The back door CREAKS OPEN.
42.
SARAH
(without turning)
Danny? You better not be dripping
fish guts through my clean kitchen.
She turns—and freezes.
JUBA, painted in ceremonial markings, sweaty and breathless,
stands in the doorway.
SARAH (CONT'D)
Jesus H. Christ. You look like you
ran through a paintball massacre.
JUBA
It’s Danny. He’s hurt.
Sarah stiffens.
The iron scorches the shirt.
She doesn’t notice.
SARAH
What kind of hurt?
JUBA
Bullet. Small. Not deep. But
bleeding.
She processes.
One beat.
Then moves.
She tosses the iron aside, flicks her cigarette into the
sink, and grabs a battered first-aid box.
Hands it to Juba.
SARAH
Take this and get in the van.
She yanks on jeans.
Throws off her blouse.
Pulls a hoodie over her tank top.
Stuffs spare gauze into the kit.
43.
Opens a drawer—inside, a photo of Danny’s father, folded
note, old prescription bottle.
She stares at it for a breath.
Slams it shut.
Juba waits by an Sarah'a old campervan. Sarah storms out,
throws the kit into the back, climbs in.
SARAH
Buckle up, Braveheart.
JUBA
He’s by Diggers. Just past the
flats.
SARAH
Great. Middle of nowhere and a full
moon. Classic Danny.
Sarah drives like she’s late for war.
Her face is calm but her grip on the wheel is tight.
SARAH
He was fine this morning. Watched
cartoons, complained about cereal,
usual crap.
JUBA
It’s not his fault. There’s...
weird stuff going on.
SARAH
What kind of weird?
JUBA
Signs. Spirits. Maybe something...
sacred.
SARAH
(under her breath)
Sacred my ass. If anyone shot my
kid, they’re gonna meet a very
earthly form of karma.
44.
Danny lies propped against a rock.
Blake tends to him.
Sarah’s van skids to a halt.
She bursts from the driver’s seat, sprinting to her son.
SARAH
Danny! Jesus.
She drops to her knees, opens the kit, assesses the bandage.
SARAH (CONT'D)
It’s clean. Who wrapped this?
BLAKE
(waves sheepishly)
That'd be me.
SARAH
You a medic or just a guy who hangs
out shirtless near bleeding
children?
BLAKE
Wasn’t shirtless at the start. Ex-
military. Long story.
SARAH
Save it.
She tightens the dressing.
Danny groans but nods.
DANNY
I’m okay, Mum. Take it easy.
SARAH
You have a bullet wound on your
birthday. You're not okay.
She looks over at Juba.
SARAH (CONT'D)
You—next time you see spirits or
omens or whatever, come get me
before the shooting starts.
Juba hangs his head.
45.
Sarah brushes Danny’s hair back.
SARAH (CONT'D)
Let’s go, Birthday Boy.
They head back to the van. She eyes Blake one last time.
SARAH (CONT'D)
Thanks for helping. Try wearing a
shirt next time.
Blake nods. She helps Danny inside.
The van peels off into the night.
BLAKE
(to Juba)
Let's get this space junk into the
cave.
JUBA
Right, and after, we need to go see
my uncle Feelgood. He'll know what
to do.
BLAKE
How far?
JUBA
Couple of clicks.
BLAKE
Whatever. Lead the way Tonto,
before I crack on out of here and
leave you all too it.
CHAPTER 11 - THE STEAL - IMAGE - THE STEAL
Fleabag watches in despair as Danny falls wounded.
FLEABAG
(to dog)
Stupid mutt.
He kicks Drummer.
Headlights approach.
He drops flat.
Sarah's van arrives nearby.
46.
Fleabag watches Blake and Danny through his scope, but
Drummer runs down, BARKING a warning.
FLEABAG (CONT'D)
Bloody useless dog.
He retreats to higher ground.
Spots the glowing cave.
Stalks down.
Fleabag enters, studies the ancient murals.
Sees the capsule.
The fire still burns. He walks around the silvery capsule,
studying it.
FLEABAG
What the hell are you?
He taps it with his rifle barrel.
Nothing happens.
SECONDARY IMAGE - CAPSULE
He examines the ancient murals, runs his hand across the
paintings.
Suddenly - a loud HISS.
Fleabag spins toward the sound.
The cylinder is opening, the top half hovering impossibly
above the bottom.
The capsule doesn't just open - it unfolds.
The interior glows with bioluminescence - not harsh light,
but the gentle pulse of a heartbeat made visible.
FLEABAG (CONT'D)
(backing away)
What the fuck...?
An old man emerges - Marwen, ancient, confused, dripping with
fluid.
His other hand clutches a stone slab.
47.
Marwen looks around, disoriented.
Sees Fleabag and approaches with outstretched hand.
MARWEN
(in ancient dialect,
subtitled)
Help me... where am I?
FLEABAG
(raising rifle)
Stay back! Don't come any closer!
But Marwen, weak and confused, continues forward.
MARWEN
(subtitled)
I don't understand...
Marwen stumbles on a rock, lurches toward Fleabag.
Fleabag panics, pulls the trigger.
CRACK!
Marwen's head snaps back.
He crumples to the cave floor.
The slab CRASHES down, splitting open.
Three fossils spill across the stone.
Fleabag stares at Marwen's body, then at the fossils. They
appear luminous, otherworldly light.
FLEABAG
(whispered)
Sorry, old man. Wrong place, wrong
time.
He kneels, picks up the fossils.
They're warm, alive with energy.
FLEABAG (CONT'D)
But these... these are worth a
pretty penny.
He pulls Marwen's bag away, stuffs the fossils inside.
FLEABAG (CONT'D)
(standing over the body)
Nothing personal, mate.
48.
He runs from the cave into the night.
CHAPTER 12 - FEELGOOD & CO. - IMAGE - SETTLEMENT
Juba leads Blake to a cluster of iron shacks.
Arms folded, Feelgood stands and watches the pair approach.
JUBA
This here is Blake.
FEELGOOD
(puts out his hand)
Name's Feelgood. Juba says you
helped him.
BLAKE
More the other way around.
JUBA
Uncle Feelgood, I think we found
the moon-creatures. The lost ones.
Remember?
FEELGOOD
(stops, stern)
How can I forget. You found them?
Just like that, eh?
JUBA
Three fossil paintings. And a "V".
Looks like blood. You know, that
old story you keep telling us?
FEELGOOD
(thoughtful)
The takers. If Kutji spirit gets
wind of this, there's gonna be hell
to pay.
BLAKE
Takers? Kutji? What's going on?
FEELGOOD
Bad spirits. Them takers, you call
them aliens. Trouble.
(he calls out)
Budya!
A slight woman sitting by a shack stands and hurries over.
49.
FEELGOOD (CONT'D)
We got work to do.
The group starts walking back to the cave.
— ⑨
INT. KITCHEN – NIGHT
The back door CREAKS OPEN.
42.
SARAH
(without turning)
Danny? You better not be dripping
fish guts through my clean kitchen.
She turns—and freezes.
JUBA, painted in ceremonial markings, sweaty and breathless,
stands in the doorway.
SARAH (CONT'D)
Jesus H. Christ. You look like you
ran through a paintball massacre.
JUBA
It’s Danny. He’s hurt.
Sarah stiffens.
The iron scorches the shirt.
She doesn’t notice.
SARAH
What kind of hurt?
JUBA
Bullet. Small. Not deep. But
bleeding.
She processes.
One beat.
Then moves.
She tosses the iron aside, flicks her cigarette into the
sink, and grabs a battered first-aid box.
Hands it to Juba.
SARAH
Take this and get in the van.
INT. SARAH’S BEDROOM – MOMENTS LATER
She yanks on jeans.
Throws off her blouse.
Pulls a hoodie over her tank top.
Stuffs spare gauze into the kit.
43.
Opens a drawer—inside, a photo of Danny’s father, folded
note, old prescription bottle.
She stares at it for a breath.
Slams it shut.
EXT. SARAH’S HOUSE – NIGHT
Juba waits by an Sarah'a old campervan. Sarah storms out,
throws the kit into the back, climbs in.
SARAH
Buckle up, Braveheart.
JUBA
He’s by Diggers. Just past the
flats.
SARAH
Great. Middle of nowhere and a full
moon. Classic Danny.
INT. CAMPERVAN – MOVING – NIGHT
Sarah drives like she’s late for war.
Her face is calm but her grip on the wheel is tight.
SARAH
He was fine this morning. Watched
cartoons, complained about cereal,
usual crap.
JUBA
It’s not his fault. There’s...
weird stuff going on.
SARAH
What kind of weird?
JUBA
Signs. Spirits. Maybe something...
sacred.
SARAH
(under her breath)
Sacred my ass. If anyone shot my
kid, they’re gonna meet a very
earthly form of karma.
44.
EXT. OUTSIDE DIGGERS CAVE – NIGHT
Danny lies propped against a rock.
Blake tends to him.
Sarah’s van skids to a halt.
She bursts from the driver’s seat, sprinting to her son.
SARAH
Danny! Jesus.
She drops to her knees, opens the kit, assesses the bandage.
SARAH (CONT'D)
It’s clean. Who wrapped this?
BLAKE
(waves sheepishly)
That'd be me.
SARAH
You a medic or just a guy who hangs
out shirtless near bleeding
children?
BLAKE
Wasn’t shirtless at the start. Ex-
military. Long story.
SARAH
Save it.
She tightens the dressing.
Danny groans but nods.
DANNY
I’m okay, Mum. Take it easy.
SARAH
You have a bullet wound on your
birthday. You're not okay.
She looks over at Juba.
SARAH (CONT'D)
You—next time you see spirits or
omens or whatever, come get me
before the shooting starts.
Juba hangs his head.
45.
Sarah brushes Danny’s hair back.
SARAH (CONT'D)
Let’s go, Birthday Boy.
They head back to the van. She eyes Blake one last time.
SARAH (CONT'D)
Thanks for helping. Try wearing a
shirt next time.
Blake nods. She helps Danny inside.
The van peels off into the night.
BLAKE
(to Juba)
Let's get this space junk into the
cave.
JUBA
Right, and after, we need to go see
my uncle Feelgood. He'll know what
to do.
BLAKE
How far?
JUBA
Couple of clicks.
BLAKE
Whatever. Lead the way Tonto,
before I crack on out of here and
leave you all too it.
CHAPTER 11 - THE STEAL - IMAGE - THE STEAL
EXT. CLIFF - VANTAGE POINT - NIGHT
Fleabag watches in despair as Danny falls wounded.
FLEABAG
(to dog)
Stupid mutt.
He kicks Drummer.
Headlights approach.
He drops flat.
Sarah's van arrives nearby.
46.
Fleabag watches Blake and Danny through his scope, but
Drummer runs down, BARKING a warning.
FLEABAG (CONT'D)
Bloody useless dog.
He retreats to higher ground.
Spots the glowing cave.
Stalks down.
INT. DIGGERS CAVE - NIGHT
Fleabag enters, studies the ancient murals.
Sees the capsule.
The fire still burns. He walks around the silvery capsule,
studying it.
FLEABAG
What the hell are you?
He taps it with his rifle barrel.
Nothing happens.
SECONDARY IMAGE - CAPSULE
He examines the ancient murals, runs his hand across the
paintings.
Suddenly - a loud HISS.
Fleabag spins toward the sound.
The cylinder is opening, the top half hovering impossibly
above the bottom.
The capsule doesn't just open - it unfolds.
The interior glows with bioluminescence - not harsh light,
but the gentle pulse of a heartbeat made visible.
FLEABAG (CONT'D)
(backing away)
What the fuck...?
An old man emerges - Marwen, ancient, confused, dripping with
fluid.
His other hand clutches a stone slab.
47.
Marwen looks around, disoriented.
Sees Fleabag and approaches with outstretched hand.
MARWEN
(in ancient dialect,
subtitled)
Help me... where am I?
FLEABAG
(raising rifle)
Stay back! Don't come any closer!
But Marwen, weak and confused, continues forward.
MARWEN
(subtitled)
I don't understand...
Marwen stumbles on a rock, lurches toward Fleabag.
Fleabag panics, pulls the trigger.
CRACK!
Marwen's head snaps back.
He crumples to the cave floor.
The slab CRASHES down, splitting open.
Three fossils spill across the stone.
Fleabag stares at Marwen's body, then at the fossils. They
appear luminous, otherworldly light.
FLEABAG
(whispered)
Sorry, old man. Wrong place, wrong
time.
He kneels, picks up the fossils.
They're warm, alive with energy.
FLEABAG (CONT'D)
But these... these are worth a
pretty penny.
He pulls Marwen's bag away, stuffs the fossils inside.
FLEABAG (CONT'D)
(standing over the body)
Nothing personal, mate.
48.
He runs from the cave into the night.
CHAPTER 12 - FEELGOOD & CO. - IMAGE - SETTLEMENT
EXT. OUTSKIRTS OF CACTUS LOOP - NIGHT
Juba leads Blake to a cluster of iron shacks.
Arms folded, Feelgood stands and watches the pair approach.
JUBA
This here is Blake.
FEELGOOD
(puts out his hand)
Name's Feelgood. Juba says you
helped him.
BLAKE
More the other way around.
JUBA
Uncle Feelgood, I think we found
the moon-creatures. The lost ones.
Remember?
FEELGOOD
(stops, stern)
How can I forget. You found them?
Just like that, eh?
JUBA
Three fossil paintings. And a "V".
Looks like blood. You know, that
old story you keep telling us?
FEELGOOD
(thoughtful)
The takers. If Kutji spirit gets
wind of this, there's gonna be hell
to pay.
BLAKE
Takers? Kutji? What's going on?
FEELGOOD
Bad spirits. Them takers, you call
them aliens. Trouble.
(he calls out)
Budya!
A slight woman sitting by a shack stands and hurries over.
49.
FEELGOOD (CONT'D)
We got work to do.
The group starts walking back to the cave.