PITCH BLACK

                              PARIS
               Oh, sure. Why not? Sounds like a hoot.

                              JOHNS
               Back it up. How long can this last? Few
               minutes? Couple hours?

     No one knows for sure.

                              IMAM
               I had the impression...from the model...
               that the two planets were moving as one.
               That there would be...a lasting darkness.

                              JOHNS
               Those suns gotta come back sometime. And
               if these animals really are phobic about
               light, we just sit tight till then.

                              FRY
               I'm sure that's what someone else said.
               Locked inside that coring room.

     A persuasive thought. Eyes swing back to Audrey.

                              JOHNS
               Look, we gotta think about everyone now --
               the kid especially. How scared is she
               gonna be out there?

                              FRY
               Oh, don't use her like that, for a smoke
               screen.

                              JOHNS
               Smoke screen for what?

                              FRY
               For your own fear.

                              JOHNS
                         (eyes narrowing)
               Hey. Why don't you rag your hole for two
               seconds and let someone else come up with
               a plan that doesn't involve MASS SUICIDE?

     Two seconds pass.

                              FRY
               How much you weigh, Johns?

                              JOHNS
               What the hell's it matter?

                              FRY
               How much?

                              JOHNS
               79 kilos.

                              FRY
               Because you're 79 kilos of gutless white
               meat, and that's why you can't come up
               with a better plan.

     He makes a move for her. Riddick blocks. Johns' shotgun bumps
     the underside of Riddick's chin.

                              RIDDICK
               Think about that reward, Johns.

                              JOHNS
               I'm willing to take a cut in pay.

                              RIDDICK
               How 'bout a cut in your gut?

     Johns looks down. CAMERA DROPS to reveal the shiv Riddick holds,
     poised for evisceration.

                              JOHNS
               Oh, Trash Baby, you're gonna regret this.

                              IMAM
               Please...this solves nothing...please....

     Johns backs off first. The light grows dimmer.

                              FRY
                         (to Audrey)
               They're afraid of our light. That means
               we don't have to be so afraid of them.

                              IMAM
               And you're certain you can find the way
               back? Even in the dark?

                              FRY
               No, I'm not. But he can.

     She's pointing, of course, to Riddick.

     EXT. PLANET - NIGHT

     The eclipsing planet dominates half the sky. In whatever coronal
     light remains, we see clouds forming.

     EXT. CRASH SHIP - NIGHT

     Cargo doors crack open. Mixed for maximum flame, the cutter is
     pushed outside and swept around. Fry appears behind it.

     Moving like hostages, the survivors cross open ground, trying not
     to heed the PRIMAL SOUNDS beyond their light. Soon they reach...

     The main cabin. Blackness inside.

                              FRY
               Riddick.

     He lifts his goggles.

     RIDDICK'S POV: Checking the cabin. Finding a lot of wreckage
     but no life.

                              RIDDICK
               Looks clear.

     Johns shoulders ahead and crawls in first. Just as he stands up
     inside...

     A PREDATOR BUZZSAWS over his head, fleeing the cabin, taking off
     into the night.

                              JOHNS
               Fuck me. You said "clear."

                              RIDDICK
               Said "looks clear."

                              JOHNS
               Well, what's it look like now?

                              RIDDICK
                         (rechecking)
               Looks clear.

                              FRY
               Just get the goddamn lights on....

     They scramble aboard. Riddick TONGUE-CLICKS behind Johns.
     He isn't amused.

     INT. MAIN CABIN - CRASH SHIP - NIGHT

     PREP MONTAGE: We see the survivors powering up cabin lights...
     yanking three more cells from the battery bay...threading nylon
     cord through Paris' misting umbrellas, filling the reservoirs
     with high-octane liquor...swapping out O2 canisters.

     INT. MAIN CABIN - CRASH SHIP - NIGHT

     Reloading his shotgun, Johns finds himself shaking again. He
     unpockets a shell -- a red morphine shell -- and gives it a
     lover's look. Behind him...

                              FRY
               Ready, Johns.

     He palms the shell.

                              JOHNS
               He'll lead you over the first cliff.
               You know that, don't you?

                              FRY
               We're just burnin' light here.

                              JOHNS
               You give him the cells and the ship --
               and he will leave you. He will leave you
               all out there to die.

                              FRY
               I don't get it, Johns. What is so goddamn
               valuable in your life that you're worried
               about losing? Huh? Is there anything at
               all? Besides your next hype?
                         (no response)
               Got no right to be so scared. Neither one
               of us.

     INT. BATTERY BAY - CRASH SHIP - NIGHT

     As hands yank the last power cell.

     INT. MAIN CABIN - CRASH SHIP - NIGHT

     Cabin lights die. Still brooding, Johns finishes loading his
     shotgun in the dark.

     EXT. CRASH SHIP - NIGHT

     CLOSE on a burning wick. Alcohol mist shoots across the flame to
     create...

     A FIREBALL. Two umbrella torches, fabric already burned away,
     BELCH FIREBALLS into the night. By this light and more, we see...

     Imam chained into the first harness of the drag-sled. Beside
     him, Johns fumbles with a second harness. Hands help him into
     the chains. The hands belong to...

     Riddick. Both men recognize the irony of the prisoner helping
     his captor into chains.

                              FRY
                         (to all)
               Keep the light going. That's all we have
               to do to live through this. Just keep
               your light burning.

     Riddick loops a handlight over his neck, places it to shine light
     down his back. A beacon.

                              RIDDICK
                         (to Fry)
               Be runnin' about 10 paces ahead. I want
               light on my back -- but not in my eyes.
               And check your cuts. These things know
               our blood now.

     CLOSE on Audrey. Overhearing, she goes stone-faced.

                              FRY
               Riddick...was thinkin' we should make some
               kind of deal. Just in case, you know,
               this actually --

                              RIDDICK
                         (shaking head)
               Had it with deals.

                              FRY
               But I just wanted to say --

                              RIDDICK
               Nobody's gonna turn a murderer loose.
               I fuckin' knew better.

     It worries Fry. "If he doesn't expect to go free...."

                              RIDDICK (CONT'D)
               Been a long time since anyone's trusted
               me. That's somethin' right there.

                              FRY
               We can, can't we? Trust you?

                              RIDDICK
               Actually...
                         (completely genuine)
               That's what I been askin' myself.

     He walks away. HOLD on Fry -- wondering if she hasn't made a
     terrible, terrible mistake.

     EXT. NIGHT

     The drag-sled begins moving.

     SERIES OF TRACKING SHOTS: Riddick running point, goggles off,
     eyes flashing. Johns and Imam pulling the drag-sled like
     malamutes, handlights sweeping. Pilgrims #1 at the first side-
     guard position, Fry and Audrey at the second, each position
     carrying an umbrella torch, FIREBALLS BLAZING. Paris stumbling
     along at rear-point, sweeping the cutter back and forth, every
     shadow a threat. They are a train of light.

     CLOSE on the sled. Holding four power cells and eight bottles
     of booze.

     CLOSE on Fry. Looking down. Noting sand-cat tracks underfoot.

     EXT. NIGHT

     Below us run the survivors. CRANE UP AND AWAY so that their
     lights become insignificant...so that we include, in FOREGROUND,
     the silhouettes of gliding predators. They're following from
     above, awaiting their chance.

     EXT. NIGHT

     FRY'S POV: Of the ground. The sand-cat tracks have vanished.

                              JOHNS
               So you noticed too?

                              FRY
               Riddick. Riddick.

     The procession grinds to a halt. Everyone sucks hard on
     breathers as they muster inside the light.

                              FRY
               Where are the sand-cat tracks? Why aren't
               we still following them?

                              RIDDICK
               Saw something I didn't like.

                              JOHNS
               Such as.

                              RIDDICK
               Hard to tell, sometimes...even for me...
               but looked like a bunch of those big boys
               chewin' each other's gonads off. Thought
               we'd swing wide. Okay by you?

     Paris looks over his shoulder. "We went around what?" Nearby
     CLICKING breaks up the confrontation.

                              FRY
               Let's move.
                         (to Audrey)
               Just a detour. He'll get us there.

                              PARIS
               Can we switch?

                              FRY
               What, switch what?

                              PARIS
               I think I twisted my ankle running
               backwards like that. And I'm not sure I
               can....
                         (off their stares)
               Okay, that's a lie. I just don't want to
               be alone back there anymore. If you could
               just give me a few minutes up front here --

                              JOHNS
               She's the pilot, she should stay close to
               the cells.

                              PARIS
               Oh, so I'm disposable?

                              FRY
               I'll switch, I'll switch! Christ, just
               get this train moving!

     EXT. NIGHT