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! Written by: Dylan DiMaggio

Address: 1870 Burnell Dr. Los Angeles, CA 90065 Phone Number: (520) 429-3744 Email: dimaggio117@gmail.com

FADE IN: CLOSE UP on the eyes of a fierce WOLF. They glow red, and hot, an eerie HOWL is heard. We pull back to reveal a PATRON playing an old, wolf pinball game at: INT. THE FRISKY-BITCH, BAR, COCOA BEACH FLORIDA - NIGHT

We follow a WAITRESS, beer bottle in hand, as she passes sunburnt tourists, and tan locals in this crowded, tacky bar. She puts the beer down right next to: A crude drawing, on a COCKTAIL NAPKIN, of the MOON and EARTH. A dotted line from EARTH connects an exaggerated building on one side of the MOON. A pen tip follows the line. COOPER (O.S.) I’ll head strait up, and let it meet me thereThe pen draws a stick-figure astronaut, and an arrow at the MOON-BASE, then taps it. COOPER (O.S.) (CONT’D) -And that’s where I’ll be. We reveal CHRIS COOPER, 29, an all American Ken doll, and the artist behind the cocktail napkin. He is between two pretty BAR GIRLS fawning over his physique. COOPER (CONT’D) Entire trip, take little over a day. BAR GIRL 1 Bullshit. Prove it. COOPER takes out his NASA lanyard from under his shirt, and flaunts it, like a rapper does his bling. He casually puts his arms around the ladies’ shoulders. Damn he’s smooth. COOPER It’s true. I leave tomorrow. (beat) You beautiful ladies wouldn’t let me spend my last night on Earth alone, would you?

2. An arm YANKS CHRIS out of his slut-wich. YOUNG Come on, lover-boy, plenty of time to ruin the locals when we get back. BAR GIRL 1 Hey, we were talking. HEATHER YOUNG, 38, personality like concrete, and always in charge, stares down the young BAR GIRL. YOUNG (cold) And I’m sure you would love to keep that ability. (to CHRIS) Choose one, and come on. COOPER Can’t I keep both? YOUNG walks away. COOPER takes BAR GIRL 2 by the hand. BAR GIRL 1 Hey! He turns back to get his beer, and leans into BAR GIRL 1’s ear. COOPER (whisper) Call you when I get back. Back with BAR GIRL 2. BAR GIRL 2 What was that? COOPER Don’t worry about it, baby. He leads her to: CORNER TABLE:

3. The rest of the crew sits at an isolated table, waiting for COOPER. YOUNG stands at the head of the table. She oversees her crew, and frowns at the presence of BAR GIRL 2 walking up. ANDERSON You can’t leave the planet without trying a sip. PHILLIPS I’m fine. ANDERSON You’re not fine, you’re odd. LUKE ANDERSON, 31, a jolly British man with a big beard and a bigger grin, tries to force a glass of dark beer into the hands of THOMAS PHILLIPS, 30, a huge man, but a gentle-giant. COOPER and BAR GIRL 2 grab two chairs, and sit. YOUNG Enough. Anderson, you drink plenty for both you and PHILLIPS as it is. One drink a person tonight. I don’t want a hungover crew in the morning. ANDERSON (salute) Aye-aye captain. BAR GIRL 2 (to COOPER) You said you were the captain. Attention turns to him. COOPER (tries to play it off) Well, What I meant was. It’s not a big deal. ANDERSON No, go ahead, Captain Cooper. What did you mean?

4. PHILLIPS Yeah, what did you mean? These guys love to play off one another. COOPER Well I kind of am the captain of the pilot position. EVERYONE No / Not really / That’s just not true. ANDERSON Oh, and here I thought you were only the pilot of the pilot position. PHILLIPS No, no, Luke, the computer on the ship flies us. Chris, is here incase something goes wrong. ANDERSON Ah, but, Tom, if something goes wrong we’ll be in space, and it won’t matter non-at-all. So what’s he do? Both turn their attention to COOPER, as if they’re genuinely concerned. PHILLIPS I don’t know. Seems like a guy who just gets a free ride to the moon. ANDERSON shakes the girls hand. ANDERSON Don’t let this one fool you, we’re the real scientists. COOPER Uh-huh. You’re a maintenance man.

5. ANDERSON The maintenance man. One with a masters in robotics and mechanical engineering. COOPER (to Bar Girl 2) This is Tom Phillips, He looks at dirtPHILLIPS (shakes her hand) Soil annalist. COOPER (cheeky) -Are forgiving captainYOUNG nods curtly. COOPER (CONT’D) -And the girls in the back are, Eve Vice, communications, and Kira Summers, our independent representative. EVE VICE, 35, shy but nice, smiles meekly and goes back to sipping on her fruity drink. KIRA SUMMERS, 30, strong-willed, and animated, waves. SUMMERS Hey’ya. BAR GIRL 2 (to SUMMERS) What does an independent representative do? SUMMERS I work for the private company that split the bill for this whole sha’bang, and(very corporate) I’m here to make sure our company's interests are kept in mind during the duration of this mission.

6. YOUNG During the mission, you work for us. SUMMERS . . .And make sure my company's interests are kept in mind. There is a beat between YOUNG and SUMMERS. YOUNG isn’t used to being treated this way, and SUMMERS couldn’t care less about how YOUNG is used to being treated. BAR GIRL 2 (dumbfounded) So you guys are really going to the moon tomorrow. Everyone looks at one another, as if they’re realizing it for the first time too. ANDERSON We are. (squeezes COOPER’s shoulders) As long as our brave pilot can get us there. ANDERSON raises his glass and they all cheer. FADE TO: EXT. CITY STREETS - NIGHT ANDERSON, PHILLIPS, SUMMERS, and EVE laugh as they walk down a poorly lit street. ANDERSON had just finished a good joke. ANDERSON You sure you guys can make it back just fine? EVE We’re okay, thank you. ANDERSON It’s not very chivalrous of me, but then again I never said I was chivalrous. (MORE)

7. ANDERSON (CONT'D) Come on, Tommy, Captain said we could only have one drink so I’m drinking yours. The guys leave, and SUMMERS and EVE walk down the street. SUMMERS looks back to watch them go. EVE You can go if you want, I’m fine. SUMMERS Nah, it’s okay, I should turn in anyway. We kinda have a big day tomorrow. But, SUMMERS looks back again. EVE Really, I’m good. SUMMERS You sure? EVE I’m two blocks up. Go ahead. SUMMERS I’ll see you bright and early. If I’m hungover you have my permission to make me feel worse. SUMMERS turns, and goes to catch up with the guys. SUMMERS (CONT’D) (calling after them) Hey guys wait up. SUMMERS turns the corner, and EVE is alone, walking down the street. The moisture in the air plays off the sodium-yellow lights, crushing her surroundings into a thick, golden haze. Suddenly EVE feels more alone, and picks up the pace. She quickly walks to:

8. EXT. FRONT DOOR - CONTINUOUS EVE digs through her bag. EVE Crap. She pulls out her phone and calls: EVE (CONT’D) Hey Kira, I think you have my keys, call me when you get this. EVE looks around, she tries one of the front windows, but it’s locked. She makes her way to the alley by the side of the rental-house. The alley is narrow, and over-grown with waist high weeds. She stumbles, and steps on something SQUISHY. She takes out her phone to use as a light. It’s the mangled corpse of a HUGE ALLIGATOR. EVE GASPS. The animal is torn to pieces, blood everywhere. She stumbles back and trips over its’ severed head. Its’ nerves cause it to open its’ mouth with a HISS. She screams, and drops her phone. The light shines behind her revealing two large golden eyes, burning hot in the night. PEACEFUL NEIGHBORHOOD: The cookie-cutter houses stand neatly in a row, and from one alleyway we hear a snarl, EVE SCREAM, and a fierce HOWL. Above the neighborhood Looms a large yellow full moon. FULL MOON FADE TO: INT. LAUNCH PAD - DAY The crew, dressed in their flight suits, is lined up, all but EVE. YOUNG marches down the line, looking them over. She stops at SUMMERS.

9. YOUNG Where is she? SUMMERS She wasn’t in her room this morning. YOUNG’s gaze hangs on SUMMERS. Somehow this is her fault. A door opens and EVE scrambles in. She looks horrible, blood shot, and bags under her eyes, but she still seems in good spirits. ANDERSON Hey there, light-weight. EVE Not right now. PHILLIPS puts a hand on her shoulder. PHILLIPS You okay? COOPER Need a hug? EVE I’ll be fine. Thanks. She gets to the end of the line by SUMMERS. SUMMERS (whisper) Where were you? EVE I don’t . . . I don’t remember. (groans) What was in that drink? YOUNG clears her throat. She paces back and forth across the line, like a wild cat. YOUNG I’m not one for lengthy and empowering speeches, but something is expected of me. (MORE)

10. YOUNG (CONT'D) (beat) I have hand picked all of you. YOUNG shoots SUMMERS a “fuck you” look. YOUNG (CONT’D) -Well, mostly all of you. And I wouldn’t have it any other way. I know this work will be hard, and there may come times that you don’t think you can keep going, but up there . . . We’ll all find out what we’re really made of. The line stands at attention. ANDERSON wipes away a pretend tear. YOUNG (CONT’D) That’s it. Lets go. The line follows YOUNG out two doors. ANDERSON That was beautiful. PHILLIPS Hold it together. INT. HALLWAY - CONTINUOUS The crew walks down the hallway past press-photographers and reporters. REPORTER (talking to camera) -Though it has been more than fifty years, the excitement for this latest mission to the moon feels much like it did in the 1970’s. The first team to have a prolonged mission on the, recently completed, Lunar Station, and marking the first co-financed mission with Harvester Industries. Now we know . . .

11. The voice of the REPORTER tails off as the crew is dappled with flashes from cameras. EVE stumbles. SUMMERS helps her. SUMMERS Whoa. (feels her head) Whoa, you’re way too hot. YOUNG walks over. YOUNG (under her breath) She’s fine. (to EVE) Aren't you? EVE nods. YOUNG (CONT’D) (under her breath) Now smile for all the press. EVE smiles and YOUNG waves. YOUNG (CONT’D) (under her breath) Wave. The flashes of the cameras fill the screen. DISSOLVE TO: INT. GALILEO SHUTTLE - MORNING The crew is strapped into their respective seats. MISSION CONTROL All systems are go. Awaiting confirmation. COOPER Navigation go. PHILLIPS Systems go.

12. YOUNG Give them the word, Eve. EVE looks horrible, and doesn’t respond. YOUNG (CONT’D) Eve? SUMMERS notices the worse condition that EVE is in. SUMMERS Young, she’s in no state to fly. YOUNG It’s captain. And I will not delay our mission because someone drank too much last night. MISSION CONTROL Awaiting response. YOUNG Eve, tell them we are a go. SUMMERS Eve. EVE (strained) Ground control, we are good to go. MISSION CONTROL Confirmed. T minus one minute and counting. EXT. GALILEO SHUTTLE - CONTINUOUS On Florida launch-pad, vapor rises from the icy fuel-tanks. The ship shines. On it’s side is “Galileo” and the emblem of its co-financer, Harvester Industries. EXT. CROWD - CONTINUOUS A large group of onlookers peer from far off, many with binoculars, some with large cameras.

13. LOUD SPEAKER Launch in; ten, nine, eight, . . . The crowd begins to get excited, CHEERS start to rise from them. LOUD SPEAKER (CONT’D) Seven, six, five . . . INT. GALILEO SHUTTLE - CONTINUOUS MISSION CONTROL (over speakers) Four, threeA line of blood trickles out of EVE’s nose. Both SUMMERS and YOUNG see it. They catch each others gaze; YOUNG turns to sit forward. MISSION CONTROL (CONT’D) (over speaker) Two, one. YOUNG Lets go. EXT. GALILEO SHUTTLE - CONTINUOUS The rockets ignite in a fury of fire and smoke. Slowly the craft reaches upwards. INT. GALILEO SHUTTLE - CONTINUOUS The crew bounces as they are propelled toward the heavens. DISSOLVE TO: EXT. GALILEO SHUTTLE - SPACE The shuttle, now much smaller, cruises through space. It is clear this craft was not intended for a long haul. It’s made to get to the moon as fast as possible, leg room be damned. Its’ liquid hydrogen thrusters, a barely visible blue/white flame, propel it through the vacuum.

14. INT. GALILEO SHUTTLE - SPACE The crew-members are sardined next to one another, strapped in sleeping-bags. SUMMERS wakes up, and sees YOUNG at a small round window. SUMMERS gets out of her bag and floats over. SUMMERS Can’t sleep? YOUNG ignores her. SUMMERS (CONT’D) Listen, about launch I don’t thinkYOUNG I’m sure you don’t. SUMMERS What? YOUNG If you ever do anything that impedes this mission again, even in the slightest, I will strap you to the nearest satellite and pick you up on the way back. SUMMERS’s not going to take this. SUMMERS She looked like she was about to keel over. YOUNG It is my job to worry about the individual, and it is my job to worry about the mission. Not yours. Do you follow me? SUMMERS Yes, Captain. Beat.

15. YOUNG I may not be your employer, and you are far from one of my crewmembers, but you will show me respect, or you will spend your entire time at this base staring out a window. I don’t care what your companies interests are. SUMMERS and YOUNG stare each other down. This is going to be a long mission if this keeps up. A BEEPING changes their attention. A green light FLASHES at the head of the ship. COOPER wakes up and instinctively heads to his chair. He rubs the sleep out of his eyes, and turns to YOUNG and SUMMERS with a childish grin. COOPER We’re here. YOUNG and SUMMERS drop their stare-down, and float over to COOPER. He flicks some switches and darkens the shuttle a bit. YOUNG What are you doing? COOPER Just wait for it. He yells back to the sleeping crew: COOPER (CONT’D) Everyone wake up, and come check this out. We’re opening the blinds. PHILLIPS is up and out, as quick as can be. ANDERSON and EVE stay in their sacks. COOPER looks back, and sees the other two aren’t coming. COOPER (CONT’D) Whateves. COOPER types a quick command into his control, and:

16. EXT. GALILEO SHUTTLE - CONTINUOUS Metal shield blinds, covering the front of the ship, begin to peel back revealing the crew looking out their large observation window. INT. GALILEO SHUTTLE - CONTINUOUS The view is breathtaking, the MOON, so close you can make out a small base on it, sits in front of them, full and huge. PHILLIPS Wow. Even YOUNG is taken aback by its’ beauty, she even smiles. COOPER Should be there in less than an hour. PHILLIPS (calling back) Anderson, Eve, you guys have to see this. ANDERSON tosses. Frustrated. ANDERSON (sleepy) We’ll be living on it for five months I’ll see it then. EVE I want to see. EVE tosses out of her bag, and floats up to the observation window with a greedy smile. When the light of the moon hits her eyes though, she doubles over in pain. COOPER What’s going on? EVE lets out a GASP in fear and pain, she coughs up droplets of blood that float around the shocked crew. SUMMERS Get her back to the bag.

17. The crew scrambles, in a panic, while she rives in agony. SMASH TO: INT. SHUTTLE - SPACE The ship flies over the lunar surface. COOPER is buckled into his seat, with YOUNG over his shoulder. SUMMERS, ANDERSON, and PHILLIPS are over EVE, whose eyes are rolled back now. YOUNG How long? COOPER (flustered) The ship is programed to make three passes. So it can detect any anomalies. We’re coming in too fast. GREEN/BLACK VEINS creep up EVE’s neck. She MOANS. ANDERSON What is that? What is that? SUMMERS Give her another shot. PHILLIPS I gave her two already. That would put down a horse. COOPER I could bypass the system, and land it myself. YOUNG is torn. One life or the missions success. Another MOAN. SUMMERS (yelling to front) She’s getting worse. YOUNG Can you do it?

18. COOPER I’ve done it before in the simulator. YOUNG How’d you do? COOPER (apprehensive) Not too bad. YOUNG looks back to EVE, SUMMERS’ eyes are focused on YOUNG, SUMMERS shakes her head. EVE lets out a desperate SCREAM of agony. YOUNG Do it. But, you better land us. She swings to her seat, and straps herself in. COOPER lets out a breath of relief. COOPER (to self) Here we go. . . I hope. (shouts back) Everybody strap in. Her too. COOPER types a command into his control panel, and a green “auto-pilot” icon begins to flash red with a strike through it. PHILLIPS and SUMMERS help strap, an unconscious, EVE into her seat before they join the others already in. COOPER (CONT’D) Here we come. COOPER takes one last look at the rest of the crew. COOPER (CONT’D) This might get bumpy. EXT. GALILEO SHUTTLE - CONTINUOUS The GALILEO dips into the pull of the MOON. Reverse thrusters fire in an attempt to slow the ship down. Seconds later, an array of thrusters erupt, all trying to keep the ship level.

19. INT. GALILEO SHUTTLE - CONTINUOUS Inside the shuttle the crew begins to rock around. COOPER Engaging secondary reverse thrusters. The whole cabin lurches, and everyone is thrown into their safety harnesses. A warning signal begins to BEEP. COOPER (CONT’D) Oops. ANDERSON What? What oops? COOPER Oh no. SUMMERS What’s going on Cooper? COOPER We’re coming in at the wrong angle. COOPER punches commands into the control panel. COOPER (CONT’D) Hang tight. EXT. GALILEO SHUTTLE - CONTINUOUS The front jets fire, righting the capsule, but it is still flying dangerously low, near a small mound. The ship barely grazes it, but it sends a shutter through the whole cabin. INT. GALILEO SHUTTLE - CONTINUOUS The evil sound of metal SCRAPING rings through the cabin. COOPER Easy now.

20. EXT. GALILEO SHUTTLE - CONTINUOUS The main engines turn off. The entire ship is working off of auxiliary thrusters now. As it clears another small hill we see the base ahead. It’s off in the distance, but it’s coming in fast. Too fast. INT. GALILEO SHUTTLE - CONTINUOUS PHILLIPS We’re, uh, coming in pretty hot, Chris. COOPER Brace. He punches a lever forward, and again, the crew lurches in their seats. EXT. LUNAR BASE - CONTINUOUS The GALILEO flies toward the landing-pad, front thrusters at 100%. It cruises down. It’s starting to slow. This is not how it’s supposed to go. INT. GALILEO SHUTTLE - CONTINUOUS The hull shakes like it’s on the fault line of an earthquake, but in an instant it’s over. They’re stopped. EXT. FAR ABOVE THE LUNAR STATION - CONTINUOUS The ship sits on the landing pad while dust settles around it. It is dwarfed by the size of the LUNAR STATION, which consists of a long hallway that leads to a main greenhouse which is wreathed by seven rectangular buildings with hallways leading around the whole of the complex. At the far end of the hallway is a small AIR-LOCK. From the AIR-LOCK a small corrugated hallway connects with The GALILEO.

21. INT. GALILEO SHUTTLE - CONTINUOUS The crew sits in silent for a few heart-beats as the ship settles. Then a comforting CHIME as the AIR-LOCK secures itself. ANDERSON Whoo! They all unbuckle as the door to their new home opens. ANDERSON kisses COOPER on the head. ANDERSON (CONT’D) Best pilot I know. When we get back drinks on me. The cabin pressurizes. PHILLIPS, SUMMERS, and YOUNG have EVE in their arms. COOPER and ANDERSON join them as they carry her into: INT. AIR-LOCK The group is in the AIR-LOCK. The door to the ship closes, and the corrugated hallway retracts toward the base. YOUNG is at a control panel by a thick metal door. She types in some commands. YOUNG Come’on. Inside the AIR-LOCK the crew waits for the room to pressurize. They are surrounded by suits for the lunar surface, and two large moon-buggies. The room begins to pressurize, and not a minute too soon. The drugs that EVE took are starting to ware off. The thick metal door unlocks with a strong CLICK.

22. INT. LUNAR STATION, HALLWAY The base is clean and white, very Apple-slick. There are wall mounted monitors that read “Welcome”, and “Congratulations” in fun fonts. FLY ME TO THE MOON plays over the P.A. system. It’s nice. SMASH TO: INT. LUNAR STATION, HALLWAY - MOMENTS LATER The crew frantically rushes down the hallway. EVE is soaked with sweat. She coughs up a spatter of almost black blood. The team is freaking out. INT. LUNAR STATION, MEDIC BAY All the amenities you would need for an extended stay from Earth are here, but where? This whole cell is just a barrage of lockers, and drawers. The door slides open, and the crew scrambles to place EVE on one of the two medical beds. She is unconscious. SUMMERS puts her ear to her chest. SUMMERS She’s not breathing. YOUNG Get an adrenalin shot. ANDERSON and PHILLIPS start rifling through the drawers and cabinets; gaws, heart monitor, sutures, I.V., adrenalin. ANDERSON Got it. ANDERSON grabs a shot out of the drawer, and tosses it to YOUNG. YOUNG Strap her in. COOPER and SUMMERS strap her wrists and ankles in. YOUNG heaves the needle into EVE’s heart.

23. BEAT. EVE bursts to life, screaming. She tears one of her straps loose and hits COOPER in the face, knocking him down. YOUNG (CONT’D) I told you to strap her in. SUMMERS I did. YOUNG, PHILLIPS, and ANDERSON struggle to hold her down while she settles. After a moment she is calm and breathing again, with the strap still around her loose arm. She tore it from the metal siding of the bed. FADE OUT. INT. LUNAR STATION, MESS HALL Everyone but EVE and SUMMERS are sitting around a round table with a holographic display in the center. They each have a bowl of something that resembles green oatmeal. ANDERSON lets a spoonful slide off his spoon into his bowl. It falls in wet, gooey, clumps. He is disgusted. ANDERSON What is this goop? PHILLIPS It’s quinoa with an algae compound. Ton of protein and vitamins. PHILLIPS eats his greedily, while the others watch in horror. COOPER I thought we were growing real food. Isn’t that why we have a greenhouse? PHILLIPS This is real food.

24. ANDERSON Let’s not get ahead of ourselves. PHILLIPS What? Did you expect cheese-burgers and fries? Tomatoes and lettuce will be ready in a few days. So look forward to salads. ANDERSON stands up. ANDERSON What ever happened to freeze dried ice cream sandwiches? PHILLIPS You going to finish yours? ANDERSON passes his to PHILLIPS, and fiddles with a small keyboard on the table top. A 3-D rendition of the base pops out if the holographic display. ANDERSON zooms out to show the base on the surface of the moon. Three different craters highlight in red. A door opens. VVVTTTSSS. SUMMERS walks in. All eyes are on her. YOUNG Anything new? SUMMERS She’s the same. Passed out, but as far as I can tell she’s stable. YOUNG Good. I want you to keep monitoring her. SUMMERS With all respectANDERSON Here we go. ANDERSON knows where this is heading.

25. ANDERSON (CONT’D) I’m going to check on EVE, you guys want to come. PHILLIPS (eager to get out) Yep. COOPER Nah, I want to watch this. YOUNG eyes COOPER. On second thoughtCOOPER (CONT’D) Yeah, I’ll come. The guys exit. YOUNG You were saying. SUMMERS It is not my job to monitor anyone on this ship. My jobYOUNG I’m well aware of your job, but you are the only person here, besides, EVE, who has a medical history. SUMMERS I don’t have an M.D. YOUNG You spent two years in medical school before you dropped out. What? SUMMERS is more than a little surprised. SUMMERS How? How did you know that? YOUNG I googled you. Not that hard. SUMMERS Well if you want my medical opinion. (MORE)

26. SUMMERS (CONT'D) She’s sick and she needs real doctors. We need to get her back. Not what YOUNG wants to hear. YOUNG You’d want that. A mission failure. SUMMERS Why is it so hard for you to accept that I’m not here to sabotage you? YOUNG Probably the same reason you find it so hard to take orders. A TONE, like a phone ringing, pulses through the base. YOUNG (CONT’D) Damn. Ground-control. They’re going to want to set up the camera system. During the call keep your medical opinions to yourself. INT. MISSION CONTROL - NIGHT A small room with an array of black monitors, and an extensive amount of controls. Two men sit, listening to the same TONE that we heard on the station. TIM FAIRFIELD, 41, an older space geek with a ponytail, mustache, glasses, the whole set-up, sits beside, PAUL STEVENS, 33, a younger business man who has come far for his age. Both eat Chinese take-out. STEVENS (mouth full of noodles) Where are they? They’re(checks watch) Two hours late for first contact. Don’t they realize they’re supposed to call us. FAIRFIELD Relax. I’m sure they’re just getting situated.

27. STEVENS They should get situated after the call. FAIRFIELD You sound like a worried mother. STEVENS A worried mother with a thirteen billion dollar kid who won't call. (yelling at screen) Pick up. The tone dies and a radio communication clicks on. YOUNG (V.O.) This is Captain Heather Young, of the Galileo mission. Identification code 0-alpha-2-2-foxtrot-gamma. Over. STEVENS (to Tim) Get the cameras on. FAIRFIELD Calm yourself. (talks into mic) YOUNG, this is, Tim Fairfield, We sure would love to have something to look at down here, but we need you to access the cameras from up there to turn them on. We hear TYPING coming through the speakers. One by one the black screens of mission control start to come to life. Each showing a voyeuristic view into the base; MESSHALL, GYM, GREENHOUSE, MEDIC-BAY, DORMS, the series of HALLWAYS, and the CONTROL ROOM, which is a camera facing the team (save EVE). FAIRFIELD (CONT’D) And then there was light.

28. STEVENS Wait, who’s that? There in the medic-bay. FAIRFIELD isolates the screen, and makes it larger. INT. LUNAR STATION, CONTROL ROOM - CONTINUOUS The crew look at the video feed of FAIRFIELD and STEVENS. FAIRFIELD (on screen) Why is Eve in the medic station? Eyes on YOUNG. YOUNG She is working off a bug from one of the freeze dried meals. Just keeping her there to rest. FAIRFIELD (on screen) Well, put a bio-bracelet on her, that way we can monitor her from here. YOUNG Copy. INT. MISSION CONTROL - CONTINUOUS STEVENS When is the first surface run? INT. LUNAR STATION, CONTROL ROOM - CONTINUOUS SUMMERS Captain Young and I were just deciding that I should go after our conference. Nice try SUMMERS, but:

29. YOUNG We weren’t, actually. I have instructed Summers to keep watch on EVE while she recovers. Seeing how she has medicalSTEVENS (on screen) Negative. Our company has an allotted amount of time to make our investment worthwhile. Summers, you will head out after this meeting. CUT TO: INT. LUNAR STATION, MESS HALL SUMMERS stands at the holographic display at the table. She interacts with the actual image, enlarging it, and shrinking it with simple gestures. She GLIDES through different craters, each showing a mountain of information while she’s on it. Finally she reaches B-21. She holds there, and looks it over. SUMMERS (to self) Bingo. VVVTTTSSS. The door to the MESS HALL slides open. In walks YOUNG, and ANDERSON. He is in a surface space-suit, his helmet tucked under his arm. SUMMERS takes notice. SUMMERS (CONT’D) What’s this? YOUNG Anderson has to test the mechanics of the rover. Make sure everything is well in order. SUMMERS Good thing we have two rovers.

30. YOUNG You’ll be accompanying him, actually. STEVE Thanks, but I’m not an assistant. You heard STEVENS back there, I’m cleared toYOUNG You have made it more than clear that you will not mind my orders. Very well, but my crew will. And, their orders as of now are to never let you out of our collective sight. So, you will accompany ANDERSON, or you can walk. Makes no difference to me. ANDERSON You should feel lucky, it was going to be Cooper. SUMMERS drinks this in. It’s not like she can file for a transfer. She puts on her best corporate smile. SUMMERS Fine. (back to the hologram) I need to go to a small BIO-crater near Fra Mauro. Twenty minute drive there and back. Sure hope that works for you. ANDERSON I just need to test out the mechanics of the rover to make sure they work. Also told Phillips I’d pick up some soil samples. (catches YOUNG’s gaze) Or. I’ll see if I can accommodate you. SUMMERS I do love accommodations. Let me just put the bio-bracelet on Eve, and we’re outa here.

31. YOUNG We did that already. SUMMERS Good thing too, who knows what I would have done to sabotage it. (to ANDERSON) Lets go. CUT TO: INT. LUNAR STATION, MEDIC BAY EVE lays on the table, still asleep. On her wrist is a small bracelet, made of SILVER, with a tiny screen that illuminates a green light. The light pulses with her heart beat. The skin behind the bracelet begins to smoke. CUT TO: EXT. LUNAR SURFACE WIDE The rover (which looks like a chrome dune-buggy) zips down the lunar surface, bouncing and kicking up dust. ANDERSON (through com) Slow down. Watch out for theWhoa! They drop down a crater and disappear into the darkness. BEAT. The rover appears from the darkness, cruising up the crater wall. We get close to the rover, and see the worried look on ANDERSON’s face, and the fierce look of determination on SUMMERS’. SUMMERS Let’s see what she can do.

32. Full throttle. The rover climbs, and ramps off the lip of the crater. With the low gravity they’re flying. Soaring over white sands. ANDERSON finally looks like he is having fun. THEN: EXT. LUNAR SURFACE, BY CRATER - LATER SUMMERS peers into a large dark crater, maybe the one she ramped out of, it’s hard to tell. ANDERSON messes with the rover, which seems to be broken. ANDERSON repeatedly kicks the front right tire, trying to set it back in place. ANDERSON (genuinely shocked) I can’t believe you broke it. SUMMERS doesn’t look up from her crater. SUMMERS (calling back) Why make it go fast, if you don’t want it to go fast? ANDERSON doesn’t even know how to respond. He just turns his attention back to the wheel. ANDERSON (quiet, to self) Maybe if you listened to me. We wouldn’t be stranded. SUMMERS smirks. SUMMERS Com’s open. ANDERSON is embarrassed. ANDERSON I was talking to the car. SUMMERS This will work. She turns on a dime and heads to the rover.

33. ANDERSON What will? What will work? SUMMERS takes out two SENSORS. Long metal poles that resemble javelins, one end is pointed, the other has a small monitor. ANDERSON (CONT’D) What’s happening? At the front of the ROVER there is a spool of cable. SUMMERS unwinds it and clips it to a facet on her suit. SUMMERS When I tell you, pull me up, will ya? Before ANDERSON can say a word she is off. She gets to the edge of the crater and stabs one of the two sensors into the ground, and types a command into the display. She looks down into the crater, then, a leap of faith, she jumps. ANDERSON Wait. It’s too late. The cable starts to uncoil rapidly. It stops as suddenly as it started. ANDERSON scrambles to the edge of the crater, and looks down, but there is nothing to see, just black. ANDERSON (CONT’D) SUMMERS, come in. Are you alright? Kira? BEAT: SUMMERS (scratchy) Yeah. Bit more of a drop than I was expecting.

34. EXT. DOWN IN THE CRATER SUMMERS’ on suit lights illuminate and show her dark surroundings. She walks a little ways from the wall, and stabs her second sensor down. Same command from before. The sensor lets out a burst if electricity that snakes across the ground. Dark metals rush to the surface of the soil. SUMMERS yanks it out of the ground. SUMMERS Alright, bring me up Scotty. EXT. LUNAR SURFACE The cable turns and brings SUMMERS up over the lip of the crater. ANDERSON holds her other SENSOR. Hands it to her. ANDERSON It’s beam. SUMMERS What? ANDERSON Beam me up. And the next time you think about jumping into a pitch black crater tell me first. SUMMERS I needed a sample from a shadow region, so unless you wanted to head to the dark side. Besides the regolith was great down there. ANDERSON What are you looking for? SUMMERS turns on her sensors screen. SUMMERS Well let’s see. The display shows streams of data, and charts that might as well be Greek to us.

35. SUMMERS (CONT’D) (can’t believe it) Hundred-three. (to ANDERSON) Hundred-three. ANDERSON Hundred-three what? SUMMERS (rambling) Per billion. If this is a hundredthree the poles, and the other side. Oh my, do you know what this means? ANDERSON I don’t even know what you’re saying. SUMMERS It means. We’re going to be very, very rich. CUT TO: INT. LUNAR STATION, MEDIC BAY The bio-bracelet smolders as EVE’s heart-beat increases. Her eyes shoot open and she tears off the smoking bracelet. There is a burn mark around where it was. EVE clutches her wrist, and begins to shiver. She looks around confused. EXT. LUNAR SURFACE ANDERSON finishes his McGyver-esqu repair on the ROVER. He taps it with his foot, for good measure. Looks like it should hold. ANDERSON So why is helium here a big deal? SUMMERS waits in the rover.

36. SUMMERS Helium-3, and what’s a big deal is that it is much more concentrated than we ever expected. ANDERSON And what’s so good about Helium-3? SUMMERS It’s what we need to make a stable fusion, and we can’t find much of it on Earth. One ship load back could power the United States for a year. Saving the Government huge amountsANDERSON -But also creating a huge profit for the first corporation to have the means to mine it. SUMMERS smiles. SUMMERS You’re catching on. ANDERSON You forget about the Moon Treaty of 1979. SUMMERS Not only is that treaty a joke; it’s never been signed by a country with a space program, but it never mentions the private sector. ANDERSON This isn’t free land, it belongs toYOUNG (V.O.) (on radio headset) Scout is over. Return to base, we have an issue. On the double. SUMMERS Fine with me.

37. SUMMERS scoots to the drivers seat, but ANDERSON pushes her to the passenger. ANDERSON Think I’ll drive this time. You had a bit too much fun on the way here. The ROVER races off. FADE OUT. INT. LUNAR STATION, OUTSIDE SHOWERS YOUNG, PHILLIPS, and COOPER stand outside, the sound of RUNNING WATER can be heard. COOPER bangs on the door. SUMMERS and ANDERSON walk in. SUMMERS What’s going on? PHILLIPS Eve woke up. COOPER Yeah, and she’s using all our water. (bangs on door) Eve, open up. INT. LUNAR STATION, SHOWERS - CONTINUOUS EVE huddles in the corner of her shower, naked. She shivers, and turns up the heat, it’s very hot. She notices that the burn mark on her wrist is missing. There is a KNOCKING from outside. INT. LUNAR STATION, OUTSIDE SHOWERS - CONTINUOUS SUMMERS spots one of the many cameras spread around the base. She looks up to it. SUMMERS (looking to a camera) Can’t you open it?

38. STEVENS (V.O.) (over intercom) FAIRFIELD’s working on it. SUMMERS Is she okay? STEVENS (over intercom) Showers are a dark-zone for us. You wouldn’t want us spying on you, would you? INT. MISSION CONTROL - CONTINUOUS STEVENS (to FAIRFIELD) Where are you with this? FAIRFIELD Just a sec. FAIRFIELD types furiously on a keyboard. FAIRFIELD (CONT’D) Never met a code I couldn’t crack. Just about. There. INT. LUNAR STATION, OUTSIDE SHOWERS - CONTINUOUS The door unlocks, and slides open. VVVTTTSSS COOPER Finally. Steam pours out the open door. He starts in, then SUMMERS grabs his shoulder. SUMMERS Let me. COOPER looks to YOUNG, who gives a curt nod. SUMMERS enters-

39. INT. LUNAR STATION, SHOWERS - CONTINUOUS SUMMERS walks through the thick steam, and spies EVE huddled in the corner. EVE looks like she is in a daze. She might be. SUMMERS Eve? EVE What happened to me? SUMMERS Not sure. Caught a nasty bug, maybe. Why don’t we turn off the water. EVE We’re here? We made it? SUMMERS Yeah. SUMMERS reaches to turn off the water, but snatches her hand back in pain. SUMMERS (CONT’D) That’s scalding. How can you stand it? EVE looks at the water, as if noticing it for the first time. She shrugs, and turns it off. SUMMERS (CONT’D) Are you okay? EVE I’mShe stands up, the daze is gone, and the new EVE is here. She doesn’t even hide her naked body in shame. She feels great. EVE (CONT’D) -Hungry.

40. She walks past SUMMERS, and out the door past the rest of the shocked crew. COOPER’s and ANDERSON’s eyes linger on her as she exits, dripping. CUT TO: INT. LUNAR STATION, MESS HALL Everyone sits around the table. EVE greedily devours her green oatmeal. The crew seems uneasy with this new EVE. ANDERSON has the rover in the MESS HALL with them. He is fixing the busted wheel frame. PHILLIPS -Well it makes sense, you’ve been living off fluids for a while now. ANDERSON (looking up from rover) That doesn’t explain why she thinks the food tastes good. EVE scrapes her bowl. EVE That’s all? ANDERSON (hidden by rover) Take mine. ANDERSON taps out a few bolts; PING, PING, PING. YOUNG launches the hologram from the center of the room. YOUNG We made our first scout today. (looking to rover then SUMMERS) With only a minor disaster. How long until that’s fixed? He doesn’t respond, he stares at EVE, eating like an animal. YOUNG (CONT’D) ANDERSON. How long?

41. ANDERSON Oh, um, soon. Just an alignment issue. Nothing some good ol’ fashion duct-tape won't fix. ANDERSON starts to YANK at the wheel, trying to get it off. YOUNG Alright we will fan out tomorrow and coverEVE stands up and BELCHES loudly. EVE I’m going to the gym. She struts over to COOPER and drapes her arms over his shoulder. EVE (CONT’D) (into COOPER’s ear) Could use a spotter. She walks away. Every one is shocked, YOUNG’s pissed, and SUMMERS stifles a laugh. COOPER struggles for an excuse to go. COOPER I’ll go get her. He exits. With a grunt, ANDERSON, pulls the wheel off the rover, and falls over, causing a loud crash. YOUNG (snaps) Do you have to do that in here?! ANDERSON peeks over the table. ANDERSON (apprehensive) I wanted to hang out.

42. INT. MISSION CONTROL - NIGHT STEVENS bounces a tennis ball off the wall repeatedly, while FAIRFIELD monitors the station. There are some old pizza boxes in the corner. STEVENS . . .After this it’s lush seats, a nice view, Hell, I’ll probably have a spot on the jet. FAIRFIELD’s interest faded hours ago. STEVENS (CONT’D) Yep, it’s all about putting in that time, you’ve got toFAIRFIELD -Look at this. He pulls up a screen of the gym. EVE is on a bench-press like machine. FAIRFIELD (CONT’D) That’s over two-fifty. She couldn’t get past one-fifty in training. STEVENS So what, isn’t a hundred pounds like fifteen there? FAIRFIELD Free weights, yeah. These are resistance bands. INT. LUNAR STATION, GYM - CONTINUOUS EVE pumps in rapid succession, it’s nothing to her. She stops. Raises the resistance up, and gets back at it. COOPER enters, but EVE barely takes notice. Up down, up down, up down, this is weird. This is not the EVE that left Earth. COOPER Weights, huh?

43. EVE’s pace quickens. COOPER (CONT’D) That’s cool. That’s cool. You know, Captain Young, she wasn’t done with herEVE gets up and moves to the treadmill. EVE I was done. The track starts to move. COOPER gets on the bench-press. He attempts to lift the weight, but it’s no use. He looks to see what it’s set at. It’s maxed out at four-hundred. COOPER Right. You feeling alright, Eve? She seems to re-notice him. She hops off her speeding treadmill. She gets close to him, and grabs his hand. She places it right on her chest. EVE You feel that? CHRIS Umm. EVE My heart rate. It’s not even beating fast. COOPER shakes off his daze. COOPER Yeah, I guess you’re right. She puts her hand on his chest. INT. MISSION CONTROL - CONTINUOUS STEVENS and FAIRFIELD are glued to the screen. What’s happening?

44. STEVENS What’s going on here? (That’s what I said. . .) FAIRFIELD I don’t know. STEVENS Do we have sound. FAIRFIELD Yeah. FAIRFIELD turns up the sound, and STEVENS pulls a chair close to the screen. EVE (on screen) Yours is fast. INT. LUNAR STATION, GYM - CONTINUOUS COOPER What? EVE Your heartShe leaves him and walks to the door. EVE (CONT’D) And, it’s starting to beat faster. She locks the door. INT. MISSION CONTROL - CONTINUOUS At the locking both STEVENS, and FAIRFIELD shout out, FAIRFIELD Wait. What? STEVENS

They’re like thirteen year old boys watching their first dirty movie.

45. STEVENS Oh my. STEVENS looks to FAIRFIELD, he doesn’t say anything. INT. LUNAR STATION, GYM COOPER (gulp) How do you know? EVE slowly saunters up to him. Her eyes transfixed on his neck. The sound of a HEART BEAT comes in. His carotid artery, bulging, it seems to call to her. EVE I can hear it. She unzips her jumper slowly. INT. MISSION CONTROL STEVENS and FAIRFIELD lean closer to their screen. INT. LUNAR STATION, GYM She leans into COOPER and whispers in his ear. EVE We could go back to the briefing if you want. COOPER Fuck that. EVE Exactly. COOPER goes to grab her but she pushes him back and takes charge. He hurriedly zips down his jumpsuit, and peels off his undershirt. EVE straddles him, and kisses his neck, and peels off her jumper, and digs her nails into his back.

46. INT. MISSION CONTROL STEVENS has his hands on FAIRFIELD’s shoulders playfully. Rocking him back and forth, excited. FAIRFIELD Should we be watching this? STEVENS If you change this I will punch you in your wiener. Do you know how boring this job is? INT. LUNAR STATION, GYM COOPER enjoys himself while EVE stays at his neck. COOPER Oh, oh, ow, ow. EVE’s nails rake across his back, starting to draw blood. A rough by-product at first, but then she sinks them in deeper. COOPER (CONT’D) Ahh. He pushes her back in horror. She drops her gaze to look at her stained red fingertips. COOPER (CONT’D) Damn girl, I like it rough, but we’re not animals. How about a little romance. COOPER’s look turns to concern. He hurt her feelings, her face is still hidden with her head bowed. He lifts her head up to reassure her, and turns white with fear. EVE’s eyes glow yellow. INT. MISSION CONTROL Their noses almost touch the screen. They watch a small EVE push COOPER to the floor and straddle him. STEVENS Oh shit.

47. COOPER starts to moan as EVE kisses his neck. This is hot. STEVENS (CONT’D) Oh shit. The moan becomes a scream and EVE reels her head back as blood spurts from COOPER’s neck. Her face smeared dark red. STEVENS (CONT’D) (shocked) Oh shit. What the fuck? The two of them scramble. STEVENS (CONT’D) What the Hell is that? FAIRFIELD I don’t know, I don’t know. STEVENS Tell the others. INT. LUNAR STATION, MESS HALL - CONTINUOUS ANDERSON sits in his newly fixed rover, while the others sit around the table, board. PHILLIPS . . .I’m just saying it doesn’t make sense as a plot device. Why didn’t Dumbeldor just use the timeturner and stop Voldemort in the first place? ANDERSON has had this conversation too many times before. ANDERSON It’s a story. You can’t dissect it, if you do that to any story you’ll find plot holes. Just enjoy it. They both turn their gaze, it almost looks like they’re looking at us. SUMMERS throws up her hands in submission.

48. SUMMERS Don’t look at me, I never even read the books. PHILLIPS What? They’reFAIRFIELD (V.O.) (intercom, nervous) Get to the gym now. Eve is, oh God, she’s killing him. Everyone looks to each other in confusion. INT. LUNAR STATION, OUTSIDE GYM - MOMENTS LATER YOUNG tries the door. YOUNG It’s locked. FAIRFIELD (V.O.) (intercom) Accessed. The door chimes and slides open. VVVTTTSSS. The room is dark, streaked with the light coming in from the small windows. YOUNG Lights. FAIRFIELD (V.O.) (intercom) She took them out. YOUNG Where are they? FAIRFIELD (V.O.) (intercom) She was in the far corner. They inch into the room.

49. YOUNG Where’s Cooper? SUMMERS screams. Shadowed by a machine, COOPER’s body lays dead. A puddle of dark blood pools at his neck. There is a massive chunk taken out of it. YOUNG (CONT’D) EVE, show yourself. That’s an order. A soft whimper floats from the far end of the room. The crew gets closer, and the sobs increase. EVE is curled in the corner shaking. She stares at her hands in utter disbelief. The crew gets to her, she looks up to them, afraid. EVE Why? No one knows what to do. SUMMERS helps her up. YOUNG ANDERSON, PHILLIPS, take her by the arms. EVE What? Why? YOUNG We need to lock you somewhere. The boys take her in firm grasps. EVE What’d I do? PHILLIPS (to YOUNG) Where? We don’t have a brig. EVE What’d I do? YOUNG We need somewhere small.

50. They begin to walk her out. ANDERSON The showers? EVE What’d I do? YOUNG My dorm. We’ll have mission control lock it. EVE (angry now) What the fuck did I do? YOUNG (no sympathy) You murdered Chris. EVE (horrified) No. No I couldn’t. No. YOUNG gestures to the destroyed body. EVE shakes her head. EVE’s knees buckle, and she falls, and retches. She struggles against PHILLIPS’ and ANDERSON’s grip on her. She looks to them for help. ANDERSON looks down. PHILLIPS I’m sorry. EVE No. NO! She falls again. This time she is illuminated by light from the moon streaking into the room. EVE (CONT’D) (under breath, deep) No. She wrenches free and throws PHILLIPS to the ground, hard. ANDERSON gets a grip on her shoulder, but she bites him and gets free. She runs full-out toward the door.

51. YOUNG Shut the door. The door starts to close as EVE gets to it. She powers through the partially closed door. ANDERSON (back to his feet) What the Hell. She bite me. He helps PHILLIPS to his feet, and YOUNG oversees the room. SUMMERS examines the door. The metal is bent, and there are five deep scratches in it. SUMMERS traces them with her own hand. She looks up scared. SUMMERS We need to find her. CUT TO: INT. LUNAR STATION, HEATHER’S DORM Her dorm is simple, small, a single cot and small desk are the only notable features. A familiar holographic map illuminates from her desk showing the base’s layout. YOUNG Do you have any eyes on her, Tim? FAIRFIELD (intercom) Negative. She has to be in one of our dark zones. I’ll put them up on your map. Five areas turn red on the map. FAIRFIELD (CONT’D) The showers, the air-lock, the control room doesn’t have a ceiling camera, your dorm, and the outeredge of the green-house isn’t covered.

52. YOUNG examines the map, making her plan of action. YOUNG ANDERSON, you and PHILLIPS get to the control room, and green-house. Built into her desk is a safe. YOUNG opens it by scanning her hand. YOUNG (CONT’D) SUMMERS, you and I will take the showers, and Air-Lock. ANDERSON What’s to stop her from doing to us what she did to Chris? YOUNG takes two pistols from the compartment in her desk; she tosses one to PHILLIPS. He hands it to ANDERSON. YOUNG Despite what some of you may think(looks to SUMMERS) You will find that I am not one with whom to fuck. She cocks her gun. CUT TO: INT. MISSION CONTROL

STEVENS paces back and forth in the control room. He is stressed. STEVENS Why the hell are there guns on this base? If something went wrong, the liabilityADMIRAL Something is wrongADMIRAL KOOMAR, mid fifties, good ol’boy, could kick anyone’s ass, steps into the room.

53. ADMIRAL (CONT’D) -and you’re lucky we have them, mister Stevens. Both FAIRFIELD and STEVENS are shocked to see him; he isn’t someone who socializes with many people. This must be bad. FAIRFIELD Admiral. ADMIRAL Timothy. Mister Stevens. He stares intently at the monitors for a few beats, enough for it to feel awkward, but STEVENS and FAIRFIELD aren’t about to say anything. ADMIRAL (CONT’D) You know, I got myself a new mattress. One of those set your own number deals. FAIRFIELD and STEVENS look to each other. What’s he talking about? ADMIRAL (CONT’D) Britt’s back has been hurting her, and our other one must have been going on twenty-five years old. You’re suppose to replace them every ten years, I hear. Some more silence. ADMIRAL (CONT’D) Ask me how it is, Timothy. FAIRFIELD How isADMIRAL I don’t know. I don’t know, because I’m here on my first night with it. So lets fix whatever needs fixin, so I can get home, and sleep on my overpriced bed.

54. The three of them peer at a monitor that displays ANDERSON, and PHILLIPS walking down a hall. FADE TO: INT. LUNAR STATION, HALLWAY - CONTINUOUS ANDERSON and PHILLIPS walk down the hall, ANDERSON tosses the gun from one hand to the other. PHILLIPS Stop it. ANDERSON Why? PHILLIPS You might drop it. Accidently shoot one of us. ANDERSON That doesn’t really happen. He purposely misses his next catch and the gun falls to the ground. ANDERSON (CONT’D) Oops. ANDERSON picks it up, PHILLIPS is annoyed. ANDERSON (CONT’D) You know, this is stupid. PHILLIPS What? ANDERSON This. This hot mess. We’re not trained for this. You look at sand, I’m a glorified mechanic. What are we supposed to do? PHILLIPS I don’t know.

55. They arrive at the door that leads into the control-room. It looms in front of them, ominous. They’d rather be anywhere than here. ANDERSON presses the button. VVVTTTSSS - The door opens. ANDERSON sweeps in. INT. LUNAR STATION, CONTROL ROOM - CONTINUOUS ANDERSON checks under the desk and in every corner. Nothing. ANDERSON All. . . Hold on. He opens a small locker and pulls out four pairs of headsets. ANDERSON (CONT’D) This way if mission control spots her they can tell us, but not the entire base. PHILLIPS Good call. Greenhouse? ANDERSON Greenhouse. CUT TO: INT. LUNAR STATION, OUTSIDE SHOWERS YOUNG exits the shower, her gun drawn. SUMMERS Anyone? YOUNG moves past her and heads toward their next location. SUMMERS, frustrated, keeps up. SUMMERS (CONT’D) Okay, stop. What is it that I have done that has so greatly offended you? YOUNG ignores her and keeps walking. SUMMERS is done with this. She grabs YOUNG’s shoulder.

56. Bad call. YOUNG side-steps out of her hold, grabs SUMMERS’ arm, and twists it. SUMMERS slaps her, and regrets it immediately. SUMMERS (CONT’D) I’m sorrWith a forearm to SUMMERS’ throat, YOUNG shoves her into the wall, and lifts her up. YOUNG (gritted teeth) I CAN’T TRUST YOU. YOUNG lets SUMMERS drop down. SUMMERS collapses and coughs for a moment. YOUNG (CONT’D) You think I wouldn’t run a background on someone before letting them aboard my ship? SUMMERS is still on the floor trying to catch her breath. YOUNG (CONT’D) And, after much protest against you, your company forced you down my throat. Why is that? Are you such a better employee than others? Are you so special? SUMMERS What? YOUNG I know who you are Kira Summers, you’re the daughter of two traitors, and the granddaughter of one. I know what that makes you. SUMMERS gets to her feet. SUMMERS I’m not my family.

57. YOUNG Your grandfather sold secrets to Germany during world war II, and your parents sold secrets to China. The reason your damned company forced you on me is because they can count on you to betray your country. SUMMERS (reassuring herself) I’m not my family. YOUNG I heard you the first time. Why are you here? SUMMERS doesn’t say a thing. She just looks at YOUNG with resent. They stare each-other down. YOUNG (CONT’D) Yeah, that’s what I thought. YOUNG turns, and plods down the hallway. CUT TO: INT. LUNAR STATION, GREENHOUSE The door to the enclosure shuts behind them, as they enter. It’s massive, bigger than any room we’ve seen thus far. ANDERSON whistles in amazement. It is damp in there, plants of all kinds grow, clawing toward the ceiling. It is jungle like. The light from the moon bleeds down through the top of the domed ceiling, creating a spotlight in the center. ANDERSON Does it have to be so big?

58. PHILLIPS Once the ecosystem is stable, it can provide food for one-hundred and fifty people. Scrub that much air too. ANDERSON All this room, and we’re eating green goop. Let’s work our way around. He nods to the left, and they start to move around the outer parameter. PHILLIPS What would you have done? ANDERSON About what? PHILLIPS With your gun; if we had seen her. What would you have done? ANDERSON Depends what she did. PHILLIPS I don’t think I could do it. I don’t think I could shoot anyone. ANDERSON You saw what she did to Chris. PHILLIPS I saw her crying, something else is going on. A PUMP starts up, and startles them. ANDERSON points his gun toward the sound, which happens to be where PHILLIPS is standing. PHILLIPS lowers ANDERSON’s arms. PHILLIPS (CONT’D) This is what I’m talking about. You could have shot me. Promise me you won’t shoot her.

59. ANDERSON Depends on what shePHILLIPS Don’t shoot her. ANDERSON Fine, but you talk to her. PHILLIPS What? ANDERSON nods up ahead. Clutching her knees to her chest, and Underneath a large plant is EVE. Her jumpsuit is wet and clings to her. PHILLIPS (CONT’D) (to ANDERSON) Alright. Head to the entrance. We’ll meet you there. ANDERSON is apprehensive about this, but he reluctantly goes. PHILLIPS turns his attention to EVE, and makes his way to her. PHILLIPS (CONT’D) Eve? EVE Go away. PHILLIPS You know I can’t do that. He sits down by her, like nothing’s going on. She turns her back on him. PHILLIPS (CONT’D) I love it in here. Almost feels like Earth, ya know? EVE What are you going to do with me? PHILLIPS I just want everyone to be safe, that means you too.

60. She mulls this over for a bit. EVE Don’t freak, okay? PHILLIPS What is it. EVE turns, and PHILLIPS gasps. Her eyes are bright yellow, almost wolf like. On his gasp she turns away. He takes her by the shoulder an slowly turns her back toward him. He looks her over. PHILLIPS (CONT’D) It’s okay. EVE (verge of tears) What’s wrong with me? PHILLIPS I don’t know, but we’ll figure it out. She hugs him. Holds him tight. EVE (whisper) Thank you. PHILLIPS Come on. It’ll be alright. The sound of THUNDER chimes through the greenhouse speakers. EVE Good thing. It’s about to rain. A light misting starts to shower the greenhouse. They share a smile and a light laugh. He helps her up. On the other side of the greenhouse SUMMERS, and YOUNG come in where ANDERSON is. ANDERSON tries to take cover from the water at the edge of the green house.

61. YOUNG What’s going on? Where’s PHILLIPS? ANDERSON On the other side. He’s bringing Eve out. YOUNG Why didn’t he take the gun? ANDERSON It’s PHILLIPS. SUMMERS Look. PHILLIPS leads EVE by the hand through the greenhouse. He waves to them. PHILLIPS (shouting to other side) It’s okay. We’re okay. EVE stops at the sight of the guns. She clenches PHILLIPS’s hand, and hides behind him. EVE Why do they have guns? PHILLIPS It’s fine, it’s fine. (to others) We’re fine. Put your guns away. She’s not going to be any trouble. ANDERSON looks to YOUNG for advice. YOUNG (calling out) ANDERSON will put his down. You have my word, if you don’t do anything, I won’t do anything. This is about as much reassurance as EVE is going to get. They keep coming, hand in hand. They get into the center of the room an EVE stops again. Illuminated by the moonlight. She looks up and out through the glass. Bathed in the light.

62. PHILLIPS Come on, Eve. She doesn’t move. The light of the moon dances around her. YOUNG Come on. PHILLIPS pulls her hand, but she won’t budge. He looks to HEATHER for guidance. They return a look of amazement and fear. PHILLIPS looks back in time to watch EVE begin to twist and bulge. Her face, begins to elongate, her limbs, and nails grow. With CRACKS and POPS her bones grow and change. Her grip on his hand tightens and he falls to his knees in pain, as she crushes his hand. ANDERSON and HEATHER draw their weapons. PHILLIPS (in pain) No, no. Stop. He stands up, and looks into the malformed creature that was EVE. She’s a werewolf, but not a werewolf. She is some half version, incomplete, she sure is ugly though. PHILLIPS (CONT’D) Eve, Eve it’s me, Thomaaaa. She tightens her grip, then lets go of his hand. She cocks her head to the side. She lets out a low whimper. PHILLIPS (CONT’D) It’s okay. (to others) Don’t shoot, alright, don’t shoot her. EVE caresses PHILLIPS’ head. PHILLIPS (CONT’D) Hey, Eve, it’s me, Thomas. Remember?

63. She places her malformed hands on his shoulder, and shutters. She screams in pain her face elongates further, her YELL becomes a HOWL. She lifts PHILLIPS into the air and sinks her claws into his shoulders. PHILLIPS (CONT’D) What are you doing? Eve. Stop. She starts to crush him. PHILLIPS YELLS. PHILLIPS (CONT’D) Shoot her, damn it. Shoot her. ANDERSON and HEATHER unload on the beast that was EVE, but their bullets have little effect. ANDERSON empties and throws his gun at her. EVE starts to pull at PHILLIPS, she’s tearing him in half. His SCREAMS fill the room. HEATHER shoots PHILLIPS in the head, relieving him from the pain. EVE looks up, and seems to re-notice them. YOUNG Get out. ANDERSON What’s going on Captain? YOUNG Get to the hanger, get the rover and get the Hell out of here. SUMMERS and ANDERSON get out the door while EVE slowly advances. HEATHER stands her ground. She unloads a few more rounds, but EVE keeps on coming. YOUNG (CONT’D) Fairfield lock the door. She leaps out right as the door shuts and locks.

64. INT. LUNAR STATION, OUTSIDE GREENHOUSE - CONTINUOUS SUMMERS, YOUNG, and ANDERSON slowly back away from the greenhouse, keeping their eyes on the door. BANG! The door shutters. SUMMERS She couldn’tBANG! A HOWL fills the station. ANDERSON I don’t want to find out. Let’s go. He turns and runs. BANG! The door dents, opening by a sliver. A deformed claw/hand gropes the outside. They all run. CRASH, the door gives way, and, EVE, on all fours, lopes after them SNARLING. YOUNG Shut all the doors behind us. They run through the hallways, every door behind them closes and locks; each to be knock off its’ hinges violently, as EVE runs through them. INT. LUNAR STATION, HANGER - MOMENTS LATER They fall over each-other, scrambling into the room. The door starts to slowly close. On the ground, they are all frozen in fear, watching EVE through the closing door, as she snarls and runs toward them. CUT TO: INT. MISSION CONTROL - CONTINUOUS On one of the screens EVE crashes into the heavy door. It holds, and holds another attack. The room lets out a breath of relief. On the screen, EVE, scratches at the door, but it’s not doing much.

65. FAIRFIELD (into mic) It’s holding. We’re good for now. I wouldn’t stay there though. EVE stares at a camera in understanding, then runs away from the door. STEVENS rips off his headset, and jumps to his feet. STEVENS I’m dead. ADMIRAL Excuse me? STEVENS Did you see how much damage that, that thing did to my base? ADMIRAL Our base. FAIRFIELD watches the screens, following the creature. It starts clawing, and crashing into a door. STEVENS Whatever. It’s in the millions. FAIRFIELD (low, and to screen) What are you doing? ADMIRAL Do I need to remind you that we have people on that base? FAIRFIELD (to STEVENS, and ADMIRAL) She’s trying to get in the control room. They ignore him.

66. STEVENS I know we do, and that’s real sad, but we both know they are just a small piece to a much, much larger picture. EVE breaches the CONTROL-ROOM. FAIRFIELD Oh no. EVE takes a mouth full of wires, and bites down. All the screens go black. ADMIRAL What happened? STEVENS Tim, what’d you do? FAIRFIELD types commands into the computer, but nothing happens. He turns to them, dead serious. FAIRFIELD We’re dark. STEVENS kicks over a trash-can. Chinese food goes flying. STEVENS I didn’t know they were smart enough to think like that. FAIRFIELD and ADMIRAL KOOMAR look at him quizzically. ADMIRAL What do you mean? STEVENS What? FAIRFIELD You said you didn’t know they were smart. ADMIRAL What, exactly, do you think we’re dealing with?

67. STEVENS Come on. Am I really going to have to be the asshole who says it? FAIRFIELD and ADMIRAL KOOMAR don’t make a move. STEVENS (CONT’D) Shit guys. That was a fucking werewolf. FADE TO: EXT. LUNAR SURFACE YOUNG drives the second rover away from the base. ANDERSON in the passenger seat, and KIRA on the back. They have been driving for a while. SUMMERS I think we’re good. It’s not like she can survive out here. YOUNG SLAMS on the breaks. The rover skids, and both ANDERSON, and SUMMERS nearly fall out. YOUNG jumps out of the rover, and tears SUMMERS from her seat, she throws her to the ground. ANDERSON Captain. He gets out and goes to help. YOUNG Stand down Anderson. SUMMERS tries to get to her feet, but YOUNG kicks her down again. YOUNG (CONT’D) What did you do to her? SUMMERS I didn’t doYOUNG kicks her in the gut.

68. YOUNG Lire. You and your damn company. What was it? YOUNG grabs one of the spear-tipped sensors from the rover. SUMMERS crawls on the ground. ANDERSON looks helpless. SUMMERS Nothing. We - I never did anything. YOUNG If we’re dieing out here, your next. YOUNG raises her spear above SUMMERS. ANDERSON tackles her. ANDERSON Stop it, Captain, she didn’t do anything. What are you doing? The spear stabs into the earth next to SUMMERS. She gets up. ANDERSON stands by her in support. YOUNG gets to her feet. She shuts off her microphone, and turns away from them. She screams at the top of her lungs, but nothing can be heard. She falls to her knees and punches the ground. FAIRFIELD (scratchy audio) Hello? All three look to each other. YOUNG turns on her microphone. YOUNG Tim. What’s happening? CUT TO: INT. MISSION CONTROL / EXT. LUNAR SURFACE - CONTINUOUS FAIRFIELD places his head down on the control board, relieved to hear her voice. He is joined by STEVENS, ADMIRAL KOOMAR, and a new player, Dr. DAMIAN MAKKI, a short bearded professor who looks like he was just pulled from bed.

69. FAIRFIELD I’m not sure if I even know, and I definitely don’t believe what they’re telling me. YOUNG We need to do something. STEVENS Heather, it’s Paul. We have someone here that may be able to help. PROFESSOR MAKKI puts on a headset. PROFESSOR MAKKI Um, hello? STEVENS PROFESSOR MAKKI here is a monsteroligist. PROFESSOR MAKKI I am a professor of classics, and mythology. STEVENS (pats him on the shoulder) Just as useless, buddy. PROFESSOR MAKKI What? STEVENS He’s going to tell you guys how to stop that thing. PROFESSOR MAKKI I’m not sure aboutANDERSON We’re not stopping anything. We’re getting out of here. Initiate the rocket launch and we’re gone. Leave whatever that is behind. There is a silence from the other end.

70. YOUNG What is it? ADMIRAL Eve, or what was Eve, destroyed our connection with the base. Mister Fairfield is trying to work through a redundancy system, but it’s not looking good. YOUNG Admiral. I didn’t know you were here. SUMMERS So what you’re saying . . . ADMIRAL You have to manually initiate the launch from the control room. The three crew-members look to each other. ANDERSON That’s great. That’s really, really great. ANDERSON punches the air out of frustration. YOUNG Sir, what are our orders? The people at mission control look to PROFESSOR MAKKI. He is dumbfounded. PROFESSOR MAKKI Look, I’m a professor, not Van freaking Hellsing. This is completely out of my field of knowledge. STEVENS It’s a werewolf, Professor. It’s not only in your field, it’s in your home, it’s in your room of knowledge.

71. PROFESSOR MAKKI You honestly expect me to believe you have a mythological monster trapped on a base on the moon? ADMIRAL We expect you to do what we brought you here to do. If that’s going to be a problem we’re more than happy to return you home, but you might find the ride rather uncomfortable. PROFESSOR MAKKI looks at ADMIRAL KOOMAR, he’s not kidding. PROFESSOR MAKKI (can’t believe he saying this) Fine. Well a lycanthrope, or werewolf, usually “infects” its’ victim from a scratch or a biteANDERSON looks at his gloved hand. He remembers EVE’s bite. PROFESSOR MAKKI (CONT’D) -there is also the question of the cultural differences of this myth, for example in greekADMIRAL Doctor, how do we stop it? PROFESSOR MAKKI Well treating the symptom in ancient times, was often done with hyper-exhaustion, or wolfsbane. ANDERSON How about something we have. PROFESSOR MAKKI There is always the proverbial silver bullet, but I doubt you have that. YOUNG We have regular bullets. Will that work?

72. PROFESSOR MAKKI I don’t know. This isn’t something I do on the weekends. ADMIRAL Will it work? PROFESSOR MAKKI (exhausted) If were going on the mythology only, then probably not. No. These creatures were known for being highly resilient toward most physical attacks. Any silver weapon would be highly useful, again, in theory. SUMMERS We have silver. YOUNG (suspicious) Where? SUMMERS In the greenhouse. STEVENS You’re right, the water purification system uses a series of silver sheets. ANDERSON Great, now all we need to do is melt it down and make a bullet. SUMMERS Or lay it over something sharp, like a blade, or . . . SUMMERS, YOUNG, and ANDERSON both look to the sensor sticking out of the ground. YOUNG Or a spear. Doctor, if we stab her with a silver spear would that work?

73. PROFESSOR MAKKI Yes, that should be effective. YOUNG (to her team) So that’s the plan. Get to the greenhouse, get to the purification system, get the silverShe yanks the sensor from the ground. YOUNG (CONT’D) -and we get out of here, without Eve, or through her. CUT TO: EXT. LUNAR SURFACE The team slowly pulls up toward the base. Many of the lights are out, some just flicker. ANDERSON Look. Inside the base the silhouette of a great WOLF lopes down a hall. From the look of it, EVE has doubled in size. Almost no human remains. SUMMERS (into com) Wish you guys could be seeing this. We could use some eyes in the sky. FAIRFIELD (over speaker) Working on it. Stay safe. INT. LUNAR STATION, AIR-LOCK The rover pulls into the Air-Lock. The door shuts behind them, seals them in. The room pressurizes, then CHIMES that it is safe. They peel out of their surface suits. ANDERSON apprehensively takes off the glove covering the hand that EVE bit.

74. YOUNG How many rounds do you have? The wound looks infected, inflamed and filled with puss, small black veins branch away from it. YOUNG (CONT’D) ANDERSON, how many rounds do you have? ANDERSON looks up noticing that both YOUNG and SUMMERS are looking at him. As discreetly as possible he slides his hand back into his glove. ANDERSON I was out. YOUNG looks to him to finish his thought. ANDERSON (CONT’D) So I threw it at her. YOUNG That was stupid, but I guess it wouldn’t matter. I only have one clip left. The lights in the room flicker, and grow brighter. CUT TO: INT. MISSION CONTROL FAIRFIELD is at the desk, he gets a screen to pop up. FAIRFIELD Yes. I told you I have yet to meet a system I couldn’t get in to. PROFESSOR MAKKI, STEVENS, and ADMIRAL KOOMAR rush to the screens. One by one, the screens POP to life, revealing the ruined base; broken lights, smashed doors, and destroyed screens. The monitors are in black and white now, but it’s better than nothing.

75. STEVENS Holy shit. It’s ruined, it’s over The WOLF races past one of the cameras. PROFESSOR MAKKI jumps out of fright. STEVENS (CONT’D) (to screen) Fuck you. The MONSTER stops long enough for PROFESSOR MAKKI to get a good look at it. His eyes light up like a kid on Christmas. PROFESSOR MAKKI (to self, amazed) You actually have one. ADMIRAL What do you have control of? FAIRFIELD Let’s see. STEVENS (still at screen) Aw man, she’s pissing on the goddamn holo-display. They all look at him in annoyance. STEVE What? She is. FAIRFIELD gets back to his code. Reads through lines of data that are as foreign to the others as they are to us. FAIRFIELD We have; cameras, doors, limited ventilation, The P.A. system seems iffy. (into mic) Hey guys, keep your headsets so I can talk to you directly.

76. YOUNG (over speaker) Which rooms do you have access to ventilation? FAIRFIELD Not many; mess hall, kitchen, and the greenhouse. On the screen the beast appears. PROFESSOR MAKKI is drawn in. It rears its’ back and a HOWL is heard through YOUNG’s open com. FAIRFIELD (CONT’D) I also haveYOUNG -Wait a minute. STEVENS What is it? YOUNG If we can draw her into the greenhouse. . . FAIRFIELD (off her idea) I can open the fire vents, and suffocate her. STEVENS Do it. Do it - Do it - Do it. That thing has cost me more than I want to think about. PROFESSOR MAKKI looks to STEVENS, and ADMIRAL KOOMAR; he takes them both by the shoulder, and walks away from FAIRFIELD. FAIRFIELD (to self) Let me just make a pathway. PROFESSOR MAKKI gathers the others in a corner out of ear shot.

77. PROFESSOR MAKKI (whisper) You can’t do this. You can’t kill her. STEVENS The Hell we can’t, did you see the damage? The base still may be salvageable. PROFESSOR MAKKI You’re jumping over a dollar to save a dime. STEVENS and ADMIRAL KOOMAR have a weary look. PROFESSOR MAKKI (CONT’D) You two have the opportunity to acquires something no one in history has ever had. A living specimen of a mythological creature. This vastly changes . . . Everything, science, history, medicine, this creature is priceless. Sir, think of the opportunities in military alone. STEVENS, and the ADMIRAL stand for a moment taking it in. This is starting to look like a blessing in disguise. FAIRFIELD It’s working. We have a strait shot for her to there. PROFESSOR MAKKI pleads with his eyes. ADMIRAL (to STEVENS) Can you work this system? STEVENS My company designed it. ADMIRAL KOOMAR seems to weigh the options for a moment, thenADMIRAL Timothy, you are relieved.

78. FAIRFIELD looks up in confusion. FAIRFIELD What? ADMIRAL (barely covering) It’s been long and trying. We’ll take it from here. STEVENS walks up to take FAIRFIELD’s seat. FAIRFIELD What’s going on? We’re so close. This is working. Look. They don’t. FAIRFIELD gets it. FAIRFIELD (CONT’D) No. You can’t. ADMIRAL Get up, Mister Fairfield, you’re done. FAIRFIELD frantically types into the computer. He Goes to the microphone to say something, but STEVENS snatches it away. TWO GUARDS are in the room now. They take FAIRFIELD by the shoulders and forcefully remove him. FAIRFIELD No. You can’t. You can’t. Stop this. (accusing MAKKI) What did he say? The door shuts behind him. The room is quiet. STEVENS What now? PROFESSOR MAKKI (offering) Let nature take it’s course? CUT TO:

79. INT. LUNAR STATION, HANGER - CONTINUOUS The crew waits on baited breath. YOUNG What do you see, Fairfield? INT. MISSION CONTROL - CONTINUOUS The three in mission control look to one another. YOUNG (over speaker) Come in. Mission control can you hear me, over? What do you see? Come in mission control. ADMIRAL Shut it off. STEVENS gets on the control. YOUNG (over speaker) This is captain HeatherThe line goes dead. ADMIRAL KOOMAR nods in approval. INT. LUNAR STATION, HANGER - CONTINUOUS The crew look to one another in the silence. What’s going on? Almost in answer, the door to the base CLICKS open. YOUNG encourages it, and the base is revealed. It’s destroyed; lights hang from the ceiling, the walls are cut and twisted. The group peaks in. ANDERSON and SUMMERS are worried. ANDERSON What’s going on?

80. YOUNG (she get’s it) Think we’re flying blind. ANDERSON What? Why aren’t they responding? SUMMERS (she gets it too) Does it matter? ANDERSON looks to her shocked. SUMMERS (CONT’D) Well, does it? They can’t or they won’t, either way we’re on our own. YOUNG She’s right. Let’s go. YOUNG and SUMMERS start to walk in, but ANDERSON stays behind. He puts back on his helmet. When they are out of the door he closes it behind them. It locks and the room begins to pressurize. YOUNG and SUMMERS wheel around, and look at him through the door’s window. They talk through their coms. YOUNG (CONT’D) What are you doing? He shakes his head. ANDERSON I’m bit. (shows gloved hand) I don’t know how long it take to turn. Something tells me, up here, you go quick. SUMMERS (pleading) We can get you back, get help. ANDERSON (weak smile) No. (MORE)

81. ANDERSON (CONT'D) I can’t get on that return shuttle, and I won't risk turning while were in there. The room finishes pressurizing, and the door to the lunar surface opens. Welcoming ANDERSON to the lonely surface. ANDERSON (CONT’D) This will be better. ANDERSON walks out. EXT. LUNAR SURFACE - CONTINUOUS YOUNG ANDERSON this is an order, get back here now. ANDERSON Sorry captain, but this time I’m not listening. He presses a button on his wrist and his world goes silent. In the B.G. we can see YOUNG and SUMMERS yelling, but all we hear is ANDERSON’s breathing, and heart beat. He walks a few yards away from the base. In front of him is the Earth, shining big and blue. ANDERSON (CONT’D) (to self) Never should’a left. He flips Earth the bird thenANDERSON gets to his knees and grabs his helmet. INT. LUNAR STATION, HALLWAY - CONTINUOUS SUMMERS and YOUNG stare out one of the small windows as ANDERSON is on his knees. YOUNG Damn it, ANDERSON, you piece of shit, get back here now. ANDERSON.

82. Outside the window, ANDERSON’s helmet erupts in a vaporous cloud. He falls over, dead. His helmet roles a few feet from his body. YOUNG collapses against the wall, she is a wreck. YOUNG (CONT’D) (dazed) I was just following orders. SUMMERS tries to help her up, but she’s in shock. YOUNG (CONT’D) (dazed) Just following orders. SUMMERS (struggling) Well I order you to get up, there are still two of us. SUMMERS goes to slap her, but YOUNG catches her arm. She stands up with resolve. YOUNG I’m done with this mission. FADE TO: INT. LUNAR STATION, HALLWAY SUMMERS and YOUNG creep through the hallways of the base. Ventilation fans whine, all but a few lights remain, those flicker in and out. The base is lit by the moon-light pouring in through the windows, and their flashlights. YOUNG has the gun drawn, and SUMMERS carries her sensor like a spear, another one strapped to her back. YOUNG How did you know about the silver? SUMMERS Why? Still think I planned this whole thing?

83. YOUNG (almost joking) You are still alive aren’t you? SUMMERS lets out a small laugh. SUMMERS Harvester Industries, my company, we were the ones who designed the filtration system. I had to be an expert on all our equipment before I was allowed to go. They slide through a half opened door. They check to see if it’s clear. It is. SUMMERS (CONT’D) To prove something. YOUNG What? SUMMERS You asked me earlier why I was here. I’m here to prove something to myself. YOUNG What would that be? SUMMERS You were right before, when you said my family was full of traitors, and I think Harvester Industries thought they could count on me to side with money, but I am not my family. Their ghosts, their greed, died with them. YOUNG looks over SUMMERS, almost reevaluating her. A far off HOWL vibrates the hall. YOUNG How much further? SUMMERS It’s just up ahead.

84. The lights dim off and on. YOUNG (into com) Mission Control do you copy, if so dim the lights. Nothing happens. YOUNG tries to hide her disappointment. SUMMERS Let’s go. CUT TO: INT. MISSION CONTROL - MORNING STEVENS is at the control base he furiously types into the code. ADMIRAL What was that? What’s going on? STEVENS doesn’t look up. STEVENS I think it’s Fairfield. He’s trying to hack into our control. An error pops up on the screen. STEVENS (CONT’D) (to screen) Come on. It’s saying my password is not valid. STEVENS types faster and bypasses the password. STEVENS (CONT’D) There we go. Two can play at this game. (to ADMIRAL) He may be good, but our company designed this code. There’s no way.

85. INT. FAIRFIELD’S HOUSE, OFFICE - MORNING FAIRFIELD is in a small, dark gaming-room, a unicorn poster hangs on the wall, and model anime characters line the small desk, that is made smaller by the giant computer-tower at its’ side, and huge pair of twin monitors resting on it. Code rolls along one of the monitors. He types into it. A redbull sits next to his monitor, along side three crushed ones. His code stops, and errors. FAIRFIELD Is that how it is? (downs redbull, CRUSH) Well, let’s dance. CUT TO: INT. LUNAR STATION, WATER PURIFICATION ROOM The two women are in a small room outside the greenhouse, the inside is hidden behind thick condensation on the glass wall. YOUNG and SUMMERS tear off the cover of a large metal crate. Inside is an elaborate set of tubes that leads through a small tunnel, and sheets of silver. SUMMERS Here we go. YOUNG Why silver? SUMMERS It has a property of purifying bacteria. SUMMERS pulls out a thin sheet about the size of a piece of paper. SUMMERS (CONT’D) (smiling) It’s also great incase a werewolf attacks. SUMMERS hands YOUNG the silver sheet, and takes out another one.

86. They both wrap it around the tip of their sensors. YOUNG Like aluminum foil. SUMMERS It doesn’t need to be thick, just needs to be there. Lucky for us we didn’t use a silver brick. YOUNG Too bad you didn’t use silver bullets. A large black blur flashes past them on the inside of the greenhouse. They freeze. Slowly, they get to their feet and find the courage to look closely to the glass. It is hard to make out, but there can be no mistake. The MONSTER is eating what remains of PHILLIPS. YOUNG (CONT’D) (whisper) Where does this tunnel go? SUMMERS doesn’t respond, she just stares. YOUNG puts a hand on her shoulder, and SUMMERS drops her sensor out of fright. The silver tipped pole falls to the metal floor with a loud CLATTER. They are dead still. The blur of the BEAST looks up, but then goes back to eating. SUMMERS It . . . It leads to the shower. YOUNG examines the shaft. YOUNG It’s tight, but we can fit through. A light begins to strobe in the greenhouse, THUNDER. The sprinkler system goes off and the condensation on the glass melts away, revealing the MONSTER, wet and bloody.

87. In a second it’s on them, charging full speed. YOUNG (CONT’D) Get in. Now. The BEAST barrels headfirst into the thick glass. SMASH. She falls backwards. The glass is cracked, but far from broken. SUMMERS stares, mesmerized by what was once her friend. The WOLF shakes off the hit, and tries again, with similar results. SUMMERS She can’t get in. The WOLF paces back and forth in front of them, growling and whining in frustration. She places her grotesque hand on the glass. SUMMERS mirrors her action. The MONSTER cocks her head at this, then rakes her claws against the glass, creating defined gouges. The BEAST throws the whole of her body into the glass wall. Causing deep cracks. YOUNG grabs SUMMERS by the shoulder. YOUNG We’re leaving. As SUMMERS is pulled away from the glass wall. One small panel EXPLODES at the force of the MONSTER, showering cubed glass everywhere. The hole is small, but the monster shoves her hand through, and almost gets a hold of SUMMERS. YOUNG jabs at it with her spear, but misses. She turns and puts SUMMERS in the tunnel. SUMMERS crawls in. The MONSTER SLAMS into the wall again, causing five more panels to go out. YOUNG (CONT’D) Eve, stop it.

88. The BEAST stops at her former name. YOUNG and her look into each-other’s eyes for a beat. The WEREWOLF lopes back, then sprints toward the wall. YOUNG gets in the tunnel as the whole wall explodes in a rain of glass. The BEAST works through the twisted metal that was once the frame, and rushes to the tunnel. Squished, YOUNG follows SUMMERS down the tight passageway. The WOLF attempts to follow, but cannot fit, and snaps at YOUNG’S heels. YOUNG flips to her back, whips out her gun and fires. BAM, BAM. The second shot hits the WOLF in its open mouth. It may not be silver, but that hurts. The monster reels out, HOWLS in pain, and runs off. YOUNG (CONT’D) That’s right. FADE OUT. INT. FAIRFIELD’S HOUSE, OFFICE - DAY A blueprint of the station is on one of his monitors, the other shows the code. FAIRFIELD, hunched over his desk, types furiously. FAIRFIELD (to self) Here we go. Points on the blueprint illuminate and start to move. A selfpleased smile graces his face. INT. MISSION CONTROL - CONTINUOUS STEVENS Shit. He has access to the doors. ADMIRAL You said you designed this system.

89. STEVENS I said my company did, and I didn’t know your guy was Kevin fuck’in Flynn - Damn’it. PROFESSOR MAKKI What is it? STEVENS He’s got the ventilations. ADMIRAL KOOMAR walks to the side of the room and takes out a cell phone. STEVENS (CONT’D) (to self, if anyone) Maybe if I do a hard reset. ADMIRAL (in corner) Yes. But if you can avoid it, it would be preferred. ADMIRAL KOOMAR shuts his phone, and walks over. ADMIRAL (CONT’D) Men will be at his house soon. PROFESSOR MAKKI What will they do? INT. FAIRFIELD’S HOUSE, OFFICE - CONTINUOUS FAIRFIELD has an audio program up on one of his other monitor. ADMIRAL (voice out of speakers) They’ll do what they need to. FAIRFIELD shuts off the program. FAIRFIELD (to self) No, Sir, they won't.

90. Back to the code. CUT TO: INT. LUNAR STATION, SHOWERS SUMMERS sits on the sink leaning on the remaining silver tipped sensor. YOUNG paces, gun in one hand a corded phone in the other. They are both grimy from their tunnel crawl. YOUNG (to phone) Pick up. A dial tone persists. YOUNG (CONT’D) (to phone) Pick up. Nothing. YOUNG (CONT’D) (to phone) Pick the fuck up. She throws the phone to the ground. It shatters. YOUNG (CONT’D) Damn’it. She drops out her clip. Checks it. Slides it back in. YOUNG (CONT’D) Seven shots. SUMMERS We could kill ourselves a couple times over. YOUNG responds with a dirty look. She’s not giving up. A HOWL shakes the station. HEATHER kicks what remains of the phone.

91. YOUNG (yelling) Fuck you. (back to SUMMERS) Alright, if were gona do this, then we’re going to need a plan. (she calms down) How good do you think you are with that thing? SUMMERS eyes her spear with a playful smile. CUT TO: INT. LUNAR STATION, HALLWAY SUMMERS creeps down the hallway gripping her spear. SUMMERS (into com) You have anything? A beat of silence. YOUNG (over com) Nothing. SUMMERS WHISTLES. SUMMERS Here girl, here puppy, puppy, puppy. There is a CRASH behind SUMMERS. She whips around with her spear thrust forward. A fallen ceiling light lays on the ground. SUMMERS backs away from it slowly. YOUNG (over com) What was that? SUMMERS’ eyes dart around as she backs around a corner.

92. SUMMERS (into com) Nothing. Just the station falling to pieces. Around the corner there is a window into the greenhouse. SUMMERS peers in. The ground is dug up. It looks just likeSUMMERS (CONT’D) (to self) A den. (into com) We need to keep an eye on theA flash of movement quiets her. SUMMERS watches as the WEREWOLF lopes into the greenhouse with COOPER’s leg proudly in her jaws. YOUNG (over com) Summers, come in. Keep an eye onSUMMERS turns the volume down, afraid to make a sound. The WOLF nestles in, and chews greedily on the leg, it’s almost cute in a way. SUMMERS (cold whisper) I have her. She’s in the greenhouse. YOUNG (over com) Get to the air-lock. I’ll bring her to you. There is a loud BANG in the distance. Both SUMMERS and the wolf look up. YOUNG (CONT’D) (distant yell) Eve, Eve, come here. Another BANG. SUMMERS runs down the hallway.

93. INT. LUNAR STATION, OUTSIDE AIR-LOCK - MOMENTS LATER SUMMERS rushes to the entrance of the air-lock. The frantic race of feet and the horrible SNARLS of the MONSTER can be heard behind her. She situates herself around the corner and clutches her spear. She looks down to it. The footsteps get closer. YOUNG (from com, and in distance) You better be ready. SUMMERS is sure of herself. The sound of the scramble toward her steadily grows louder, and louder untilYOUNG flies around the corner. YOUNG (CONT’D) Now. SUMMERS shoots up with the spear and lunges as the WEREWOLF makes it around the corner, but the BEAST, at the last minute, dodges the thrust and knocks the spear out of SUMMERS’ hands. The two women look to one another, as the BEAST assess’ the situation. The spear at its feet. HEATHER raises her gun to get her shot. She is looking badass. YOUNG (CONT’D) Come and getIn an instant the monster is on her. She gets off one shot, that grazes the BEASTS side, before the monster tears off her arm at the shoulder. The gun tumbles across the hallway. In the madness of YOUNG’s cries of pain, and the MONSTERS greedy SNARLS, SUMMERS, scrambles to the gun and FIRES off a round. Hitting the BEAST in the back of the head. All this does is draw its’ attention. The monster leaves YOUNG’s mangled body, moves toward SUMMERS. She shoots again, and again. She is a lousy shot. BLAM, BLAM, BLAM.

94. The third shot is lucky, and hits the CREATURE in the right eye, exploding it. The MONSTER howls in pain, and begins to thrash around, whimpering. It pays no mind to either women, just its’ destroyed eye. SUMMERS gets to YOUNG and pulls her into the air-lock. Her gun set on the BEAST the whole time. INT. LUNAR STATION, AIR-LOCK - CONTINUOUS The door CLICKS, locked. SUMMERS turns her attention to YOUNG. Blood pools freely from her open shoulder. SUMMERS tries to attend to it, but what can she do? YOUNG looks up dazed, but not scared. YOUNG (shallow) Where? SUMMERS We’re safe, it’s okay. Everything will be okay. YOUNG No. YOUNG grips SUMMERS’ hand, slick with blood, and tightens it. YOUNG (CONT’D) JustYOUNG shuts her eyes. SUMMERS Heather? YOUNG Orders. YOUNG’s body goes limp. Another BANG stirs SUMMERS from mourning. She looks to the door, the WEREWOLF is hammering at the door. Muffled SNARLS leak through its’ thick wall.

95. She gets up and walks to a window that looks out to the lunar surface. Her gun loose in her hand. Outside the window ANDERSON’s body lays, lifeless, behind her YOUNG’s. The pounding at the door is rhythmic, heart like. Tears streak down her bloody face, but she doesn’t cry. Cooley, she brings the gun to her temple, and cocks it. One last, longing, look to Earth, eyes shut, andFAIRFIELD (over com) Stop. Summers, stop. SUMMERS looks up in shock. SUMMERS (brimming with emotion) FAIRFIELD? INT. FAIRFIELD’S HOUSE, OFFICE - CONTINUOUS FAIRFIELD has full control of what’s left of the base now. He talks into his gaming head-set. FAIRFIELD I’m here now. I’m here. Don’t do anything. One of the cameras looks at YOUNG’s body, FAIRFIELD turns it off. FAIRFIELD (CONT’D) You can trust me. INT. LUNAR STATION, AIR-LOCK- CONTINUOUS SUMMERS drops her head in gratitude. SUMMERS They’re all gone. FAIRFIELD (over com) I know. -But you don’t need to be. Let me help you.

96. She nods. She can do this. The BANGING at the door stops. SUMMERS Tim? FAIRFIELD (over com) Yeah? SUMMERS Get me the Hell out of here. CUT TO: SERIES OF SHOTS INT. SPACE STATION, HALLWAY - LATER SUMMERS walks through the hallway, her spear strapped to her back, gun in one hand, and a communicator in the other. FAIRFIELD (V.O.) First you need to make it to Heather’s office. INT. MISSION CONTROL - CONTINUOUS STEVENS frantically types on the computer. His typing is reduced to just banging on keys, then: STEVENS We’re locked out. FAIRFIELD (V.O.) Find her access-key-card. STEVENS knocks a coffee mug to the ground, it shatters. SUMMERS has the key-card. SUMMERS (into com) Got it. What next?

97. INT. FAIRFIELD'S HOUSE, OFFICE - CONTINUOUS FAIRFIELD paces by his computer with his wireless headset on. FAIRFIELD Okay. I don’t have full access to the station; cameras, doors, and a few basic functions, but mission control is completely locked out. INT. LUNAR STATION, HEATHER’S DORM - CONTINUOUS FAIRFIELD (V.O.) You need to get to the communication room, andINT. MISSION CONTROL - CONTINUOUS All the three men can do is watch their screens. STEVENS She’s going to initiate the emergency evacuation program. (turns to ADMIRAL) Pop the champaign, and bring out the welcome party, Admiral, our girl’s coming home. END OF SERIES OF SHOTS INT. LUNAR STATION, HALLWAY - MOMENTS LATER SUMMERS straddles a wall, and looks down the hallway. She needs to get to the other side, but to do so she must cross a large window into the greenhouse. SUMMERS (hushed) Are you sure? FAIRFIELD (quiet from com) Quick and quiet, and you should be fine.

98. SUMMERS (hushed) Should? FAIRFIELD (quiet from com) If you stay, I promise you, you won't be. SUMMERS works up the courage, and sprints across the window. Inside the WOLF paws at its’ shattered eye. She looks up for a moment, then continues to clean. INT. LUNAR STATION, CONTROL ROOM - MOMENTS LATER SUMMERS is at the computer screen it shows a simple DOS mode. FAIRFIELD (com) Place the card in, and hit the red button below it. She does. SUMMERS Kay. FAIRFIELD (com) The screen should reset, and show a yes no command, tell me when youSUMMERS Got it. FAIRFIELD (com) Type; zero, zero, bravo, one, five, two, one, alpha. SUMMERS (to self) One, alpha.

99. FAIRFIELD (com) Press Y after you see the code, and then the ship will be ready. The screen races through some code. Then readsCOMMENCE EVACUATION? Y/N_ SUMMERS goes to hit “Y”, then stops? SUMMERS Then what? FAIRFIELD (com) Then you get out of here. SUMMERS But, then what. I come home? Is there going to be a parade? Maybe I go on some talk shows, tell them all about how I fought werewolves on the moon. Doesn’t seem likely. She steps away from the keyboard. SUMMERS (CONT’D) Can you patch through mission control? FAIRFIELD What? SUMMERS I want to talk to them. FAIRFIELD Are you sure? SUMMERS No, but do it anyway. A low tone pops on from the speakers. They’re on, but is anyone home? It persists for a few beats, then-

100. ADMIRAL (over speakers) You wanted to talk to us. SUMMERS You mostly. ADMIRAL Very well. SUMMERS If I get out of here; make it past that monster, to the ship, through space, and back to earth, then what? INT. MISSION CONTROL - CONTINUOUS ADMIRAL KOOMAR takes STEVENS’ chair, and brings the mic closer. No bullshit. ADMIRAL I’ll tell you. FLASH FORWARD. NOTE: This is stylized, showing it is a possible future. EXT. ATLANTIC OCEAN - DAY In the sky a silver pod with a parachute floats toward a calm sea. ADMIRAL (V.O.) The emergency pod, by design, lands in the atlanticThe pod HITS the water. Inside, SUMMERS, looks out a small port window. ADMIRAL (V.O.) -which is where we will leave you for a couple of days until you’re dehydrated and weak. SUMMERS peers out of the window, but there is no ship in sight.

101. ADMIRAL (V.O.) Once we do get you, if we decide toFADE TO: INT. HELICOPTER - DAY SUMMERS is strapped to a gurney, sedated, and weak. ADMIRAL (V.O.) You will be flown to a pentagon holding cell. The helicopter flies over Washington. ADMIRAL (V.O.) There won’t be any press release, there won't be any interviews. INT. CELL - NIGHT SUMMERS is in prison garb in a small isolated cell, all white, with a tiny window at the top. She looks up an out of it at the stars. ADMIRAL (V.O.) We’ll keep you in a cell the rest of your life. There won't be a trial, there will be no escape. We’ll credit you as the reason for the deaths on the station. You will go down as a traitor. An end to a long line of them. In the cell the night light illuminates SUMMERS’ eyes, she looks out longing. FADE OUT. BACK TO REALITY:

102. INT. MISSION CONTROL - CONTINUOUS ADMIRAL KOOMAR is at the microphone, and STEVENS gives him a sign to keep talking, he has a plan. STEVENS types into the control. ADMIRAL But, if you cease this folly, and give up to the inevitable, I personally promise that you will be known as a great hero. Someone who stopped at nothing to protect her country. Isn’t that why you’re there? Save the family name? INT. LUNAR STATION, CONTROL ROOM - CONTINUOUS SUMMERS is stunned by his brutal honesty. ADMIRAL (through speaker) What do you say? Die a hero, or die a traitor, those are the only options I see. And I imagine a bullet to the brain would be nicer than a werewolf to the face. SUMMERS Decisions, decisions. A high pitch starts to emanate from the speakers. An animals WHINE floats from far into the base. FAIRFIELD (over com) Get out of there. She’s coming. INT. MISSION CONTROL - CONTINUOUS STEVENS is at a dial, tuning it to a high frequency. PROFESSOR MAKKI It’s working, keep it up.

103. SUMMERS (through speakers) Admiral, you better keep your word. ADMIRAL KOOMAR is relieved, she’s making the right decision. SUMMERS (CONT’D) (through speaker) Because if I get to Earth and you don’t get me, I’m coming for you, and everyone in that room. The line goes dead. INT. LUNAR STATION, CONTROL ROOM - CONTINUOUS SUMMERS hits the Y button. What lights remain in the base begin to flash red. COMPUTER VOICE Emergency evacuation in progress. Please stay calm, and make your way to the ship. SUMMERS races out of the door. CUT TO: INT. LUNAR STATION, HALLWAY - MOMENTS LATER SUMMERS sprints down the hallway. SUMMERS (into com) What now? FAIRFIELD (from com) Get to the hanger. INT. MISSION CONTROL - CONTINUOUS STEVENS pushes ADMIRAL KOOMAR and PROFESSOR MAKKI out of the way, and reclaims his seat.

104. STEVENS She is so fired. He twist the knob, and a high pitch comes on. STEVENS (CONT’D) The PA system is still on. She’s going to have an interesting guest. INT. LUNAR STATION, HALLWAY - CONTINUOUS SUMMERS turns the corner, almost tripping. FAIRFIELD (over com) Wait, stop. She does. SUMMERS What? FAIRFIELD (from com) Something is drawing- Oh shit the PA system is still on. INT. MISSION CONTROL - CONTINUOUS The high pitched sound dies off. FAIRFIELD has control again. PROFESSOR MAKKI Did it work? STEVENS (proud) You tell me. STEVENS points to one of the screens that shows the WOLF sniffing at the entrance to the hanger, then creeping in. INT. LUNAR STATION, HALLWAY - CONTINUOUS SUMMERS Is there another exit?

105. FAIRFIELD (from com) No. If you can break out throughSUMMERS I can’t, all the suits are in there. COMPUTER VOICE Ten minutes until lift off. FAIRFIELD (from com) Kira, I’m sorry. She shakes her head. She looks up to a camera with hatred in her eyes. SUMMERS When I get in that ship what do I do? The com is open but FAIRFIELD doesn't say anything. SUMMERS (CONT’D) Tim. FAIRFIELD (from com) When you get in, it’s simple. Strap in and hold tight. The ship’s leaving, and that’s final. It knows where to go. SUMMERS Thanks. FAIRFIELD (from com) Kira? SUMMERS I have a plan. She takes off her com, and drops it. Then runs off in the other direction CUT TO:

106. INT. LUNAR STATION, AIR-LOCK The WOLF’s muzzle is buried in the guts of YOUNG. She looks up and paces around the room. She sniffs a suit, and walks to the window. She looks out at ANDERSON’s body with her one good eye, and cocks her head. The Light from the moon makes her muscles and hair grow. There is a loud CLATTER from out side. She gets down to investigate. Her muscles and hair recede again. Outside the door she sniffs the air, and growls a low rumble. INT. LUNAR STATION, OUTSIDE AIR-LOCK - CONTINUOUS The BEAST sneaks out of the door, and stares down the long hallway, red lights flashing. Her eye glows in the light. COMPUTER VOICE Five minutes until lift off. A SHOT rings out and hits the floor in front of her. She bares her teeth, and peers into the darkness of the hallway. Another SHOT lands by her side. Then the gun comes hurdling out of the darkness, it slides to her paws. Her hair bristles, her eye glows, and she lets out a loud long GROWL. In answer, at the far side of the hallway, two headlights turn on, and an engine REEVES. SUMMERS is driving the ROVER ANDERSON fixed. SUMMERS Come here, bitch. The WOLF charges. SUMMERS slams the peddle down. The tires SCREECH. Each hurdle at the other. The WOLF SNARLS, SUMMERS grits her teeth.

107. BAM! They make contact. SUMMERS’ rover is lifted off its’ front tires, but the back ones still push. SUMMERS screams, encouraging her machine. The WOLF is pushed back slowly. It snaps and claws, but can’t reach SUMMERS. The BEAST begins to lose its’ footing untilThe rover lunges as all four tires catch the floor, and it pushes the WOLF down the hallway. INT. LUNAR STATION, AIR-LOCK - CONTINUOUS The rover hurdles down the hallway, and crashes through the door. It smashes into the wall, pinning the WOLF there. SUMMERS continues to SCREAM, and the tires burnout as she drives into the wall, crushing the BEAST. The monster’s eye is wide with fury. The rover shifts slightly, and the MONSTER’s face is hit with moonlight. It’s muscles grow, and she grabs the front tires with her grotesque hands, she tears them off. The WOLF heaves the rover off in a fit of fury, sending both it and SUMMERS flying. She hits the ground hard. The rover lands upside-down on her, pinning her to the ground, and wouldn’t you know it, her sensor is just out of reach. The BEAST collapses to the ground, hurt but not beaten. She gets up and moves slowly toward SUMMERS. SUMMERS can’t get free, she is stuck under the steeringwheel. She watches as her death prowls closer, but what’s that? In the MONSTERS fury it tangled the wire cable around its’ neck. It gets closer, limping, but full of rage. SUMMERS struggles to find the button that tows the cable back in. It’s by her foot. The WEREWOLF lets out a HOWL, and goes for its’ killing bite. SUMMERS tip-toe hits the button, and:

108. The WOLF’s head comes toward SUMMERS fast and fierce, but is YANKED back, like a dog on a leash, inches from SUMMERS. Slowly the WEREWOLF is dragged to the front of the rover, clawing at her neck. Her weight lifts the rover just enough for SUMMERS to squeeze out. She scrambles to the sensor. Grabs it, and stares into the MONSTER’s one good eye. She raises her spear, and . . . Was that fear in the CREATURE’S eye? (screw that) She stabs it through its chest. WHIMPERING, she starts to shrink back into a human. She slips out of the cable that was wound around her neck. SUMMERS gets to her feet. The shrunken WOLF crawls toward her, her face turning into that of EVE’s. Spear jutting out of her chest. EVE (muddled) Kira? SUMMERS gets away and gets to the suits. She scrambles to put it on as the monster falls, and crawls toward her still shrinking. EVE (CONT’D) (muddled) Kira help. SUMMERS puts on her helmet and locks it in place, and gets to the command box to pressurize the room. She looks to the half MONSTER half EVE. The creature looks up, confused, and scared. EVE (CONT’D) Why? It crawls through a streak of moon light and starts to turn back into the WOLF. SUMMERS Sorry, Eve, but you’re a bad dogSUMMERS initiates the depressurizing sequence.

109. SUMMERS (CONT’D) -and bad dogs need to be put down. SUMMERS pulls the lever to pressurize the room. The room HISSES, and EVE claws at her throat for a few moments, then falls. COMPUTER VOICE Two minutes until liftoff. SUMMERS rushes out of there. CUT TO: INT. SHUTTLE - MOMENTS LATER SUMMERS gets into the pilot chair. There is a warning flashing on a screen. SUMMERS Tim, please be here. FAIRFIELD (in helmet) I am. SUMMERS What does this mean? FAIRFIELD (in helmet) It’s the refueling line. It’s still attached. Get it off or you could blow the ship up. SUMMERS Can’t you do it? FAIRFIELD (in helmet) Negative. It needs to be manual. SUMMERS Are you serious? Fuck this ship. CUT TO:

110. EXT. LUNAR SURFACE BY SHIP - MOMENTS LATER SUMMERS gets to a large corrugated hose. She pulls on it, but it’s stuck. SUMMERS (with each tug) Screw. You. You stupid. Hose. It’s no use. She runs toward the base. INT. LUNAR STATION, HANGER - MOMENTS LATER SUMMERS yanks the staff out of EVE’s body, with a gruesome twist, and throws the silver tip to the ground. She runs out. EXT. LUNAR SURFACE BY SHIP - MOMENTS LATER SUMMERS jabs the staff into the hose and tears it off, gas floats out. She turns to leave but then stops. CUT TO: INT. SHUTTLE - MOMENTS LATER She is back in the cock pit. As the computer counts down. COMPUTER VOICE Ten, nine, eightShe grips her arm rests. COMPUTER VOICE (CONT’D) -seven, six, five, four, three,She shuts her eyes. COMPUTER VOICE (CONT’D) -two, one. The ship rumbles and begins to lift off. Soon she’s picking up speed and leaving the station behind.

111. She looks out the window at the shrinking station, and breathes a sigh of relief. EXT. LUNAR SURFACE - CONTINUOUS The hose is stabbed to the ground by the sensor, gas still leaking from it. The sensors lights turn from red to green and a electric charge erupts. INT. SHUTTLE - CONTINUOUS The station erupts in a terrific and silent explosion. Seconds later the ship is rocked, but there is no harm. SUMMERS checks the controls and system, everything seems to be in order. ADMIRAL (intercom) Congratulations, Miss Summers you’re a dead woman. Have a pleasant fliShe turns the intercom off, and sits back worried. She tries to relax and lets out a deep breath. She winces in pain, and grabs her shoulder. She gets up, and takes off her suit, her under-clothes are stained red. She examines it. She has a slight wound on her shoulder, with small black veins worming from it. She sits down and puts her face in her hands. FLASH FORWARD: NOTE: SIMILAR TO THE STYLE OF THE FIRST ONE. INT. CELL - NIGHT SUMMERS is in the cell again, looking up to the night sky. ADMIRAL (V.O.) We’ll keep you in the cell the rest of your life, there won't be a trial, there will be no escape-

112. This time when she looks to the sky the light of a full moon shines down on her. She transforms. SERIES OF SHOTS: SUMMERS as a WOLF breaking out of her cell. Killing ADMIRAL KOOMAR KILLING STEVENS KILLING PROFESSOR MAKKI and howling at the moon. END SERIES OF SHOTSINT. SHUTTLE - CONTINUOUS SUMMERS lifts her face from her hands, with a devious smile, and two glowing golden eyes. FADE TO BLACK: THE END. FULL MOON