PLANET B S01E01

ARE WE THERE YET?

Written by
Rebecca Drysdale
Story by
Rebecca Drysdale and Jordan Peele

United Talent Agency

Brillstein Entertainment Partners

INT. EXODUS 1 QUARTERS - DAY

Music: Family of Man by Three Dog Night.
Opening credits roll and music plays over two hands opening a
closet door. Inside the closet are five identical jackets,
six identical button down shirts, and five identical pairs of
pants. In cubbies next to the clothes are three identical
pairs of dress shoes. A hand grabs one of the jackets.
INT. EXODUS 1 QUARTERS - MOMENTS LATER
Music: Family of Man continues.
We see a man putting on the jacket in a the mirror, but we
only see his body. It is a smart navy blue jacket with grey
details that buttons like a chefs coat. Two gold bars are
pinned to the lapels, and on each shoulder is an embroidered
patch with the Exodus 1 logo on it. He buttons the jacket,
and smooths out the front.
INT. EXODUS 1 RESIDENT HALLWAY - MOMENTS LATER
Music: Family of Man continues.
We see the shoulder of the man walking down the hallway of
what looks like a nice modern hotel.
As he walks he passes prints of great works of art, the Mona
Lisa, The Scream, Starry Night.
The man arrives at an elevator.
INT. EXODUS ELEVATOR - MOMENTS LATER
Music: Family of Man continues.
The man, still with his head out of frame, rides the
elevator. We see many floors pass quickly, and the elevator
door opens.
INT. RECREATION DECK - MOMENTS LATER
Music: Family of Man continues.
Now we see the mans legs, walking out of the elevator and
onto the shiny finished floor of the hallway. There is a
rubber divider, and the ground becomes a dirt path surrounded
by perfect grass.

2.
We follow the feet down the path, over a perfect little
bamboo bridge, past some people playing tennis in a perfect
tennis court, some kids playing soccer, and down another
path.
The path ends in with the same kind of rubber divider, and
the ground is now back to the shiny grey flooring one might
find in an office building lobby.
INT. OFFICERS DECK - MOMENTS LATER
Music: Family of Man continues.
The man walks down this hallway, which is much brighter than
the residential hallway and decorated with murals and
posters.
*A poster of children of different colors holding hands and
dancing in a park.
*A poster that reads, A better beginning, for a better
tomorrow.
*A mural of a bunch of multicolored hands hold up a globe.
*A poster of a woman in a hijab laughing with a man in a
wheelchair.
The man walks to a set of double doors. On the doors is a
large Exodus 1 logo. The words, Preserving our past.
Ensuring our future. is written underneath.
INT. HANGAR BAY - MOMENTS LATER
Music: Family of Man continues.
The double doors open and
Other officers in similar
room towards the front of
and drape stage is set up

we now see the man from behind.

uniforms are also heading into the
a large hangar bay, where a pipe
with a podium at the center.

INT. HANGAR BAY - MOMENTS LATER

Music: Family of Man continues.
The uniformed body shimmies down a row of seats where there
is an empty seat next to another uniformed younger man in
glasses.
As the man we have been following sits down, the young man in
glasses checks his watch.

3.
The MUSIC fades out as the lights dim.
TITLE: Planet B
INT. HANGAR BAY - MOMENTS LATER
The lights come up on CAPTAIN HENRY RITTER, who takes his
place behind the podium and puts his glasses on. Ritter is a
handsome greying man in his early sixties, who wears a more
decorated Exodus 1 jacket.
Behind him sit a row of important looking people, much like
at a university commencement address. He smiles at the
applauding audience.
RITTER
Thank you. Thank you all so much.
No one deserves that round of
applause more than all of you.
Sitting just behind Ritter is MAGGIE MORAN, a woman in her
early twenties. She also wears a uniform, and holds a digital
tablet at her chest. Her long hair is tied in an official
looking pony tail. She sits behind Ritter half-mouthing along
as he speaks like a ventriloquist, having clearly helped
write this speech.
RITTER (CONTD)
It is because of your commitment,
that I can proudly stand here and
call this mission: accomplished,
and a great success
The crowd applauds proudly. Maggie hangs her head humbly.
RITTER (CONTD)
For a little over a year, we have
been consumed with one question,
Are we there yet?
The audience laughs a little. Maggie laughs harder and checks
in with the other crew members flanking her on the success of
her joke. Nope. Nothing. She turns back to Ritter with more
focus than ever.
RITTER (CONTD)
It is my honor and privilege to say
that in ten days, after a long,
long journey, the answer will
finally be, Yes.
Everyone is smiling.

4.
RITTER (CONTD)
But are we there yet, as people?
The audience cocks its collective head with great interest.
Maggie looks at the crowd. She nods noticeably, her eyes
close with great importance.
RITTER (CONTD)
Are we ready to learn from our past
to make a better future for
ourselves and our children?
Maggie, as if at church, responds with a too loud...
Mmm.

MAGGIE

Ritter looks back at her. Too much.

INT. CAROL STERNS OFFICE
Ritter continues his speech and we pull out to reveal the
event being simulcast on a monitor. We are in a tidy,
somewhat political looking office, where CAROL STERN sits at
her desk watching the speech.
Carol is in her 50s, meticulously dressed, and wearing her
hair in a bun that is tight enough to give her a little bit
of a face-lift. In front of her desk are a dozen or so
chairs. She taps a pen on her desk nervously as she watches,
and rolls her eyes.
CAROL
What the fuck are you talking about
Henry?
The door to Carols office opens a crack and a meek
apologetic head pops in. It is the head of PETER NIBLY,
Carols assistant.
PETER
Maam. I am so sorry.
Carols eyes roll again.
CAROL
I am too Peter. What is it?
PETER
Maam I just wanted to let you
know...

5.
CAROL
Peter come in for fucks sake.
PETER
Sorry maam. I wasnt sure if you
wanted to be alone.
CAROL
Well Im not alone if your weird
head is in the room am I?
Peter chuckles.
PETER
Good one maam. Zingtown.
Peter gets the rest of his body in the room, still only
keeping the door open a crack.
CAROL
Is the hallway full of bees Peter?
Just open the door.
Yes maam.

PETER

Peter opens the door wide and steps in to the office.

CAROL
Well now you are in.
Peter is at a loss.
Yes.

PETER

CAROL
So close the door.
PETER
I thought you wanted it open.
CAROL
I wanted it open so that you could
come in, now I want it closed.
PETER
I gotcha. Open and then closed.
CAROL
Yes Peter. Just like a door.
Peter closes the door and stands there a little lost.

6.

Peter?
Maam?

CAROL (CONTD)
PETER

CAROL
Did you have something to tell me?
PETER
Oh. Yes. I wanted to let you know
that the press is here whenever you
are ready.
Carol sighs and turns her focus back to the screen.
RITTER (O.S.)
--So, are we there yet? That is the
question we all...
Carol turns the screen off.
CAROL
Jesus Christ. Are we at the end of
this speech yet?
Nibly holds in a big laugh.
NIBLY
Very good maam. Are we at the end
of this speech yet? Very funny
stuff.
CAROL
Lets pretend it was sad.
PETER
Yes maam. Shall I tell them you
are ready?
Carol stands up and straightens her everything. She rubs her
face to wake it up and cracks her knuckles.
CAROL
Let them in.
Peter opens the door and a dozen frantic reporters burst in,
pushing Peter behind the door. Carol pastes on a smile.
CAROL (CONTD)
Hello. Hello everyone. If everyone
can take a seat please?

7.
The press takes their seats and small recording devices are
shot out into the air in Carols direction. Peter takes his
place behind Carol where he tries to look important.
CAROL (CONTD)
Thank you everyone. As you all
know, in ten days we arrive at our
new home and while Captain Ritter
is addressing the hard working crew
of The Exodus, as your civilian
ambassador I want to take this time
to thank all of the families
onboard the Exodus 1 for the
patience, hard work, and commitment
that has gotten us through a very,
very long journey. Im sure I speak
for everyone when I say how excited
we are to begin the next chapter of
human history.
Carol is pleased with her intro, and turns her attention to
the many hands shooting up from the press.
CAROL (CONTD)
Yes. In the blue.
DANNY HAVLIN, A guy in a blue button-down stands.
DANNY
Danny Havlin from the Exodus
Weekly. What is being done about
the recent unrest regarding common
area music choices? Many people are
frustrated with the music on the
elevators and in dining areas...
Carol, a little surprised at the banality of the question,
cuts Danny off.
CAROL
Well, Danny, In ten days we will
land on a new planet...
Carol tries to emphasise the importance of the moment.
CAROL (CONTD)
--so at that point people can
choose whatever music they want to
listen to. On our new planet. Okay?
Next question?
A serious young woman, BRANDI BORNSHT pops up.

8.
BRANDI
Brandi Bornsht from All Aboard.
Bornsht?
Bornsht.

CAROL
BRANDI

CAROL
Sounds like someone dropped a bag
of crabs.
PETER
Corner pocket maam.
BRANDI
Brandi is fine.
CAROL
Not really. Go ahead.
BRANDI
Are you saying that you intend to
do nothing about the Vanessa
Carlton situation?
CAROL
The Vanessa Carlton situation?
BRANDI
The Vanessa Carlton song that plays
on the elevator constantly.
CAROL
Sorry. Is this is about the
elevator music again?
A murmur of agreement erupts from the reporters.
CAROL (CONTD)
Okay, OKAY! I know we have been on
this ship for a long time, but
lets focus on the fact that we are
ten days away...
A larger man from the back, stands up, almost in tears. He
has taken this from a two to a ten in zero seconds.
LARGE MAN
In ten days we could hear that song
a hundred more times! A hundred!
Carols fuse is burning fast.

9.
CAROL
What song are we talking about?!
All of the reporters messily sing the opening riff of Vanessa
Carltons Thousand Miles. Carol recognizes it immediately.
CAROL (CONTD)
Oh god that piece of ear shit. Yes
I know the song, but please, can we
try to focus on the great
achievement we-DANNY
If I have to listen to that shit
for ten more days-BORNSHT
--Might has well be a hundred
years!
CAROL
Well thats insane. Lets remember-The reporters all shoot up.
REPORTERS
Change the song!/ Are you going to
do anything?!/ I will walk a
thousand miles out the window of
this motherfucking ship-CAROL
OKAY ENOUGH! Does anyone have any
REAL questions about our
arrival...like How long will it
take for us to transition to the
surface? Or, How is Kep 418
different from Earth? Any
questions about the most important
event in human history!?
There is a pause. Two hands shoot up.
CAROL (CONTD)
That are not about music.
One hand goes down. Carol exasperated turns to the remaining
hand.
Yes you!?

CAROL (CONTD)

10.
MAN IN GLASSES
Sorry did you say not about the
music?
He puts his hand down. Carol looks at the ceiling.
CAROL
Ten days Carol. Ten days.
INT. HANGAR BAY - MOMENTS LATER
Ritter continues his speech on the podium. But our focus is
back on the young man in the glasses, who checks his watch
again, and looks behind him and around the room.
RITTER (O.S.)
--Has a year without a home taught
us what we need to do and be, to
make a better beginning, for a
better tomorrow?
He tries to relax and listen to speech, but after checking
his watch again, can not relax. He shakes his head. After a
moment, he gets up and shimmies down the isle.
AARON
Excuse me. Im so sorry. Excuse me.
Ritter continues as the young man exits the hangar bay.
RITTER
When we start over, can we bring
the best of who we are? Can we be
all the things that make the human
race exceptional-INT. CAPTAIN RITTERS QUARTERS - MOMENTS LATER
We smash cut to bottle of whiskey being chugged sloppily by a
pair of lips with smeared lipstick. The bottle gets pulled
away and is replaced with another pair of lips. The two pairs
of lips are making out furiously. Two hands yank a navy green
Exodus 1 shirt out from matching pants and start to unbutton
it, another pair of hands stops them.
When we pull out, we see two women. One of the women, ENSIGN
PIERCE, wears a green Exodus 1 button down, clearly not a
high enough rank to have attended Ritters speech. The other
is JESSICA RITTER, Henry Ritters twenty one year old
daughter.

11.
Jessica is gorgeous, but not in a conventional, boring way.
If she was a nerdy quiet girl, you wouldnt notice her in a
room, but her confidence and swagger make her sexy as fuck,
and she knows it.
Her hair is messy and tousled. She wears an outfit made out
of de-constructed Exodus 1 uniform pieces. She has cut pants
into very short shorts and the sleeves off of a jacket. It
falls off her shoulders, bringing her oversized tank-top with
it, and exposing as much cleavage as is possible without just
being topless. She sits on her dads desk, her legs wrapped
around Pierce who is standing facing her.
JESSICA
Whats the problem Cadet?
PIERCE
(flirty)
Im an Ensign.
JESSICA
Well Im a dont care.
Jessica kisses her again, biting her lip.
PIERCE
Are you sure we can be in here?
Pierce looks around. This is obviously Ritters office. There
are awards and certificates on the wall, and family photos of
the Ritter family on the shelves. Pierce is clearly a little
star-struck.
JESSICA
Yes. Im sure we can be in here. At
ease Ensign.
Pierce tries to relax a little. Jessica shoves her hand down
Pierces pants.
Easier.

JESSICA (CONTD)

Jessica takes a big swig of whiskey with her free hand, and
kisses Pierce, spitting the whiskey into her mouth.
Yum.
You yum.

PIERCE
JESSICA

They continue to kiss urgently, Jessica going back to the

project of unbuttoning Pierces shirt.

12.
She becomes impatient and pulls it over her head instead.
Pierce yanks Jessicas half-Jacket down and the two get
horizontal on the desk.
A loud clicking noise snaps them both out of it.
Oh Fuck.

JESSICA (CONTD)

PIERCE
Fuck? What fuck?
The lights in the front room of Ritters quarters flicker on.
Jessica shoves Pierces shirt in her arms, and pushes her
into a closet.
JESSICA
Stay there. Shut up. Dont move.
She slams the closet door and prances out into the main
living area, trying to put herself together and throw an
innocent smile on her face.
Hey!

JESSICA (CONTD)

Her face falls into disgust.

Oh.

JESSICA (CONTD)

At the front of the room stands the young man in the glasses.
This is AARON RITTER, Henry Ritters 19 year old son. Aaron
is small in general, a little nerdy looking, but with a
disproportionate amount of confidence. He carries himself
with high status, and obviously has done well for someone who
hasnt even turned twenty.
His uniform is spotless and doesnt have a wrinkle or thread
out of place. Jessica on the other hand, has clearly been
doing exactly what she has been doing. She eyes Aaron and
smiles. Game on.
AARON
Jess what the fuck? What are you
doing in here?
Jessica waves her hands around.
JESSICA
Im not here, youre dreaming.

13.
AARON
Well I better be dreaming if you
are doing what I think-Jessica hangs her head and starts snoring.
Jessica!

AARON (CONTD)

JESSICA
Oh. Im sorry I just got so bored
of you talking. Also your face.
JESSICA (CONTD)
Where arent you at dads speech?
Jessica gasps with fake excitement.
JESSICA (CONTD)
Oh shit! Did I miss you getting
your medal for being a fucking
speech attending hero? Are there
pics? Send me pics.
AARON
You should be there.
JESSICA
I dont want to be there. No one
else wants me to be there. It was a
real one stone move on my part.
Okay Jess.

AARON

A clanging noise is heard from the office. Jess covers.

JESSICA
Clang Clang. Working on my clangs.
AARON
Did you bring a fucking dude in
here?
JESSICA
No! Ass-hole! Im not fucking
retarded.
AARON
Please dont use that word.
JESSICA
Fine. Im not retarded.

14.
Another shuffling noise. Jessica rolls her eyes and shouts
into the other room.
JESSICA (CONTD)
Good lord. Just come out!
Pierce walks out meekly.
PIERCE
I knocked over a thing.
JESSICA
No you nailed it, youre a goddamned ninja.
AARON
Jesus Jess!
Pierce sees Aaron and realizes that he outranks her. She
snaps to attention.
Sir!

PIERCE

JESSICA
Oh sorry. This is my brother Aaron,
Aaron this is um...
Jessica looks at Pierce.
PIERCE
Ensign Pierce.
JESSICA
Yep. Thats it. Shes an Ensign.
Pierce is hurt. What a bitch. Aarons disappointment builds.
AARON
Youre dismissed.
PIERCE
Yes sir. Thank you sir.
Pierce heads for the door. Jessica waves.
Aaron stares at Jessica. Jessica stares right back.
JESSICA
Not a dude.
AARON
I dont care that it was a woman!

15.
JESSICA
I was talking about you.
AARON
Well I cant hear dumb bitch.
JESSICA
Because youre so far away? Or are
you actually that small?
AARON
Get your shit, you are coming with
me, slapping a smile on your face
and congratulating dad.
JESSICA
I would sooner - eat - a baby.
AARON
You come now, or I tell dad you
were using his office as a fuck
palace.
JESSICA
Go ahead. What the fuck do I care?
AARON
Ship. Wide. Bar. Ban.
Fuck you.

JESSICA

AARON
Proudly the only person on the ship
that hasnt had the honor. Get your
shit.
Aaron 1 Jessica 0. She starts to collect herself and pull
herself together.
On the wall hangs a family photo. In the picture a young pregrey Henry Ritter is holding a six year old Jessica on his
hip. She wears a captains hat that is way too big for her
with a smile to match. With his other arm he is holding a
seven year old Aarons hand. Aaron is dressed in an Academy
uniform. Next to them is Abby Ritter, Aaron and Jessicas
mother. She is a beautiful woman, a spitting image of
Jessica. This was a happy family.
INT. COMMAND AND CONTROL - LATER
The CAC is a round room with consoles and monitors
surrounding a center command area.

16.
In the command area there is a table with transparent charts
and maps laying on it. Above the table is a circular console
with various readouts and radars on it. This is the most scifi looking room we have seen, but still looks more like
meeting room than the Starship Enterprise.
Crew members mill about or sit at their stations pressing
buttons and talking into their headsets. It is a fairly
normal day on in the CAC.
Ritter enters with Maggie in tow, who announces his arrival
with a sense of occasion.
MAGGIE
Captain on deck!
The crew turns and applauds.
RITTER
Okay okay. Get to work!
Ritter is being playful and warm. His crew likes him a lot.
RITTER (CONTD)
Seriously though thank you all.
Couldnt have done it without you.
Its been an honor. Ten more days!
The crew cheers. The mood is light and warm.
Aaron walks in the CAC with Jessica who slumps along like a
grumpy teenager. The crew stops celebrating and goes back to
work. Ritter turns to see what killed the mood. The smile
fades from his face.
Maggie eyes Jessica like a leopard.
Aaron approaches Ritter and salutes.
Captain.

AARON

RITTER
Specialist.
Jess rolls her eyes.
AARON
Jessica wanted to come down and say
something.
Jessica responds robotically, like a kid who is told to say
thank you or excuse me to an adult.

17.
JESSICA
Congratulations on your speech.
Sorry I couldnt be there.
Ritter looks through Jessica, or above her, but never in the
eye. Maggie watches the whole thing like a tennis match.
RITTER
Well. Id say I was surprised but-JESSICA
Okay you know what-Aaron clocks the distant look on Ritters face and suddenly
has a change of heart.
AARON
She was sick.
Jessica looks at Aaron with some mix of gratitude, surprise
and aggravation.
AARON (CONTD)
With that thing thats going
around. It was my idea. I told her
not to come.
RITTER
Oh. Okay. Good.
Aaron saved her. Jessicas stone face drops for a second and
she looks at Aaron like a sister looks at a brother.
RITTER (CONTD)
(to Aaron)
Last thing I need is you getting
sick.
Ouch. Jessica is right back where she started.
AARON
Of course Sir.
Jessica shakes her head. She looks at her dad, steaming.
RITTER
Well. Good. Drink some juice.
Ritter pats Jessica on the arm. This is as much warmth as he
can muster. Jessica is hurt, angry, and responds through a
tight smile.
JESSICA
Feel better already.

18.
Jessica catches Maggies eye, who quickly looks away. It is
all very awkward, but they are saved by the bell. A loud ass
bell.
A deafening alarm sounds in the CAC, red lights fill the
room. Aaron runs to a nearby console and various crew members
tend to their stations. Jessica sits at an empty station and
puts her feet up on a console.
Ritter stands in the middle of the room, hands on the table.
Harris?

RITTER

At one of the consoles a black man in his 40s, ANTON HARRIS,

reads his monitor.
HARRIS
All primary systems are online Sir.
Razavi?

RITTER

An Iranian woman, LEILA RAZAVI, responds quickly.

RAZAVI
Nothing on the scanners Sir.
From one of the blinking walls a young Hispanic Lieutenant,
HERNAN CORTEZ interrupts.
CORTEZ
Sir we have power disruptions in
sectors A, C, and F on the Reck
Deck.
RITTER
A, C and F? How the hell did that
happen?
CORTEZ
Someone would have had to have
disabled them manually sir, none of
the lift lines share breakers.
RITTER
Can I have A, C and F on the
birdhouse?
CORTEZ
Right away sir.

19.
RITTER
And kill the alarm for crying out
loud.
The siren stops and the regular lights turn on.
On the middle console, known as The Birdhouse, some of the
monitors show surveillance images from the power outage
areas. At one of them, near an elevator bank, a large crowd
of people stand around hoisting signs and throwing their arms
in the air.
RITTER (CONTD)
What the hell is this?
Jessica pipes up from her swivel chair.
JESSICA
A better beginning for a better
tomorrow.
Ritter glares at her. Jessica throws her hands up, kicks her
feet off the console and heads out, fake coughing at Aaron on
her way out.
RITTER
Cortez. Audio, and get me some
printed images please.
Yes sir.

CORTEZ

The sound from the monitors is audible now. People are

chanting and screaming.
RITTER
Jesus. Specialist?
Sir.

AARON

RITTER
Make sure your sister goes to her
room and no where else please.
Aaron nods and leaves.
RITTER (CONTD)
And Moran-Sir?

MAGGIE

Ritter can not believe he is about to do this.

20.

Get Royce.

RITTER

INT. EXODUS HALLWAY - MOMENTS LATER

Boots. Lots of them. Two lines of boots led by one pair in
the front. We pan up the front boots and find COMMANDER JAMES
ROYCE. Royce is a short, bald man in his late 40s wearing
full tactical gear and a side-arm on his hip. Behind him are
a dozen equally fun looking men walking in-step behind him.
The formation turns a corner and then arrives at the CAC. The
twelve marines take positions with their backs against the
wall, and Royce enters the CAC.
INT. COMMAND AND CONTROL BRIDGE - CONTINUOUS
The crew stands and salutes as Royce approaches Ritter with
Napoleonic confidence. He salutes.
Commander.
Sir.
At ease.

RITTER
ROYCE
RITTER

Royces eyebrows relax almost imperceptibly. That is as at

ease as Royce gets.
RITTER (CONTD)
We have a problem.
ROYCE
Looks to me like you have a
solution.
Ritter looks back at Moran and they exchange a look. Theyve
been dealing with this guy for a year.
ROYCE (CONTD)
Whats the sit-rep?
RITTER
The sit-rep is that some clowns
shut down the elevators in A, C and
F. I need you -Before Ritter can finish Royce is barking into the inside of
his cuff.

21.
ROYCE
Red Team, Blue Team, this is Daddy
Bird -Ew.
ROYCE (CONTD)
Stand by for a surround n search
at Alpha, Bravo, Foxtrot, do not
fire unless-RITTER
Commander Royce.
Sir.

ROYCE

RITTER
I just need a few guys to go down
there and do some crowd control.
Royce barks back into his cuff.
ROYCE
Strike my last. Stand down Red and
Blue team.
Thank you.

RITTER

Cortez hands Ritter some pictures.

RITTER (CONTD)
Thank you Lieutenant.
CORTEZ
Of course Sir.
ROYCE
So. How many guys are you thinking?
Two hundred? Three?
RITTER
Two hundred? No. Like five Royce.
ROYCE
Five hundred? I like your style. I
have three hundred armed and ready
now, I can have a second wave -RITTER
No not five hundred, just -- why do
you have three hundred people armed
and ready?
(MORE)

22.
RITTER (CONT'D)
Nothing has happened on this ship
that would come close to needing
that kind of security.
Exactly.

ROYCE

Ritter rubs his face.

RITTER
Just send five guys down there to
keep this thing contained. No guns.
I dont want a military presence to
create the need for a military
presence okay.
Royce laughs a gross pretentious laugh.
ROYCE
What a pair we are. A poet and a
soldier. The world of men is a
perplexing dance hall.
RITTER
Just keep it subtle please?
Royce gets close to Ritter.
ROYCE
You dont want my guys seen, they
dont get seen. Theyre ghosts.
Shadows. They could be here right
now and you wouldnt even know it.
RITTER
Well thats very scary. Thank you
Royce.
Royce stands at attention. There is a pause.
Dismissed.

RITTER (CONTD)

Royce does a brisk about face and leaves the CAC, talking
into his cuff.
ROYCE
I need five little birdies who want
to go to market -Moran.

RITTER

23.

Sir.

MAGGIE

RITTER
Im at Sterns.
Yes sir.

MAGGIE

Maggie perks up with excitement. Maybe shell be put in

charge?!
RITTER
Harris, you have the CAC.
Nope. Maggie is crestfallen.
INT. CAROL STERNS OFFICE - MOMENTS LATER
Carol is in her office reclining in her chair with an ice
mask on her face. She is listening to Adele or Rihanna or
some other oldie.
Ritter bursts through the door. Peter runs in behind him
trying to announce him on time.
PETER
Mssterncaptainritterisheretoseeyou!
Stern sits up and takes her face mask off.
Henry.

CAROL

RITTER
What the hell is Vanessa CarltonGate?
Excuse me?

CAROL

RITTER
Vanessa. Carlton. Gate. Something
about you dodging the press?
Ritter hands Stern the print-outs.
CAROL
Are you fucking serious?

24.
RITTER
It seems pretty serious Carol. My
elevators are down, my guys cant
get anywhere. You are supposed to
be on top of this kind of shit..
CAROL
Okay. First of all, you dont burst
in here barking orders at me Henry.
I am not one of your guys. Second
of all, I didnt dodge anything. I
had a dozen reporters in here this
morning asking me about fucking
elevator music.
What?

RITTER

CAROL
That Vanessa Carlton song that
plays all the damn time. People
seemed to be more interested in
that than the fact that we are
landing in ten days.
RITTER
What the hell song-Peter takes it upon himself to start humming the opening riff
of A Thousand Miles.
PETER
Doo doo doo doo doo doo, doo, doo
doo doo-PETER!

CAROL

PETER
Youre right.
CAROL
All I said was that we were landing
in ten days and that maybe there
were more important things to talk
about than music. People are losing
it Henry. We gotta get there.
RITTER
Well I cant get us there if this
shit keeps happening.
A small beep is heard and Ritter answers the communicator on
the inside of his sleeve.

25.

Ritter.

RITTER (CONTD)

Maggie is on the other end.

MAGGIE
Sir. The power is back up.
RITTER
What? What happened?
MAGGIE
Um...you might want to come down
here.
Ritter leaves the office. Peter extends a box of Kleenex in
front of Carol Sterns face. Peter takes one out and readies
it for her.
CAROL
Im not crying Peter.
But he is. That was very intense for him. He tries to put the
Kleenex back in the box. Impossible.
PETER
Well now Ive gone and done it.
Stern takes off after Ritter, and Peter after Stern.
INT. RECREATION DECK - MOMENTS LATER
Ritter pops out and joins Maggie who has been there for a few
minutes already.
In front
they saw
elevator
sitting,
in their

of them is the same large group of protesters that

on the birdhouse, but now they are seated. The
door is open, and braced with a chair. Everyone is
eyes fixed on the elevator, and everyone has a drink
hand.
RITTER
What the hell is this?

Maggie points to the front of the crowd.

Sir.

MAGGIE

In front of the mass of people, Jessica Ritter is standing

with a pint of beer in her hand, waiting. Everyone is silent,
listening to the music in the elevator.

26.
Stern and Peter join them, immediately confused.
STERN
What the hell?
Suddenly, the song A Thousand Miles starts playing from the
elevator. Jessica shouts to the crowd.
NOW!

JESSICA

Everyone sitting in the crowd chugs their beers. One guy, who
is very drunk, finishes first and stands.
DONE!!!

DRUNK GUY

The crowd cheers, and everyone starts singing along, changing

the words to the song.
CROWD
And I would DRINK, a thousand
BEERS!!!
The crowd is singing and laughing. Stern and Ritter look at
each other. Aaron pops out of the crowd and runs to his
fathers side.
AARON
Dad. Sir. I lost her, and then she
wasnt in her room, and-Ritter puts his hand up to shush him and looks at the scene.
The crowd is happy, singing together, playing a game. Jessica
makes eye contact with Ritter. Her face is somewhere between
Fuck You and Look what I did.
INT. CAROL STERNS OFFICE - LATER
Carol sits in her office. Peter opens the door and makes a
big show of coming all the way in and closing the door.
Maam.

PETER

CAROL
What is it?
PETER
Jessica Ritter is here to see you.
CAROL
Show her in.

27.
Peter opens the door for her with a big sweeping gesture.
Once she is in he runs and gets her a chair. Once she is
sitting he runs and gets her a glass of water.
PETER
Water? Or maybe a beer!
He laughs at his joke. He is nervous. Obviously taken by
Jessica and her beauty and confidence.
Water.

PETER (CONTD)

Peter shuts up and takes his place behind Stern where he

stares at Jessica like she is a beautiful lioness.
JESSICA
What do you want?
CAROL
Nice job down there.
JESSICA
Yeah yeah. If you hear the song you
punch someone in the shoulder and
they owe you a beer. You wont have
people sitting out there all day
dont worry.
I mean it.

CAROL

JESSICA
Yeah well I couldnt get to my room
so I fixed it.
CAROL
Well it worked.
JESSICA
Are we done?
Jessica starts to stand. Carol gets spiky.
Sit down.

CAROL

She sits down and gives her championship eye roll.

CAROL (CONTD)
Im trying to say, that I thought
what you did was smart.

28.
JESSICA
And Im sure youre very surprised.
CAROL
Jesus Jessica Im trying to give
you a compliment.
Why? All
to drink
slut and
everyone

JESSICA
I did was find another way
and be a fuck up and a
whatever the fuck else
says about me.

CAROL
Actually Henry was very proud.
JESSICA
Did he get you to tell me that?
What a guy.
CAROL
Jessica I brought you up here
because-JESSICA
--yeah I would love to know-Carol stands and pounds a fist into her desk.
CAROL
Look you little piece of shit, you
wanna do bitchy, we can do bitchy,
but just know that I have thirty
more years of experience in the
being a bitch department than you
do. Im the biggest bitch on this
ship, so if thats the way you
wanna go, Im happy to school your
spoiled little ass because no one
can out-cunt me, especially not
some twenty year old abortion
poster-girl who thinks she owns the
fucking place.
Peter nods. Carol catches his eye. His nod turns into a head
shake.
Jessica is clearly thrown. She has never really been yelled
at like this before. She musters up her shitty exterior once
again.
JESSICA
Wow, that was really good.

29.
Carol sits and is calmer now but still Carol.
CAROL
Look you human tit, as much as I
hate to admit it, you know the
people on this ship. You know what
they want and what pisses them off.
We have ten more days on this
bucket, are you gonna help me or
not?
JESSICA
Are you asking me for help?
CAROL
No. Yes. Ten days.
Jessica stands up.
JESSICA
I appreciate the offer, but if I
have to spend one more second with
you ever in my life Im gonna throw
myself out of an air lock. So
thanks but no thanks. Im sure you
and my dad can cozy up and figure
something out.
Jessica heads for the door which peter opens, bowing a
little.
PETER
It was really nice to see you
Jessica as always.
Jessica stops, takes a piece of gum out of her mouth and
kisses Peter passionately, her eyes on Stern.
She pulls away leaving Peter frozen. Puts the gum back in her
mouth, winks at Stern and walks out. She shouts back to
Stern.
JESSICA
Show them a picture.
What?

STERN

Jessica turns.
JESSICA
People have been counting days
since we left. Show them a picture,
make it real. Theyll shut up.

30.
She struts away. Peter is about to explode. Carol is pissed
that Jessica just spoke to her like that, and even more
pissed that she had a good idea.
INT. COMMAND AND CONTROL BRIDGE - LATER
Ritter is standing at the center table, looking up at the
Birdhouse. On the console we see that the crowd has
dissipated, and things are back to normal. Maggie approaches
Ritter meekly.
Sir.
Moran.

MAGGIE
RITTER

MAGGIE
I just wanted to say that, the way
you handled everything today was, I
just, I learned a lot today, and I
wanted to say thank you, for
letting me serve by your side for
this past year. Its been an honor.
Ritter looks at Moran with all the warmth he cant with
Jessica.
RITTER
You did good today. Im proud of
you.
MAGGIE
Thank you Sir.
RITTER
Really proud.
MAGGIE
Thank you sir?
Stern enters the CAC.
Henry.

STERN

She looks around.

Captain.

STERN (CONTD)

RITTER
Ambassador.

31.
STERN
I spoke to Jessica, sort of.
RITTER
Sorry to hear that.
Stern, forgetting that Jessica is a pain in her ass too,
feels a little bad for her.
STERN
Yeah. Well. She-Stern stops, knowing that if the idea came from Jessica,
Ritter would reject it.
STERN (CONTD)
-- I had an idea that I thought
might help.
What?

RITTER

STERN
Show people a picture of Kep 418.
RITTER
Theyve seen pictures.
STERN
I mean a picture from here. I think
that if we show them that we are
actually close, not just with
numbers but with something
tangible, maybe itll help.
Ritter thinks about it.
Moran.
Sir?

RITTER
MAGGIE

RITTER
Can we get a picture of Kep 418?
Yes sir.

MAGGIE

Ritter turns back to Stern.

Good idea.

RITTER

32.
STERN
It was Jessicas. Tell her.
Carol makes her exit. Ritter takes a breath and thinks about
this for a minute. He eyes Aaron.
For a second, we can see Ritter the dad.
Sir.

MAGGIE

Ritter is lost in thought.

Sir?

MAGGIE (CONTD)

RITTER
Yeah. What is it?
MAGGIE
Were not picking up anything on
the monitors or the long range
scans.
RITTER
What? What do you mean?
Maggie is shrinking.
MAGGIE
Well, we should have made visual
contact two days ago, but I am not
seeing Keplar 418 anywhere, at
least not on any of our
instruments.
Ritter closes his eyes.
What?

RITTER

Cortez pipes in.

CORTEZ
Sir. It seems that Keplar 418 is
not at its previous coordinates,
or we are not at its current
coordinates.
Ritter runs to the edges of the CAC trying to peer out of the
tiny windows near the ceiling.

33.
CORTEZ (CONTD)
You wouldnt be able to see it that
way Sir.
RITTER
Shut up Cortez! Aaron??!!
Aaron is panicked, at his monitor. He had hoped to have the
answer by now but doesnt.
Um--

AARON

He frantically fiddles around with his console, then looks up

at his dad. Hes got nothing.
Ritters face is frozen.
INT. EXODUS 1 BAR - CONTINUOUS
Jessica is sitting in one of the many Exodus 1 bars. This one
has kind of an Irish pub feel.
JESSICA
Can I get a whiskey?
Her drink is poured for her. She plays with it a little,
staring at the whiskey in the glass.
INT. EXODUS 1 HALLWAY - MOMENTS LATER
Ritter races through the hallways and heads to the elevator.
He presses the button a million times.
INT. CAROL STERNS OFFICE - MOMENTS LATER
Peter is holding the door open for the press once again.
Stern is standing in front of her desk.
STERN
Hello everyone. Ms. Bornsht. Hello.
May I begin by issuing a thank you
to Captain Ritter, Commander Royce
and everyone on board for getting
through today. Its been a long
journey, it is understandable that
people are getting a little
impatient. However I think today
was good example of--

34.
DANNY HAVLIN
Ambassador Stern. Do have anything
to say about the rumors that Keplar
418 isnt where it is supposed to
be?
INT. EXODUS 1 HALLWAY - CONTINUOUS
Ritter is sprinting down the hallway.
INT. CAROL STERNS OFFICE - CONTINUOUS
Carol is a little thrown.
CAROL
Im sorry I dont know exactly whatBRANDI
We were supposed to have reached
visual range two days ago. Where is
Keplar 418?
Carol looks at the huddle of reporters. They all slowly raise
their recording devices.
INT. EXODUS 1 HALLWAY - CONTINUOUS
Ritter runs down another hallway and towards Carols door.
INT. CAROL STERNS OFFICE - CONTINUOUS
The reporters are now firing questions at Stern.
LARGE MAN
Have we been going the wrong way?
DANNY HAVLIN
Did the planet move? Why werent
the people told about this sooner?
BRANDI
Will we be going back home?
Ritter bursts into Carols office in a sweat. He is too late.
The reporters are in a frenzy.
REPORTERS
When did you know?/ Why werent we
told?!/ What are we going to do?!

35.
Carol makes eye contact with Ritter. Its true. She looks out
onto the twelve headed reporter monster that is screaming at
her and without thinking tops out over the crowd.
CAROL
There is another planet!
Silence.
CAROL (CONTD)
Another planet. That we are on our
way to now.
Ritters eyes go wide.
CAROL (CONTD)
Yes. Captain Ritter and I,
determined that this other planet,
would be more suitable, and, we
have, changed course, to head there
now. Because its better.
The reporters are frozen. Ritter does not know what to do.
CAROL (CONTD)
We were waiting. To make an
announcement, but Im glad that we
can tell you now -- because this
planet is -- better -- than the
other one -DANNY HAVLIN
Well how long will it take to get
to the new planet?!
BRANDI
How much longer will we be on the
ship?!
Carol looks at Ritter.
CAROL
Six months. We will be there in six
months.
Ritter closes his eyes.
EXT. CAROL STERNS OFFICE - LATER
The reporters are filing out of Sterns office.

36.
INT. EXODUS 1 HALLWAY - LATER
Stern and Ritter walk silently to the elevator.
INT. ELEVATOR - CONTINUOUS
They silently get in to the elevator and turn around.
RITTER
Command and Control.
The door closes.
The song A Thousand Miles begins to play as they ride in
silence.

OUT.