DARK HARBOUR Written by Catherine Wignall [email protected] FADE IN: EXT. BLACKNESS We can HEAR breathing. Slowly, ever so slowly, tiny pinpricks of light pierce through the veil of darkness. STARS. We are looking at the vastness of space. IMANI (O.S.) Danny! INT. RELIEF SHIP - OBSERVATION HATCH - NIGHT DANNY SHEPHERD lies at the observation window, staring out at the infinity of stars. He’s an excitable puppy, cute, 26, and African American. IMANI (O.S.) Get your butt down here! Reluctantly, Danny moves away from the observation hatch. As he does, he reveals a new section of window previously obscured. Outside is a big, blue PLANET. NEPTUNE. EXT. RELIEF SHIP - NIGHT The space capsule floats through the silent void, passing by Neptune and on toward a distant moon. SUPER: “Triton” A BLAST OF FIST-PUMPING, HEART-JUMPING ROCK MUSIC assaults us and - INT. TRITON BASE - EXERCISE ROOM - NIGHT AURORA (RORY) REYNOLDS (27) runs on a treadmill in the brightly lit exercise room, the music blaring from her speakers. Her hair’s pulled back tightly, her movements taut and expert. She keeps up a brutal pace. EXT. ISCO HEADQUARTERS - COMPANY CAR PARK - DAY The sky is beautiful as the sun sets, a blaze of diaphanous fire. SUPER: “Orlando, Florida” SAM SHEPHERD (29) clambers out of his car. He takes a moment to look up at the sky, a small smile gracing his face. You can see the family resemblance to Danny, though slightly older, more mature. INT. ISCO HEADQUARTERS - CORRIDOR - DAY A variety of LAB WORKERS in white coats and OFFICE WORKERS in scruffy smart-casual pass Sam as he wends through dimly lit corridors. He nods a greeting to each one of them, a buoyancy in his step. Sam passes a series of doors labelled with various MOON NAMES. He reaches a door labelled TRITON. Across the hall another door is labelled CALLISTO. INT. ISCO HEADQUARTERS - TRITON MONITORING ROOM - DAY MAYA PATEL (28) flicks through a magazine while chipping at her nail varnish, a bank of monitors in front of her. She wears a headset and mic. TINNY ROCK MUSIC filters through the headset. MAYA You’re late. She doesn’t look up as Sam enters. SAM Sorry. All good? MAYA Wish she’d choose a different song. Barely glancing up, Maya flicks a few switches. The MUSIC from her headphones now blasts through a pair of battered speakers. Sam slumps into a seat beside Maya and turns the music down. He scans the monitors before them. Each screen monitors the vitals of a different person: COMMANDER ANGELA HAWKINS, KARINA BABIKOVA, AZIZ KADER, RORY REYNOLDS. Three screens are dark. 2. SAM Any problems? MAYA Nada. SAM Well, it was lovely talking to you as always, Maya, but you’re in the good chair. Go home. Shift. Sam yanks the headset off Maya’s head. She barely notices. INT. TRITON BASE - EXERCISE ROOM - NIGHT Rory’s still pounding away at the treadmill. Her MUSIC cuts out, replaced by the CRACKLE of the comms..

1. DARK HARBOUR
Written by
Catherine Wignall
[email protected]
FADE IN:
EXT. BLACKNESS
We can HEAR breathing.
Slowly, ever so slowly, tiny pinpricks of light pierce
through the veil of darkness.
STARS.
We are looking at the vastness of space.
IMANI (O.S.)
Danny!
INT. RELIEF SHIP - OBSERVATION HATCH - NIGHT
DANNY SHEPHERD lies at the observation window, staring
out at
the infinity of stars. He’s an excitable puppy, cute, 26, and
African American.

2. IMANI (O.S.)
Get your butt down here!
Reluctantly, Danny moves away from the observation hatch. As
he does, he reveals a new section of window previously
obscured. Outside is a big, blue PLANET. NEPTUNE.
EXT. RELIEF SHIP - NIGHT
The space capsule floats through the silent void, passing by
Neptune and on toward a distant moon.
SUPER: “Triton”
A BLAST OF FIST-PUMPING, HEART-JUMPING ROCK
MUSIC assaults us
and -
INT. TRITON BASE - EXERCISE ROOM - NIGHT
AURORA (RORY) REYNOLDS (27) runs on a treadmill in the
brightly lit exercise room, the music blaring from her
speakers.
Her hair’s pulled back tightly, her movements taut and
expert. She keeps up a brutal pace.
EXT. ISCO HEADQUARTERS - COMPANY CAR PARK -
DAY
The sky is beautiful as the sun sets, a blaze of diaphanous
fire.

3. SUPER: “Orlando, Florida”
SAM SHEPHERD (29) clambers out of his car. He takes a
moment
to look up at the sky, a small smile gracing his face. You
can see the family resemblance to Danny, though slightly
older, more mature.
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
A variety of LAB WORKERS in white coats and OFFICE
WORKERS in
scruffy smart-casual pass Sam as he wends through dimly lit
corridors. He nods a greeting to each one of them, a buoyancy
in his step.
Sam passes a series of doors labelled with various MOON
NAMES. He reaches a door labelled TRITON. Across the hall
another door is labelled CALLISTO.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
MAYA PATEL (28) flicks through a magazine while chipping at
her nail varnish, a bank of monitors in front of her. She
wears a headset and mic. TINNY ROCK MUSIC filters through
the
headset.
MAYA
You’re late.
She doesn’t look up as Sam enters.
SAM
Sorry. All good?

4. MAYA
Wish she’d choose a different song.
Barely glancing up, Maya flicks a few switches. The MUSIC
from her headphones now blasts through a pair of battered
speakers.
Sam slumps into a seat beside Maya and turns the music down.
He scans the monitors before them. Each screen monitors the
vitals of a different person: COMMANDER ANGELA
HAWKINS,
KARINA BABIKOVA, AZIZ KADER, RORY REYNOLDS.
Three screens are
dark.
2.
SAM
Any problems?
MAYA
Nada.
SAM
Well, it was lovely talking to you
as always, Maya, but you’re in the
good chair. Go home. Shift.
Sam yanks the headset off Maya’s head. She barely notices.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away at the treadmill. Her MUSIC cuts

5. out, replaced by the CRACKLE of the comms.
SAM (O.S.)
Good morning, Starshine. The Earth
says hello.
Rory starts to slow her pace, though only fractionally.
RORY
I was wondering when you’d get your
lazy ass into work.
SAM
Yeah, yeah. Bet you’ve been pining
away for me.
RORY
(dryly)
Always.
SAM
Alright. Let me check in with the
others and I’ll be back to serenade
you with the smooth sound of my
voice before you know it.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam scans the monitors, noting something on AZIZ KADER’S
monitor.
SAM
You doing okay there, Aziz? I’m
noticing your cortisol levels are a

6. little raised.
3.
INT. TRITON BASE - GREENHOUSE - NIGHT
Aziz monitors the sprinklers in the base’s grubby UV-lit
greenhouse, gritting his teeth. He carries heavy bags under
his eyes and a rash of stubble across his jaw.
AZIZ
I’m fine.
SAM (O.S.)
You don’t sound fine.
AZIZ
Well I am.
Plants sprout in raised beds, ready for eating, the hum of
the sprinklers almost obscured by the reverberating rock
music.
Aziz throws down his tools.
AZIZ (CONT’D)
I mean, must it be so loud? Every
day we have this, and every day I
ask her to turn it down. She’s
impossible.
SAM (O.S.)
I’ll have a word with her. Anything
else to report?

7. AZIZ
No. Everything’s fine in here.
SAM (O.S.)
How those stars looking?
Aziz turns around. The greenhouse walls are transparent,
revealing the never-ending night.
AZIZ
Beautiful. They’re beautiful.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam smiles to himself. He’d love to see those stars for
himself.
He snaps out of the moment, moving to KARINA BABIKOVA.
SAM (O.S.)
Good morning, Karina. How are we
today?
4.
INT. TRITON BASE - TECH LAB - NIGHT
Karina (32) scans incoming readings from a bank of low-tech,
outdated monitors. Her jaw’s set, a serious woman with a
serious problem.
KARINA

8. Better than Base Two’s reactor
core. I’m logging some strange
activity.
SAM (O.S.)
I’ll log it. Do you need to
investigate now or can you wait for
the incoming crew?
KARINA
We’re short-handed as it is. I’ll
wait.
SAM
‘Atta girl.
A shot of irritation flashes across Karina’s face at the word
‘girl’.
KARINA
Don’t make me come down there.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam cuts off his mic with a laugh.
SAM
And finally, our illustrious
Commander.
ANGELA (O.S.)
Good morning.
It doesn’t sound like a good morning.

9. INT. TRITON BASE - FUNERARY - NIGHT
Commander Angela Hawkins (44) is grim, her face tinged with
sadness and her shoulders set tight.
ANGELA
Please log that Luis Wallis’s
remains have been cremated and
interred. That’s all for now.
5.
We HEAR the buzz of the comms disappear as Angela switches
off her mic.
A small grey jar sits in front of her. All that remains of
Luis Wallis. With a heavy step, Angela places the jar in a
hatch within a bank of lockers. She closes and locks the
hatch.
She casts about for a writing utensil. A loose nail will do.
Angela takes the nail and begins to scratch a name into the
locker door: LUIS WALLIS.
Stepping back to admire her work reveals the names scratched
on to other locker doors. There are more hatches occupied
than empty.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam takes the news in, his eyes lingering over the darkened
screens before moving onto a photograph on his desk: Sam and

10. Danny smiling together.
He breathes deeply and forces a smile to his face.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away, her MUSIC at ear-bleeding levels.
The music cuts, announcing Sam’s return.
SAM (O.S.)
I’m afraid to report we’ve had a
noise complaint.
RORY
Again? Seriously? Who was it this
time.
SAM (O.S.)
Just keep it down, alright? You’ve
all got to get along up there.
RORY
Was it Karina? No. I bet it was
Aziz.
Rory takes Sam’s silence as confirmation.
RORY (CONT’D)
It was! That little sneak.
6.
SAM (O.S.)

11. To be fair, I’m pretty sure your
music can be heard several moons
over.
RORY
If he had a problem he should have
come to speak to me about it!
She purposefully raises her voice so that Aziz can hear.
INT. TRITON BASE - GREENHOUSE - NIGHT
Aziz rolls his eyes.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
SAM (O.S.)
Okay, well could you delay any fist
fights or mutinies for the next,
say, 15, 20 minutes?
RORY
Why, got somewhere better to be?
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
Sam ducks and dives past people, twisting around the narrow,
dimly lit corridors.
INT. ISCO HEADQUARTERS - RELIEF SHIP MONITORING
ROOM - DAY
Sam bursts in through the doors, a sheen of sweat to his
face. ELLIE SIMMONS (30) startles, knocking her drink off the
desk and onto her clothes.

12. She looks at Sam with murder in her eyes.
ELLIE
What?
SAM
You know what.
ELLIE
No.
SAM
Oh, come on.
7.
ELLIE
The comms aren’t for chit-chat. I
can’t keep breaking the rules.
He’ll be arriving soon. You’ll
speak to him every day then.
SAM
But I want to talk to him now,
Ellie.
Ellie mops fruitlessly at the wet patch. Sam manages to look
apologetic.
SAM (CONT’D)
Please. He’s my baby brother. He’s
all I’ve got.
Ellie huffs at the obvious manipulation but rolls her chair

13. out of the way. She passes her headset to Sam.
INT. RELIEF SHIP - NIGHT
Danny’s pressed against a porthole, trying his best to see as
much of the outside as he can.
Nearby, IMANI ADUBA (35) can’t help but smile fondly.
HANK
NGUYEN (45) glowers at both of them.
IMANI
Oh, give it a rest. You’re young
enough to remember what your first
time was like.
HANK
Don’t count on it.
SAM (O.S.)
Danny?
Danny’s smile gets even bigger, nervous, excitable energy
racketing through him.
DANNY
Sam. You should see it. It’s so
beautiful.
SAM (O.S.)
So I’ve heard.
Danny’s face falls fractionally.
DANNY
I wish you could be here.

14. 8.
SAM (O.S.)
Don’t worry about it. Just make
sure to bring me back some moon
rocks.
DANNY
You got it.
INT. ISCO HEADQUARTERS - CREW SHIP MONITORING
ROOM - DAY
Ellie pointedly clears her throat.
SAM
Ellie wants the comms back. But
don’t worry, I’ll be talking to you
soon. Every day. You’ll be sick of
me within a week.
DANNY (O.S.)
Yeah, I bet.
Sam hesitates, the news of Luis Wallis still hanging over
him.
SAM
Be safe.
DANNY (O.S.)
You too.

15. INT. TRITON BASE - CORRIDOR - NIGHT
Rory exits the Exercise Room, wiping the sweat from her face.
She bumps into Aziz. They glare at each other.
Rory wipes her hand across her brow. She smears the sweaty
residue across Aziz’s face.
AZIZ
You’re disgusting, you know that?
RORY
I’m charming.
Aziz grimaces.
AZIZ
On what planet?
RORY
This one.
9.
She walks off, her sweaty towel catching Aziz as she walks
by.
AZIZ
This is a moon.
But she’s already gone.
INT. RELIEF CREW - COCKPIT - NIGHT

16. Imani is already strapped into her battered old seat while
Hank mans the controls. She indicates an empty seat for
Danny, its seatbelt frayed and rickety.
IMANI
Strap in.
HANK
Yeah, you’ll need to be tied down
while landing one of these rust
buckets. You never know what
they’re gonna do.
Danny does his best not to look worried. It doesn’t work.
Imani laughs.
IMANI
Trust me. Flight simulation did not
prepare you for this.
Hurriedly, Danny straps himself in.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Karina and Angela prepare the main doors for the relief
ship’s arrival as Rory enters, trailed by Aziz.
AZIZ
Did you hear me? This is a moon,
not a planet. Surely you know that
by now?
KARINA
Could you two stop your bickering
for one moment and prepare for the
new arrivals?

17. RORY
I don’t know if Aziz can shut his
mouth for that long.
Angela sighs, used to their antics.
10.
ANGELA
I don’t have time for this.
(to Karina)
How long until the ship arrives?
An ALARM begins to sounds through the base. An
AUTOMATED
VOICE chimes in: SHIP APPROACHING, SHIP
APPROACHING.
INT. RELIEF SHIP - NIGHT
Danny’s pretty sure the ship’s about to fall apart around
him.
DANNY
Should it be making this much
noise? And shaking? There’s no
atmosphere.
IMANI
Rust. Bucket.
Danny redoubles his grip on the fraying armrest.

18. A cacophony of NOISE breaks out around them. Everything’s
shaking. Danny closes his eyes and grits his teeth.
INT. TRITON BASE - TECH ROOM - NIGHT
Angela crowds in to the tiny computer room as Karina flicks
switches.
KARINA
Ready for docking.
ANGELA
Alright. Pull ‘em in.
Karina activates a command.
INT. RELIEF SHIP - NIGHT
A VIOLENT SHUDDER rips through the ship.
Danny SCREAMS. Imani WHOOPS, an adrenaline junkie
through and
through.
HANK
Hold on!
11.
INT. TRITON BASE - TECH ROOM - NIGHT
KARINA
Magnetic pull activated. Ready for

19. arrival in 5, 4, 3 -
INT. RELIEF SHIP - NIGHT
Danny is thrown forward, the straps of his seat breaking.
The SOUND of FOLDING METAL rips through the ship as it
SLAMS
into the Triton base.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
The SLAM reverberates through the base. Aziz and Rory pause
their squabbling and look toward the doors.
RORY
What was that?
INT. RELIEF SHIP - NIGHT
Imani SCREAMS. The LIGHTS flicker. Machinery continues to
CRUNCH. ALARMS begin to blare.
HANK
Oxygen on!
Danny scrambles for his oxygen pack, swiftly activating his
suit, his helmet automatically rising up and encasing him.
IMANI
Is there a breach?
HANK
Everybody out.
Imani crawls on her hands and knees, thrown from her chair

20. like Danny.
Her way is blocked by someone’s feet. Aziz stands before her,
encased in his own oxygen suit. He offers Imani his hand.
The rest of the Triton crew board behind him.
ANGELA
Is everybody alright?
HANK
Just peachy.
12.
IMANI
We’re fine.
Angela nods, short and sharp.
ANGELA
Reynolds. Check the damage and
report back. Everybody else, into
the airlock.
The ship empties quickly, leaving Rory alone.
Making her way into the
COCKPIT
She deftly enters a command and the ALARMS fall silent,
quickly replaced by a blast of Rory’s MUSIC.

21. RORY
Much better.
Rory rolls her shoulders, relaxing, and draws up a monitor,
beginning to assess the ship for damages.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Ellie appears at the door, breathless. She cuts a frantic Sam
off before he can speak.
ELLIE
He’s fine. I swear.
INT. ISCO HEADQUARTERS - PEREZ’S OFFICE - DAY
NIA PEREZ works at her desk on the highest floor. The higher
the floor, the bigger the office. The bigger the office, the
higher your status. Nia’s office is big. Very big.
A TIMID KNOCK on the half-open door. A NERVOUS
ASSISTANT
follows the knock.
NERVOUS ASSISTANT
Ms Perez?
PEREZ
Yes?
She doesn’t look up.
13.

22. NERVOUS ASSISTANT
There’s been another accident. A
bad docking.
PEREZ
Where?
NERVOUS ASSISTANT
Triton.
That grabs her attention. She looks up sharply, freezing the
Nervous Assistant to the spot.
PEREZ
Any deaths?
NERVOUS ASSISTANT
No.
Perez’s shoulders relax fractionally.
PEREZ
Very well. Report to me if anything
changes.
The Nervous Assistant nods, backing out quickly.
Alone, Nia pulls up a file on her monitor.
It’s a list of casualties on Triton. Luis Wallis’s picture is
top of the pile. His face stares out at her. She CROSSES
herself.
INT. TRITON BASE - MEDLAB - NIGHT

23. Aziz finishes checking Hank for broken bones under the
watchful eyes of Angela.
AZIZ
There we go. Good as new.
HANK
Doesn’t feel like it.
IMANI
Ignore him. He’s a grumbler.
ANGELA
Very well. Are you fit enough to
carry out repair work? I believe
Karina has found a problem at Base
Two.
14.
IMANI
Ready when you are.
Hank groans softly in protest.
INT. TRITON BASE - FUNERARY - NIGHT
Danny surveys the bank of lockers in front of him, the
crudely carved names a reminder of what they are.
RORY (O.S.)
It takes some getting used to,
doesn’t it?

24. Danny turns to find Rory lingering at the door.
DANNY
There are so many. I - I didn’t
realise.
RORY
Nobody tell you this was dangerous
work?
She doesn’t wait for him to answer, walking right up to Luis’
locker instead.
RORY (CONT’D)
Death walks beside you here on
Triton. You’ll get used to it.
Danny pales.
RORY (CONT’D)
Least, that’s what Luis told me.
And he was right.
DANNY
How did he die?
RORY
I don’t know. An accident, out on
the surface. Angela was with him. I
didn’t like to ask. It’s easier,
not to know.
AZIZ (O.S.)
Saddle up, ponies!
15.

25. INT. TRITON BASE - COMMUNAL ROOM
The room is buzzing with activity as Rory enters, trailed by
Danny.
RORY
What’s going on?
AZIZ
We’re taking a day trip. Base 0-0-
2.
DANNY
Already?
KARINA
Reactor’s fried.
RORY
I’ll get my kit.
KARINA
No need. You work on repairs for
the ship. We’ll take Hank for the
reactor.
Rory’s face falls.
Karina finishes gathering everything she needs. Imani and
Hank help lug her equipment out of the door.
RORY
But -

26. AZIZ
Sucks to be you.
ANGELA
You’re staying behind too, Aziz.
Aziz halts in his tracks.
AZIZ
What?
ANGELA
Essential personnel only.
Angela disappears through the door before anyone can argue.
The base falls silent.
16.
INT./EXT. TRITON BASE - NIGHT
Rory watches from a porthole as the rover rolls out without
her.
AZIZ (PRE-LAP)
I’m the medic. I’m the most
essential person here.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Aziz paces furiously while Danny and Rory watch.

27. DANNY
Don’t worry. Imani’s a trained
medic.
RORY
He wasn’t worrying.
AZIZ
Don’t you have a ship to repair?
Rory ignores him.
AZIZ (CONT’D)
Or do you need me to come with you
and hold your hand?
He’s taunting her. The tension in the room rockets. Danny
looks between them cautiously.
RORY
Go to hell.
AZIZ
You sure? One time offer. I know
you want it.
RORY
Back off.
DANNY
What’s going on?
AZIZ
It’s a secret.
RORY

28. Stop it.
17.
AZIZ
See, Rory likes to pretend she’s a
big bad wolf, but really she’s just
a scared little girl.
RORY
I said stop it.
Rory’s in his face now, a fight just waiting to happen. Aziz
just grins. Months of pent-up frustration are coming out now.
AZIZ
What is it you’re afraid of? The
silence? The darkness? The monsters
under your bed?
RORY
I’m not afraid.
AZIZ
Sure, sure. Gotta ask yourself why
you can’t turn down that music
then? Or switch off the lights.
Must be hard, terrified of
everything out here. Wonder why
they even hired you.
RORY
They hired me because I’m the best.

29. AZIZ
Yet Angela took the new mechanic
with her. Probably knows you don’t
like being out on the surface. They
took pity on you. How does that
feel?
Aziz’s face twists cruelly, knowing he’s struck a nerve. Rory
falters but doesn’t back down.
The CRACKLE of the comms announces Sam’s intervention.
SAM (O.S.)
Alright, guys, why don’t we cool it
for now. No need for bloodshed.
Rory and Aziz don’t move, the tension hanging thick between
them.
With a sudden turn, Rory spins on her heel.
DANNY
Where are you going?
18.
RORY
Out.
DANNY
What?
Rory stops at the door, turning expectantly to the two men.

30. RORY
Are you coming?
Aziz’s face breaks into a grin. Mission accomplished.
SAM (PRE-LAP)
Rory, return to base.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Ellie hovers over Sam’s shoulder, watching the monitors.
SAM
Rory. Answer me.
RORY (O.S.)
Don’t make me turn my comms off.
SAM
Don’t make me report you.
INT. ROVER - NIGHT
Rory, Aziz and Danny are all squashed into the rover, oxygen
suits activated, jolted by Rory’s less than careful driving
over Triton’s frozen surface.
RORY
You wouldn’t. Not when I’ve got
Danny with me. Don’t want him in
trouble on his first day.
SAM (O.S.)
Danny, tell her to turn back.

31. DANNY
No way. You know I want to see the
surface.
RORY
Relax, Sam. I promise, I’ll keep
him safe.
19.
She means it, the sincerity unmistakable. She slows the
rover, turning to Danny.
RORY (CONT’D)
If you want to go back, I’ll take
you.
She waits for Danny’s answer. His reply is resolute.
DANNY
Keep going.
AZIZ
That’s right. Don’t give this
scaredy-cat an out.
RORY
Nobody’s talking to you.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
SAM
Christ.

32. Sam throws his headset down.
SAM (CONT’D)
What should I do?
Ellie shrugs, helpless.
ELLIE
Just keep an eye on them. Check in
with them in an hour.
INT. BASE TWO - TECH LAB - NIGHT
Karina and Imani finish hauling their kit into the base as
Hank carts it to the relevant areas. It’s dark and shadowy, a
neglected ruin.
INT. BASE TWO - COMMAND ROOM - NIGHT
Angela works alone, another bank of monitors before her
detailing the working heart of the base. Every piece of
technology, from the ventilation system to the reactor core
can be accessed here.
Slowly, the pictures on the monitors begin to go out. Angela
watches in confusion. In the blink of an eye, the face of Nia
Perez fills one solitary screen.
20.
PEREZ
Hello, Commander. Please lock the
door.

33. Angela goes rigid, a soldier addressing her CO.
ANGELA
Ms Perez.
INT. ROVER - NIGHT
Rory slows the rover as they near Base 2. Motionless drills
litter the surface of the frozen wasteland outside the base’s
perimeter, stuck half way into the ground.
DANNY
Why aren’t they working?
RORY
Base 2 was shut down a while ago.
Too many deaths out here. Three’s
functional though.
AZIZ
It’s a pity. There’s more water at
Base 2 than 3. More chance of life.
DANNY
You think we’ll find it. Life?
Rory SNORTS.
RORY
They’ve been running this mission
for how long now? If it was out
there we’d have found it already.
AZIZ
Yeah, like you’re such an expert.

34. Pulling the rover to a stop, Rory chooses to ignore him.
RORY
Alright, everybody out.
INT. BASE TWO - COMMAND ROOM - NIGHT
PEREZ
Do you understand?
Angela’s face is pale.
21.
PEREZ (CONT’D)
Commander?
ANGELA
Yes.
It’s barely a sound, but Perez accepts it.
EXT. BASE TWO - NIGHT
Aziz immediately makes a break for the base.
RORY
Where do you think you’re going?
AZIZ
Inside. I am not afraid to admit I
hate it out here.

35. With a cheeky salute, he opens the air lock.
AZIZ (CONT’D)
You coming Danny?
Danny shakes his head.
AZIZ (CONT’D)
Rory? Last chance. Admit you’re
scared and you can come inside.
Rory turns away.
AZIZ (CONT’D)
Suit yourself.
INT. BASE TWO - COMMAND ROOM - NIGHT
ANGELA
Not everybody’s here.
PEREZ
Nevertheless -
The CRACKLE of the comms interrupts Angela’s next sentence.
KARINA (O.S.)
Uh, Commander. I’m sorry to report,
but Aziz is here. Rory and Danny
too.
ANGELA
They’re all here?
22.

36. KARINA (O.S.)
Affirmative.
ANGELA
Very well. I will deal with them
momentarily.
Angela switches off the comm before Karina can respond. On
the monitor, Perez looks satisfied.
PEREZ
You have your orders.
EXT. BASE TWO - NIGHT
Danny marvels at the icy world of darkness around him.
DANNY
I’m here. I’m actually standing on
Triton.
Rory keeps her eyes fixed on Danny, determined not to look
out into the empty darkness.
RORY
Trust me, the excitement wears off
real quick.
DANNY
I can’t believe that.
He scoots out of Rory’s eyeline. She closes her eyes tight,
breathing a little faster.

37. DANNY (CONT’D)
My brother and I, we used to look
up at the stars and dream of coming
up here. And now look at me.
RORY
Yeah.
She doesn’t, her eyes fast shut.
DANNY
You really don’t think we’ll find
life under this ice?
RORY
It’s not there. I want it to be,
but - People back home, they want
to believe. It gives them hope. But
there’s nothing here except us.
23.
Danny doesn’t respond, too busy examining the drill
technology. The silence drags on a little too long.
RORY (CONT’D)
Danny? Danny?!
Rory stumbles forward blindly before Danny catches her.
DANNY
I’m here. Don’t panic.
Rory’s eyes fly open at his touch. She’s breathing too

38. quickly.
DANNY (CONT’D)
You really don’t like it out here.
RORY
I’m fine.
Danny doesn’t believe her.
DANNY
Should we head inside?
RORY
Only if you want to. I’m fine.
She’s really not.
DANNY
Come on. Let’s go in.
INT. BASE TWO - TECH LAB - NIGHT
Hank inspects the abandoned base, rusted and old in every
sense of the word. Abandoned experiments litter the room.
HANK
Would you look at this place. Can’t
believe there were once enough
folks to man both stations.
Karina activates a monitor, the screen blinding as it springs
to life.
KARINA
It gives me the heebies just being

39. here. The stories say there are
still bodies under the ice.
She jots down some numbers from the screen.
24.
IMANI
What are you doing?
KARINA
The base is shut down but we left
some of the machines running.
Always a chance we might find life.
HANK
And have you?
Karina shakes her head.
INT. BASE TWO - AIR LOCK - NIGHT
Danny and Rory sit opposite each other as the air lock
pressurises.
DANNY
It’s okay to be frightened, you
know.
Rory doesn’t respond.
DANNY (CONT’D)
I’m frightened all the time. Coming
out here, it terrifies me. Leaving

40. my home, my brother. I know what
the return rate’s like. I know most
people don’t make it back.
RORY
Then why’d you come?
DANNY
Because I want to live. Not many
people get this chance in life. I
don’t want to let it pass me by.
His words hang between them as Rory takes this in.
RORY
I hate the silence. And the
darkness. Sometimes I think I see
things moving. It terrifies me.
She looks surprised to have confessed. Danny smiles
sympathetically.
RORY (CONT’D)
Don’t tell Aziz.
25.
DANNY
Promise.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina leads the way to the Command Room, Hank and Imani
following in her wake.

41. KARINA
Aziz, stay where you are. Do you
copy?
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
AZIZ
Affirmative.
Aziz promptly begins to saunter in a different direction.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina tries the door for the Command Room. The KEYPAD
doesn’t respond.
KARINA
Angela?
INT. BASE TWO - COMMAND ROOM - NIGHT
KARINA (O.S.)
The doors won’t open.
Angela sits motionless, staring at the empty screen where
Perez’s face appeared.
KARINA (O.S.) (CONT’D)
Angela? What’s going on? Do you
read me?
Slowly, as if her bones weigh her down, Angela draws up a new
monitor. She begins to enter commands.
INT. BASE TWO - AIR LOCK - NIGHT

42. The air lock finishes pressurising. Rory gets to her feet and
opens the door, motioning to Danny.
RORY
After you.
26.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
IMANI
What’s going on?
Karina’s clueless.
KARINA (O.S.)
Angela? Do you read me?
INT. BASE TWO - COMMAND ROOM - NIGHT
AUTOMATED COMPUTER VOICE
System override?
Angela continues to type in commands.
AUTOMATED COMPUTER VOICE (CONT’D)
Warning. Fail safes deactivated.
Reactor core rising.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
ALARMS begin to blare. A RED EMERGENCY LIGHT fills the
corridor.

43. Karina looks around in disbelief.
KARINA
Angela? What are you doing?
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
Caught in the flashing red lights, Aziz panics. He begins to
run.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina LAUNCHES herself against the door with all her might.
She’s given up on the comms now, screaming for Angela
through
the wall.
INT. BASE TWO - AIR LOCK CORRIDOR - NIGHT
Halfway down the corridor, Danny is pinned by the sudden red
lights. He turns back to Rory, closer to the airlock.
She begins to run.
27.
INT. BASE TWO - COMMAND ROOM - NIGHT
AUTOMATED COMPUTER VOICE
Detonation imminent.
Angela closes her eyes. She presses down one final key.

44. INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
KARINA
RUN!
INT. BASE TWO - NIGHT
The reactor explodes. Fire rockets throughout the base.
INT. BASE TWO - TECH LAB CORRIDOR - NIGHT
A FIREBALL shoots down the corridor, catching Karina in its
wake. She’s barely made it two steps from the Command Room
door.
INT. BASE TWO - TECH LAB - NIGHT
Angela, eyes still closed, is incinerated where she sits, a
prayer still on her lips.
INT. BASE TWO - TECH LAB CORRIDOR - NIGHT
Hank and Imani fall to the FLAMES.
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
Aziz is still running. He throws himself at an alcove. He
doesn’t make it.
INT. BASE TWO - AIR LOCK CORRIDOR - NIGHT
Rory is inside the air lock.
RORY
Danny! Come on!

45. Danny’s legs pump, drawing him closer. He’s fast. The fire’s
faster.
28.
With an agonising SCREAM, the FIREBALL engulfs his suit as
he
falls him into the air lock.
Rory SLAMS the door shut, the flames just catching her arm.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
ALARMS are blaring across the monitors.
Sam sprints in, Ellie at his heels. He sees the monitors
falling black, a life snuffed out. One screen in particular
catches his eye, its vitals going haywire.
SAM
No.
INT. BASE TWO - AIR LOCK - NIGHT
Danny writhes on the floor. Agony. The FLAMES are snuffed
out, but the pain remains.
Rory checks her singed suit: still intact.
Crouched by his side, she tries to peel his battered suit
from his wounds. She can’t. They’re stuck to his burns. She
tries anyway. Danny HOWLS.

46. Outside the air lock, the fire rages. The temperature inside
rises. The ALARMS continue to blare.
SAM (O.S.)
Danny?
Danny can’t reply, consumed by pain.
RORY
What do I do? What do I do?
Danny’s skin BLISTERS before her eyes, his damaged suit like
an open wound.
SAM (O.S.)
Danny?
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
SAM
Danny, talk to me.
Sam’s beside himself, any veneer of professionalism gone.
29.
SAM (CONT’D)
Talk to me, dammit!
INT. BASE TWO - AIR LOCK - NIGHT
RORY
He can’t!

47. Rory’s panicking, Danny fading before her.
RORY (CONT’D)
(to Danny)
It’s going to be okay. I’ll get you
back to base.
Danny might be shaking his head, he might be convulsing.
DANNY
My suit.
It’s ruined. He can’t go outside. They both know it.
RORY
There’s got to be some way.
SAM (V.O.)
Rory, talk to me. Tell me what’s
happening.
RORY
Danny’s hurt. His suit’s destroyed.
He can’t go outside.
Rory’s forehead beads with sweat as the heat continues to
increase.
RORY (CONT’D)
But the base is on fire. We can’t
stay here.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT

48. Ellie disables the alarms and silence falls. Sam doesn’t know
what to do.
INT. BASE TWO - AIR LOCK - NIGHT
RORY
I’m sorry. I’m so sorry.
30.
Danny is in so much pain. He points towards the air lock
door, the one leading outside.
RORY (CONT’D)
I can’t.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
Sam stands immobile, listening to his brother’s agonised
moans. Ellie takes control.
ELLIE
Rory, listen to me. Is there any
way to save both you and Danny?
INT. BASE TWO - AIR LOCK - NIGHT
Rory and Danny lock eyes. They both know there isn’t.
ELLIE (O.S.)
Rory!

49. RORY
No.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
Sam’s world is shattering.
ELLIE
Then go. Now.
INT. BASE TWO - AIR LOCK - NIGHT
Rory hesitates, unwilling to leave Danny.
ELLIE
Now.
Rory grips Danny’s hand tight. A goodbye.
She turns and opens the air lock door. She runs.
INT. ROVER - NIGHT
Alone, Rory speeds across the frozen landscape.
She’s hyperventilating, tears streaming down her face.
31.
ELLIE (O.S.)
Stay with me, Rory. You’re almost
there.

50. INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Rory bursts out of the air lock and into the silent base.
Her RAGGED BREATHS come loud and heavy. She paces,
wobbling,
losing her balance, gasping.
She slumps down to her knees and WAILS.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
ELLIE
Rory!
They can HEAR Rory SCREAMING.
ELLIE (CONT’D)
She’s going into shock. Do
something.
Sam, slumped in a chair, does nothing.
ELLIE (CONT’D)
Sam!
Ellie SLAPS him, hard.
Slowly, Rory’s wails begin to register.
SAM
(mumbling)
Airborne sedative.

51. ELLIE
What?
SAM
Airborne sedative.
Ellie shoves him towards the controls. Numbly, he types in
the correct commands.
INT. BASE TWO - COMMUNAL ROOM - NIGHT
A GAS is released into the air.
32.
Rory’s fingers are caught in her hair, pulling and
scratching. Her face is bleeding. Skin beneath her nails.
Slowly, her wails subside. She slumps down onto the floor.
Her eyes close. She passes out.
33.
Yongyi Cai
ID number:705146428
The Volcano
Nature astonishes many in the world; however, uncovering the
forces in nature requires in-depth analysis that sometimes
reveals information that contradicts the existing knowledge.
Discoverers of nature’s forces sometimes face stiff criticism
from resisting societies. The screenplay is about three
characters. One of the characters helped the village to discover
wealth, the other one was deceived about the safety of the route

52. while the third was a tour guide who had brought tourists to see
the volcanic eruption. A dormant volcano erupted and spited
gold in the ancient village in Amazon area in Brazil.
Act 1
The screenplay starts by showing an ancient village in a
forested village in Amazon area, Brazil; the houses are grass
thatched and villagers walk peacefully and continue with their
various duties. They are not interested in the happenings around
them. An image of dormant volcano is shown emitting smoke;
the villagers are surprised at such happening because they have
never seen it during their lifetime. They get worried that the
earth could be burning up. Among the villagers are two
individuals of different ages named Rowan and Noah; Rowan is
respected in the village because she is a kindergarten teacher;
however, her characters are demonized by villagers because she
moonlights as a bartender and as a bisexual.
Inciting Incident
The once peaceful village that was surrounded by trees
starts seeing smoke emanating from a dormant volcano. The
villagers believe that the gods created everything natural;
therefore, the mountain nearby was also a creation of some
metaphysical power. The villagers consult their religious
leaders of the metaphysical happening; but the leaders are less
informed about the happening the blame the village for doing
things against the gods.
Act 2
The villagers attempt to understand the cause of the
eruption as the amount of smoke and the sound of rumblings of
the volcano intensifies. The village prepares to leave the village
in haste. Miss Rowan is less concerned about the happenings;
she is informed by Noah, who is alcoholic and unemployed that
she should prepare to close the kindergarten because the
villagers are running for safety.
A thunderous sound is heard from the direction of the volcano
and lava starts flowing slowly downhill. As people run from the
village for safety; a mass of tourist come to see the

53. happenings; they are equipped with cameras and take pictures
and videos of the eruption and lava flow. Noah volunteers to
guide the tourist to raised ground where they could have a good
view of the mountain. A 19-year-old female named Jackie who
is a tour guide. She instructs the tourists on where to stand.
Mid-Point
The flow of lava from the mountain reduces and the
tourists who had camped around decide to take a look at the
drying lava. Noah, although alcoholic is adventurous. He
becomes the first to move and realizes that the lava is filled
with golden substances, he raised an alarm to the tour guide that
the site is very unsafe, so they should change direction. Noah
intends to benefit his villagers; he sends a message to a few
elders who unbelievingly come to the site and discover
goldstones. As the tour guide leads her team to another
direction the villagers slowly move to the opposite direction.
Act 3
The villagers assemble and are informed of the new
discovery by Noah; Noah is appreciated and becomes the pride
of the village. Rowan emerges and realizes that the village is
rich with gold; she informs some of her friends whom she
moonlights with about the luck in the village.
Act One:
1. An infinity of stars in the vastness of space.
Danny Shepherd watches from his ship’s
observation hatch.// Aurora (Rory) Reynolds pounds
awayon a treadmill, a blast of loud
music shaking through the Triton Moon base as
she runs.// Sam Shepherd arrives late for
work on Earth, too jubilant to care.

54. 2. Sam checks in over the comms with Rory before
moving on to the rest of the crew, who
note there’s possible damage to a reactor core in
Sector 2. Plan to go survey it once
Danny’s
ship has arrived. Commander Angela Hawkins reports
that the ashes of Luis Wallis have
been interred.
3. Sam leaves his desk & moves to a
separate suite of rooms where Danny’s ship &
crew is
being monitored. Insists on speaking to his
brother before he lands & they share
their
excitement at Danny’s first professional job.
4. Danny’s ship is piloted badly as it
approaches the base.The crew are unharmed but
the
ship is disabled and won’t be able to work again
until repairs have been carried out.
THIS WAS ALL I FIT IN MY FIRST 10
PAGES ^^^^^
5. The old and new crew set out to Sector 2 to
fix the reported fault, leaving Aziz, Rory
and
Danny behind. Aziz taunts Rory until she decides to
break protocol and leave the base,
taking Danny and Aziz with her.
6. Sam tries to make Rory turn back, worried
for all of them but especially Danny. Rory’s
made up her mind and tells him to relax. She

55. promises she won’t let any harmcome to
Danny.
7. At Base 2, the crew starts to spread out,
with someexploring and others going to assess
the fault. Buoyed by the new arrivals though,
they’re not focusing properly and mistakes are
being made.
8. Rory, Danny & Aziz arrive. Aziz rushes
into the Base, but Rory stayson the surface,
determined to prove she’snot afraid of the
silence, as Aziz claims she is. Danny stays,
wanting to enjoy the fact that they’re standing on
a distant moon.
9. Rory breaks, insisting they should go in. Danny
laughs but acquiesces. Inside, somethingis
going terribly wrong with the reactor core.
Distractedby the excitement of the new
arrivals,
nobody has noticed the severity of the problem.
10. Danny and Rory step inside moments before
the reactor core blows. Inside, the crew
realise what’s about to happen after it’s too
late. They set off the evacuation alarms as
somethingexplodes.
11. Rory reacts a split second sooner to the
evacuation alarms, realising what they are
before Danny. Rory’s mostly unharmed, though
bruised. Danny’s injured, pinned down by

56. debris, though alive. A fire begins to sweep
through the base and Rory realises she has no
choice but to get them both outside as quickly as
possible.
12. Rory drags Danny outside and assesses the
extent of his injuries. They’re bad. His helmet
is cracking too. Rory tries to reach the surface
buggy they arrived in, but Danny is in
agony
at each step she takes& she is unable to get
them both there.
13. Danny admits what they’re both thinking: he’s
not going to make it. He tells her to
leave
him behind and get to the buggy before her
oxygen runs out.
14.Rory refuses to leave him. Over comms, Sam
listens to his brother die.
15. Rory’s oxygen begins to run out. In order
to make it back to base before that
happens
she is forced to leave Danny’s body behind.
16. Rory arrives back at base and goes into shock/has a
panic attack. Sam is forced to emit
an airborne sedative to subdue her. She blacks
out.

57. DARK HARBOUR
Written by
Catherine Wignall
[email protected]ve.co.uk
FADE IN:
EXT. BLACKNESS
We can HEAR breathing.
Slowly, ever so slowly, tiny pinpricks of light pierce
through the veil of darkness.
STARS.
We are looking at the vastness of space.
IMANI (O.S.)
Danny!
INT. RELIEF SHIP - OBSERVATION HATCH - NIGHT
DANNY SHEPHERD lies at the observation window, staring
out at
the infinity of stars. He’s an excitable puppy, cute, 26, and
African American.

58. IMANI (O.S.)
Get your butt down here!
Reluctantly, Danny moves away from the observation hatch. As
he does, he reveals a new section of window previously
obscured. Outside is a big, blue PLANET. NEPTUNE.
EXT. RELIEF SHIP - NIGHT
The space capsule floats through the silent void, passing by
Neptune and on toward a distant moon.
SUPER: “Triton”
A BLAST OF FIST-PUMPING, HEART-JUMPING ROCK
MUSIC assaults us
and -
INT. TRITON BASE - EXERCISE ROOM - NIGHT
AURORA (RORY) REYNOLDS (27) runs on a treadmill in the
brightly lit exercise room, the music blaring from her
speakers.
Her hair’s pulled back tightly, her movements taut and
expert. She keeps up a brutal pace.
EXT. ISCO HEADQUARTERS - COMPANY CAR PARK -
DAY
The sky is beautiful as the sun sets, a blaze of diaphanous
fire.

59. SUPER: “Orlando, Florida”
SAM SHEPHERD (29) clambers out of his car. He takes a
moment
to look up at the sky, a small smile gracing his face. You
can see the family resemblance to Danny, though slightly
older, more mature.
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
A variety of LAB WORKERS in white coats and OFFICE
WORKERS in
scruffy smart-casual pass Sam as he wends through dimly lit
corridors. He nods a greeting to each one of them, a buoyancy
in his step.
Sam passes a series of doors labelled with various MOON
NAMES. He reaches a door labelled TRITON. Across the hall
another door is labelled CALLISTO.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
MAYA PATEL (28) flicks through a magazine while chipping at
her nail varnish, a bank of monitors in front of her. She
wears a headset and mic. TINNY ROCK MUSIC filters through
the
headset.
MAYA
You’re late.
She doesn’t look up as Sam enters.
SAM
Sorry. All good?

60. MAYA
Wish she’d choose a different song.
Barely glancing up, Maya flicks a few switches. The MUSIC
from her headphones now blasts through a pair of battered
speakers.
Sam slumps into a seat beside Maya and turns the music down.
He scans the monitors before them. Each screen monitors the
vitals of a different person: COMMANDER ANGELA
HAWKINS,
KARINA BABIKOVA, AZIZ KADER, RORY REYNOLDS.
Three screens are
dark.
2.
SAM
Any problems?
MAYA
Nada.
SAM
Well, it was lovely talking to you
as always, Maya, but you’re in the
good chair. Go home. Shift.
Sam yanks the headset off Maya’s head. She barely notices.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away at the treadmill. Her MUSIC cuts

61. out, replaced by the CRACKLE of the comms.
SAM (O.S.)
Good morning, Starshine. The Earth
says hello.
Rory starts to slow her pace, though only fractionally.
RORY
I was wondering when you’d get your
lazy ass into work.
SAM
Yeah, yeah. Bet you’ve been pining
away for me.
RORY
(dryly)
Always.
SAM
Alright. Let me check in with the
others and I’ll be back to serenade
you with the smooth sound of my
voice before you know it.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam scans the monitors, noting something on AZIZ KADER’S
monitor.
SAM
You doing okay there, Aziz? I’m
noticing your cortisol levels are a

62. little raised.
3.
INT. TRITON BASE - GREENHOUSE - NIGHT
Aziz monitors the sprinklers in the base’s grubby UV-lit
greenhouse, gritting his teeth. He carries heavy bags under
his eyes and a rash of stubble across his jaw.
AZIZ
I’m fine.
SAM (O.S.)
You don’t sound fine.
AZIZ
Well I am.
Plants sprout in raised beds, ready for eating, the hum of
the sprinklers almost obscured by the reverberating rock
music.
Aziz throws down his tools.
AZIZ (CONT’D)
I mean, must it be so loud? Every
day we have this, and every day I
ask her to turn it down. She’s
impossible.
SAM (O.S.)
I’ll have a word with her. Anything
else to report?

63. AZIZ
No. Everything’s fine in here.
SAM (O.S.)
How those stars looking?
Aziz turns around. The greenhouse walls are transparent,
revealing the never-ending night.
AZIZ
Beautiful. They’re beautiful.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam smiles to himself. He’d love to see those stars for
himself.
He snaps out of the moment, moving to KARINA BABIKOVA.
SAM (O.S.)
Good morning, Karina. How are we
today?
4.
INT. TRITON BASE - TECH LAB - NIGHT
Karina (32) scans incoming readings from a bank of low-tech,
outdated monitors. Her jaw’s set, a serious woman with a
serious problem.
KARINA

64. Better than Base Two’s reactor
core. I’m logging some strange
activity.
SAM (O.S.)
I’ll log it. Do you need to
investigate now or can you wait for
the incoming crew?
KARINA
We’re short-handed as it is. I’ll
wait.
SAM
‘Atta girl.
A shot of irritation flashes across Karina’s face at the word
‘girl’.
KARINA
Don’t make me come down there.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam cuts off his mic with a laugh.
SAM
And finally, our illustrious
Commander.
ANGELA (O.S.)
Good morning.
It doesn’t sound like a good morning.

65. INT. TRITON BASE - FUNERARY - NIGHT
Commander Angela Hawkins (44) is grim, her face tinged with
sadness and her shoulders set tight.
ANGELA
Please log that Luis Wallis’s
remains have been cremated and
interred. That’s all for now.
5.
We HEAR the buzz of the comms disappear as Angela switches
off her mic.
A small grey jar sits in front of her. All that remains of
Luis Wallis. With a heavy step, Angela places the jar in a
hatch within a bank of lockers. She closes and locks the
hatch.
She casts about for a writing utensil. A loose nail will do.
Angela takes the nail and begins to scratch a name into the
locker door: LUIS WALLIS.
Stepping back to admire her work reveals the names scratched
on to other locker doors. There are more hatches occupied
than empty.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Sam takes the news in, his eyes lingering over the darkened
screens before moving onto a photograph on his desk: Sam and

66. Danny smiling together.
He breathes deeply and forces a smile to his face.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away, her MUSIC at ear-bleeding levels.
The music cuts, announcing Sam’s return.
SAM (O.S.)
I’m afraid to report we’ve had a
noise complaint.
RORY
Again? Seriously? Who was it this
time.
SAM (O.S.)
Just keep it down, alright? You’ve
all got to get along up there.
RORY
Was it Karina? No. I bet it was
Aziz.
Rory takes Sam’s silence as confirmation.
RORY (CONT’D)
It was! That little sneak.
6.
SAM (O.S.)

67. To be fair, I’m pretty sure your
music can be heard several moons
over.
RORY
If he had a problem he should have
come to speak to me about it!
She purposefully raises her voice so that Aziz can hear.
INT. TRITON BASE - GREENHOUSE - NIGHT
Aziz rolls his eyes.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
SAM (O.S.)
Okay, well could you delay any fist
fights or mutinies for the next,
say, 15, 20 minutes?
RORY
Why, got somewhere better to be?
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
Sam ducks and dives past people, twisting around the narrow,
dimly lit corridors.
INT. ISCO HEADQUARTERS - RELIEF SHIP MONITORING
ROOM - DAY
Sam bursts in through the doors, a sheen of sweat to his
face. ELLIE SIMMONS (30) startles, knocking her drink off the
desk and onto her clothes.

68. She looks at Sam with murder in her eyes.
ELLIE
What?
SAM
You know what.
ELLIE
No.
SAM
Oh, come on.
7.
ELLIE
The comms aren’t for chit-chat. I
can’t keep breaking the rules.
He’ll be arriving soon. You’ll
speak to him every day then.
SAM
But I want to talk to him now,
Ellie.
Ellie mops fruitlessly at the wet patch. Sam manages to look
apologetic.
SAM (CONT’D)
Please. He’s my baby brother. He’s
all I’ve got.
Ellie huffs at the obvious manipulation but rolls her chair

69. out of the way. She passes her headset to Sam.
INT. RELIEF SHIP - NIGHT
Danny’s pressed against a porthole, trying his best to see as
much of the outside as he can.
Nearby, IMANI ADUBA (35) can’t help but smile fondly.
HANK
NGUYEN (45) glowers at both of them.
IMANI
Oh, give it a rest. You’re young
enough to remember what your first
time was like.
HANK
Don’t count on it.
SAM (O.S.)
Danny?
Danny’s smile gets even bigger, nervous, excitable energy
racketing through him.
DANNY
Sam. You should see it. It’s so
beautiful.
SAM (O.S.)
So I’ve heard.
Danny’s face falls fractionally.
DANNY
I wish you could be here.

70. 8.
SAM (O.S.)
Don’t worry about it. Just make
sure to bring me back some moon
rocks.
DANNY
You got it.
INT. ISCO HEADQUARTERS - CREW SHIP MONITORING
ROOM - DAY
Ellie pointedly clears her throat.
SAM
Ellie wants the comms back. But
don’t worry, I’ll be talking to you
soon. Every day. You’ll be sick of
me within a week.
DANNY (O.S.)
Yeah, I bet.
Sam hesitates, the news of Luis Wallis still hanging over
him.
SAM
Be safe.
DANNY (O.S.)
You too.

71. INT. TRITON BASE - CORRIDOR - NIGHT
Rory exits the Exercise Room, wiping the sweat from her face.
She bumps into Aziz. They glare at each other.
Rory wipes her hand across her brow. She smears the sweaty
residue across Aziz’s face.
AZIZ
You’re disgusting, you know that?
RORY
I’m charming.
Aziz grimaces.
AZIZ
On what planet?
RORY
This one.
9.
She walks off, her sweaty towel catching Aziz as she walks
by.
AZIZ
This is a moon.
But she’s already gone.
INT. RELIEF CREW - COCKPIT - NIGHT

72. Imani is already strapped into her battered old seat while
Hank mans the controls. She indicates an empty seat for
Danny, its seatbelt frayed and rickety.
IMANI
Strap in.
HANK
Yeah, you’ll need to be tied down
while landing one of these rust
buckets. You never know what
they’re gonna do.
Danny does his best not to look worried. It doesn’t work.
Imani laughs.
IMANI
Trust me. Flight simulation did not
prepare you for this.
Hurriedly, Danny straps himself in.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Karina and Angela prepare the main doors for the relief
ship’s arrival as Rory enters, trailed by Aziz.
AZIZ
Did you hear me? This is a moon,
not a planet. Surely you know that
by now?
KARINA
Could you two stop your bickering
for one moment and prepare for the
new arrivals?

73. RORY
I don’t know if Aziz can shut his
mouth for that long.
Angela sighs, used to their antics.
10.
ANGELA
I don’t have time for this.
(to Karina)
How long until the ship arrives?
An ALARM begins to sounds through the base. An
AUTOMATED
VOICE chimes in: SHIP APPROACHING, SHIP
APPROACHING.
INT. RELIEF SHIP - NIGHT
Danny’s pretty sure the ship’s about to fall apart around
him.
DANNY
Should it be making this much
noise? And shaking? There’s no
atmosphere.
IMANI
Rust. Bucket.
Danny redoubles his grip on the fraying armrest.

74. A cacophony of NOISE breaks out around them. Everything’s
shaking. Danny closes his eyes and grits his teeth.
INT. TRITON BASE - TECH ROOM - NIGHT
Angela crowds in to the tiny computer room as Karina flicks
switches.
KARINA
Ready for docking.
ANGELA
Alright. Pull ‘em in.
Karina activates a command.
INT. RELIEF SHIP - NIGHT
A VIOLENT SHUDDER rips through the ship.
Danny SCREAMS. Imani WHOOPS, an adrenaline junkie
through and
through.
HANK
Hold on!
11.
INT. TRITON BASE - TECH ROOM - NIGHT
KARINA
Magnetic pull activated. Ready for

75. arrival in 5, 4, 3 -
INT. RELIEF SHIP - NIGHT
Danny is thrown forward, the straps of his seat breaking.
The SOUND of FOLDING METAL rips through the ship as it
SLAMS
into the Triton base.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
The SLAM reverberates through the base. Aziz and Rory pause
their squabbling and look toward the doors.
RORY
What was that?
INT. RELIEF SHIP - NIGHT
Imani SCREAMS. The LIGHTS flicker. Machinery continues to
CRUNCH. ALARMS begin to blare.
HANK
Oxygen on!
Danny scrambles for his oxygen pack, swiftly activating his
suit, his helmet automatically rising up and encasing him.
IMANI
Is there a breach?
HANK
Everybody out.
Imani crawls on her hands and knees, thrown from her chair

76. like Danny.
Her way is blocked by someone’s feet. Aziz stands before her,
encased in his own oxygen suit. He offers Imani his hand.
The rest of the Triton crew board behind him.
ANGELA
Is everybody alright?
HANK
Just peachy.
12.
IMANI
We’re fine.
Angela nods, short and sharp.
ANGELA
Reynolds. Check the damage and
report back. Everybody else, into
the airlock.
The ship empties quickly, leaving Rory alone.
Making her way into the
COCKPIT
She deftly enters a command and the ALARMS fall silent,
quickly replaced by a blast of Rory’s MUSIC.

77. RORY
Much better.
Rory rolls her shoulders, relaxing, and draws up a monitor,
beginning to assess the ship for damages.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Ellie appears at the door, breathless. She cuts a frantic Sam
off before he can speak.
ELLIE
He’s fine. I swear.
INT. ISCO HEADQUARTERS - PEREZ’S OFFICE - DAY
NIA PEREZ works at her desk on the highest floor. The higher
the floor, the bigger the office. The bigger the office, the
higher your status. Nia’s office is big. Very big.
A TIMID KNOCK on the half-open door. A NERVOUS
ASSISTANT
follows the knock.
NERVOUS ASSISTANT
Ms Perez?
PEREZ
Yes?
She doesn’t look up.
13.

78. NERVOUS ASSISTANT
There’s been another accident. A
bad docking.
PEREZ
Where?
NERVOUS ASSISTANT
Triton.
That grabs her attention. She looks up sharply, freezing the
Nervous Assistant to the spot.
PEREZ
Any deaths?
NERVOUS ASSISTANT
No.
Perez’s shoulders relax fractionally.
PEREZ
Very well. Report to me if anything
changes.
The Nervous Assistant nods, backing out quickly.
Alone, Nia pulls up a file on her monitor.
It’s a list of casualties on Triton. Luis Wallis’s picture is
top of the pile. His face stares out at her. She CROSSES
herself.
INT. TRITON BASE - MEDLAB - NIGHT

79. Aziz finishes checking Hank for broken bones under the
watchful eyes of Angela.
AZIZ
There we go. Good as new.
HANK
Doesn’t feel like it.
IMANI
Ignore him. He’s a grumbler.
ANGELA
Very well. Are you fit enough to
carry out repair work? I believe
Karina has found a problem at Base
Two.
14.
IMANI
Ready when you are.
Hank groans softly in protest.
INT. TRITON BASE - FUNERARY - NIGHT
Danny surveys the bank of lockers in front of him, the
crudely carved names a reminder of what they are.
RORY (O.S.)
It takes some getting used to,
doesn’t it?

80. Danny turns to find Rory lingering at the door.
DANNY
There are so many. I - I didn’t
realise.
RORY
Nobody tell you this was dangerous
work?
She doesn’t wait for him to answer, walking right up to Luis’
locker instead.
RORY (CONT’D)
Death walks beside you here on
Triton. You’ll get used to it.
Danny pales.
RORY (CONT’D)
Least, that’s what Luis told me.
And he was right.
DANNY
How did he die?
RORY
I don’t know. An accident, out on
the surface. Angela was with him. I
didn’t like to ask. It’s easier,
not to know.
AZIZ (O.S.)
Saddle up, ponies!
15.

81. INT. TRITON BASE - COMMUNAL ROOM
The room is buzzing with activity as Rory enters, trailed by
Danny.
RORY
What’s going on?
AZIZ
We’re taking a day trip. Base 0-0-
2.
DANNY
Already?
KARINA
Reactor’s fried.
RORY
I’ll get my kit.
KARINA
No need. You work on repairs for
the ship. We’ll take Hank for the
reactor.
Rory’s face falls.
Karina finishes gathering everything she needs. Imani and
Hank help lug her equipment out of the door.
RORY
But -

82. AZIZ
Sucks to be you.
ANGELA
You’re staying behind too, Aziz.
Aziz halts in his tracks.
AZIZ
What?
ANGELA
Essential personnel only.
Angela disappears through the door before anyone can argue.
The base falls silent.
16.
INT./EXT. TRITON BASE - NIGHT
Rory watches from a porthole as the rover rolls out without
her.
AZIZ (PRE-LAP)
I’m the medic. I’m the most
essential person here.
INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Aziz paces furiously while Danny and Rory watch.

83. DANNY
Don’t worry. Imani’s a trained
medic.
RORY
He wasn’t worrying.
AZIZ
Don’t you have a ship to repair?
Rory ignores him.
AZIZ (CONT’D)
Or do you need me to come with you
and hold your hand?
He’s taunting her. The tension in the room rockets. Danny
looks between them cautiously.
RORY
Go to hell.
AZIZ
You sure? One time offer. I know
you want it.
RORY
Back off.
DANNY
What’s going on?
AZIZ
It’s a secret.
RORY

84. Stop it.
17.
AZIZ
See, Rory likes to pretend she’s a
big bad wolf, but really she’s just
a scared little girl.
RORY
I said stop it.
Rory’s in his face now, a fight just waiting to happen. Aziz
just grins. Months of pent-up frustration are coming out now.
AZIZ
What is it you’re afraid of? The
silence? The darkness? The monsters
under your bed?
RORY
I’m not afraid.
AZIZ
Sure, sure. Gotta ask yourself why
you can’t turn down that music
then? Or switch off the lights.
Must be hard, terrified of
everything out here. Wonder why
they even hired you.
RORY
They hired me because I’m the best.

85. AZIZ
Yet Angela took the new mechanic
with her. Probably knows you don’t
like being out on the surface. They
took pity on you. How does that
feel?
Aziz’s face twists cruelly, knowing he’s struck a nerve. Rory
falters but doesn’t back down.
The CRACKLE of the comms announces Sam’s intervention.
SAM (O.S.)
Alright, guys, why don’t we cool it
for now. No need for bloodshed.
Rory and Aziz don’t move, the tension hanging thick between
them.
With a sudden turn, Rory spins on her heel.
DANNY
Where are you going?
18.
RORY
Out.
DANNY
What?
Rory stops at the door, turning expectantly to the two men.

86. RORY
Are you coming?
Aziz’s face breaks into a grin. Mission accomplished.
SAM (PRE-LAP)
Rory, return to base.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
Ellie hovers over Sam’s shoulder, watching the monitors.
SAM
Rory. Answer me.
RORY (O.S.)
Don’t make me turn my comms off.
SAM
Don’t make me report you.
INT. ROVER - NIGHT
Rory, Aziz and Danny are all squashed into the rover, oxygen
suits activated, jolted by Rory’s less than careful driving
over Triton’s frozen surface.
RORY
You wouldn’t. Not when I’ve got
Danny with me. Don’t want him in
trouble on his first day.
SAM (O.S.)
Danny, tell her to turn back.

87. DANNY
No way. You know I want to see the
surface.
RORY
Relax, Sam. I promise, I’ll keep
him safe.
19.
She means it, the sincerity unmistakable. She slows the
rover, turning to Danny.
RORY (CONT’D)
If you want to go back, I’ll take
you.
She waits for Danny’s answer. His reply is resolute.
DANNY
Keep going.
AZIZ
That’s right. Don’t give this
scaredy-cat an out.
RORY
Nobody’s talking to you.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
SAM
Christ.

88. Sam throws his headset down.
SAM (CONT’D)
What should I do?
Ellie shrugs, helpless.
ELLIE
Just keep an eye on them. Check in
with them in an hour.
INT. BASE TWO - TECH LAB - NIGHT
Karina and Imani finish hauling their kit into the base as
Hank carts it to the relevant areas. It’s dark and shadowy, a
neglected ruin.
INT. BASE TWO - COMMAND ROOM - NIGHT
Angela works alone, another bank of monitors before her
detailing the working heart of the base. Every piece of
technology, from the ventilation system to the reactor core
can be accessed here.
Slowly, the pictures on the monitors begin to go out. Angela
watches in confusion. In the blink of an eye, the face of Nia
Perez fills one solitary screen.
20.
PEREZ
Hello, Commander. Please lock the
door.

89. Angela goes rigid, a soldier addressing her CO.
ANGELA
Ms Perez.
INT. ROVER - NIGHT
Rory slows the rover as they near Base 2. Motionless drills
litter the surface of the frozen wasteland outside the base’s
perimeter, stuck half way into the ground.
DANNY
Why aren’t they working?
RORY
Base 2 was shut down a while ago.
Too many deaths out here. Three’s
functional though.
AZIZ
It’s a pity. There’s more water at
Base 2 than 3. More chance of life.
DANNY
You think we’ll find it. Life?
Rory SNORTS.
RORY
They’ve been running this mission
for how long now? If it was out
there we’d have found it already.
AZIZ
Yeah, like you’re such an expert.

90. Pulling the rover to a stop, Rory chooses to ignore him.
RORY
Alright, everybody out.
INT. BASE TWO - COMMAND ROOM - NIGHT
PEREZ
Do you understand?
Angela’s face is pale.
21.
PEREZ (CONT’D)
Commander?
ANGELA
Yes.
It’s barely a sound, but Perez accepts it.
EXT. BASE TWO - NIGHT
Aziz immediately makes a break for the base.
RORY
Where do you think you’re going?
AZIZ
Inside. I am not afraid to admit I
hate it out here.

91. With a cheeky salute, he opens the air lock.
AZIZ (CONT’D)
You coming Danny?
Danny shakes his head.
AZIZ (CONT’D)
Rory? Last chance. Admit you’re
scared and you can come inside.
Rory turns away.
AZIZ (CONT’D)
Suit yourself.
INT. BASE TWO - COMMAND ROOM - NIGHT
ANGELA
Not everybody’s here.
PEREZ
Nevertheless -
The CRACKLE of the comms interrupts Angela’s next sentence.
KARINA (O.S.)
Uh, Commander. I’m sorry to report,
but Aziz is here. Rory and Danny
too.
ANGELA
They’re all here?
22.

92. KARINA (O.S.)
Affirmative.
ANGELA
Very well. I will deal with them
momentarily.
Angela switches off the comm before Karina can respond. On
the monitor, Perez looks satisfied.
PEREZ
You have your orders.
EXT. BASE TWO - NIGHT
Danny marvels at the icy world of darkness around him.
DANNY
I’m here. I’m actually standing on
Triton.
Rory keeps her eyes fixed on Danny, determined not to look
out into the empty darkness.
RORY
Trust me, the excitement wears off
real quick.
DANNY
I can’t believe that.
He scoots out of Rory’s eyeline. She closes her eyes tight,
breathing a little faster.

93. DANNY (CONT’D)
My brother and I, we used to look
up at the stars and dream of coming
up here. And now look at me.
RORY
Yeah.
She doesn’t, her eyes fast shut.
DANNY
You really don’t think we’ll find
life under this ice?
RORY
It’s not there. I want it to be,
but - People back home, they want
to believe. It gives them hope. But
there’s nothing here except us.
23.
Danny doesn’t respond, too busy examining the drill
technology. The silence drags on a little too long.
RORY (CONT’D)
Danny? Danny?!
Rory stumbles forward blindly before Danny catches her.
DANNY
I’m here. Don’t panic.
Rory’s eyes fly open at his touch. She’s breathing too

94. quickly.
DANNY (CONT’D)
You really don’t like it out here.
RORY
I’m fine.
Danny doesn’t believe her.
DANNY
Should we head inside?
RORY
Only if you want to. I’m fine.
She’s really not.
DANNY
Come on. Let’s go in.
INT. BASE TWO - TECH LAB - NIGHT
Hank inspects the abandoned base, rusted and old in every
sense of the word. Abandoned experiments litter the room.
HANK
Would you look at this place. Can’t
believe there were once enough
folks to man both stations.
Karina activates a monitor, the screen blinding as it springs
to life.
KARINA
It gives me the heebies just being

95. here. The stories say there are
still bodies under the ice.
She jots down some numbers from the screen.
24.
IMANI
What are you doing?
KARINA
The base is shut down but we left
some of the machines running.
Always a chance we might find life.
HANK
And have you?
Karina shakes her head.
INT. BASE TWO - AIR LOCK - NIGHT
Danny and Rory sit opposite each other as the air lock
pressurises.
DANNY
It’s okay to be frightened, you
know.
Rory doesn’t respond.
DANNY (CONT’D)
I’m frightened all the time. Coming
out here, it terrifies me. Leaving

96. my home, my brother. I know what
the return rate’s like. I know most
people don’t make it back.
RORY
Then why’d you come?
DANNY
Because I want to live. Not many
people get this chance in life. I
don’t want to let it pass me by.
His words hang between them as Rory takes this in.
RORY
I hate the silence. And the
darkness. Sometimes I think I see
things moving. It terrifies me.
She looks surprised to have confessed. Danny smiles
sympathetically.
RORY (CONT’D)
Don’t tell Aziz.
25.
DANNY
Promise.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina leads the way to the Command Room, Hank and Imani
following in her wake.

97. KARINA
Aziz, stay where you are. Do you
copy?
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
AZIZ
Affirmative.
Aziz promptly begins to saunter in a different direction.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina tries the door for the Command Room. The KEYPAD
doesn’t respond.
KARINA
Angela?
INT. BASE TWO - COMMAND ROOM - NIGHT
KARINA (O.S.)
The doors won’t open.
Angela sits motionless, staring at the empty screen where
Perez’s face appeared.
KARINA (O.S.) (CONT’D)
Angela? What’s going on? Do you
read me?
Slowly, as if her bones weigh her down, Angela draws up a new
monitor. She begins to enter commands.
INT. BASE TWO - AIR LOCK - NIGHT

98. The air lock finishes pressurising. Rory gets to her feet and
opens the door, motioning to Danny.
RORY
After you.
26.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
IMANI
What’s going on?
Karina’s clueless.
KARINA (O.S.)
Angela? Do you read me?
INT. BASE TWO - COMMAND ROOM - NIGHT
AUTOMATED COMPUTER VOICE
System override?
Angela continues to type in commands.
AUTOMATED COMPUTER VOICE (CONT’D)
Warning. Fail safes deactivated.
Reactor core rising.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
ALARMS begin to blare. A RED EMERGENCY LIGHT fills the
corridor.

99. Karina looks around in disbelief.
KARINA
Angela? What are you doing?
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
Caught in the flashing red lights, Aziz panics. He begins to
run.
INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
Karina LAUNCHES herself against the door with all her might.
She’s given up on the comms now, screaming for Angela
through
the wall.
INT. BASE TWO - AIR LOCK CORRIDOR - NIGHT
Halfway down the corridor, Danny is pinned by the sudden red
lights. He turns back to Rory, closer to the airlock.
She begins to run.
27.
INT. BASE TWO - COMMAND ROOM - NIGHT
AUTOMATED COMPUTER VOICE
Detonation imminent.
Angela closes her eyes. She presses down one final key.

100. INT. BASE TWO - COMMAND ROOM CORRIDOR - NIGHT
KARINA
RUN!
INT. BASE TWO - NIGHT
The reactor explodes. Fire rockets throughout the base.
INT. BASE TWO - TECH LAB CORRIDOR - NIGHT
A FIREBALL shoots down the corridor, catching Karina in its
wake. She’s barely made it two steps from the Command Room
door.
INT. BASE TWO - TECH LAB - NIGHT
Angela, eyes still closed, is incinerated where she sits, a
prayer still on her lips.
INT. BASE TWO - TECH LAB CORRIDOR - NIGHT
Hank and Imani fall to the FLAMES.
INT. BASE TWO - GREENHOUSE CORRIDOR - NIGHT
Aziz is still running. He throws himself at an alcove. He
doesn’t make it.
INT. BASE TWO - AIR LOCK CORRIDOR - NIGHT
Rory is inside the air lock.
RORY
Danny! Come on!

101. Danny’s legs pump, drawing him closer. He’s fast. The fire’s
faster.
28.
With an agonising SCREAM, the FIREBALL engulfs his suit as
he
falls him into the air lock.
Rory SLAMS the door shut, the flames just catching her arm.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - DAY
ALARMS are blaring across the monitors.
Sam sprints in, Ellie at his heels. He sees the monitors
falling black, a life snuffed out. One screen in particular
catches his eye, its vitals going haywire.
SAM
No.
INT. BASE TWO - AIR LOCK - NIGHT
Danny writhes on the floor. Agony. The FLAMES are snuffed
out, but the pain remains.
Rory checks her singed suit: still intact.
Crouched by his side, she tries to peel his battered suit
from his wounds. She can’t. They’re stuck to his burns. She
tries anyway. Danny HOWLS.

102. Outside the air lock, the fire rages. The temperature inside
rises. The ALARMS continue to blare.
SAM (O.S.)
Danny?
Danny can’t reply, consumed by pain.
RORY
What do I do? What do I do?
Danny’s skin BLISTERS before her eyes, his damaged suit like
an open wound.
SAM (O.S.)
Danny?
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
SAM
Danny, talk to me.
Sam’s beside himself, any veneer of professionalism gone.
29.
SAM (CONT’D)
Talk to me, dammit!
INT. BASE TWO - AIR LOCK - NIGHT
RORY
He can’t!

103. Rory’s panicking, Danny fading before her.
RORY (CONT’D)
(to Danny)
It’s going to be okay. I’ll get you
back to base.
Danny might be shaking his head, he might be convulsing.
DANNY
My suit.
It’s ruined. He can’t go outside. They both know it.
RORY
There’s got to be some way.
SAM (V.O.)
Rory, talk to me. Tell me what’s
happening.
RORY
Danny’s hurt. His suit’s destroyed.
He can’t go outside.
Rory’s forehead beads with sweat as the heat continues to
increase.
RORY (CONT’D)
But the base is on fire. We can’t
stay here.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT

104. Ellie disables the alarms and silence falls. Sam doesn’t know
what to do.
INT. BASE TWO - AIR LOCK - NIGHT
RORY
I’m sorry. I’m so sorry.
30.
Danny is in so much pain. He points towards the air lock
door, the one leading outside.
RORY (CONT’D)
I can’t.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
Sam stands immobile, listening to his brother’s agonised
moans. Ellie takes control.
ELLIE
Rory, listen to me. Is there any
way to save both you and Danny?
INT. BASE TWO - AIR LOCK - NIGHT
Rory and Danny lock eyes. They both know there isn’t.
ELLIE (O.S.)
Rory!

105. RORY
No.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
Sam’s world is shattering.
ELLIE
Then go. Now.
INT. BASE TWO - AIR LOCK - NIGHT
Rory hesitates, unwilling to leave Danny.
ELLIE
Now.
Rory grips Danny’s hand tight. A goodbye.
She turns and opens the air lock door. She runs.
INT. ROVER - NIGHT
Alone, Rory speeds across the frozen landscape.
She’s hyperventilating, tears streaming down her face.
31.
ELLIE (O.S.)
Stay with me, Rory. You’re almost
there.

106. INT. TRITON BASE - COMMUNAL ROOM - NIGHT
Rory bursts out of the air lock and into the silent base.
Her RAGGED BREATHS come loud and heavy. She paces,
wobbling,
losing her balance, gasping.
She slumps down to her knees and WAILS.
INT. ISCO HEADQUARTERS - TRITON MONITORING
ROOM - NIGHT
ELLIE
Rory!
They can HEAR Rory SCREAMING.
ELLIE (CONT’D)
She’s going into shock. Do
something.
Sam, slumped in a chair, does nothing.
ELLIE (CONT’D)
Sam!
Ellie SLAPS him, hard.
Slowly, Rory’s wails begin to register.
SAM
(mumbling)
Airborne sedative.

107. ELLIE
What?
SAM
Airborne sedative.
Ellie shoves him towards the controls. Numbly, he types in
the correct commands.
INT. BASE TWO - COMMUNAL ROOM - NIGHT
A GAS is released into the air.
32.
Rory’s fingers are caught in her hair, pulling and
scratching. Her face is bleeding. Skin beneath her nails.
Slowly, her wails subside. She slumps down onto the floor.
Her eyes close. She passes out.
33.
Act One:
1. An infinity of stars in the vastness of space.
Danny Shepherd watches from his ship’s
observation hatch.// Aurora (Rory) Reynolds pounds
awayon a treadmill, a blast of loud
music shaking through the Triton Moon base as
she runs.// Sam Shepherd arrives late for

108. work on Earth, too jubilant to care.
2. Sam checks in over the comms with Rory before
moving on to the rest of the crew, who
note there’s possible damage to a reactor core in
Sector 2. Plan to go survey it once
Danny’s
ship has arrived. Commander Angela Hawkins reports
that the ashes of Luis Wallis have
been interred.
3. Sam leaves his desk & moves to a
separate suite of rooms where Danny’s ship &
crew is
being monitored. Insists on speaking to his
brother before he lands & they share
their
excitement at Danny’s first professional job.
4. Danny’s ship is piloted badly as it
approaches the base.The crew are unharmed but
the
ship is disabled and won’t be able to work again
until repairs have been carried out.
THIS WAS ALL I FIT IN MY FIRST 10
PAGES ^^^^^
5. The old and new crew set out to Sector 2 to
fix the reported fault, leaving Aziz, Rory
and
Danny behind. Aziz taunts Rory until she decides to
break protocol and leave the base,
taking Danny and Aziz with her.
6. Sam tries to make Rory turn back, worried

109. for all of them but especially Danny. Rory’s
made up her mind and tells him to relax. She
promises she won’t let any harmcome to
Danny.
7. At Base 2, the crew starts to spread out,
with someexploring and others going to assess
the fault. Buoyed by the new arrivals though,
they’re not focusing properly and mistakes are
being made.
8. Rory, Danny & Aziz arrive. Aziz rushes
into the Base, but Rory stayson the surface,
determined to prove she’snot afraid of the
silence, as Aziz claims she is. Danny stays,
wanting to enjoy the fact that they’re standing on
a distant moon.
9. Rory breaks, insisting they should go in. Danny
laughs but acquiesces. Inside, somethingis
going terribly wrong with the reactor core.
Distractedby the excitement of the new
arrivals,
nobody has noticed the severity of the problem.
10. Danny and Rory step inside moments before
the reactor core blows. Inside, the crew
realise what’s about to happen after it’s too
late. They set off the evacuation alarms as
somethingexplodes.
11. Rory reacts a split second sooner to the
evacuation alarms, realising what they are
before Danny. Rory’s mostly unharmed, though

110. bruised. Danny’s injured, pinned down by
debris, though alive. A fire begins to sweep
through the base and Rory realises she has no
choice but to get them both outside as quickly as
possible.
12. Rory drags Danny outside and assesses the
extent of his injuries. They’re bad. His helmet
is cracking too. Rory tries to reach the surface
buggy they arrived in, but Danny is in
agony
at each step she takes& she is unable to get
them both there.
13. Danny admits what they’re both thinking: he’s
not going to make it. He tells her to
leave
him behind and get to the buggy before her
oxygen runs out.
14.Rory refuses to leave him. Over comms, Sam
listens to his brother die.
15. Rory’s oxygen begins to run out. In order
to make it back to base before that
happens
she is forced to leave Danny’s body behind.
16. Rory arrives back at base and goes into shock/has a
panic attack. Sam is forced to emit
an airborne sedative to subdue her. She blacks

111. out.