We already have a Star Wars movie coming out about the theft of the original Death Star plans. It’s called Rogue One, and it’s been described as a “heist” film. Other than that, we have little to no details on the story, characters, or structure of the film. It’s doubtful Disney will utilize the Expanded Universe (now called Legends) as a source to pull ideas from on this endeavor, but that doesn’t mean fanboys and fangirls can’t dream. With that in mind, I’ve presented a fun film pitch below incorporating one of the Expanded Universe’s most legendary characters, Kyle Katarn, into this new Star Wars canon. This won’t be a dream pitch for Rogue One, mind you. It’s a pitch for an all-new film to fit alongside Rogue One and the rumored direction of the new trilogy.
Open on a prisoner in some remote Imperial facility. He’s a human, male, with brown, disheveled hair and a scraggly beard. Day in and day out this prisoner finds himself working in the mines, dreaming of a handful of times in the past when life was tolerable. One of his recurring visions is of a woman, a redhead whose name he never learned, with whom he boosted stolen goods on the lawless world of Nar Shaddaa. There was the briefest of intimacy between them, one that’s all but gone, looping itself like a waking nightmare as time blurs the days together. The only breaks in his mental torment are when some of the other human-hating inmates pick fights with him. He fights back some days. Other days, our protagonist takes the pain. Because it’s all he’s got left. His is a life sentence.
Through one of the guards, we learn our man’s name is Kyle Katarn, and on one particularly miserable afternoon (where Kyle finds himself fending off a gang of bloodthirsty Trandoshans), a jailbreak offers our protagonist a very simple choice: find a way off this miserable prison or die. What follows is one man’s struggle to fend off both Imperial stormtroopers and fellow inmates in a race to find a ship capable of hyperspace. He’s going to leave, no matter how many cuts, bruises, or laser blasts it takes.
Along his journey, slipping in and out of the shadows and worming his way through the ventilation system of this gargantuan complex, Kyle runs into a team of Bothans. They are the originators of the jailbreak, and they are here for an entirely different purpose. Hidden in this forgotten prison are the details of a second Death Star. Unfortunately, the Empire is on to them, and their numbers are dwindling. It doesn’t help the situation any that the bounty hunter who put Kyle Katarn in this prison — IG-88, a trigger-happy, freelance assassin droid — is also inside.
Kyle seizes the opportunity to team up with the Bothans, and when their numbers drop to zero, our protagonist collects the Death Star data for himself, with the intention of selling it on the outside for an inconceivable sum. It’s the kind of sum that changes a man, quite literally. It’s the kind of sum that helps an ex-con with a record disappear permanently. Kyle just has to get past a regiment of stormtroopers, an overzealous prison warden, a handful of human-hating inmates, and IG-88 before he can make the jump to light speed.
By the film’s end, our hero has the use of only one arm. He has to limp his way onto a shuttle, having sacrificed his nerves and broken several of his bones in order to jam a thermal detonator inside IG-88’s metal shell. But it was worth it. Kyle survived, and he was able to make a jump to hyperspace just as an Imperial fleet answered the prison’s distress signal.
In the film’s final scene, Kyle Katarn nurses his wounds in a sleazy bar back on Nar Shaddaa. He’s thinking about that redhead again, wondering where she’s been, how she’s doing, and if she’s still alive out there. And that’s when she walks in and sits down next to him.
“Heard a hot tip you’ve got some priceless schematics you’re looking to unload,” she says. “I’ve got the buyer, and I’ve got the cash.”
Kyle looks at her. She’s even more radiant than he remembered. He’s kicking himself for not knowing her name, but he wants to ask her if she wants to give it another go, if she wants to rekindle the flame that’s been torturing him all this time.
Her name’s Mara, she tells him, and as she gets up and heads toward the door, she turns to tell him that she’s found a new team to run with. The movie ends as it begins. Kyle is alone. He finishes his drink, leaves a couple of credits, and heads out the back entrance to a sprawling city. The audience sees what he sees — a ship blasting through the atmosphere.
It’s time to find home.