Terra

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<p>FADE IN. <div class = "narr">We see BO, a 12 year old boy, standing next to his mother OLIVIA in a long line of people. There are several people in front of Bo and his mother.</div> [[OLIVIA: Do you have all of your papers ready?]] [[BO looks around him and observes the crowd.]] [[Commentary->com1]] </p>

<p><div class = "narr">Bo looks up at his mom, distracted by the crowd.</div> BO (passive): Yeah. I got it. OLIVIA: Just making sure. I don't want to get up to the station and have you digging through your backpack. BO: Mom, I got it. <div class = "narr">Bo refuses to make eye contact with his mother. His tone makes it obvious that there is some cold air between the two of them.</div> [[BO: I don't know if I'm ready for this.]] [[Bo stays silent as he and his mother approach the TICKETMASTER]] </p>

<p>SUPERIMPOSE: A FAREWELL TO TERRA WRITTEN, PRODUCED, AND DIRECTED BY ETHAN BURGESS [[Start]] </p>

<p><div class="narr">The crowd around Bo is a solemn one. Many people are wearing dust masks over their mouths. Everyone has some type of luggage with them - a backpack, a suitcase. Anything they can carry. PAN UP TO REVEAL THE I.S. DAEDALUS A large spaceship looms in front of the crowd with several people trickling in at a time. A woman and her young child are boarding the ship. As they pass the entryway, the child turns around and starts crying, reaching back toward land. His mother, crying, pulls him away, allowing herself one last glance at planet Earth before forcing herself and her child into the dark entryway. CLOSE UP: BO'S FACE</div> [[BO: I don't know if I'm ready for this.]] [[Bo stays silent as he and his mother approach the TICKETMASTER]]</p>

<p>TICKETMASTER: Next! <div class="narr">Bo and his mother approach the booth reluctantly. Bo digs around in his pockets and pulls out several papers, folded neatly. The creases have been worn down almost completely from folding and unfolding them so many times.</div> TICKETMASTER: Tickets and identification, please. <div class="narr">Bo and Olivia put their papers onto the podium where the ticketmaster stands.</div> OLIVIA: I know it's scary. I'm scared too... (she puts a hand on his shoulder, which he shrugs off) [[OLIVIA: Your dad would have wanted us to leave.->dad]] [[OLIVIA: Your dad would have come with us if he could. ->dad]] </p>

<p> TICKETMASTER: Next! <div class="narr">Bo and his mother approach the booth reluctantly. Bo digs around in his pockets and pulls out several papers, folded neatly. The creases have been worn down almost completely from folding and unfolding them so many times.</div> TICKETMASTER: Tickets and identification, please. <div class="narr">Bo and Olivia put their papers onto the podium where the ticketmaster stands. While the ticketmaster checks their papers, Bo looks over and sees MANDY, a fourteen year old girl in a heavy peacoat and large knit beanie, standing at the podium several feet away from his. Her mother, MARYLIN, and her father, MAJOR FREDERICK MILLER, push her forward as she locks eyes with Bo.</div> [[Bo smiles at her slightly and lifts a hand in a half-wave. ->fake_greeting]] [[Bo stares at her, waiting for her to make the first move. ->fake_greeting]] </p>

<p><div class="narr">Mandy pretends not to notice Bo, and sets her documents on the panel. FREDERICK eyes Bo from across the way and puts a protective hand over Mandy's shoulder, blocking her from Bo's view.</div> TICKETMASTER: Here you go. Go on ahead. <div class="narr">The ticketmaster hands back the documents, and Olivia picks up her bags.</div> OLIVIA (to Bo): Ready? [[Bo picks up his bags without speaking to his mother. ->entership]] [[BO: I want dad to come with us. ->entership]] </p>

<p>BO: Yeah, well, I don't think dad planned to be left on this dead rock while the rest of us run away. (he looks up at his mother, making eye contact with her for the first time) But you're right. It's what he would have wanted. <div class="narr">Olivia, visibly hurt, opens her mouth to speak, but is cut off.</div> TICKETMASTER: Here you go. Go on ahead. <div class="narr">The ticketmaster hands back the documents, and Olivia picks up her bags.</div> OLIVIA (to Bo): Ready? [[Bo picks up his bags without speaking to his mother. ->entership]] [[BO: I want dad to come with us. ->entership]] [[Commentary ->com2]] </p>

<p><div class="narr">Bo and his mother walk up a long, metal gangplank leading up to the entryway. A huge open port gapes menacingly in front of them. CLOSE UP: BO'S FACE CLOSE UP: We see a SIGN that reads:</div> NOTICE: OBSERVATION TIME IN THE I.S. DAEDALUS IS LIMITED. PLEASE BE ADVISED TO VIEW EARTH BEFORE ENTERING THE SHIP. [[Bo stops at the sign and turns around.]] [[Bo walks past the sign without looking back.]] </p>

<p><div class="narr">Bo looks out over the crowd behind him. In the distance, a city is barely visible under a dark haze. The sky is cloudy and unnaturally brown. Hundreds of people crowd around the ticket podiums, anxious to get on the ship. Bo takes a deep breath, and we see him holding back tears.</div> OLIVIA: (putting an arm around Bo's shoulders) Come on, honey. It's time to go. <div class="narr">Bo and his mother turn around to face the dark port of the ship. As they walk in, PAN OUT to slowly reveal the scene. The massive I.S. DAEDALUS sits on a launching platform, propped up by many thick iron beams. In front of the ship are hundreds of people scrambling to get on as fast as they can. As we PAN OUT even farther, the DAEDALUS becomes dwarfed as we see a dry, cracked, and abused planet Earth, no longer of value to the humans that have abandoned her.</div> [[SUPERIMPOSE: ACT 1; SCENE 1 ->a1s1]] [[Commentary ->com4]] </p>

<p><div class="narr">As Bo and his mother enter the ship, PAN OUT to slowly reveal the scene. The massive I.S. DAEDALUS sits on a launching platform, propped up by many thick iron beams. In front of the ship are hundreds of people scrambling to get on as fast as they can. As we PAN OUT even farther, the DAEDALUS becomes dwarfed as we see a dry, cracked, and abused planet Earth, no longer of value to the humans that have abandoned her.</div> [[SUPERIMPOSE: ACT 1; SCENE 1 ->a1s1]] [[Commentary ->com3]] </p>

<p><div class="narr">ACT 1; SCENE 1 INT. BO'S ROOM BO and OLIVIA enter Bo's room, a 10x10 concrete box that looks like a prison cell. We see that there is only one bed, and Bo and Olivia give each other a knowing glance. Bo will have to make this journey alone, and he isn't looking forward to it. They walk into the room solemnly, and Bo slaps his suitcase onto the bed, opening it and taking out the contents.</div> [[Bo unpacks a picture of his father->fatherpic]] [[Bo unpacks a book: QUEST FOR EGONATHIA->egonathia]] </p>

<p><div class="narr">Olivia stands behind Bo and touches the picture gently.</div> OLIVIA: I didn't know you packed this... BO: Yeah. It's all I'll we have left of him, so... (beat) I wanted to bring his picture, at least. <div class="narr">Olivia wipes tears from her eyes and puts a hand through Bo's messy hair.</div> OLIVIA: He would be so proud of you. If he was here, he'd - BO: He isn't here. He's dead. <div class="narr">Bo puts the picture on a small desk next to his bed. On the bed is a small desktop computer.</div> OLIVIA: Hey, at least you've got a computer! Play some games, make these next six years fly by. BO: The computers don't even have games. They're just for journaling. <div class="narr">Olivia looks at him, confused.</div> BO: It was in the paperwork. Didn't you read it? OLIVIA: I had different paperwork to read. <div class="narr">Olivia watches Bo from behind as he puts his clothes into the drawer beneath his bed.</div> [[OLIVIA: I'm worried about you, Bo.->olivworried]] [[OLIVIA: I wish I didn't have to leave you here alone.->olivalone]] </p>

<p><div class="narr">OLIVIA approaches Bo from behind. She touches the book gently.</div> OLIVIA: I didn't know you packed this. BO: Something to read for the next six years, I guess. <div class="narr">Olivia takes the book from the bed and picks it up, opening to a random page.</div> OLIVIA: This was your favorite book when you were a kid... (she reads a passage) "As I was a child, Bremora was one also. Innocent, and weak. He was afraid. That was, in the end, what I believe made him so evil. I knew that if only somebody could show him some kindness, some bravery, he could truly be good." I love that. BO: It's a good book, I guess. <div class="narr">Bo puts the book on a small desk next to his bed. On the bed is a small desktop computer.</div> OLIVIA: Hey, at least you've got a computer! Play some games, make these next six years fly by. BO: The computers don't even have games. They're just for journaling. <div class="narr">Olivia looks at him, confused.</div> BO: It was in the paperwork. Didn't you read it? OLIVIA: I had different paperwork to read. <div class="narr">Olivia watches Bo from behind as he puts his clothes into the drawer beneath his bed.</div> [[OLIVIA: I'm worried about you, Bo.->olivworried]] [[OLIVIA: I wish I didn't have to leave you here alone.->olivalone]] [[Commentary ->comego]] </p>

<p>BO: Worried about me? Why, you think I'm going to kill myself or something? OLIVIA: You've just been so down ever since - BO: Since my dad was murdered in a war that's forcing me to abandon my whole planet? Sorry, I didn't realize I wasn't allowed to feel bad about that. OLIVIA: Please don't talk to me like that. I'm going to be leaving soon, I don't want to say goodbye like this. BO: It's not like I'll never see you again! For you, it'll be like falling asleep and waking up! I'm the one that has to sit in this stupid concrete cell for the next six years. Of course this trip takes exactly the amount of time it'll take for me to be old enough to be put in hypersleep. I'll get a whole two months of hypersleep at the end of the trip. I'll probably be the only one awake for like six years. OLIVIA: There'll be lots of people awake. Kids your age. And not all the adults are being frozen. Someone's got to make sure you kids don't get into trouble. BO: Hooray, it'll be me, a bunch of babies, and a bunch of babysitters. How thrilling, I can't wait to spend the next six years eating snacks and taking nap times. [[OLIVIA: I don't care what you do. But if you have this bad attitude, it's going to be a long trip. ->longtrip]] [[OLIVIA: This'll all be over before you know it. We're going to have a new life on Itineris. ->newlife]] </p>

<p>BO: Leave me alone? Why, you think I'm going to kill myself or something? OLIVIA: You've just been so down ever since - BO: Since my dad was murdered in a war that's forcing me to abandon my whole planet? Sorry, I didn't realize I wasn't allowed to feel bad about that. OLIVIA: Please don't talk to me like that. I'm going to be leaving soon, I don't want to say goodbye like this. BO: It's not like I'll never see you again! For you, it'll be like falling asleep and waking up! I'm the one that has to sit in this stupid concrete cell for the next six years. Of course this trip takes exactly the amount of time it'll take for me to be old enough to be put in hypersleep. I'll get a whole two months of hypersleep at the end of the trip. I'll probably be the only one awake for like six years. OLIVIA: There'll be lots of people awake. Kids your age. And not all the adults are being frozen. Someone's got to make sure you kids don't get into trouble. BO: Hooray, it'll be me, a bunch of babies, and a bunch of babysitters. How thrilling, I can't wait to spend the next six years eating snacks and taking nap times. [[OLIVIA: I don't care what you do. But if you have this bad attitude, it's going to be a long trip. ->longtrip]] [[OLIVIA: This'll all be over before you know it. We're going to have a new life on Itineris. ->newlife]] </p>

<p>BO: Thanks, mom. Very inspiring. That's just what I needed before saying goodbye to you for the next six years - a lecture on bad attitudes. <div class="narr">The weight of Bo's words sink in, and Olivia looks at him with misty eyes.</div> OLIVIA: You're going to be all grown up when I see you. You're going to be a man. <div class="narr">Bo rolls his eyes and puts his suitcase under the bed.</div> BO: Yeah, yeah. And I'm going to look like my dad, right? OLIVIA: You already do. When I get out of that tank, I'm going to see Robert all over again. BO: Those tanks are stupid. Why can't everyone stay awake? Why only the adults? OLIVIA: You know that developing bodies don't work in the tank. And besides, I'm sure there's some issue about food and resources that they had to take care of as well. BO: Aren't you scared? Aren't you scared to jump into a tank that has a thirty percent chance of killing you as soon as you step in? [[OLIVIA: I am afraid. I've been afraid ever since your dad died. ->knock]] [[OLIVIA: I'm hopeful. Maybe leaving Earth was a lesson all of us needed to learn.->knock]] [[OLIVIA: I've felt dead inside since your father died. If something happened to me, I know you could take care of yourself. ->knock]] </p>

<p>BO: Itineris, Itineris! That's all everyone can ever talk about. What about Earth? Wasn't that a pretty good one? We sure messed that up, didn't we? You think as soon as we get there, we aren't going to start looking for oil to dig up and trees to cut down? OLIVIA: You've never cared about the environment before, don't give me that. You're just scared. BO: Aren't you scared? Aren't you scared to jump into a tank that has a thirty percent chance of killing you as soon as you step in? [[OLIVIA: I am afraid. I've been afraid ever since your dad died. ->knock]] [[OLIVIA: I'm hopeful. Maybe leaving Earth was a lesson all of us needed to learn.->knock]] [[OLIVIA: I've felt dead inside since your father died. If something happened to me, I know you could take care of yourself. ->knock]] </p>

<p>BO: But if - <div class="narr">There are three sharp knocks on the door. Bo and Olivia turn toward the doorway, and Olivia steps up to open it. The door slides open with a <u>hiss</u>, and we see MAJOR FREDERICK MILLER, his wife MARYLIN MILLER, and their fourteen year old daughter, MANDY MILLER. Bo and Mandy lock eyes from behind their parents.</div> FREDERICK: Hello, ma'am. Major Frederick Miller, Marine Corps. We live just next door. (he reaches out and shakes her hand) OLIVIA: How do you do. Olivia Grey, this is my son Robert. We call him Bo. <div class="narr">Frederick extends his hand toward Bo, still sitting on the bed. There is a short awkward silence, and Bo stands up to shake Frederick's hand.</div> FREDERICK: (to Bo) Major Miller. How are you, son? BO: Fine. FREDREICK: Where's the father? OLIVIA: (quietly) Killed in action at the Battle of Liberty. FREDERICK: My apologies, ma'am. An honorable death. <div class="narr">Frederick straightens his posture and looks around the room disapprovingly.</div> FREDERICK: I'm going around to all the rooms on Level G to introduce myself. I'm the commanding officer for security on this level, I'll be lucid for the entirety of the trip. I assume the boy won't be in hypersleep? OLIVIA: Yes. No, he's only twelve. FREDERICK: (eyeing Bo) I see. My daughter Mandy is fourteen. She'll be joining you and my wife in four years. <div class="narr">Marylin reaches forward to shake Olivia's hand.</div> MARILYN: Hi, I'm Marylin. OLIVIA: Hi. Olivia. MARILYN: (to Bo) Hi there. FREDERICK: Maybe you and Mandy could go on a playdate sometime. She's been complaining about not having any friends on the trip. MANDY: Dad! <div class="narr">Mandy gives an embarrassed look toward Bo. Bo tries not to smile.</div> BO: Yeah, maybe. A playdate sounds fun. <div class="narr">Olivia shoots a look toward Bo behind her shoulder, but Bo just shrugs.</div> FREDERICK: Look, I know leaving a son behind is probably very stressful for you. If it makes you feel better, I'll send Mandy over so that the kids can take off together. She probably doesn't want to spend all that time with me strapped to a chair, anyhow. OLIVIA: That'd be nice, thank you. [[BO: I'll be okay on my own.->fake_join]] [[BO: That sounds okay. It'd be nice to have some company.->fake_join]] [[Commentary ->comfred]] </p>

<p>FREDERICK: It'll be good for the kids. I'll send her over. She'd be happy to, right? MANDY: Yes, sir. FREDERICK: She'd be happy to. Look, I run a pretty tight ship, so I wouldn't worry about your son getting into too much trouble while I'm gone. (he looks at Bo) I'll be keeping a very close eye on him and Mandy for the whole trip. OLIVIA: Thank you. I'm glad to hear it. FREDERICK: Well, I've got more people to see before we take off. I better get going. Pleasure to meet you, ma'am. (they shake hands again) Robert. I'll see you around. <div class="narr">Frederick and his family leave. As the door closes, Mandy waves quickly to Bo. The door shuts before Bo can wave back.</div> BO: My name isn't Robert. OLIVIA: Oh, Bo... <div class="narr">Olivia sits on the bed next to Bo and hugs him tightly.</div> OLIVIA: I'm going to miss you so much. [[BO: I'll be okay.->fake_ok]] [[BO: I'll miss you, too.->fake_ok]] [[BO: You'll be asleep. You won't miss me at all.->fake_ok]] </p>

<p>OLIVIA: Well, you're certainly going to have a lot to think about while I'm away. I've heard the food is going to be pretty good. It's going to be so weird to eat after six years of being asleep. BO: (chuckles) Yeah, something other than slime being pumped into your arm would be a nice change. <div class="narr">Olivia and Bo sit quietly on the bed for several seconds. Bo takes his ticket out of his pocket and unfolds it, folding it again without looking at it. He sits in silence, unfolding and refolding.</div> OLIVIA: You know, if you get the chance - LOUDSPEAKER: ALL PERSONELL AGED 18 TO 45, PLEASE REPORT IMMEDIATELY TO CRYOGENICS. LAST NAMES LETTERS A THROUGH M, REPORT TO LEVEL I. LAST NAMES LETTERS N THROUGH Z, REPORT TO LEVEL H. ONCE MORE, ALL PERSONELL AGED 18 TO 45... OLIVIA: I guess this is it. BO: Yeah. <div class="narr">Olivia picks up Bo's hand and kisses it, then hugs him tightly again. She kisses him on the cheek and stands up, walking to the doorway.</div> OLIVIA: You are just like your father. I love you. [[BO: I love you too, mom. ->fake_love]] [[Bo sits quietly at his bed, staring at the floor.->fake_love]] </p>

<p><div class="narr">Olivia looks sadly at Bo. She knows that this is the last time she will see him as he is now. </div> OLIVIA: Bye, honey. See you in six years. <div class="narr">Bo stands up off the bed and walks to the doorway. He and his mother embrace once more before he shuts the door without saying anything. VERY WIDE SHOT of Olivia standing at the center of a long hallway. She stands still, one hand on Bo's door, the other hung limply at her side. The hallway is full of people walking toward the end of the corridor, and the perspective all points to Olivia at the end of the hall. Slowly, she takes her hand off the door and disappears into the crowd, shuffling along to the large elevator at the end of the hall. CUT to Bo sitting alone on his bed, a picture of his father in his hands. The picture shows his father smiling, his arms around Olivia and Bo. All of them look happy, laughing almost. CLOSE UP on Bo's face, emotionless, until he puts the picture in a box under his bed. WIDE SHOT of Bo sitting still on his bed, facing the blank concrete wall. </div> [[ACT 1; SCENE 2->a1s2]] [[Commentary ->comlove]] </p>

<p><div class="narr">ACT 1; SCENE 2 Bo steps out of his room and looks around. The hallways are quiet and empty. The buzzing white lights and the air conditioning are the only sounds. Bo walks down the hall several feet to the room next to his and knocks on the door. He waits for a moment, but nobody answers.</div> BO: Mr. Miller? (beat) Mandy? <div class="narr">He waits a moment longer, then decides to open it. He pushes a button and the door slides open.</div> FREDERICK: - think you're just going to be running around with boys, I've got a surprise for you, soldier! <div class="narr">Mandy is pushed into frame and slams against the wall. She holds her head in pain and opens her mouth to yell something. She sees Bo to the side, who is standing surprised in the doorway, and stands up straight facing him. Frederick steps into frame from behind a wall.</div> FREDERICK: And if you - <div class="narr">He sees Bo and cuts himself off, straightening his posture. CLOSE UP: Frederick's closed fists relax. CLOSE UP: Frederick's face, and another CLOSE UP on Bo's face. Frederick is breathing heavily, his face serious. Bo looks from Frederick to Mandy, and Mandy walks quickly toward Bo, grabbing his hand and pulling him out of the room with her. The door closes behind them.</div> BO: What was that? Are you okay? Do you - <div class="narr">Mandy pushes Bo against the outside of his bedroom door and kisses him deeply. Bo's eyes are wide open. He's never been kissed before. Mandy lets go, and Bo takes a breath.</div> BO: Okay. LOUDSPEAKER: ALL PASSENGERS, PLEASE PREPARE FOR TAKEOFF. TAKEOFF WILL PROCEED IN HALF AN HOUR. FOR YOUR OWN SAFETY, ALL PASSENGERS, PLEASE PREPARE FOR TAKEOFF. FASTEN YOURSELVES INTO TAKEOFF SEATING, WHICH CAN BE FOUND IN YOUR PERSONAL QUARTERS. THIS MESSAGE WILL BE REPEATED IN FIFTEEN MINUTES. [[MANDY: Come on.->mandy1]] [[BO: I guess we better get going.->bo1]] </p>

<p><div class="narr">Mandy looks at him with empty eyes. The kiss was not romantic in any way for her. They enter the bedroom. Mandy sits down on Bo's bed and pulls out his box of personal items from beneath his bed.</div> MANDY: What did you bring? I didn't bring anything. BO: Not much... <div class="narr">Mandy pulls out Bo's picture of his father. She looks at it lovingly.</div> MANDY: Is this your dad? BO: (beat) Yeah. He was. MANDY: Was he a good dad? BO: Yes. MANDY: You're lucky. <div class="narr">Mandy carefully puts the picture back in the box and pulls out a book.</div> MANDY: "Quest for Egonathia"? What is this, some kids' book? (she opens it up and reads silently) BO: My grandpa Emerson wrote it. It didn't sell many copies, but when I was a kid I thought they were just rare. (he laughs a little at himself) My grandpa told me I had one of twelve copies in the world. I thought that was really cool. MANDY: It's actually pretty good. I mean, I'm not an expert or anything. [[BO: Do you always go through people's stuff when you meet them?->bo2]] [[BO: Why didn't you bring anything?->bo_bring]] </p>

<p><div class="narr">Mandy looks at him with empty eyes. The kiss was not romantic in any way for her. They enter the bedroom. Bo kicks his box of personal items farther under the bed before Mandy can see it. They sit down on the bed together.</div> BO: So...what do you want to do? MANDY: Do? BO: Yeah...I mean, you came over. MANDY: We're taking off together, remember? BO: Yeah. Right. (beat) Has your dad always been like that? <div class="narr">Mandy takes a pack of gum from her pocket and puts a piece in her mouth. She offers some to Bo, but he refuses.</div> MANDY: He's always been a military guy, I guess. You get used to it. BO: My dad was a military guy. He was never like that. MANDY: Well, aren't you the lucky one? BO: I didn't mean it like that. He was just a really nice guy, that's all. He didn't want to join the army. He got drafted. He wanted to be an author. [[MANDY: My dad loves the military. I think it's because he likes to hurt people. ->mandyhurt]] [[MANDY: They'd never get me, even in a draft. They'd have to put me in jail. ->mandyjail]] </p>

<p>MANDY: No, not always. <div class="narr">Mandy slides the box back under the bed, and Bo looks at her, puzzled by this strange girl.</div> BO: Well, I don't think anyone's ever gone through my stuff, except maybe my mom. So that was a first. Also, you know. Nobody's ever... you know. MANDY: Nobody's ever what? BO: Nothing. Do you think we should strap in? The loudspeaker said they were taking off soon. [[MANDY: It's too bad there's no window in here. I'd like to say good riddance to Earth as we take off.->mandyseats]] [[MANDY: Maybe we could stay unstrapped. It'd be a quick death.->mandyseats]] </p>

<p>MANDY: Are you kidding? I don't want any reminder of that stupid planet. Good riddance, I say. I'm starting over when we get to Itineris. BO: Don't you think it'll all end up the same? MANDY: I don't care what humans do to the new planet. I'm sure they'll have it blown up in less than a hundred years. <div class="narr">Mandy leans in.</div> MANDY: Can you keep a secret? BO: (nodding) Yeah. I think so. MANDY: When we land on Itineris, I'm going to run away. I'm finally going to get away from my parents and live the life that I want to. No humans, no wars, just ... my own paradise. BO: Wow. How will you survive? MANDY: Who cares? Maybe I won't. Anything's better than life on Earth. <div class="narr">Bo looks awkwardly around the room for a moment, then looks back to Mandy.</div> BO: Do you think we should strap in? The loudspeaker said they were taking off soon. [[MANDY: It's too bad there's no window in here. I'd like to say good riddance to Earth as we take off.->mandyseats]] [[MANDY: Maybe we could stay unstrapped. It'd be a quick death.->mandyseats]] </p>

<p>BO: My dad always hated being in the army, he said you'd hate the kind of guys that joined. He said they were uncultured. MANDY: Sure, that's one way to put it. For my dad, the military was his whole life. They put took him off active duty for two years and he almost went insane. One day, he beat a guy in a bar so bad they had to send him to the hospital. That's when they put him back on active duty. (she laughs) They put you back in for stuff like that. BO: I remember, my dad would always come home, and he liked to just lay down a lot. On the bed, the floor, whatever. He said just the feeling of knowing nobody could make him get up was worth being home. He didn't like to watch T.V. or hang out with friends or anything. I don't think he had any friends besides my mom. [[MANDY: Do you miss your mom?->mandymom]] [[MANDY: I miss my mom. ->mandymom]] </p>

<p>BO: Me, too. My dad always hated being in the army, he said you'd hate the kind of guys that joined. He said they were uncultured. MANDY: Sure, that's one way to put it. For my dad, the military was his whole life. They put took him off active duty for two years and he almost went insane. One day, he beat a guy in a bar so bad they had to send him to the hospital. That's when they put him back on active duty. (she laughs) They put you back in for stuff like that. BO: I remember, my dad would always come home, and he liked to just lay down a lot. On the bed, the floor, whatever. He said just the feeling of knowing nobody could make him get up was worth being home. He didn't like to watch T.V. or hang out with friends or anything. I don't think he had any friends besides my mom. [[MANDY: Do you miss your mom?->mandymom]] [[MANDY: I miss my mom. ->mandymom]] </p>

<p>BO: I'm sure everyone's missing someone today. <div class="narr">Bo looks at the floor and kicks the bed softly.</div> MANDY: Do you think we better strap in now? BO: (nodding) Yeah. <div class="narr">Bo pushes a panel on the wall labelled "TAKEOFF SEATING". The panel folds out into three seats with heavy straps attatched to the sides.</div> MANDY: After you. BO: Oh, I insist. <div class="narr">Bo smiles at the joke, but Mandy simply stands up and straps herself into the far left seat.</div> MANDY: Are you ready? [[Bo straps himself into the middle seat.->fake_seat]] [[Bo straps himself into the far right seat.->fake_seat]] </p>

<p>BO: (slightly unsettled) Right. <div class="narr">Bo pushes a panel on the wall labelled "TAKEOFF SEATING". The panel folds out into three seats with heavy straps attatched to the sides.</div> MANDY: After you. BO: Oh, I insist. <div class="narr">Bo smiles at the joke, but Mandy simply stands up and straps herself into the far left seat.</div> MANDY: Are you ready? [[Bo straps himself into the middle seat.->fake_seat]] [[Bo straps himself into the far right seat.->fake_seat]] </p>

<p><div class="narr">Mandy and Bo strap into their seats. Bo looks over at Mandy, who stares straight ahead. She sees him looking and turns to him.</div> MANDY: What? BO: Do you...like me? <div class="narr">She rolls her eyes.</div> MANDY: You're stupid. LOUDSPEAKER: ALL PASSENGERS, PLEASE PREPARE FOR TAKEOFF. TAKEOFF WILL PROCEED IN FIFTEEN MINUTES. FOR YOUR OWN SAFETY, ALL PASSENGERS, PLEASE PREPARE FOR TAKEOFF. FASTEN YOURSELVES INTO TAKEOFF SEATING, WHICH CAN BE FOUND IN YOUR PERSONAL QUARTERS. THIS MESSAGE WILL BE REPEATED IN FIFTEEN MINUTES. BO: Are you ready? MANDY: I was ready as soon they started building these ships. Are you ready? <div class="narr">Bo takes Mandy's hand, and she tightens her grip. Soon, all they will have is each other, and they both know it.</div> [[ACT 1; SCENE 3->a1s3]] </p>

<p><div class="narr">ACT 1; SCENE 3 INT. COMMAND DECK A WIDE SHOT: The crew prepares for takeoff in the command center of the ship. There are more than fifty people all sitting at desks and working on computers, like a mix of Star Trek and NASA.</div> CHIEF MATE JAMES: Command clear, takeoff ready, requesting permission to prepare for ignition? WORKER CHELSEA: Ignition and engine diagnostics, check. Weapons and Shields? WORKER JORGE: Weapons and Shield, check. Cryogenics and Hypersleep? WORKER LOLA: Cryogenics and Hypersleep, check. All personell have been induced according to procedure. JAMES: Lola, do we have a final death count on cryogenics, yet? LOLA: Yes, Chief. Total death count 536. 49% below projected mortality rate. [[JAMES: Very good. Excellent. All checks good, I have recieved confirmation on ignition.->jamesgood]] [[JAMES: It's a damn shame. But I suppose it can't be avoided. All checks good, I have recieved confirmation on ignition.->jamesgood]] [[Commentary ->coma1s3]] </p>

<p><div class="narr">The lift opens behind the workers, and EDWARD steps out holding a clipboard with several papers. He jogs up to Chief James.</div> EDWARD: Cheif? I was down in Operations running diagnostics on the mainframe of the ship, I've found six structural failures around the ship. JAMES: (concerned) Are any of them serious enough to delay departure? EDWARD: There's a leaky ceiling in the kitchen, four windows that may destabilize, and one faulty security door. JAMES: Which security door? <div class="narr">Edward looks at his papers and flips a few pages.</div> EDWARD: It's the emergency door for a utilities room on Level C. JAMES: And those windows, what's the danger of those? EDWARD: Well, sir, there's probably not anything to worry about, unless passengers were around them if they broke. That's what I'm worried about. But without a major change in room pressure, like an emergency door or something similar, I don't think there's a very good chance that they would break. Takeoff is mostly what the engineers are concerned about, sir. JAMES: If any window breaches, the emergency hull covers will patch them until we get them fixed. Utility closets aren't important, and I don't give a damn about a leaky ceiling. We'll send maintenance down to fix it after takeoff. EDWARD: Are you sure about this, sir? I don't want to be responsible for anyone getting hurt. [[JAMES: Maybe you're right. I'll call Captain Long and get his opinion before we move forward.->callcaptain]] [[JAMES: You're a good man, but you don't need to worry. This ship will be just fine. Thank you for the information->nocall]] </p>

<p>EDWARD: Thank you, sir. It sure makes me feel better knowing we aren't cutting any corners. <div class="narr">James nods, and Edward goes back into the lift. James takes a small reciever out of his pocket and pushes a button. He holds it to his ear and waits for an answer.</div> JAMES: Captain? Apparently we have a broken door, some faulty windows, and a leaky ceiling. (beat) Yes, sir. I will do that. Are you...yes, sir. Yes, Captain. Thank you. (he hangs up the phone) Okay, Captain Long wants maintenance to go fix that ceiling and door right away. He says the windows are going to delay us too much. Remember, people, we have a heavy magnetic storm on collision with our course 36 lightyears out, and we don't have a clue what the hell that might do to the ship. If we delay any longer, we're going to be stuck in that storm for longer than we need to be. Any questions? ALL: No, sir! JAMES: Prepare for takeoff. [[ALL: Yes, sir!]] </p>

<p>EDWARD: Thank you, sir. I trust your judgement. Just wanted to brief you on the situation. JAMES: It's very much appreciated. (to all) Alright everyone, now that we have everything out of the way, are there any more questions? ALL: No, sir! JAMES: Prepare for takeoff. [[ALL: Yes, sir!]] </p>

<p><div class="narr">LANDSCAPE: The I.S. Daedalus looms above thousands of people who are standing outside. People are throwing trash at the ship and yelling profanities. A booming voice echoes around the ship.</div> JAMES: All systems go, ignition in three... <div class="narr">CLOSE UP: People protesting and screaming around the ship, some people holding signs that say "END THE OPPRESSION", "THE LOTTERY WAS <u>RIGGED</u>", "NOBODY CAN RUN FROM WAR", etc.</div> JAMES: two... <div class="narr">Many uniformed men are attempting to push back the crowd, but the crowd is overwhelming. Many people are directly around and underneath the ship.</div> JAMES: one...ignition. <div class="narr">The ship roars to life, and bright white vapor crashes out from below the ship. The screaming of the crowd intensifies, but it quickly drowned out by the engines of the ship. Soon, the entire area is covered in white vapor, and the ship emerges through the cloud.</div> JAMES: We have liftoff. I repeat, the Daedalus has liftoff. Farewell, Terra. [[ACT 2; SCENE 1->a2s1]] [[Commentary ->comyessir]] </p>

<p><div class="narr">ACT 2; SCENE 1 INT. NIGHT, BO'S BEDROOM We see Bo asleep, his blankets kicked out from under him. He tosses and turns. A CLOSE UP on his face reveals that he is sweating and murmuring softly.</div> BO: DAD... <div class="narr">CUT TO BO'S DREAM. We are walking down a dark hallway from Bo's point of view. There is a single door at the end with a light flickering above it. Bo approaches the door and sees that there is a small computer in front of it, like the one in his room. On it is an unopened message, which Bo clicks on. The message simply reads: FIND ME. Bo closes the computer and opens the door, revealing an exterior battle scene. Men are firing lasers in different directions, and the sky is a dull grey from the bombs that are exploding above, shaking the earth.</div> [[SOLDIER: Hey, kid! Get over here!->wardad]] [[BO: Somebody help me!->wardad]] </p>

<p><div class="narr">A bomb explodes near Bo and knocks him down. His ears are ringing, all other sound is drowned out. A soldier approaches Bo and leans over him. He mouths words, but we can't hear him.</div> BO: What...? (Bo's hearing gradually comes back) SOLDIER: I said are you alright? We gotta get you out of here, come on! <div class="narr">They run to a small hole in the ground and duck behind it. The ground in front of them explodes in a pile of dirt and ash.</div> SOLDIER: Where's your mother? BO: She had to go to sleep. They all did. [[SOLIDER: She'll never make it in this weather.->weather]] [[SOLDIER: Why did you leave me on Earth, Bo? ->bowakes]] [[SOLDIER: (placing a gun in Bo's hands) You know what you have to do. ->bogun]] </p>

<p><div class="narr">A bomb hits directly in front of Bo, and we cut to Bo standing in the front lawn of a suburban house. Everything is peaceful and quiet. Birds are chirping, the wind is softly blowing. </div> ROBERT: She'll never make it in this weather. <div class="narr>Bo turns to see his father standing next to him, looking up into the sky and shielding his eyes from the sun.</div> BO: What? ROBERT: Oh, your uncle Joe's been going on about his stupid hot air balloon, again. She'll never make it in this weather, though. It's much too windy up there, you see how fast the clouds are moving? <div class="narr">He points to the sky, and Bo looks. Above us is the Daedalus, massive and looming above Bo's head. Robert shakes his head.</div> ROBERT: She'll never make it past the ship. The ship takes everything in the end. BO: Dad? Are you okay? [[ROBERT: Why'd you leave me here, Bo?->bowakes]] [[ROBERT: You let your mother die, Bo->bowakes]] </p>

<p><div class="narr">Bo looks at the gun placed in his hands.</div> BO: I don't understand - <div class="narr">Bo looks up and see's that he is in a large empty room. There are no lights, but a large window overlooking space, with the stars dimly lighting the room.</div> MANDY: Do you think they all have names? <div class="narr>Bo turns around and sees that Mandy is standing behind him. She does not look at him, but out the window. She approaches the window and puts her hand on the glass.</div> MANDY: You know what I'd like? BO: What? [[MANDY: I'd like for this glass to break, and suck me out into space. I want to live with the stars. ->mandystars]] [[MANDY: I'd like to kill everyone on this ship so I can have it for myself. Then I could fly anywhere, and never worry about anyone ever again. ->mandystars]] </p>

<p><div class="narr">The glass cracks where Mandy touches it, and Bo takes a step back.</div> BO: Mandy? MANDY: I just want to end it all. I just want everything to go black, like space. Space is perfect. Why can't I be perfect? (the glass cracks more) BO: I think we need to get out of here. MANDY: Why can't they understand I don't fit in here? Why can't they just leave - (she hits the glass; it cracks) me - (she hits again) - alone! <div class="narr">The glass shatters, and there is a loud noise as they are both ripped out of the window and into space. As Bo flies out of the window, he turns around. Instead of the Daedalus, he sees only a tiny concrete box.</div> [[MANDY: You shouldn't have let your mother leave, Bo. ->bowakes]] [[MANDY: You let him die. And you'll die, too. ->bowakes]] </p>

<p><div class="narr">CUT to BO'S BEDROOM where Bo jots up out of bed, sweating. He grabs the blankets at his feet and wipes his face. He swallows hard and holds his throat, grimacing.</div> MANDY: Are you okay? <div class="narr">Bo jumps to the side and pulls the blankets up to cover himself. Mandy is sitting beside his bed, one hand on the mattress.</div> BO: A nightmare. How'd you get in here? MANDY: The door. You never locked it. And besides, if I wanted to get in here, I could. My dad has the master key to this entire floor. What was your nightmare about? [[BO: It was about my father. ->dreamdad]] [[BO: It was about Earth. ->dreamearth]] [[BO: Nothing. It was just a dream. ->dreamnothing]] </p>

<p>MANDY: I heard you screaming so I came over to check on you. BO: You didn't have to do that. MANDY: It's okay. Your dad... was he in trouble? BO: We were in a battlefield. I can't remember the details now, but...there were bombs. After that, I was somewhere else. I don't know. I don't know how to explain it. MANDY: You're going to be okay. It was just a dream. BO: Yeah. MANDY: Do you want me to stay? [[BO: I'll be fine. You can go back. ->fake_stay]] [[BO: I'd like to have you around, if you don't mind.->fake_stay]] </p>

<p>MANDY: I heard you screaming so I came over to check on you. BO: You didn't have to do that. MANDY: It's okay. You said your dream was about Earth? BO: Yeah, in the war. There were bombs going off, and somebody was with me. At the same time, I was walking through this hallway...I don't know how to explain it. MANDY: You're going to be okay. It was just a dream. BO: Yeah. MANDY: Do you want me to stay? [[BO: I'll be fine. You can go back. ->fake_stay]] [[BO: I'd like to have you around, if you don't mind.->fake_stay]] </p>

<p>MANDY: You're going to be okay. It was just a dream. BO: Yeah. MANDY: Do you want me to stay here? I can keep you company while you fall back asleep. [[BO: I'll be fine. You can go back. ->fake_stay]] [[BO: I'd like to have you around, if you don't mind.->fake_stay]] </p>

<p><div class="narr">Mandy smiles at Bo in the dark and holds his hand in hers.</div> MANDY: No problem. <div class="narr">She lets go of Bo's hand.</div> MANDY: Do you want your computer turned off, at least? <div class="narr">She gestures to the desk next to Bo's bed. The computer screen dimly shines.</div> [[BO: I didn't know it was on. ->bocomp]] [[BO: That's weird. There isn't a message on there, is there? ->bocomp]] </p>

<p><div class="narr">Bo gets out of bed and sits next to Mandy, sharing the chair with her.</div> MANDY: It was on when I came in. You must have forgot to turn it off last night. BO: I never turned it on. <div class="narr">Bo opens his ship profile and sees that there is indeed a new message. His stare intensifies as he opens the message. It's from his mother.</div> MANDY: Are you alright? <div class="narr">Bo opens the message and reads it out loud.</div> BO: Bo, I hope you are doing okay. I don't know when you'll open your computer for the first time, but hopefully you'll see this message sooner or later. If not, I'm sorry that we had to say goodbye on such a sour note. They let us send out a message before getting in the tanks, so wish me luck. I love you so much, and I know your father would be so proud of you. You're so brave for getting on this ship with me. You are just like your father...not afraid to take a step into the unknown. You are the bravest person I know. Please don't dwell on your father too much while you are alone on this ship. I miss him, too, but if I've learned anything in life, it's that it's always better to move forward than to look back. I know that you'll do okay while we're apart. I love you, Mom. P.S. That girl next door is pretty cute. Maybe you can get to know her. <div class="narr">Bo stares at the message blankly. The computer buzzes softly in the silence.</div> [[MANDY: At least your mom thinks I'm cute. ->momcute]] [[Bo throws the computer on the ground as hard as he can. ->compbreak]] [[Commentary ->combocomp]] </p>

<p><div class="narr">Bo closes the computer and he and Mandy sit in the dark.</div> BO: I thought... I don't know. MANDY: What? BO: In my dream, there was a message. I don't know how to explain this, but... (beat) I think my mom wants me to come find her. MANDY: Find her? What do you mean? BO: I don't know. I don't know if she's in trouble, or what, but she wants me to find her. MANDY: She's asleep in the cryogenics chamber right now, Bo. BO: I know that, I know. But I need to see her. I need to make sure everything's okay. I just need to, okay? [[MANDY: It was just a dream, Bo. There's nothing wrong with your mom. ->justadream]] [[MANDY: If you need to find her, then that's what you need to do. I can't stop you. ->justadream]] </p>

<p><div class="narr">The computer crashes on the ground with a loud noise, and Mandy jumps. The room is dark and silent. Bo slowly starts to cry, and Mandy puts a hand on his back, rubbing it slowly.</div> BO: I just thought... I don't know. MANDY: What? BO: There was a message. In my dream. I don't know how to explain this, but... (beat) I think my mom wants me to come find her. MANDY: Find her? What do you mean? BO: I don't know, okay? I don't know if she's in trouble, or what, but she wants me to find her. MANDY: She's asleep in the cryogenics chamber right now, Bo. BO: I know that, I know. But I need to see her. I need to make sure everything's okay. I just need to, okay? [[MANDY: It was just a dream, Bo. There's nothing wrong with your mom. ->justadream]] [[MANDY: If you need to find her, then that's what you need to do. I can't stop you. ->justadream]] </p>

<p><div class="narr">Bo stands up out of the chair and stars putting on his pants.</div> BO: Look, this might not make any sense to you, but I've got to find my mom. I'm going. I know where she is, the intercom said Level I. That's where she is. That's where I'll start, at least. If she isn't there, I'll search the rest of the ship. MANDY: I'm sure she'll be there, Bo. I wouldn't worry about it too much. BO: (nodding) I hope so, too. Will you come with me? [[MANDY: Of course I'll come with you. We're friends, right? ->mandycomes]] [[MANDY: Are you kidding? My dad will kill me if he wakes up and finds out I'm gone. I'm not even supposed to be in your room right now. ->mandydoesntcome]] </p>

<p>BO: (smiling) Great. MANDY: My whole life, I've been taught that I can't take care of myself. My father has told me time and time again that I'm helpless. I have to prove to myself that he's not right. <div class="narr">Bo grabs Mandy's hand tightly.</div> BO: He's not right. You'll have me with you, and I'll have you. We'll be back before morning. Please. <div class="narr">Mandy stares into Bo's eyes and takes his other hand.</div> MANDY: The elevator is locked. We'll need his key. [[ACT 2; SCENE 2 ->a2s2]] </p>

<p>BO: You're not coming? MANDY: I just can't. My dad wouldn't allow it. BO: You can't live your whole life living according to your dad's law. This ship isn't that big. We're not going to get into any trouble. You don't need to be afraid of him anymore. MANDY: I'm not afraid of him, I just... my whole life, I've been taught that I can't take care of myself. My father has told me time and time again that I'm helpless. What if he's right? <div class="narr">Bo grabs Mandy's hand tightly.</div> BO: He's not. You'll have me with you, and I'll have you. We'll be back before morning. Please. <div class="narr">Mandy stares into Bo's eyes and takes his other hand.</div> MANDY: The elevator is locked. We'll need his key. [[ACT 2; SCENE 2 ->a2s2]] </p>

<p><div class="narr">INT. NIGHT, MAJOR FREDERICK'S BEDROOM Mandy and Bo stand cautiously next to Major Miller's sleeping body. His bed is perfectly made, and even his breathing seems routine. He lies perfectly on his back underneath perfectly made blankets. On the table next to him are his watch, a cup of water, his phaser, and his keycard, all laid out in exact order. Mandy leans forward and carefully lifts the keycard off of the table. Miller snores loudly, and both of the children jump from the suspense. Mandy shakes her head and places the keycard in her pocket. As Mandy begins leaving the room, Bo picks up the phaser and puts it in his pocket. Mandy sees him and raises her eyebrows. </div> [[Bo shrugs his shoulders and waves Mandy to continue on. ->fake_next]] [[Bo smiles deviously and cocks his head to the side, beckoning her to follow. ->fake_next]] </p>

<p><div class="narr">Outside in the HALLWAY, Bo and Mandy take a breath from the stress of what just happened. Mandy leans against the wall and sighs.</div> MANDY: I'm so dead. BO: We'll be back before he's even awake. I promise. MANDY: If he wakes up... BO: He won't. MANDY: You don't know what he's capable of, Bo. <div class="narr">They walk down the hallway to the elevator and look at the access panel that will unlock the lift.</div> MANDY: Ready? <div class="narr">Bo nods, and she swipes the card. The access panel reads:</div> AFTER HOURS - SECURITY CODE REQUIRED MANDY: Shit. <div class="narr">Bo looks up in surprise. He's probably never heard someone his age swear before.</div> BO: The stairwell, maybe? <div class="narr">Mandy takes a few steps over to the door labelled "STAIRS" and swipes her key at the panel. The panel lights up green, and they hear a <u>click</u> from inside the door. Bo grabs the door and pulls it open.</div> [[BO: I guess it's the stairs, then. ->bostairs]] [[BO: You sure you're ready for this? ->bostairs]] </p>

<p>MANDY: Yeah. <div class="narr">The two of them enter the stairwell and begin descending the stairs. Dull yellow lights shine every few meters along the stairs, barely illuminating the way. Each step echoes up and down the stairwell as they descend.</div> MANDY: Did you ever think you'd be doing this? BO: What do you mean? MANDY: Sneaking around on a spaceship in the dead of night, looking for your mom in a hybernation chamber? [[BO: I never wanted to be on this ship in the first place. ->bonoship]] [[BO: Did you ever think you'd be disobeying your dad with a kid you just met yesterday? ->bosneak]] [[Commentary ->combostairs]] </p>

<p>MANDY: You didn't? Didn't you want to leave Earth? BO: I don't care about Earth. It's the people I didn't want to leave behind. MANDY: You left your dad behind, right? His body? BO: It wasn't my choice, and I don't like to talk about it. MANDY: Sorry. BO: Everybody tells you that you have to move on, that the bad things can't control your life. Well, what's wrong with the bad things? Why can't I think about my dad forever? Don't I have the right to be upset about it? [[MANDY: You can think about the bad things as much as you want, but you shouldn't let them control you. ->mandynocontrol]] [[MANDY: I like the bad things. Sometimes I think people are afraid of the bad things because they don't understand them. But if you take the time to really get to know them, they aren't as scary anymore. ->mandynocontrol]] </p>

<p>MANDY: I always knew I'd be disobeying my dad. With you, though? If anyone was going to make me do it, I'm glad it was you. BO: (quietly) Me, too. MANDY: What did you say? BO: I was going to say, this place seems warmer than it should be, right? I was expecting a concrete stairwell to be cold. MANDY: They have heating and air conditioning. BO: Funny. It's just...do you ever think that... (beat) we're living in a quantum world? Like every choice we make is pushing us into one world or another, and it's the choices we make that decide what we get to experience, and what we never have a chance of seeing? <div class="narr">Mandy stops walking.</div> MANDY: Where the hell did that come from? Those are some big words for an eleven year old. BO: My parents were big on science. They weren't scientists or anything, but they knew a lot. You know? [[MANDY: Not really. I try to focus on the here and now. It's the only way I can stay alive. ->mandyhere]] [[MANDY: Yeah, I know what you're saying. Sometimes I feel the same way, like I'm always missing out on something, no matter what I do. ->mandyhere]] </p>

<p>BO: I guess so. I don't know. <div class="narr">Bo slides his hand along the railing alongside the stairs.</div> BO: You know, this place isn't as cold as I thought it would be. MANDY: They have heating and air conditioning. BO: Funny. It's just...do you ever think that... (beat) we're living in a quantum world? Like every choice we make is pushing us into one world or another, and it's the choices we make that decide what we get to experience, and what we never have a chance of seeing? <div class="narr">Mandy stops walking.</div> MANDY: Where the hell did that come from? Those are some big words for an eleven year old. BO: My parents were big on science. They weren't scientists or anything, but they knew a lot. You know? [[MANDY: Not really. I try to focus on the here and now. It's the only way I can stay alive. ->mandyhere]] [[MANDY: Yeah, I know what you're saying. Sometimes I feel the same way, like I'm always missing out on something, no matter what I do. ->mandyhere]] </p>

<p>BO: Sometimes I wonder if I was meant to be born at all. <div class="narr">The yellow lights above them shut off, and Bo and Mandy are left standing in the dark. Mandy lets out a small scream when the lights go off.</div> BO: It's okay, it's okay! They must shut off the lights after a certain time. We might be in the dark for a while. MANDY: I hate the dark. Let's just get down to Level I and find your mom. BO: Fine with me. Let's get out of here. [[INT. CAPTAIN MILLER'S ROOM ->capmiller]] </p>

<p>INT. MAJOR MILLER'S ROOM <div class="narr">MAJOR Miller rolls over in his sleep. He is mumbling something, but it's not discernable. CLOSE UP on MAJOR Miller's eyes opening slowly. His face looks tired, almost sad. He sits up and scratches the back of his neck, grabbing a glass of water from his desk and taking a long drink. He stands up and walks to the doorway, looking out into the rest of the quarters.</div> FREDERICK: Mandy? (beat) Mandy, are you awake? <div class="narr">He walks to another bedroom next to his and opens the door. The bed is empty.</div> FREDERICK: God damn kids... <div class="narr">MAJOR Miller walks quickly back to his room and puts on his watch. He goes to grab his keycard and sees that it is missing, along with his phaser. CLOSE UP on his face to reveal his wide eyes, afraid, but excited. He yanks open a drawer on the table and pulls out a small communication device.</div> FREDERICK: Franco, are you up? Franco, wake up! COM DEVICE (FRANCO): Hello? Major? FREDERICK: Let the men know my daughter's been kidnapped. I'm not sure who would have taken her, but I have a funny feeling it was the boy next door. He's been eyeing her since we got here. COM DEVICE (FRANCO): Yes, sir. I'll send out an alert right away. FREDERICK: And Franco? COM DEVICE (FRANCO): Sir? FREDERICK: Tell the men to come armed. The boy took my gun. [[ACT 2; SCENE 3 ->a2s3]] [[Commentary ->comcapmiller]] </p>

<p><div class="narr">ACT 2; SCENE 3 INT. LEVEL I - THE HYPERSLEEP CHAMBER The Hypersleep Chamber is a large, dark room, full of bubbling tanks around 8 feet tall and 5 feet wide. In each of them, a naked human floats, suspended in pale yellow fluid, which bubbles softly and provides the only noise in the room. Mandy and Bo walk through different rows of these tanks, Bo looking anxiously at the nameplates below each tank.</div> BO: Mark, Marsh, Melvin... <div class="narr">They walk quickly, Mandy constantly looking over her shoulder, Bo with a clear task.</div> BO: Miller, Milton, Milton again... [[MANDY: Wait, that's my mom. ->stopmandymom]] [[BO: The G's must be a few rows over. ->emptytank]] </p>

<p><div class="narr">Bo comes to a halt, hesitant at first, but then walks back to where Mandy is standing.</div> BO: That's right, Miller. <div class="narr">The two children look up into the tall tank, which is illuminated from the inside with soft blue lights. A naked Marylin Miller hangs inside the fluid, eyes closed and limbs hanging loosely.</div> MANDY: She looks so peaceful. She looks asleep. [[BO: Isn't it weird to see your mom naked? ->nakedmom]] [[BO: Why do I get the feeling you're jealous of her? ->jealous]] [[BO: We need to get going if we're going to find my mom. ->emptytank]] </p>

<p><div class="narr">Bo and Mandy walk between the rows of tanks, Bo speeding up as he goes.</div> MANDY: Bo, slow down. BO: (reading) F...G...she's somewhere down here! MANDY: Keep your voice down! We're not supposed to be here, you know! <div class="narr">Bo runs down a row of luminescent tanks, scanning the nameplates as he goes. Mandy turns a corner and catches up to him. Bo is standing still, looking up at a dark, empty tank.</div> MANDY: ...Bo? BO: She's gone. MANDY: I'm sorry, Bo. I'm so, so sorry. BO: I have to find her. [[MANDY: Find her? Where would she be?->fake_where]] [[Mandy grabs Bo's hand and looks him sadly in the eye.->fake_where]] [[Commentary ->comemptytank]] </p>

<p>MANDY: It's not weird. She's beautiful. Look how she floats perfectly in the middle, without touching the sides of the tank. Her hair, just...floating there. BO: Well, it's weird for me. I don't know if I've ever seen a naked person before. <div class="narr">Mandy turns and looks at him, smiling.</div> MANDY: You're a funny kid. Let's get out of here. [[Mandy runs her palm over the tank and wipes off some moisture. She wipes it off on her shirt and grabs Bo's hand, leading him away from the tank. ->emptytank]] </p>

<p>MANDY: Aren't you jealous? No cares in the world, just a long sleep. And when you wake up, everything is better. You have a new life. You get to start over. It's the sleep that everyone wants. <div class="narr">Bo looks at Marylin with critical eyes.</div> BO: I should've stayed behind. MANDY: What? BO: I never should have left Earth. I feel like I betrayed the one person who loved me most. (Bo begins to tear up) MANDY: Hey, it's okay (she puts an arm around Bo). Trust me, that place sucks. If there was ever, like, a soul or anything inside of the Earth, it died a long time ago, trust me. You didn't betray anyone. You did the right thing coming out here. Forget about Earth. BO: The right thing would have been to save the Earth, not leave her. MANDY: That wasn't up to you. If you need someone to blame, blame your ancestors. Not yourself. BO: (wiping his eyes) Yeah. It's just sad. Earth didn't do anything to us. It just feels wrong, that's all. [[MANDY: (beat) Come on, your mom's waiting. ->emptytank]] [[Mandy runs her palm over the tank and wipes off some moisture. She wipes it off on her shirt and grabs Bo's hand, leading him away from the tank. ->emptytank]] </p>

<p>BO: She's on the ship somewhere. I can feel it. MANDY: Bo, there's got to be twenty empty tanks down here. Where do you think they are? <div class="narr">Bo glares at Mandy and takes a step away from her.</div> BO: She's on the ship, Mandy. Are you coming, or aren't you? MANDY: I don't have time for this, Bo. I have to get back to my room. If my dad hasn't found out that I'm gone by now, he definitely will when he wakes up in a few hours and sees that I'm not there! BO: You don't have time? What is this, some type of game to you? My mother is <u>missing</u>! Do you think they just forgot to put her in? Do you think they got her name wrong? No! She's down here somewhere - MANDY: Bo, be quiet - BO: - And if you're not going to help me find her - MANDY: Bo, shh! [[GUARD 1: Hey, you kids get over here!->run]] [[GUARD 1: I found them, they're over here!->run]] </p>

<p>MANDY: Bo, run! <div class="narr">Bo grabs Mandy's hand and starts to run, dragging Mandy along with him.</div> GUARD 2: They're over here! I got 'em! <div class="narr">A guard steps out from behind a tank, stretching out his arms to grab Bo. Bo headbuts him in the chest, and the guard stumbles backwards.</div> MANDY: There! <div class="narr">A sign ahead reads: TO STAIRWELL Major Miller chases the children with several guards, pointing in their direction.</div> [[FREDERICK: After them! Don't let the boy get away!->observation]] [[FREDERICK: They're headed for the stairs, cut them off!->observation]] </p>

<p><div class="narr">INT. OBSERVATION DECK I Mandy and Bo enter the Observation Deck. This room is silent, except for the soft humming and rhythmic beeping from other parts of the ship. The room is large, and features a single, enormous window, looking out into the beauty of space. Our first view of it should be breathtaking. Mandy and Bo stop running and slowly approach the window. They are hypnotized by the beauty of the universe, and have temporarily forgotten that they are being chased.</div> MANDY: It's the most beautiful thing I've ever seen. <div class="narr">Bo stands speechless at the window, looking out with an open mouth. CLOSE UP on Mandy grabbing Bo's hand, and then each of them looking at each other, Mandy smiling slightly.</div> FREDERICK: Don't move! <div class="narr">Mandy and Bo spin around and see Major Miller and his men standing in the doorway, all holding phasers, blocking the kids' exit.</div> FREDERICK: You hand the girl over to me, boy. You can spend the rest of your trip in a holding cell. MANDY: Daddy! He's just looking for his mom, she isn't in her tank. <div class="narr">Frederick's gaze softens momentarily, and his phaser lowers.</div> [[Bo, seeing a moment of weakness, pulls out the phaser he stole from the Major and points it at the crowd. ->bophaser]] [[Bo, resigned to his life in solitary, brings out the phaser he stole and holds it out for the Major to take. ->bophaser]] </p>

<p>GUARD 1: He's got a gun! <div class="narr">The guards all start to fire, and Bo ducks behind a bench, pulling Mandy with him.</div> FREDERICK: What are you doing? You'll hit Mandy! Cease fire! <div class="narr">Bo sticks his head out from behind the bench and shoots his phaser several times at the guards.</div> FREDERICK: Get out of the way, he's crazy! <div class="narr">Two of the guards duck into the room near the window, while Major Miller and the rest of his men pull back out of the room. One of Bo's shots hits the emergency door button on the wall, and a heavy metal plate comes <u>whoosh</u>ing down, slamming shut, locking Major Miller and his men out of the Obseration Deck. The large window makes a crunching noise, and all heads turn to see what is happening. Almost instantly, the window shatters, glass flying out into space, the vaccuum pulling out Major Miller's two guards before even larger metal plates close the breach in the window. Bo and Mandy are left on the floor, holding each other tightly. Mandy looks into Bo's eyes with fear, but Bo's eyes are filled with determination. His goal is clear - he will find his mother no matter what it takes.</div> [[Next->next]] [[Commentary ->combophaser]] </p>

<p><div class="narr">INT. LEVEL I - THE HYPERSLEEP CHAMBER Frederick and his men stand outside the emergency door, Frederick slamming his fists into the metal barrier.</div> FREDERICK: Damn it! We let them get away! GUARD 3: We'll find him sir, don't worry. <div class="narr">Frederick turns and faces Guard 3.</div> FREDERICK: Do you think I'm worried about the boy at all? GUARD 3: Sir, I just meant - FREDERICK: I don't care if that boy gets ejected with the sewage! (he hits Guard 3 in the stomach, knocking him to his knees) It's my daughter that I'm worried about, you idiot! (he hits Guard 3 across the face, knocking him completely to the ground) <div class="narr">Frederick, panting, straightens his posture and looks to the other guards.</div> FREDERICK: They'll go down to the boiler room. There's no way back up from where they are, the boy made sure of that. They'll have to take the stairs down to the boiler room, then take the lift back up. We're cutting them off. Any questions? GUARD 4: Shouldn't we alert the Captain to all of this, sir? FREDERICK: (getting in Guard 4's face) I can take care of this myself. She's my daughter. I'll get her back. GUARD 4: Yes, sir. Absolutely. <div class="narr">Frederick turns back toward the rows of cryogenic tanks and starts walking.</div> FREDERICK: Follow me. [[ACT 3; SCENE 1->a3s1]] </p>

<p><div class="narr">INT. THE LOWER LEVELS We are in the belly of the Daedalus. Large metal machinery pumps and hisses, with thin metal walkways leading between all of the machines. The air is full of steam, and there are loud noises chugging along in a nearby room. The only lighting in the lower levels is dim yellow emergency lighting. Bo and Mandy enter, holding hands out of fear and less out of romantic interest. This is a frightening place for children. </div> [[MANDY: Do you know where you're going? ->going]] [[BO: What kind of stuff did you do back home, anyways? ->backhome]] </p>

<p>BO: Going the only way we <u>can</u> go, I guess. Forward. MANDY: I don't really like it down here. It's creepy. BO: (looking around) Yeah, it kind of feels like we're being watched. Stay close. MANDY: You know, you're brave for a twelve year old. BO: That's what my dad always used to say. About being eleven, at least. MANDY: My dad and those other guys were even shooting at you. But you just...shot back. You're an okay kid. [[BO: I was just protecting you... Check out that door up ahead. ->fakeboost]] [[BO: I don't need your approval. I shot back because I didn't want to die, that's all there is to it. Come on, there's a door down there. ->fakeboost]] </p>

<p><div clas="narr">Mandy looks at Bo with an eyebrow raised.</div> MANDY: Read books, I guess. Why? BO: I dunno. I realized I don't know that much about you. What kind of books? MANDY: Fantasy, mostly. (Bo laughs) What? BO: Nothing. I don't know what I expected. [[MANDY: It's not like that. I'm not into unicorns and magic; I just enjoy escaping. ->escaping]] [[MANDY: Why, what kind of things were you into? ->bothings]] </p>

<p>BO: Yeah, I had video games for that. They never really worked that well, though. The only video games people make anymore are just war games... MANDY: <u>Did</u> make. BO: Right...did. MANDY: You know, you're brave for a twelve year old. BO: That's what my dad always used to say. About being eleven, at least. MANDY: My dad and those other guys were even shooting at you. But you just...shot back. You're an okay kid. [[BO: I was just protecting you... Check out that door up ahead. ->fakeboost]] [[BO: I don't need your approval. I shot back because I didn't want to die, that's all there is to it. Come on, there's a door down there. ->fakeboost]] </p>

<p><div clas="narr">Bo laughs a little at the mention of home.</div> BO: After what we've been through today, home feels like a million miles away. MANDY: It's probably way more than that by now, nerd. So tell me, what were you into back on the brown planet? BO: (thinking sadly) Nothing. I guess. Books. My grandpa was an author, and my dad was always writing something. I never got into writing, though. Reading was fine, but writing, no. Writing reminded me of school. MANDY: What, you didn't like school? BO: I like learning, it's the people I hate. And homework. And recess. MANDY: (playful) You were probably that kid that sat all by himself in the corner of the lunch room listening to depressing music and telling people that they don't understand you. BO: (smiling) Shut up, you were probably the girl who refused to wear matching socks because she wanted to stand out in any way possible. <div clas="narr">Mandy smiles, and looks down, lifting up her pant legs. Two matching black socks show underneath.</div> BO: Well, anyway. Who were you, then? [[MANDY: I was the singer. I was always singing in the hallways. ->grades]] [[MANDY: I was into sports. I was on the soccer team for a while, but it was hard when we were moving so much. ->grades]] [[MANDY: I was nobody, really. Just your average girl trying to get average grades. ->grades]] </p>

<p><div class="narr">The kids approach the door, and Mandy reads the plaque on the wall.</div> MANDY: Scrapping room? Scrap for what? BO: One way to find out. <div class="narr">They open the door and enter a completely dark room. The door swings shut behind them.</div> BO: Down there. <div class="narr">There is a dim light at the far end of the room.</div> MANDY: Alright. Be careful. Don't let my hand go. <div class="narr">They slowly make their way through the room, brushing up against piles of metal.</div> BO: What is all of this stuff? MANDY: I guess it must just be junk leftover from building the ship. Maybe they figured it might come in handy. BO: Why would any of this - <div class="narr">Mandy screams and falls down. Two robotic eyes light up the space around the kids, and we see a metal robot holding onto Mandy's legs.</div> [[Bo kneels down and grabs Mandy's hand, pulling her away from the robot's grip ->grip]] [[Bo kicks the robot in the head, rearing back for another stomp. ->grip]] [[Commentary ->comfakeboost]] </p>

<p>BO: I could never get into any of that, personally. It's not that I was antisocial or anything, but I kept my head low. I wasn't average. I was just...invisible. MANDY: Well, I see you. <div clas="narr">Mandy squeezes Bo's hand, and Bo looks down at their hands, smiling back up at her.</div> MANDY: You know, you're brave for a twelve year old. BO: That's what my dad always used to say. About being eleven, at least. MANDY: My dad and those other guys were even shooting at you. But you just...shot back. You're an okay kid. [[BO: I was just protecting you... Check out that door up ahead. ->fakeboost]] [[BO: I don't need your approval. I shot back because I didn't want to die, that's all there is to it. Come on, there's a door down there. ->fakeboost]] </p>

<p>MANDY: No, wait! Look! ROBOT: Dark...dark...ness. <div class="narr">We see that the robot is missing legs, and instead has a bundle of loose wires sticking out from where they should be.</div> MANDY: He's hurt. BO: He's not hurt. (pulling Mandy up) He's a robot. That's what this room is for, broken robots that were probably working on the ship. MANDY: Look, his legs. (Mandy kneels back down and puts a hand on the robot's face) ROBOT: Dark...ness. Dark. Ness. Ness. BO: This is getting creepy. MANDY: <u>Shh</u>. What is it, little guy? ROBOT: This unit is defective. Please replace unit as soon as possible. If you have other questions, please refer to the Windmill Automotonics Troubleshooting - MANDY: You were broken, that's why you're down here? [[BO: Really? He's a robot, he doesn't care what you're saying. ->shh]] [[BO: I think he's beyond our help...I'm sorry, Mandy. ->shh]] </p>

<p>MANDY: We can at least listen to him, can't we? Back on Earth, they were making tons of semi-sentient robots. Who knows if this guy is self-aware or not. He's probably scared. BO: Yeah, they make robots that act like people. That doesn't mean they <u>are</u> people, Mandy. ROBOT: Father. BO: ...what did he say? ROBOT: This unit is defective. Please replace unit as soon as possible. MANDY: Are you afraid? It's dark down here, isn't it? It's okay. BO: You heard him say that, right? MANDY: Say what? [[BO: He just said "Father". Didn't you hear him? ->father]] [[BO: It's nothing. It...I must have imagined it. ->imagined]] </p>

<p>MANDY: He didn't say anything, Bo. ROBOT: You must return to Father. <div class="narr">Mandy looks up at Bo, surprised. Bo looks at Mandy, then at the robot, not knowing what to think.</div> ROBOT: This unit appears to be lost. Please find my father. This unit has been misplaced. MANDY: He must call his maker "Father". BO: Who would program their robot to call them "Father"? MANDY: Someone without kids? I don't know. ROBOT: My Adam is missing. The authorities have been notified. Please find my father. This unit has been misplaced. MANDY: Adam? Who's Adam? Is Adam your father? ROBOT: This unit is defective. Not. This unit is not defective. Please return this unit to its owner. BO: I'm getting creeped out, can we please go? ROBOT: This unit's owner is defective. Please locate this unit's owner and return it as soon as possible. [[MANDY: Maybe he is broken. You're right, this place is too creepy to hang around in. ->letsgo]] [[MANDY: It's going to be okay, little robot. You'll find your owner someday. ->letsgo]] </p>

<p>ROBOT: You must return to Father. <div class="narr">Mandy looks up at Bo, surprised. Bo looks at Mandy, then at the robot, not knowing what to think.</div> ROBOT: This unit appears to be lost. Please find my father. This unit has been misplaced. MANDY: He must call his maker "Father". BO: Who would program their robot to call them "Father"? MANDY: Someone without kids? I don't know. ROBOT: My Adam is missing. The authorities have been notified. Please find my father. This unit has been misplaced. MANDY: Adam? Who's Adam? Is Adam your father? ROBOT: This unit is defective. Not. This unit is not defective. Please return this unit to its owner. BO: I'm getting creeped out, can we please go? ROBOT: This unit's owner is defective. Please locate this unit's owner and return it as soon as possible. [[MANDY: Maybe he is broken. You're right, this place is too creepy to hang around in. ->letsgo]] [[MANDY: It's going to be okay, little robot. You'll find your owner someday. ->letsgo]] </p>

<p>BO: Come on, let's get out of here... <div class="narr">Bo takes Mandy's hand and helps her up. They both look down at the robot.</div> ROBOT: It is darkness down here. Please find my father and return him to this unit as soon as possible. BO: I don't want to listen to this anymore. Let's go. MANDY: Yeah... <div class="narr">They reluctantly walk away and continue their path through the scrapping room towards the door at the other end of the room, the robot's voice fading away behind them.</div> ROBOT: My father is missing. Please find this unit and return him to the darkness. My father is in darkness. Please find him and replace him as soon as possible. [[ACT 3; SCENE 2 ->a3s2]] </p>

<p><div class="narr">INT. COMMAND DECK A CHIEF MATE JAMES sits at his desk, typing at a computer. Several other workers are also working at their stations, the vast window in front of them showing the vastness of space. EDWARD approaches from behind and clears his throat.</div> EDWARD: Chief, sir? JAMES: (turning around) Edward. How's my ship? EDWARD: Takeoff was a success, sir. No systems faliures at all. JAMES: Excellent. Although, since it doesn't look like you're bringing me coffee, I assume something has indeed gone wrong? EDWARD: Sir, one of the windows that I warned you about, Observation H. It's been breached. JAMES: You just said takeoff was a success? EDWARD: It breached just a few hours ago, sir. An emergency door was shut, causing an acute change in pressure leading to - JAMES: I understand. I'll inform the Captain. Have all appropriate safety measures been taken? EDWARD: Yes, sir. The emergency hull closed over the breach just seconds after the incident. JAMES: Great. Keep it between us. Nobody needs to know about these things, okay Ed? [[EDWARD: Don't you think it would be unfair not to warn the crew about possible dangers on board, sir? ->dangers]] [[EDWARD: Of course, sir. I'll block off the other possible breaches from anyone below security triple-A. ->ofcourse]] </p>

<p>JAMES: It's not that, Edward. I just don't want anybody thinking we're on the damn Titanic. Before you know it, we'll have a whole crew wanting to turn around and run back home out of fear that we won't make it. EDWARD: (uncomfortable) Yes, sir. I understand. JAMES: We are going to make it, aren't we? EDWARD: That's not it, sir. There's...something else you need to know. <div class="narr">Edward shows a holographic image on his clipboard to James. The footage shows Major Miller and his men shooting at the children, and Bo firing back. James sees the guard get pulled out of the window, and leans back in his chair.</div> JAMES: Why haven't I been told about this? EDWARD: Nobody has, sir. The head of security in question never reported the breach, the deaths, or the children. JAMES: Who the hell is this guy? EDWARD: (reading from his clipboard) Major Frederick Miller. Hired on from the Marines, it looks like. His daughter Mandy is the girl in the footage. We're not sure who the boy is, but we don't think he's dangerous. [[JAMES: Of course he's not dangerous. He's just scared. Send a patrol down there and figure out what the hell is going on. ->civpatrol]] [[JAMES: I don't care who he is, I want both those children and every idiot guard on that trigger-happy marine's team brought up to holding cells immediately. ->civpatrol]] </p>

<p>JAMES: Good man. Tell me, who set off that emergency door in the first place? EDWARD: That's the other thing I needed to tell you, sir. We have something of a problem down in the civillian sector. JAMES: What kind of a problem? EDWARD: We checked the security footage to see how the door closed. There were two children in the room when it happened. JAMES: Jesus... EDWARD: That's not all, sir. Take a look at this. <div class="narr">Edward shows a holographic image on his clipboard to James. The footage shows Major Miller and his men shooting at the children, and Bo firing back. James sees the guard get pulled out of the window, and leans back in his chair.</div> JAMES: Why haven't I been told about this? EDWARD: Nobody has, sir. The head of security in question never reported the breach, the deaths, or the children. JAMES: Who the hell is this guy? EDWARD: (reading from his clipboard) Major Frederick Miller. Hired on from the Marines, it looks like. His daughter Mandy is the girl in the footage. We're not sure who the boy is, but we don't think he's dangerous. [[JAMES: Of course he's not dangerous. He's just scared. Send a patrol down there and figure out what the hell is going on. ->civpatrol]] [[JAMES: I don't care who he is, I want both those children and every idiot guard on that trigger-happy marine's team brought up to holding cells immediately. ->civpatrol]] </p>

<p>EDWARD: Yes, sir. I'll let the men know. JAMES: Thank you, Ed. (Edward starts to leave) Oh, Edward? EDWARD: Yes, sir? JAMES: How is our trajectory in relation to the magnetic storm? EDWARD: We should pass it within the next 24 hours, sir. Engine faliures aside, we should be able to just miss it. JAMES: Very good. Thank you, Edward. EDWARD: No problem at all, sir. <div class="narr">Edward leaves, and James looks back at his computer, tired and stressed. He sighs and shakes his head.</div> JAMES: God damn Marines. [[ACT 3; SCENE 3 ->a3s3]] [[Commentary ->comcivpatrol]] </p>

<p><div class="narr">INT. THE BOILER ROOM The boiler room is comprised of many glowing orange tubes, stacked several high on both sides of the path through the underbelly of the ship. The tubes themselves light the room and provide a soft orange glow throughout the hall. Mandy and Bo walk between the tubes, Mandy running her hand along them as she walks.</div> MANDY: They're so beautiful. They're like lava lamps. BO: I never had one of those. Actually, I don't think I've ever even seen one in person. MANDY: I had one when I was younger. It was purple, though. Not orange. BO: Your dad let you have a lava lamp? MANDY: Yeah? Why wouldn't he? [[BO: Maybe it's his gung-ho attitude, but something about him makes me think he isn't a big supporter of free expression. ->baddad]] [[BO: Oh, no reason...he seems like a nice enough guy, it makes sense. ->baddad]] </p>

<p>MANDY: My dad isn't a bad guy, okay? You don't know what the war did to him. BO: I know what it did to my dad, and it wasn't anything like that. MANDY: Well, he wasn't always like this. I mean, sure, he spent more time on duty then he did at home, but the times he was around, he never acted like...that. BO: You can't just blame how he acts on the war. Obviously my dad didn't go around shooting kids, so something tells me the guy has a deeper problem. MANDY: Hey, back off, okay? He's still my dad. BO: I'm just saying, you can't blame everything on your situation. What matters is how you treat people. MANDY: Like how you treat your mom? <div class="narr">Bo pulls the phaser out of his pocket, looks at it, and throws it on the ground next to Mandy.</div> BO: I'm going to find her. I'm not going to be like your dad. MANDY: Whatever. Just leave me alone. [[BO: You know what, find your own way back. I'm going to find my mom. ->leaving]] [[Bo looks at Mandy, hurt. He shakes his head at her and turns around, leaving her behind between the rows of reactors. ->leaving]] [[Commentary ->combaddad]] </p>

<p><div class="narr">Mandy sits alone with her hand on the reactor as Bo leaves. She stares into the glowing orange light, tears welling up in her eyes. She turns down the hall where Bo went and calls after him</div> MANDY: You're not going to find her! I don't need you anyway! I can take care of myself! (softer) I can take care of myself. [[Next ->nextbo]] </p>

<p><div class="narr">Bo walks through the rows of reactors, the hallway getting darker and the reactors become more scarce.</div> BO: I don't need her. Stupid girls... <div class="narr">The sound of footsteps rings quietly behind Bo, and he turns around to listen.</div> BO: Mandy? (beat) Mom? <div class="narr">Bo shakes his head and turns around to keep going. As he turns the corner into the dark, a huge hulking figure looms over Bo. Bo looks up in terror as the shadow overtakes him.</div> [[INTERMISSION ->intermission]] </p>

<p>Intermission <div class="com">Thank you for taking time out of your day to read the original screenplay to "A Farewell to Terra", adapted from the short story "Farewell, Terra", written by my brother Emmett before his murder. I hope you have enjoyed the script so far, as well as any commentary you have chosen to read over the course of the screenplay. During this brief intermission in screenplay, I'd like to offer a little of my own insight on the subject of change and authorship. In the original "Farewell, Terra", Bo is a six year old boy that must travel on the last ship leaving Earth (or as it is called in the story, Terra. I will address this change shortly). Along his journey, he meets Mandy, a girl the same age as him, and the two of them play on the ship every day as six year olds would. The school on the ship allows the students to choose their curriculums, and Bo chooses to study xenolinguistics, mostly based on the criteria that it "sounds cool". Mandy, on the other hand, studies botany, because she likes flowers. Due to an operation Bo has to help reverse his dyslexia, Bo is endowed with superhuman intellect, and is able to master his course work in a short time, moving over to Mandy's coursework and mastering that as well. His mother, an engineer on the ship's radioactive engines, gets cancer from her dangerous work, and dies, although Bo does not fully understand everything that is happening. Later, he and Mandy go play in the engine room, and are interrupted by Frederick, the Captain's assistant. Both Mandy and Frederick also get cancer from their exposure to the engines, but Bo, because of his operation, is safe. Both Frederick and Mandy die shortly afterward. The story ends with Bo saying goodbye to the ones he has lost, and to his planet.</div> [[Next ->nextinter]] </p>

<p><div class="com"> Greetings, filmgoers: 10 years after its initial release, "A Farewell To Terra" is returning to the big screen for a special "Director's Edition". As you may know, there were many decisions made during the editing of the film in regards to story, most of them involving dialogue. Now, I am giving each of you to view the screenplay as it originally was - unedited, and pure. As I have mentioned in interviews previously, the script for "A Farewell to Terra" was adapted from a short story written by my older brother, Emmett. He wrote "Farewell, Terra" while in high school, with dreams of becoming a successful author in the future. His dreams were never to be, as he was shot and killed while hitch-hiking in the Mojave Desert at 20 years old. Years later, in honor of my brother, I took the short story that he had written and adapted it into the first draft of "A Farewell to Terra". Provided in your copy of the screenplay to "A Farewell to Terra" is my own Director's Commentary, which I hope will bring a certain perspective and understanding to the decisions that were made in editing the film. Thank you, and enjoy Ethan Burgess Director, Writer, Producer [[A Farewell to Terra ->Opening Credits]] </div> </p>

<p><div class="com">In the original "Farewell, Terra" by my brother, Bo was actually only six years old. When adapting the story for film, we decided to make Bo twelve years old in order to make him more relatable as a character. It also opened up more possibilities for story development, as the story of a boy stuck between child and adult is much more interesting than the story of a child who is simply unhappy.</div> [[Return ->Start]] </p>

<p><div class="com">In the original "Farewell, Terra", Bo's father is not mentioned. I wanted to stay true to the original story and leave Bo fatherless; however, this aspect of the film became one of its most important plot points, as it is the lack of a father in his life that forces Bo to grow too quickly, as well as accept the death of his mother.</div> [[Return ->dad]] </p>

<p><div class="com">My style of writing screenplays involves minimal direction to the camera. I find that directing camera actions while filming, and later in the editing room, is much more productive in finding the true art behind a piece, rather than trying to force it from the beginning. However, there are several camera movements that I wanted to be sure were filmed, whether included in the final cut or not. You may come across several of these "forced perspectives" in your reading of the script.</div> [[Return ->Bo walks past the sign without looking back.]] </p>

<p><div class="com">There was something of a debate regarding whether or not to allow Bo a final glance at his home planet, or keep moving. In the end, we decided that looking back was best for Bo. He is tethered to his home, and struggles to let it go. For now, he cannot accept the reality that his brother is gone, and he will never see it again. This is a perfect contrast to later on in the film when Bo realizes that his future lies in front of him, and not behind.</div> [[Return ->Bo stops at the sign and turns around.]] </p>

<p><div class="com">The reference to a book called "Quest for Egonathia" is actually what many viewers consider an "easter egg", although it is really an homage. "Quest for Egonathia" is the title of a book that my brother had worked on his entire life, from sixth grade onwards. Egonathia became his whole life, and everything he wrote was connected to it in some shape or form. Soon, his entire writing world was interconnected through various strands of plot. Placing the book in the film, if only temporarily, was my way of connecting my brother to his fiction one last time.</div> [[Return ->egonathia]] </p>

<p><div class="com">The introduction of Frederick as the main villain was one of the largest changes I made between the story and film version of "Terra". In the story, Frederick had no affiliation with the military or Mandy, and was more of a Captain figure. He was a personal mentor to Bo and helped him write the journal entries that comprised the "Farewell, Terra" story. However, his character lacked any depth, and the changes made for the film version were, in my opinion, for the best. I feel that it's what my brother would have wanted, had he been involved in the filming and writing process.</div> [[Return->knock]] </p>

<p><div class="com">One of the more major changes from story to film was the introduction of the cryogenic sleep chambers for adults. In the story written by my brother, Bo's mother is an engineer on the ship, who eventually contracts a terminal illness from working so closely with the radioactive machinery. While I agree that the death of Bo's mother is an integral part of Bo's life on the ship, her death was cliche and warrented no emotional response from the audience we tested. Separating child from mother triggers an innate fear in all of us, and has a deeper psychological effect on audiences. For sales and for story, this change was needed.</div> [[Return ->fake_love]] </p>

<p><div class="com">Although a short scene in the grand scheme of the movie, it is one of the most important, as it sets up most of the foreshadowing for the rest of the movie. Although my brother loved to write, he was not very good at it. The story "Farewell, Terra" was simply a compilation of journal entries from a boy growing up, nothing more. There was no drama, no catharsis, no plot. There was no mention of a ship crew, and hardly any of a Captain. All scenes regarding crew and, in general, good plot, were added in post when adapting for the screen.</div> [[Return ->a1s3]] </p>

<p><div class="com">This scene, to me, represents a splitting of the work between by brother and I. In my own mind, I imagine that Bo represents me - the driving force behind the story and exploration of themes. My brother, on the other hand, is represented by the ship - the underlying mechanism by which the story operates. It is worth noting that several critics have come up with pet "theories" regarding the visuals of this scene, saying that the colors and images used draw distinctly from desert imagery, and that this scene may be a representation of me, cutting myself off from my brother and refusing to accept his death. Such theories are completely baseless and are not reflective at all of the truth behind the matter.</div> [[Return ->ALL: Yes, sir!]] </p>

<p><div class="com">This was an emotional scene to watch being filmed, although I never could figure out why. We had to reshoot it several times, and the computer segment always made me emotional. I think that knowing these are the last words Bo ever hears from his mother is what works me up, although other people on set had their own opinions.</div> [[Return ->bocomp]] </p>

<p><div class="com">Although a seemingly meaningless scene, I believe in the concept of filling with empty space. Throughout the film, I have tried to insert scenes of "nothing", giving the film time to breathe. Despite having important plot information regarding the phaser, the keycard, and Mandy's disobedience towards her father, this scene primarily serves as empty space. When Emmett wrote "Farewell, Terra", he left whitespace at the end of every journal entry in the story. This made for a story that was really only ten pages long in terms of word count, but thirty pages long when printed in format. Although it was probably a result of his amateur writing, it left an impression on me, and the concept of inserting empty space stayed with me through the production of this film. The lighting in this movie was also important to me. Creating a tone for film does not derive from the dialogue alone; in fact, almost marginally so. In my experience, the majority of tone comes from camera work and lighting, as well as sound editing and scoring. You may notice that I specifically call for certain colors of lighting throughout the script. Although most decisions such as lighting are left to decide during production, the yellow lights in this scene are purposely put in to represent the caution and danger awaiting the children.</div> [[Return ->bostairs]] </p>

<p><div class="com">This scene is composed of two separate parts: Major Miller as a vulnerable human, and Major Miller as a militant villain. This contradiction is, I believe, important in framing Frederick as a villain with depth. For instane, in the beginning of the scene we can clearly see that he is having a nightmare, just as Bo was in the previous scene. However, when he calls for Mandy, she is not there, contrary to how she was waiting for Bo to wake up. This accomplishes two things: is allows the audience to see that Mandy has already begun substituting Bo for her father, and it shows us that Major Miller and Bo are leading parallel stories. Each of them are searching for the one they love, just going about it in their own ways. Although Bo may deny it, circumstance is one of the few things separating Major Miller and Bo himself.</div> [[Return ->capmiller]] </p>

<p><div class="com">In film, you should try to play to as many audiences as you can. This scene is a perfect example of that practice. One audience will realize straight away that Bo's mother is dead. The hints given by Mandy and the foreshadowing before have all lead up to this moment. For this audience, the story is one of an unrelliable narrator, and his journey toward accepting the truth. Another, less literate audience will percieve this plot point as a mystery - where has Bo's mother gone? Will he find her? For this audience, however dull they may be, this story is one of action and drama. The relationship between producer and audience is a fickle one. What some audiences will never understand is that, regardless of context, a story lives to tell itself. A story is not created to satisfy a certain person - it is created to exist, to be told. Any changes that the audience may twist in their own mind and force upon the narrative only damage the original experience the author created for their own pleasure.</div> [[Return ->emptytank]] </p>

<p><div class="com">Although this scene is absent from my brother's original story, I believe it represents a pivitol point in the development of both Bo and Mandy. For Bo, this is the moment that his self-deception completely takes him over, even at the price of death. For Mandy, this represents her pure loyalty to Bo. She has completely abandoned her father and accepted Bo as her new leader. For both of them, it is a physical point of no return. In my brother's story, Mandy was very independant of Bo. They were friends, but she did not depend on him in any way. At least, that is how the writing can be percieved. I believe that my brother meant to develop that relationship more fully, and that Mandy does indeed struggle with her individuality, something she must learn as the film goes on.</div> [[Return ->bophaser]] </p>

<p><div class="com">The Scrapping Room scene is another homage to my brother. Emmett was very interested in the idea of artificial intelligence and the ramifications it would have on human rights. When robots became intelligent enough to be considered sentient, how would that affect our society? The scene with the robot is a nod to this idea, as well as a warning that the human race may get to this point soon. Some critics have pointed out that this scene could serve as a metaphor for me holding onto my brother's death, figuratively "dragging on my ankle" if you will, the way the robot grabs hold of Mandy. Bo's reluctance to stay with the robot is, supposedly, due to my own reluctance to dwell on my brother and the effect that his death had on my life. To be completely honest, I have no idea what this theory is based on, and it makes no sense to me. This scene is completely based on my brother's thoughts on artificial intelligence, nothing more.</div> [[Return ->fakeboost]] </p>

<p><div class="com">I'm very proud of the changes that were made to Emmett's story in order to create this film. Although some people argue that changing his story at all is counter-productive to his legacy, I disagree. I believe that all changes made, including inserting scenes like this one, in order to provide a more coherent plot, were all to the benefit of the story, and that Emmett would have fully supported them had he been here today.</div> [[Return ->civpatrol]] </p>

<p><div class="com">This story is obviously flawed. There is no real plot, there are no turning points, and there is no resolution. Some people would argue that this is how my brother intended it - he wrote it, and it satisfies him. I disagree. Stories should satisfy their creators, yes, but they should also serve a purpose. As genuine as Emmett's story may be, it was broken in all the wrong places. The changes I and my editing team have made to this story in order to adapt it to the screen have all been for the better. "A Farewell to Terra" is not only honoring my brother in the highest way possible, but it is changing his mundane story into something beautiful - something I can appreciate, and remember him by. Even simple things such as referring to Earth as "Terra" are incredibly pretentious and do not lend any meaning to the story. Killing all characters except the lead, and all by the same method, is simply bad writing. None of the characters are developed, none of their relationships explored. I assure you, my brother would have been completely satisfied and supportive of the changes made in his honor. Thank you, once again, for taking the time to read the script to "A Farewell to Terra". I hope you will enjoy the second half of this exclusive document, as well as the Director's Edition of the film. Thank you, Ethan Burgess</div> [[ACT 3; SCENE 4 ->a3s4]] </p>

<p><div class="narr">Mandy walks alone through the engine room, lost. She holds herself tightly, her eyes wide and her steps careful.</div> MANDY: I don't need him. My dad doesn't know anything. I can take care of myself. I can... (beat) Bo? HOGAR: You shouldn't be down here. <div class="narr">Mandy screams in surprise and turns around. Behind her is the large HOGAR, keeper of the engine room. He is a huge and hairy man, burned and blistered from his work. His long hair covers his eyes, and his frayed overalls hang loose on his skin.</div> HOGAR: Sorry if I frightened you. MANDY: Who...who are you? HOGAR: Hogar. I work the engines. [[MANDY: Have you seen Bo? We got separated. ->lookbo]] [[MANDY: Do you know Adam? There was a robot that said an Adam might be down here. ->lookadam]] </p>

<p>HOGAR: Separated? Hm... <div class="narr">The two stand in silence for a moment, Mandy unsure of whether she is supposed to say something. Suddenly, Hogar speaks.</div> HOGAR: Follow me. MANDY: Where are we going? HOGAR: I'll take you to him. [[Mandy follows Hogar, eager to find Bo and make sure he's okay. ->follow]] [[Mandy follows Hogar cautiously, unsure of whether he can be trusted. ->follow]] </p>

<p>HOGAR: Adam? (he looks away) ...No. Don't know an Adam. You shouldn't talk to those machines, they go crazy all alone. What are you doing down here? MANDY: I was down here with my friend, Bo. We got separated... HOGAR: Separated? Hm... <div class="narr">The two stand in silence for a moment, Mandy unsure of whether she is supposed to say something. Suddenly, Hogar speaks.</div> HOGAR: Follow me. MANDY: Where are we going? HOGAR: I'll take you to him. [[Mandy follows Hogar, eager to find Bo and make sure he's okay. ->follow]] [[Mandy follows Hogar cautiously, unsure of whether he can be trusted. ->follow]] </p>

<p>HOGAR: He's just down there. Follow me. <div class="narr">Mandy follows Hogar as he leads her down a dark passageway. As the room gets darker, Mandy realizes that she may be in danger. She holds the phaser that Bo left behind her back and follows Hogar carefully. They come to a large wooden door, and Hogar points.</div> HOGAR: In there. <div class="narr">Hogar opens the door slowly, and Mandy gets ready to fire the phaser. The door swings open to reveal Bo sitting on a wooden crate in an office-type room for the engines. He looks up at Mandy and gets off of the box.</div> BO: Mandy! [[Mandy runs to Bo and hugs him tightly, grateful to be reunited with her friend ->happy]] [[MANDY: After how you yelled at me, you expect me to run into your arms? ->mad]] </p>

<p>BO: I'm sorry for how I acted back there. But I have good news. Hogar runs the engines down here, he said that's an elevator (he points to large metal double doors at the other end of the room) and that it can take us straight up to the Captain! He can tell us where my mom is! HOGAR: It'll take you to the observation deck, I said. If you want to see the Captain, they'll have to allow it. BO: Yeah, but we'll be right there! Isn't that great? [[MANDY: (to Hogar) You're sure that'll take us all the way up? ->hogar]] [[MANDY: (to Bo) I really hope the Captain can help us, Bo. I hope you can find your mom. ->hogar]] [[Commentary ->comhappy]] </p>

<p>BO: I'm sorry... I shouldn't have left you alone. MANDY: No, you shouldn't have. (she hugs him, happy that he's safe) BO: I'm sorry for how I acted back there. But I have good news. Hogar runs the engines down here, he said that's an elevator (he points to large metal double doors at the other end of the room) and that it can take us straight up to the Captain! He can tell us where my mom is! HOGAR: It'll take you to the observation deck, I said. If you want to see the Captain, they'll have to allow it. BO: Yeah, but we'll be right there! Isn't that great? [[MANDY: (to Hogar) You're sure that'll take us all the way up? ->hogar]] [[MANDY: (to Bo) I really hope the Captain can help us, Bo. I hope you can find your mom. ->hogar]] [[Commentary ->commad]] </p>

<p><div class="narr">Hogar closes the door and sits down on a crate next to Bo.</div> HOGAR: Look, you two...Like I said, that lift can only take you as far as Level A. That's below the Crow's Nest, where the Captain lives. If you want to get that far, short of climbing up the elevator shaft, you'll need permission from the crew on Level A. There's no guarantee that'll happen. BO: It has to. I have to find my mom. <div class="narr">Hogar stands up and walks to the lift. He puts his hand on the button, but hesitates.</div> HOGAR: I helped build this ship, you know. From the very beginning. I was there when they designed her... (beat) I haven't left the boiler room in over ten years. I'm the only one down here, hardly get any visitors... tell you what, when you get to that Crow's Nest, you come back down here, and tell Hogar how beautiful the rest of the ship is. How beautiful the view is. Deal? BO: (nodding) Deal. MANDY: Yeah. Deal. HOGAR: Okay. <div class="narr">Hogar activates the lift and calls it down. Above the lift is a red light.</div> HOGAR: When that light turns green, that means the lift is here. [[BO: How long does it usually take? ->lift]] [[BO: Why didn't you ever leave the boiler room? ->lift]] </p>

<p><div class="narr">Before Hogar has a chance to answer, the light turns green above the lift.</div> HOGAR: That's odd... <div class="narr">The doors open, and a squad of guards pours out of the doors, all of them shouting with their weapons drawn.</div> GUARD 5: The children! Take them! GUARD 6: On the ground, all of you! Right now! HOGAR: No! <div class="narr">Hogar slams his massive arms into two of the guards, knocking them over.</div> HOGAR: Get in the lift! I'll hold them off! Go now! <div class="narr">The kids scramble into the empty lift, and Hogar slams the button to close the doors. The light turns red, and Hogar turns around to face the guards.</div> GUARD 7: On the ground! You're under arrest! <div class="narr">Hogar lunges at the guards and begins to fight them. In the brawl, the guards begin shooting, and one of the machines in the office is blasted.</div> HOGAR: You fool! <div class="narr">The guard, surprised by Hogar, turns around and shoots him in the chest, knocking him backwards and hitting his head on a machine. His eyes close and his limp body falls to the floor.</div> [[INT. BO'S BEDROOM ->frederick]] </p>

<p><div class="narr">Major Miller stands in Bo's room, rummaging through Bo's box of personal items, searching for a clue that would explain Bo's actions.</div> RADIO: Major! Major! Come in, Major! FREDERICK: What is it? Do you have them? RADIO: The engines! There was a misfire - FREDERICK: (yelling) Where are the children? Where are they, god damn it? <div class="narr">The floor rocks beneath Major Miller, and a faint explosion can be heard in the distance. Frederick stands still, wide-eyed.</div> FREDERICK: Soldier? Come in, Soldier! (beat) Do you copy? <div class="narr">Nobody answers the radio, and Frederick is left standing in the middle of a mess of personal items in Bo's bedroom. WIDE SHOT as Frederick stands in the middle of frame, the camera slowly panning out to leave Frederick alone in the bedroom.</div> [[ACT 3; SCENE 5 ->a3s5]] </p>

<p><div class="narr">INT. OBSERVATION DECK A The crew on the observation deck are scrambling, trying to figure out what the explosion was. EDWARD runs in and approaches JAMES.</div> JAMES: Ed, thank God! What the hell is going on? ED: It was the engines, sir. We think one of them must have malfunctioned and caused an explosion. JAMES: <u>Malfunctioned</u>? ED: I'm not sure how it happened, either, sir. JAMES: What's the long-term damage? ED: It should be minimal, sir. We're still on course for Itineris. JAMES: (relieved) Thank god... What about the magnetic storm? ED: Well, sir, unless we get whatever's broken down there fixed as soon as possible, we might be sitting in that storm for a while. JAMES: Then we better get some people down there, don't you think? ED: Already on their way, sir. [[JAMES: Get out of my sight, Edward. I need to think about all this. ->doors]] [[JAMES: I hope to God nobody got hurt down there. ->doors]] [[JAMES: You're a good guy, Ed. I don't know what I'd do without you. ->doors]] </p>

<p><div class="narr">The lift doors open behind James and Edward, and everyone turns to see who it is. Out of the lift comes Major Miller and a squad of his guards.</div> JAMES: What is this? Get off my deck. FREDERICK: Look, pal. I'm head of security for the civillians, and my daughter has been kidnapped by a dangerous criminal. He's armed, and he's willing to kill. He took out two of my guards already, and who knows how many in that boiler room explosion. JAMES: You're that guy from the security tapes! Don't give me any bull, officer. We know all about those kids and how you and your men (he gestures to the other guards) were shooting at them, nearly killing them in the process! FREDERICK: With all due respect, I don't care what you think, sir. We need to put the whole ship on lockdown until we find my daughter. JAMES: We're not doing anything like that! We - <div class="narr">The lights shut off, along with all of the other equipment. Everyone, surprised, looks up to the ceiling for the lights, and then at the window to space.</div> FREDERICK: What's going on here? [[JAMES: We're entering a magnetic storm. And until we can fix the engines, we're going to be sitting in it. ->storm]] [[JAMES: None of your business. Somebody get this joker out of here before he gets hurt. ->storm]] [[Commentary ->comdoors]] </p>

<p><div class="narr">Frederick gets close to James's face and tenses up, ready for a fight.</div> FREDERICK: Look, buddy. I don't care what you say, but we're locking down this ship, whether you like it or not. JAMES: That's not about to happen. <div class="narr">Frederick raises a fist, and all of his guards raise their weapons. James looks to the guards, and then back to Frederick. In a quick motion, he headbutts Frederick in the nose, and weapons start to fire.</div> [[ACT 3; SCENE 6 ->a3s6]] </p>

<p><div class="narr">INT. THE ELEVATOR Bo and Mandy sit in the unpowered elevator. Bo is trying to force the doors open, but they won't budge.</div> MANDY: It's hopeless, Bo. They won't open unless the power's back on. BO: Don't you get it? We're so close to finding my mom, I can't just sit here! MANDY: Bo, you had a dream. You don't even know if your mom <u>wants</u> you to find her. BO: You just don't get it, okay? She's out there. Her tank was empty, you saw! She's somewhere on the ship. MANDY: Bo...there were a lot of empty tanks. BO: ...What are you saying? [[MANDY: Your mom isn't looking for you, Bo. And we aren't going to find her. ->accidents]] [[MANDY: There was a huge margin for error with the tanks...you knew that before she left. ->accidents]] </p>

<p><div class="narr">Bo shakes his head, still unwilling to accept the truth of his situation.</div> BO: You don't know what you're talking about. The Captain's going to find my mom and dad. <div class="narr">Bo catches his slip-up about his father, and can't hold back the tears anymore. He hugs Mandy tightly and starts to cry.</div> MANDY: It's okay, Bo. Everything's going to be okay. BO: I need to see her body. MANDY: ...what? BO: I can't know she's gone for sure. Not until I see her body. MANDY: They throw those bodies out into space, Bo - BO: Shut up! I'm still going to the Captain. Are you coming, or aren't you? [[Mandy nods her head, aware that Bo needs her now more than ever. ->withmandy]] [[Mandy shakes her head. If Bo is going to keep denying the obvious, she can't continue this journey with him. ->nomandy]] [[Commentary ->comaccidents]] </p>

<p>MANDY: You can go up through the maintenance shaft. (she looks up at the ceiling) If we're going, we're going. BO: Boost me up. <div class="narr">Mandy helps Bo stand on her shoulders, and he pushes open the panel on top of the lift. He sticks his head out and looks up the tall shaft leading up the ship.</div> BO: Woah. <div class="narr">He climbs up and leans down to help pull Mandy up with him. They both look up the shaft.</div> BO: Let's go. [[Next ->shaftmandy]] </p>

<p>BO: Fine. I'll go by myself. MANDY: You can go up through the maintenance shaft. (she looks up at the ceiling) If you're going, you're going. BO: At least boost me up, then. <div class="narr">Mandy helps Bo stand on her shoulders, and he pushes open the panel on top of the lift. He sticks his head out and looks up the tall shaft leading up the ship.</div> BO: Woah. <div class="narr">He climbs up and looks back down into the elevator. Mandy sits on the ground, not looking at him.</div> BO: Good luck. [[Next ->shaftnomandy]] </p>

<p><div class="narr">INT. THE ELEVATOR SHAFT Bo and Mandy are both climbing a metal ladder leading up to the top of the ship. The elevator is far below them, and they still have a pretty long distance to go before they reach the top.</div> MANDY: Bo. Bo, I can't do this. BO: You're okay, just don't look down. MANDY: I can't Bo, I'm gonna fall. BO: You're going to be okay. Just...just count to three. That's what my dad always made me do when I was afraid. MANDY: (beat) It didn't work. BO: It never really worked for me, either. MANDY: Tell me about your dad. It'll distract me. BO: What? MANDY: Just tell me about him! It relaxes me to hear you talk, okay? [[BO: He was a nice guy. ->nice]] [[BO: He was always a military man at heart. ->military]] [[BO: He always wanted to be a good dad. ->gooddad]] </p>

<p><div class="narr">INT. THE ELEVATOR SHAFT Bo climbs a metal ladder leading up to the top of the ship. The elevator is far below him, and he still has a pretty long distance to go before he reaches the top. Bo looks below him and sees the elevator in the distance. He takes a breath, and looks back up, determined to keep going. [[FATHER DAVIS: We gather around this sacred site to pay our final respects to Robert Grey, beloved officer, father, husband, and friend. ->funeral]] </div> </p>

<p>BO: You know, whenever we'd pass a homeless person or something, he'd give them money. If someone needed to borrow the lawnmower or something, you know. MANDY: Yes. Keep going. [[BO: I remember the first time he came home from the war. ->military]] [[BO: He used to say I was his best friend. ->gooddad]] [[BO: I remember the day he was buried. ->funeral]] </p>

<p>BO: When he first came back from the war, I was so little. I didn't even recognize him. It was supposed to be a surprise, and he just walked in the door while I was playing with my toys. I thought he was breaking in, and I started crying. MANDY: (laughing) Are you serious? BO: (laughing) Yeah. And then my mom came in, and she started crying, too. That just scared me even more. MANDY: What was his funeral like? [[BO: It was the saddest day of my life. ->funeral]] [[BO: It was the day I grew up. ->funeral]] [[BO: I remember it like it was yesterday. ->funeral]] </p>

<p>BO: A lot of times, when he was home from the war, he'd want to just hang out with me. We'd go see a movie, get something to eat...he always wanted to spend time with me. MANDY: Did you like spending time with him? BO: Of course. (beat) But, it's like, you don't know what you have until it's gone, you know? I always liked him. I didn't know I loved him until he died. MANDY: What was his funeral like? [[BO: It was the saddest day of my life. ->funeral]] [[BO: It was the day I grew up. ->funeral]] [[BO: I remember it like it was yesterday. ->funeral]] </p>

<p><div class="narr">EXT. CEMETARY - EARTH Bo and his mother stand with a crowd of people in the pouring rain. They are all standing around the casket of Robert Grey, Bo's dad. FATHER DAVIS stands above the grave, holding a bible.</div> DAVIS: We sure are going to miss Robert. I know his wife, Marylin, and his son, Robert Junior, will especially feel the burden of his loss. <div class="narr">CLOSE UP on Bo's face, and slow zoom in until we CUT to Bo on the ladder, climbing slowly, and crying.</div> MANDY: (below) Bo! BO: (looking down) What are you doing? MANDY: I can't...I can't climb this by myself. I want to come with you...but I can't do this. My dad was right. BO: You can, Mandy. Forget what your father says, I know you can take care of yourself. He's just trying to control you. MANDY: I can't do anything... BO: You can do this! [[MARYLIN: Bo, you can do this. ->funeral2]] [[DAVIS: You're a very brave boy, you know that? ->funeral3]] [[Commentary ->comfuneral]] </p>

<p><div class="narr">Bo's mother stands next to him in the cemetary, her hand around his shoulder. He steps out from her grip and walks away from the grave.</div> BO: Let's go. MARYLIN: Bo! You have to let yourself feel this. You can't bottle this up inside forever, it'll destroy you. You don't want to do that to yourself. <div class="narr">Father Davis approaches them and touches Marylin's shoulder, comforting her.</div> DAVIS: Mary, I'm so sorry. He was a good friend of mine. He'll be missed. BO: Yeah, I'm sure he will be. Until you go home and make yourself a sandwich and turn on the T.V. MARYLIN: Robert Grey, watch your mouth! [[DAVIS: It's okay, Mary. (he kneels down to Bo's level) Bo. You're one of the bravest kids I know. Did you know that? ->funeral3]] </p>

<p>BO: I don't want to be brave. <div class="narr">Bo walks away from Father Davis and through the cemetary, kicking a gravestone as he walks. He hurts his foot and falls down, crying and gripping the grass in a tight fist. CUT to Bo gripping the metal ladder in the elevator shaft.</div> BO: (calling down to Mandy) You don't have to be brave...you just have to get through it. You just have to keep climbing, and never look down. Never think about falling. Just climb, and keep climbing, and eventually... (he looks up and sees he has arrived at top of the elevator shaft. The door to the Crow's Nest is open.) You'll get to the top. <div class="narr">Mandy pulls on his pant leg, and he looks down at her. She smiles up at him.</div> MANDY: Thank you. [[Next ->crowsnest]]

<p><div class="narr">Bo and Mandy climb out of the elevator shaft and into the Crow's Nest. The Crow's Nest is a completely white room, a desk to the left with a computer and several papers. On all sides are windows, and the view of outer space surrounds them. At the end of the room, facing a large observatory window, is CAPTAIN LONG, an old man with white hair, leaning on a cane and staring out into the void of space.</div> [[ACT 4; SCENE 1 ->a4s1]] </p>

<p><div class="narr">CAPTAIN LONG stares out his window into the black, admiring the stars. He doesn't turn to greet the children, but his voice suggests he knew they were coming.</div> CAPTAIN: Come here, please. Both of you. <div class="narr">Bo and Mandy look at each other, unsure of what to think. They approach the Captain and stand next to him, looking out into space.</div> CAPTAIN: Beautiful, isn't it? MANDY: Yes. BO: Yes. CAPAIN: Do you know why they call this ship the Daedalus, Bo? [[BO: No, I don't. ->ship]] [[BO: How do you know my name? ->boship]] </p>

<p>CAPTAIN: There were three other ships that came before the Daedalus. There was the Odysseus, the Perseus, and the Icarus. Counting this one, that's over 20,000 people. It seems like a lot, I know. But in terms of the entire Earth, it's hardly anybody at all. And at the same time, it's all just a sad joke. They only needed 5,000 to repopulate the human race. They only sent so many because they wanted to make it seem like there was hope. But really, they didn't know if all of us would make it. So they sent us in one repopulation wave after another. And maybe they were right. God only knows if the others made it to Itineris. God only knows if we'll make it ourselves. But it's better than what we left behind. You know that, don't you? BO: I don't understand. [[CAPTAIN: I want to tell you a story about my brother. ->brother]] [[CAPTAIN: I hope someday, you can understand. I was forced to understand long ago. ->brother]] </p>

<p>CAPTAIN: I know everything that happens on my ship, Bo. There were three other ships that came before the Daedalus. There was the Odysseus, the Perseus, and the Icarus. Counting this one, that's over 20,000 people. It seems like a lot, I know. But in terms of the entire Earth, it's hardly anybody at all. And at the same time, it's all just a sad joke. They only needed 5,000 to repopulate the human race. They only sent so many because they wanted to make it seem like there was hope. But really, they didn't know if all of us would make it. So they sent us in one repopulation wave after another. And maybe they were right. God only knows if the others made it to Itineris. God only knows if we'll make it ourselves. But it's better than what we left behind. You know that, don't you? BO: I don't understand. [[CAPTAIN: I want to tell you a story about my brother. ->brother]] [[CAPTAIN: I hope someday, you can understand. I was forced to understand long ago. ->brother]] </p>

<p>CAPTAIN: I knew the man who designed this ship, and all the others. His name was Adam, and he was very rich, and very powerful. My brother Samuel and I worked for him. Adam, he wasn't a good man. He used his money for all the wrong reasons...and when somebody did something he didn't like, he got rid of them. My brother was one of those people. He tried to stand up to Adam, change his ways. Three days later, they found his body in an alley. MANDY: I'm sorry about your brother. CAPTAIN: It's no matter now. He's on Earth. I had to leave him there, like you had to leave your dad, Bo. I know what you're feeling, and it's not good. You think you're missing your dad, but really, you're missing your home. But you've got to realize that Earth isn't where you want to be. Life on Earth, it's all about taking and destroying. Space can't be destroyed. Nobody can take it from you. It's all yours. All of it. Nothing can ever change that. In a hundred million years, there's nothing humans could ever do to ruin it. Can you understand that? <div class="narr">The Captain turns to Bo and sees that tears are streaming down his face.</div> BO: My mom's not coming back, is she? <div class="narr">The Captain puts one arm around Bo and the other around Mandy, holding them close to him. The power is suddenly restored, turning on the lights and illuminating the room around them.</div> CAPTAIN: You already know the answer to that, Bo. There's no hope behind you. It's all out there. You've just got to go out and find it. <div class="narr">The elevator doors open behind them. They all turn around to see who is there, and Frederick, bloody and limping, stumbles slowly out of the elevator, raising his gun and shooting the Captain in the chest.</div> [[ACT 4; SCENE 3 ->a4s3]] [[Commentary ->combrother]] </p>

<p><div class="narr">The Captain takes a step backwards, surprised by what has happened, and collapses on the floor. Bo and Mandy look to Frederick in horror.</div> MANDY: Dad, what did you do? <div class="narr">Frederick looks at Mandy momentarily, then points the gun at Bo, smiling. Bo raises his hands in the air in surrender.</div> MANDY: No, daddy! <div class="narr">Frederick jerks the gun toward Mandy in a reaction and shoots. Mandy gasps for air, and then falls backward onto the floor. Bo looks at Mandy in shock, then turns to Frederick. Frederick stares at Bo, the gun aimed straight for his face. Bo, crying, looks to the floor, accepting that death is imminent.</div> FREDERICK: They're all dead. We're all dead. <div class="narr">The gun fires, and Major Miller falls to the floor, blood pooling around his head.</div> [[Bo runs to Mandy ->mandy]] [[Bo runs to Captain Long ->captain]] [[Commentary ->coma4]] </p>

<p><div class="narr">Bo runs over to Mandy, putting his hand on her head, then her neck, then her wrist.</div> BO: No, no, no, no... <div class="narr">He picks up her head and cradles it in his arms, crying as he looks down on her face.</div> BO: It's okay, it's okay...it's okay... (he begins to sing softly) I can hear you sleeping in the dark I know that we won't always be apart Stuck on this ship I wonder if there'll ever be return trips Staring out my window into space Constelating stars in a familiar face Silence in the black I don't know if I'm ever coming back Mama's ghost is whispering behind me Rumors that the broken dark is free Don't know where to go If I'm making it to landing, I don't know Silence around me And I hope that you can meet me in my dreams <div class="narr">With the observatory window center frame, the camera slowly pans out as Bo sings, revealing Captain Long's body, then Bo and Mandy, and finally the body of Major Miller. We stay still for a moment, allowed to sit and witness the scene before us before we FADE TO BLACK</div> [[DENOUEMENT ->a5]] [[Commentary ->commandy]] </p>

<p><div class="narr">Captain Long sits backward, propped up against the observatory window. He coughs up blood and looks longingly out the window.</div> BO: Captain? CAPTAIN: It's a beautiful world out there, Robert. You just gotta...find it. <div class="narr">Captain Long goes limp in Bo's arms, his eyes still open, staring out into space.</div> [[Bo runs to Mandy ->mandy]] </p>

<p><div class="narr">ACT 5; SCENE 1 INT. EXIT BAY Bo stands in the exit bay, four caskets in front of him. JAMES stands behind him, an eyepatch over one eye and leaning on a cane. He looks down at Bo and nods.</div> JAMES: Go ahead. BO: (clearing his throat, unsure of what to say) There's nothing in my mom's coffin...they already launched her body. But I just wanted to say a few things. [[BO: I should have been nicer to my mom ->nicer]] [[BO: She was the best mom you could ask for. ->bestmom]] [[BO: I miss her already. ->miss]] [[Commentary ->coma5]] </p>

<p>BO: The day I said goodbye to her, I was a jerk. She tried to give me a warm goodbye, and I just threw it in her face. I was too focused on myself, and because of that, I'll never get the goodbye I wanted. This isn't how I wanted things to end. [[BO: She was the best mom you could ask for. ->bestmom1]] [[BO: I miss her already. ->miss1]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: She never freaked out on me or yelled at me or anything. Even when I got caught spraypainting the back of the school, she didn't yell. She probably wasn't hard enough on me, but...I turned out alright. She was a good mom. Always took care of me, never hurt me. Always supported me. I'm sorry I didn't act the same to her. [[BO: I should have been nicer. ->nicer2]] [[BO: I miss her already. ->miss2]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: I'm going to miss her making cookies every Friday night, and tucking me in, even though she hasn't done that in forever. Now that I know there's no chance it'll happen again, suddenly, I want it. I'm going to miss her telling me what to do when I need her. I took a lot of that for granted. [[BO: I should have been nicer to my mom ->nicer4]] [[BO: She was the best mom you could ask for. ->bestmom4]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: She never freaked out on me or yelled at me or anything. Even when I got caught spraypainting the back of the school, she didn't yell. She probably wasn't hard enough on me, but...I turned out alright. She was a good mom. Always took care of me, never hurt me. Always supported me. I'm sorry I didn't act the same to her. [[BO: I miss her already ->miss3]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: I'm going to miss her making cookies every Friday night, and tucking me in, even though she hasn't done that in forever. Now that I know there's no chance it'll happen again, suddenly, I want it. I'm going to miss her telling me what to do when I need her. I took a lot of that for granted. [[BO: She was the best mom you could ask for. ->bestmom5]] [[BO: That's all I want to say. ->momdone]] </p>

<p> [[Bo launches his mother's body out into deep space ->mandydead]] [[Bo launches his mother's body toward Earth ->mandydead]] </p>

<p>BO: I'm going to miss her making cookies every Friday night, and tucking me in, even though she hasn't done that in forever. Now that I know there's no chance it'll happen again, suddenly, I want it. I'm going to miss her telling me what to do when I need her. I took a lot of that for granted. [[BO: I should have been nicer to my mom ->nicer5]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: The day I said goodbye to her, I was a jerk. She tried to give me a warm goodbye, and I just threw it in her face. I was too focused on myself, and because of that, I'll never get the goodbye I wanted. This isn't how I wanted things to end. [[BO: I miss her already. ->miss3]] [[BO: That's all I want to say. ->momdone]] </p>

<p>BO: She never freaked out on me or yelled at me or anything. Even when I got caught spraypainting the back of the school, she didn't yell. She probably wasn't hard enough on me, but...I turned out alright. She was a good mom. Always took care of me, never hurt me. Always supported me. I'm sorry I didn't act the same to her. [[BO: I should have been nicer. ->nicer5]] [[BO: That's all I want to say. ->momdone]] </p>

<p><div class="narr">Bo walks a few paces and stands over Mandy's coffin.</div> BO: I've been to too many funerals. But you taught me that I can learn to move on. I don't have to hold on to the bad things for the rest of my life. [[BO: You were my first love ->firstlove]] [[BO: You were my best friend ->bestfriend]] </p>

<p>BO: From the first time we kissed, I knew I loved you. I don't know what that means at twelve years old, but I do know how I felt. I love you, Mandy. I hope you find some peace out there. [[Bo launches Mandy's body out into deep space ->end]] [[Bo launches Mandy's body back toward Earth ->end]] </p>

<p>BO: Even though I only knew you for a few days, you were the best friend I ever had. You stuck with me, even when you doubted yourself. I always believed in you. I hope you know that. Goodbye, Mandy. [[Bo launches Mandy's body out into deep space ->end]] [[Bo launches Mandy's body back toward Earth ->end]] </p>

<p><div class="narr">Bo sits on the floor of the Exit Bay, staring out a viewport into space, watching the two capsules disappear into black.</div> BO: Farewell, Mandy. Farewell, Mommy. (Bo stands up to leave, looking out the window one last time) And farewell, Terra. FADE OUT [[CREDITS ->credits]] [[Commentary ->comend]] </p>

<p>DEDICATED TO THE MEMORY OF EMMETT HARRISON BURGESS WRITTEN, DIRECTED, AND PRODUCED BY ETHAN BURGESS BASED OFF THE SHORT STORY "FAREWELL, TERRA" BY EMMETT BURGESS CAMERA OPERATOR: SPENCER MAPLE VOICE AND DIALOGUE COACH/CHOREOGRAPHY: WARREN SULLIVAN SET AND COSTUME DESIGN: JEREMY SALO CASTING AND FILMING WERE COMPLETED ON LOCATION IN SYDNEY, AUSTRALIA ~ ~ ~ ~ ~ ~ <div class="com">Thank you for purchasing and reading the sceenplay to "A Farewell to Terra". We hope that you enjoyed it, as well as the Director's Edition of the film. From all of us at WeatherVane Film, we wish you peace and happiness in your personal journey of life. Thank You. </div> </p>

<p><div class="com">For many viewers, the pacing of this scene may seem odd. In fact, several minutes of this scene was cut from the final picture for editing reasons, and the result is a scene that may feel rushed.</div> [[Return ->baddad]] </p>

<p><div class="com">After some debate on the writing team, we decided to make Bo apologize for his earlier actions. Mandy was already percieved as a weak character; we didn't want her to suffer even more, or have the situation be controlled by Bo. Many people wish they can control situations, but they just can't. You just have to move on.</div> [[Return ->mad]] </p>

<p><div class="com">After some debate on the writing team, we decided not to make Bo apologize for his earlier actions. Mandy was already percieved as a weak character; we didn't want Bo pandering to her or making her seem like she needed an apology to function. You can't blame people for leaving you. Sometimes they can't control it, and it's not your fault. You have to accept it's not your fault.</div> [[Return ->happy]] </p>

<p><div class="com">It has been suggested that Frederick is actually a representation of the part of me that wants closure for my brother's death, and that Mandy represents that closure. This doesn't make any sense. Both characters were in my brother's original story, and I have complete closure over my brother's murder. I can't get him back, but I wish I could. Please return to the screenplay.</div> [[Return ->doors]] </p>

<p><div class="com">Just because everyone says you need to move on from something doesn't always mean that you do. Sometimes it's healthy to obsess, because if you don't, you won't get to know that thing as well as you can. You've got to know all the details, all the intimate parts of his death, or you can't move on. You've just got to know, you don't have to move on, you don't have to listen to them.</div> [[Return ->comaccidents2]] </p>

<p><div class="com">I loved my brother</div> [[Return ->accidents]] </p>

<p><div class="com">Many critics have noted the numerous similarities between Bo's father's funeral and my brother's. Many critics. I'm tired of critics pretending they know a god damn thing about me.</div> [[Return ->funeral]] </p>

<p><div class="com">I think I need to read this script over again and think. Why have I changed him. He didn't want to be good. He wanted to be himself.</div> [[Return ->combrother2]] </p>

<p><div class="com">I miss my brother</div> [[Return ->brother]] </p>

<p><div class="com"> He's dead he's really dead he's gone</div> [[Return ->a4s3]] </p>

<p><div class="com">By now, I'm sure you've heard that critics know everything. We cut this scene. They say this song has no place in this movie, that it's a musical piece in a non-musical, that it was never explained where Bo learned this song, that there was no setup for this moment, where did he learn how to sing Go to hell it's my song it's my brother, i can sing to him</div> [[Return ->mandy]] </p>

<p><div class="com">I needed this. I needed to read all of this over again, it's been so long. I almost didn't realize. I miss him. My brother is dead. My brother is dead.</div> [[Return ->a5]] </p>

<p><div class="com"> farewell, Emmett </div> [[Return ->end]] </p>