibrating like a frightened
heart.
Pace spins around, panic rising, the walls of this rocky
prison inching closer, suffocating. He pushes against the
sides, his breathing heavy, desperate. In a surge of
adrenaline, he vaults himself up and out, low gravity sending
him soaring ten yards higher than he expects.
He glances back at the yawning crack, now a menacing maw, and
within seconds, it SLAMS shut.
The ground begins to SHUDDER violently beneath him. With fear
propelling him forward, he bolts toward the other pods as the
crack in the earth seems to pursue him, chasing his every
step.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
49 -
Stranded on Rezela's Moon
95 EXT. CAIN'S POD 95
Cain and Crimmage sit atop Cain's pod, scanning the desolate
landscape. Todd paces nearby, his face etched with fear.
Travelli and Martin cautiously inspect the other damaged
pods. In all directions the white, rocky terrain is scorched
black from Soladar heat.
TRAVELLI
How are we gonna get out of here?
CAIN
Pretty sure Williams is dead. His
pod must have landed too close to
the ship and the heat wave
just...just took him. Maybe Pace
too.
Travelli’s POV: In the distance, barely visible, a large hunk
of metal.
TRAVELLI
Captain, you seeing this? There's a
wreckage over there, might be
another ship.
Cain squints, shielding her eyes from the scorching sun.
CAIN
Let's hope it's not just more
debris. We need to find a way to
signal for help.
Crimmage's gaze darts around, his breathing shallow.
CRIMMAGE
Captain, I... I think we're on one
of the moons of the planet Rezela.
The twelfth moon. My father
mentioned it once, said there was
illegal mining there.
Cain's eyes narrow, considering the implications.
CAIN
That could explain why we were
headed this way. But it doesn't
change the fact that we're
stranded.
TODD
Twenty-two months in those goddamn
sleep machines. We could be halfway
across the galaxy. We’re never
gonna be rescued!
CAIN
Shut it, Major. We don't need your
bullshit. There have to be other
ships in the zone. I noticed
wreckage of several ships scattered
across the surface as I was coming
down. My radio is working.
Genres:
["Sci-Fi","Action","Adventure"]
Ratings
Scene
50 -
Desperate Signals
96 EXT. CAIN'S POD 96
Pace staggers up and climbs on top of Cain’s pod.
PACE
I've got a feeling Williams is
better off than we are.
Cain hugs him.
CAIN
I thought you were gone.
Pace returns the hug.
PACE
There's something wrong here,
Carla. I don't know, but this place
is like...like its alive or
something!
TODD
You should have let me disengage
the automatic pilot!
Todd looks over and shouts to Travelli and Martin. They’ve
wandered even farther away.
TODD (CONT’D)
Get your asses back here. Its
nothing but a bunch of rocks.
CRIMMAGE
We need to send out a distress
signal.
TODD
We don’t even know where we are.
There’s probably not another ship
within a million miles.
ON Crimmage: He blinks rapidly.
CRIMMAGE
We’re on one of the moons of
Rezela. Mentac system.
PACE
Yeah, you said that before. You
think there’s illegal mining here?
Is that where we were headed before
the ship computer went haywire?
CRIMMAGE
I don’t know, Sarge. I heard my
father talking about Rezela once.
CAIN
Your father developed the Soladar
reactor, right?
PACE
There have to be other ships. I
mean, there's a planet and 23 moons
for fuck's sake. Somebody has to be
mining on at least one of them.
CAIN
I’m gonna try to raise someone on
the radio.
She moves down into the inside of the pod.
97 INT. CAIN’S POD 97
Cain turns a few switches and the pod’s console lights up.
She hits the button marked COMM. A light turns green.
CAIN
Mayday! Mayday! This is
StarTracer/2. We have crashed on
unknown moon of the planet Rezela.
Over!
Static crackles through the speakers. Cain's brow furrows
with frustration.
CAIN (CONT’D)
Mayday! Mayday! Can anyone read me?
Only static from the radio.
She turns off the radio, a somber expression on her face as
she emerges from the pod.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
51 -
Descent into Despair
98 EXT. CAIN’S POD 98
Cain meets the anxious gazes of her crew, her lips pressed
into a thin line. CRIMMAGE has his knees pulled in tight,
arms wrapped around his legs.
CAIN
No response. We’re on our own.
A heavy silence settles over the group, the weight of their
situation palpable. Pace reaches out and squeezes Cain's
shoulder, offering silent support.
CAIN (CONT’D)
We’ll keep trying the radio.
Between all of us, we should have
enough water and oxygen for at
least a week. Travelli, where’d you
see a crashed ship?
Travelli points off to the left.
TRAVELLI
That direction, but my display
isn’t strong enough.
PACE
Looks like this might be our last
mission.
CAIN
Don’t give up on me, Pace. We
aren’t done yet.
A LOW RUMBLE builds beneath them. The ground vibrates,
pebbles dancing.
ON TRAVELLI AND MARTIN — frozen mid-step. Their boots SINK an
inch into the soil.
TRAVELLI
What he hell...
PACE
Holy shit! It’s happening again!
CAIN
What are you talking about?
Travelli tries to jerk his feet free and falls on his side.
Martin YANKS his leg. Doesn’t budge.
MARTIN
Oh, Jesus! Help! It’s GRABBING me!
Cain starts to slide off her pod, but Pace holds her back.
She tries to pull away, angry.
CAIN
Let go of me!
PACE
You’ll get stuck too!
ON TRAVELLI and MARTIN: They are sinking into the ground,
Martin past his knees, Travelli’s entire body almost covered
in soil. Both are shrieking, crying.
Martin tries to use his Maser as a support to pull himself
out, but it’s no use. He continues to sink.
Cain panics watching her men being sucked into the ground and
there’s nothing she can do to stop it.
ON THE GROUND — Travelli’s last choked cry as the soil
SWALLOWS him whole. Martin’s outstretched hand—GONE.
The ground SEALS SMOOTH. Silent.
CLOSE ON CAIN — her breath ragged. A tear slides down her
face. Her face is flushed. She jerks again against Pace’s
embrace. What she’s just witnessed defies explanation.
CAIN
(whispering)
NO..no, no..No! What is that?
Pace pulls her into a crushing hug. She doesn’t fight it.
The wind howls.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
52 -
Descent into Soladar
99 EXT. MAJOR TODD’S POD 99
The ground BUBBLES where Travelli and Martin disappeared, a
chilling silence hanging in the air.
Suddenly, a shimmering, golden, oily liquid seeps to the
surface. The liquid flows, thicker and thicker, until it
covers the surrounding ground, little rivers of gold spewing
forth from a subterranean well.
Todd's eyes go wide with terror. He lets out a shuddering,
panicked scream and scrambles farther up on top of the pod,
his whole body trembling as he tries to get as far away from
the liquid as possible, like a cornered animal.
Cain stares at the golden substance, her brow furrowed in
confusion and dread.
CAIN
What the hell is that?
CRIMMAGE
It...it looks like Soladar.
Pace's usually calm demeanor is shaken, his voice quivering.
PACE
(practically choking on
the words)
What?
CRIMMAGE
I saw samples in my father’s lab.
That’s what it looks like.
Cain's gaze is transfixed on the strange liquid, her mind
racing to comprehend the implications.
100 EXT. CAIN’S POD 100
They’re all in shock. They continue to stare at the
shimmering lake flowing around them.
CLOSE-IN ON CAIN
CAIN
That’s what she meant.
PACE
What? Who?
CAIN
Tatiana. She said you can’t mine
Soladar. It mines you.
Pace's eyes widen in realization, the full weight of the
situation sinking in.
PACE
The whole fucking moon’s alive.
CRIMMAGE
We’re gonna die here.
Cain's expression hardens, her leadership instincts taking
over.
CAIN’S POV: She switches on the heads-up display in her
helmet. She scans in all directions. We see what appear to be
structures far off in the distance. They are faint, we can’t
be sure.
CAIN
I think I see something, but it’s
not a ship. Looks like buildings of
some kind. Too far away. Pace, get
the scanner.
Pace drops into the pod.
The ground TREMBLES, and Todd suddenly loses his grip,
sliding down to the end of his pod. He lets out a blood-
curdling scream, pulling his feet as far away from the
surface as possible. Crimmage scoots around behind Cain,
seeking her protection.
Pace climbs out of the pod, stares.
101 EXT. TODD’S POD 101
Todd claws at the smooth metal of the pod, fingers scraping
uselessly. His breath comes in ragged gasps, each exhale
fogging his visor. The ground beneath him groans—a low,
hungry sound. He’s scratching at the metal like a cat.
CAIN
TODD! Get over here! JUMP!
TODD
HELP ME! Cain, HELP ME!
He’s slipping.
Before Pace can stop her, Cain slides off the pod and rushes
over and jumps onto Todd's pod. She lays out flat, extends
her hand, but Todd doesn't seem to notice.
CAIN
Give me your hand!
PACE
Carla! The Ground!
ON TODD: He's staring at a growing fissure, like a mouth,
waiting to swallow him whole. He finally turns around, sees
Cain and tries to reach her hand.
Cain lunges and grabs for Todd's suit, but misses by inches.
Todd finally loses his grip and slides to the ground, rolling
over like a beached whale.
A huge arm of soil, surges over his leg and he lets out a
blood-curdling scream. The soil pulls him down and he wails
one last time, and is gone. The ground closes up leaving only
a smooth surface.
Cain’s fist slams into the pod. A choked sound escapes
her—half sob, half curse.
Silence.
Then, distant: the creak of shifting earth.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
53 -
Trapped on Shifting Ground
102 EXT. CAIN’S POD 102
Cain hops down. The ground shifts and quivers under her feet,
little tentacles of soil reaching up as if to grab her legs.
She races and dives onto her pod, Pace pulling her up.
They stare as the ground bubbles again, a golden, oily liquid
oozing to the surface - the Soladar that Cain had warned them
about. Cain shakes her head, the realization sinking in.
Major Todd mixing with Travelli and Martin.
Cain shakes her head.
CAIN
That’s Soladar?
CRIMMAGE
This must be where it comes from.
But why send us here? There’s only
six of us? This is barely enough to
power one ship.
CAIN
My fault. I said too much to the
wrong people. I think Tatiana was
killed for it. Guess this was their
way of getting rid of me, and
getting more Soladar at the same
time.
Cain looks out at the bubbling ground, a deep sorrow etched
on her face.
CAIN (CONT’D)
That's what all the wreckage was I
saw, coming down. Other ships - I
bet colony ships - that have been
sent here.
Pace gulps a big breath of oxygen.
Cain has calmed. She’s in control.
CAIN (CONT’D)
Back to the original plan. Pace,
get the scanner.
Pace climbs into the pod, comes back out holding what looks
like a pair of digital binoculars. Hands it to Cain.
CAIN’S POV: Scans the horizon, zeroing in on a ship with a
mechanical arm reaching down to the ground. Eight large
structures sit on skids.
CAIN (CONT’D)
Looks like a mining operation. I
see a ship with an arm or pipe,
reaching to the ground.
Cain turns and addresses Crimmage
CAIN (CONT’D)
You think that’s to suck up this
Soladar liquid?
CRIMMAGE
Probably. That’s how they would do
it. You think they know we’re here?
PACE
No way they missed our ship
exploding.
CRIMMAGE
Yeah, but they probably think we
all died on the ship.
CAIN’S POV: She swings the scanner around, looking in other
directions.
CAIN
I see another ship. About 6 clicks.
Hard to tell from here, but it
looks big. Might be one of the
colony ships. Can’t make out the
markings.
CRIMMAGE
U.S. MENDES. Definitely a colony
ship.
Cain and Pace both turn around. Crimmage is looking through
the SCOPE on his Maser.
CAIN
Well fuck.
She tosses the scanner back into the Pod and picks up her
Maser and trains it on the colony ship. Pace does the same.
PACE
Damn, these scopes are better than
the scanner. Yeah, I see it. It’s
crashed all right. When did the
Mendes go missing?
CAIN
Couple years ago.
PACE
It should have two AC20’s onboard.
We might have a way off this rock.
CAIN
Yeah, but how do we get there?
They all sit in silence a few minutes, when Crimmage suddenly
looks up.
CRIMMAGE
I may have an idea.
He stands and glances down at the pod, then the other pods.
PACE
Well spit it out, man!
Crimmage explains, his words tumbling out excitedly.
CRIMMAGE
Why haven’t any of the pods been
sucked down? Or the buildings over
there? Maybe the ground only has an
appetite for...for something
biological. Our suits are eighty
percent organic nanobots. That’s
why our suits won’t protect us.
Pace pans over to the mining operation.
PACE
Too bad we don’t have one of those
vehicles.
CAIN
(To Crimmage)
Davie, you may be on to something.
Cain flips a switch on her Maser, the beam shifting from a
Maser to a Laser.
CAIN (CONT’D)
Let's test it to be sure.
She fires the laser, the tight beam cutting a square of metal
from the pod's hull. Cain waits for it to cool, then tosses
the metal to the ground, where it remains untouched by the
shifting soil.
The trio sit back, staring at the metal square.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
54 -
Survival on the Moon
103 EXT. CAIN'S POD/MOON’S SURFACE. 103
Minutes tick by, the oppressive silence pierced only by the
low rumble of shifting ground. The horizon seems to pulse
ominously, a reminder of their companions lost.
CAIN
(breath shaky)
We can't let them die for nothing.
PACE
(fidgeting)
Blink, I think you were right.
It doesn’t like metal. So what now?
CAIN
Ok, boys, this just might work.
Pace you need to run to Todd’s pod.
Davie, you run to your pod.
PACE
What you got in mind?
CAIN
Well, you’re from Utah. You ever
been snowshoeing?
Pace’s face lights up.
PACE
Fuck! That’s brilliant.
CAIN
Use the Lasers and cut out two
pieces of metal, about six inches
longer and wider than your boots.
Then we’ll rip loose some wire and
tie them on.
Crimmage finally gets it.
CRIMMAGE
Then we can walk to the colony
ship!
PACE
Crude, but it should work.
Genres:
["Sci-Fi","Action","Adventure"]
Ratings
Scene
55 -
Preparing for the Unknown
104 EXT. TWELFTH MOON 104
LOOKING DOWN FROM ABOVE:
MONTAGE:
They work feverously to make their metal shoes.
QUICK CUTS:
-Pace finishes cutting, climbs into the pod, comes back out
with a handful of wire and begins tying the metal shoes on.
-Crimmage’s boot slips as he ties his shoe. He freezes,
waiting for the ground to lurch. It doesn’t.
-Cain struggles knotting the wire, but gets it done
END MONTAGE:
105 EXT. CAIN’S POD 105
Cain reaches back into the pod, comes out with her STARCRASH
ACTION FIGURE. She stuffs it into a backpack. She grabs her
Maser and slides off the pod. Stands there, ready to jump
back onto the pod if the ground starts moving. Nothing
happens. Pace and Crimmage share a glance. Hope? Dread?
CAIN
Ok.
Pace and Crimmage exhale, slide down. They gather, shoulders
brushing.
PACE
Let’s hope these work.
CRIMMAGE
I think if we keep moving, that
will help too.
Cain looks around at the crashed pods and the small Soladar
lake. Her voice is steel.
CAIN
If we make it out of here, I swear
to God, someone’s gonna pay.
Pace nods, tight. Crimmage grips his weapon. They move.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
56 -
Into the Unknown
106 EXT. TWELFTH MOON 106
WIDE SHOT: All around them is bleak, barren terrain. Large,
jagged rocks protrude from the ground. Distant mountains loom
on the horizon, their peaks shrouded in mist.
Cain, Pace, and Crimmage trudge forward, each step a careful
balancing act to keep their metal-soled shoes from slipping
off. The ground rumbles and shifts beneath their feet, a
constant reminder of the perilous environment.
After a mile, Cain pauses and uses the scope on her Maser.
CAIN
US Mendes. I read the report. So,
the rumors were true. If anyone’s
alive, I bet they’re a bunch of
homeless junkies.
PACE
Expendable.
CAIN
Exactly.
They start off again. The sun is dropping in the sky. It’s
beginning to get dark.
CRIMMAGE
Would they have enough food to last
two years?
CAIN
Not a chance. They thought they
were on their way to an established
colony. Six months' worth of
provisions, if that.
They continue on. Cain glances behind them.
PACE
They may not have heard your
Mayday.
CAIN
Maybe.
CRIMMAGE
If they heard it, wouldn’t they
have responded?
The moon has now rotated into near total darkness, casting
the landscape in inky shadows.
CAIN
Displays on. Take it slow. Can’t
afford to trip and fall.
They are only a mile out.
CAIN’S POV: The silhouette of the ship looms ahead. It can
barely be seen against the darkness.
The ship is massive. Half the front of the ship is buried in
the ground. A frayed United Alliance flag hangs on a pole
outside the ship.
PACE
I don’t see any signs of life.
CAIN
Yeah. We’re probably walking into
the biggest tomb in the universe.
They start walking as quickly as they can with the metal
shoes. As they get close to the Mendes, Cain uses the scope
again.
PACE
You see a way in?
CAIN
Maybe the other side.
They reach the ship. Twice the size of StarTracer/2. A
hundred yards away, what looks to be the remains of a golden
lake, shimmering even in the darkness.
Cain looks at Crimmage.
CAIN (CONT’D)
Colonists?
CRIMMAGE
From the size of the lake, I’d say
hundreds.
CAIN
Ok, we do a quick check for
survivors, then find the AC20 and
get off this place.
They start shuffling as fast as they can to the far side of
the ship. They use their rifles like walking sticks to keep
from falling.
They reach the main hatch. It’s partially open. The stairs
have been lowered.
PACE
I thought we might have to cut our
way in.
They climb the lowered stairs, each step a laborious struggle
with the heavy metal shoes.
Genres:
["Science Fiction","Adventure"]
Ratings
Scene
57 -
Descent into Darkness
107 INT. U.S. MENDES MAIN CORRIDOR - CONTINUOUS 107
A tomb of shadows. The air is thick with the scent of rust
and decay. No sound, no movement—just the eerie hum of dead
machinery. The trio’s headlamps slice through the darkness as
they remove their metal shoes.
CAIN
Switching to infrared.
Cain’s POV: A slow 360-degree pan reveals no heat signatures
— only the skeletal remains of the ship. On one wall, Cain
spots a comm panel blinking red and green.
CAIN (CONT’D)
There’s still some power. Davie,
any idea how to get the lights on?
CRIMMAGE
The Soladar reactors never shut
down. They just go into a standby
mode after a certain amount of
time. I think all we need to do…
He flips a switch on the wall, and the corridor lights
flicker on, nearly blinding them. The first thing they see is
a body in a doorway halfway down the hall.
PACE
You weren’t kidding about a tomb.
CAIN
Ok, you two head to the deployment
bay. See if there are any working
AC20’s. I’ll meet you there in a
half hour. I’m gonna go check the
Command Deck. I need to tap into
the Nav computer and figure out the
coordinates for Earth. Otherwise,
we’re gonna be lost in space. And
the crew quarters. Oh, and check
the mess for any extra food packs
and water.
Pace and Crimmage head off down the corridor.
108 INT. U.S. MENDES HALLWAY - CONTINUOUS 108
Cain walks down a short hallway to the stairs, and begins the
climb to level eight.
109 INT. U.S. MENDES COMMAND CENTER - CONTINUOUS 109
The Captain’s Chair faces the shattered viewport, stars
bleeding through the cracks. A MAN sits slumped, his uniform
stiff with frost. Around him, bodies lie like broken
dolls—faces hollowed, skin parchment-thin.
Cain steps closer. Her gloved hand brushes the Major’s
oakleaf insignia. A memory flashes: A medal pinned to her own
chest, years ago. A speech about honor.
CAIN
(whispering, to herself)
Better to die here than out there.
(she stiffens, shakes it off)
But we’re not dying today.
She turns — a reflex glance at the bodies — then strides out.
110 INT. CORRIDOR IN FRONT OF DEPLOYMENT BAY DOOR 110
Cain reaches the DEPLOYMENT BAY. Pace and Crimmage are there.
Several boxes on a trolly. The bay door is frozen half open.
They all three grab an edge and manage to open it enough to
get through.
111 INT. DEPLOYMENT BAY 111
The AC20 looms, its hull scarred but intact. Pace whoops,
slapping the metal—then freezes as his light catches two
corpses in the corner. Maser still clutched in a skeletal
hand. Then he turns back to the AC20.
PACE
We got us a ride!
Cain looks around while Crimmage joins Pace. She walks over.
CAIN
Let’s hope she’s working.
PACE
I’m believing in God again. Get us
outta here, Captain.
Cain climbs the ladder, her movements deliberate. The cockpit
door hisses open.
Genres:
["Sci-Fi","Action","Adventure"]
Ratings
Scene
58 -
Departure Dilemma
112 INT. AC20 COCKPIT 112
Switches flip. Lights flare. The engine’s growl vibrates
through Cain’s bones. She exhales — first real hope in hours
— and leans out.
She walks back to the door, sticks her head out.
CAIN
(calling down)
Let’s load up, boys.
She hits a switch and the back ramp descends. Pace and
Crimmage haul the supplies, their laughter edged with relief.
Cain watches, her hand lingering on the pilot’s seat. Alive.
For now.
113 INT. AC20 113
Pace and Crimmage SECURE THE LAST BOX into a side
compartment. The ramp GROANS as it begins to close.
CRIMMAGE
Hope that sounds doesn’t mean what
I think it means.
PACE
Relax. This thing’s built to last.
Probably. All good, Captain. Close
her up.
The ramp raises and slowly closes. Pace and Crimmage walk up
to the cockpit.
114 INT. AC20 COCKPIT 114
Cain pulls out the STARCRASH ACTION FIGURE and sets in in the
co-pilot seat.
CAIN
Green across the board.
PACE
Then let’s get the hell outta here!
Cain doesn’t smile. She grips the controls, her voice low,
urgent.
CAIN
Ok, listen up. We’ll definitely get
off this rock, but we’re not even
close to being out of the woods. We
have sleep machines. Food and water
are limited. Oxygen and power?
We’re good — if nothing breaks. Our
only shot is finding another ship
on the radio. Could take months.
PACE
(dryly)
So, the usual.
CAIN
We’ve got star maps. A nav system.
If I can find Earth, we’ve got a
direction. But we ration. Every
drop. Every bite.
PACE
Got it. Ration water and food. And
if we die, at least it won’t be
down here.
CAIN
Ok, get ready for a long ride.
Pace and Crimmage lean into the cockpit and Cain sits back
down at the controls.
BEGIN MONTAGE:
- TIGHT ON CAIN’S HAND flipping the CHUTE RELEASE switch. A
SHARP CLICK.
- EXTERIOR – AC20: The deployment hatch SHUDDERS, METAL
SCREECHING — but it doesn’t budge.
- BACK TO CAIN: She flips it again. FASTER. Same result.
- PACE’S REFLECTION in the cockpit glass—his grin fading.
- CRIMMAGE nervously checking the oxygen readout.
END MONTAGE
CAIN (CONT’D)
(slams the console)
Fuck!
Pace sticks his head into the cockpit.
PACE
What’s wrong?
CAIN
Deployment chute is stuck. Need to
take a look.
Cain hits the RAMP SWITCH, then heads to the back of the
AC20.
115 INT. AC20 115
The trio stands at the ramp and makes their way around to the
deployment chute. The chute is partially open. They inspect
it carefully.
Pace hits a big red button on the wall. The hydraulics squeal
but remain unyielding.
Cain stands with her hands on her hips, her frustration
shifting to concern.
CAIN
Something’s blocking it. Ok. You
two stay here and be ready to hit
the manual release when I say so.
I’m going out to see what the
problem is.
PACE
No, no. I’m going.
CAIN
Shut up, you lug. Do what I say and
that’s an order. Just hang tight.
This is gonna take awhile.
Cain heads off back inside the MENDES.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
59 -
Sacrifice on Rezela
116 INT. MENDES MAIN CORRIDOR 116
She retrieves her metal shoes left by the ship’s main door,
ties them on with purpose, and steps outside into the eerily
quiet expanse beyond
117 EXT. OUTSIDE THE U.S. MENDES 117
A biting wind HOWLS across the barren landscape, kicking up
dust. She steps down, her metal shoes CLANKING against the
hard ground. The remnants of the golden lake GLIMMER faintly
under the eerie light of Rezela’s many moons.
She moves toward the rear of the ship, her breath FOGGING in
the frigid air. Pauses. Stares at the lake’s remains — once
the most precious substance, now a cracked, lifeless scar. A
whisper of memory: Pace laughing, joking that if it was gold,
they’d all be rich.
CLOSE-IN ON CAIN’S FACE – A flicker of sorrow, then resolve.
She reaches the deployment chute. A jagged piece of hull
metal is JAMMED into the opening. She GRIPS it, muscles
straining—no give.
CAIN
Pace, you copy?
PACE
Yeah, LT
CAIN
There’s a piece of metal stuck in
the bottom of the chute. Probably
from the crash. Find a large
crowbar or piece of pipe. I’ll try
to knock it loose.
Cain’s POV: She looks around at the horizon, then up at the
sky. The planet Rezela looms large, with more moons than she
can count.
Pace is back with a long crowbar. He sticks it through the
opening.
PACE
Here you go, Captain.
Cain takes it. The weight is nothing in the moon’s weak
gravity. She JAMS the crowbar into the chute, HAMMERS the
metal. No movement.
She FLIPS the crowbar, hooks it behind the metal. Leans back,
PULLS with everything—
CRACK! The metal SNAPS free. The hatch BLASTS open. Cain’s
momentum sends her FLYING backward—
THUD. She hits the ground. One metal shoe POPs off.
She scrambles up, hops toward the chute—
Her bare foot SINKS. The ground isn’t ground—it’s hungry. A
wet, sucking SOUND as the soil pulls at her, swallowing her
ankle.
CAIN
(Shouting)
PACE! I’M STUCK! HURRY!
Pace and Crimmage appear at the edge of the chute. They look
on in horror. Pace looks around and grabs a long piece of
pipe. He holds it out to her.
Cain GRIPS it, fingers white-knuckled. They PULL. Her other
shoe RIPS free. Now both legs sink, QUICKSAND to her knees.
PACE
(raging, tears)
DON’T YOU LET GO!
Cain tries her best, but she looks down, and her face says
she knows it’s too late.
She releases the pipe. Pace and Crimmage stagger back.
PACE (CONT’D)
NO! NO! WHAT ARE YOU DOING?
Cain's voice is tinged with a bittersweet acceptance as she
sinks deeper into the ground, now up to her waist. She gazes
upon Pace's tear-stained face, a lifetime of shared
experiences and newly found affection passing between them.
CAIN
Pace, Pace, it's ok. Nothing you
can do! You need to get back to
earth and expose what's going on
here.
Pace falls to his knees, his sobs carrying the weight of
their shattered dreams
CLOSE-IN ON CAIN’S FACE: She grimaces.
She has now sunk to her chest.
CAIN (CONT’D)
Make sure everyone knows, Pace.
Otherwise, this was all for
nothing. Now go! That’s an order. I
love you.
Pace continues crying, but he can’t bear to see her go under.
He and Crimmage reluctantly turn and stagger back into the
ship.
She hears the engines turning, whining. The AC20 moves down
the track toward her, gaining speed, then shoots through the
opening.
She watches their ship disappear into the vastness of space,
a bittersweet smile forming on her lips as the ground
consumes her, pulling her down into the unknown.
DREAM SEQUENCE
Genres:
["Science Fiction","Drama"]
Ratings
Scene
60 -
Echoes of Loss
118 EXT. GLEASON HOUSE/STORM CELLAR - DAY (DREAM SEQUENCE) 118
A faint, melancholic PIANO MELODY lingers in the air. Wind
rustles through the trees, distant and dreamlike.
SHE climbs the storm cellar ladder. Above her, NOAH stands
bathed in golden light, his hand outstretched. Silence wraps
around them, broken only by the whisper of leaves.
She reaches for him. Their fingers touch—warm, real.
Beside Noah, her PARENTS smile, their faces glowing. A shared
laugh, unheard but felt. They join hands, walking down a sun-
dappled street. Their figures slowly dissolve into the light,
the piano fading with them.
SMASH CUT TO:
119 INT. AC20 - NIGHT 119
The echo of the piano lingers for a beat - then GONE.
Pace, helmet off, stares out of the window, his reflection
fractured by tracks of tears.The moon shrinks behind them, a
cold, distant eye.
CRIMMAGE pilots, his grip tight on the controls. The ship
hums, a mechanical heartbeat.
CRIMMAGE
Why don’t you get ready to sleep.
I’m gonna program an SOS in a loop,
then I’ll be there.
Pace doesn’t move. His breath fogs the glass. He picks up the
STARCRASH ACTION FIGURE.
PACE
She brought this on every mission.
For luck. Where was the luck this
time?
CRIMMAGE
Well, keep it. We need all the luck
we can get.
PACE
She used to hum when she was
nervous. Did you ever notice that?
Just… under her breath. Like she
was calming herself down
CRIMMAGE
Yeah. And she’d tap her
fingers—three times—on the console
before a hard burn.
Pace exhales, a shaky half-laugh
PACE
What do I do now?
CRIMMAGE
We do what she asked. Find a ship,
get back to Earth and make the
generals pay.
Pace nods. He presses his palm to the window—one last
look—then pushes away, clutching the action figure.
As he exits, Crimmage adjusts course. On the viewscreen:
REZELA looms, its surface scarred.
CRIMMAGE (CONT’D)
(muttering)
Ships come for Soladar. High
orbit’s our best shot. Better than
drifting.
He banks the AC20, the engines groaning. The planet fills the
frame—beautiful, deadly.