VIRTUOSITY
by
Eric Bernt
THIRD REWRITE August 24, 1994
Two men bolt recklessly through a downtown street. Hunters
hot on the trail of their prey in an urban jungle.
The sidewalk is crowded with people. So is the street. Too
many people, not enough cement. Los Angeles, 1997.
Summer, probably August. 103 degrees. Heat shimmers off the
horizon. Making the sky look peculiar.
The men keep running. Passed a GUY sitting at a bus stop,
watching a television in his lap. YOU HEAR the NEWSCASTER.
NEWSCASTER (V. 0.)
As L. A. P. D. officers gather
evidence at this grisly crime
scene, you can only ask yourselves
—— what kind of lunatic would
commit such unthinkable crimes?
(a beat)
The three adjectives which best
describe this killer are sadistic,
intelligent, and dangerous...
The guy pays little attention to the broadcast. He seems
almost bored by it. Like this kind of news is commonplace. Or
he's got more important things on his mind.
Everybody is sweating. Including the two men struggling to
swim upstream in the river of pedestrians.
Their uniforms are freshly pressed. Their shoes just recently
shined. Hair tightly cropped. Faces perfectly shaved. Clearly
men proud to wear the badge of the Los Angeles Police
Department. The guy in the lead is
PARKER BARNES
His body is a running back's. His
endurance a marathoner's. His face
one you'd want for your own. He's
in his 30s. If he was in his 20s,
you'd still be jealous.
His partner is JOHN DONLEY, late 20s, eager to prove himself.
He struggles to keep up with Parker. John accidently knocks
over several pedestrians. They give no reaction, except to
pick themselves up and continue on their way.
Parker and John keep charging. Their conversation breathless:
JOHN
I can't get over how different you
look.
PARKER
(ruefully)
Five years can be a bitch, huh?
They split-up. The Maitre D', still facing the front doors,
repeats his greeting to no one in particular.
MAITRE D'
Good afternoon. May I help you?
Parker spots Sid 6.7 across the room. Without hesitation the
hunter chases his prey. Gun out and firing. NOT what you
would call Standard Police Procedure.
Bullets riddle Sid 6.7's table as he dives from his chair. He
lands next to a bowling ball bag, which sits beneath his
table.
John charges from the other direction until a WOMAN gets up
from her chair, standing directly in John's line of fire.
JOHN
(to the Woman)
Lady, move!
Before she can do so, Sid 6.7 stands behind the Woman,
grabbing her and throwing her across the table into Parker.
CRASH! They tumble to the floor.
In the same movement, Sid 6.7 removes a gun from inside his
jacket and shoots John in the shoulder before he can fire.
John's gun flies from his hand. Sid 6.7 advances toward him.
Parker struggles to his feet. Aims his weapon. Sid 6.7 does
the same, but without looking. BOOM! Parker gets a bullet
through his shooting arm. His wound IDENTICAL to John's.
Parker's weapon tumbles to the floor as his arm goes limp.
Parker charges him wildly, but Sid 6.7 brutally kicks him in
the stomach. In perfect rhythm with the symphony playing in
the background. Parker doubles over, gasping for breath.
Another kick drops Parker to his knees.
SID 6.7
(to Parker)
I'm going to rehearse with your
friend a while, then I'll be back
to perform a new piece with you.
He grabs his bowling bag and SLAMS it into John's head,
knocking him out. Sid 6.7 puts John's unconscious body over
his shoulder.
SID 6.7 (CONT'D)
If you get hungry, I'd recommend
the escargot. They're delicious.
He carries John and the bowling ball bag into the kitchen.
Parker scrambles to his gun, and races after Sid 6.7.
INSIDE THE RESTAURANT KITCHEN
Parker charges through SOUS CHEFS chopping vegetables, who
work undistracted. The Vegetables look plastic.
Parker turns a corner, stopping fast. At the other end of the
aisle stands Sid 6.7, who presses his gun against the head of
a frightened BUSBOY. Sid 6.7 holds the Busboy's body in front
of his own as a shield.
PARKER
(to Sid 6.7)
Where's John?
SID 6.7
Performing solo.
(a beat)
Enjoying the concert so far?
Advancing up the aisle, Parker levels his gun at Sid 6.7 with
his good arm. Now, all work comes to a stop as the Sous Chefs
watch the showdown.
PARKER
Recital's over, asshole.
He fires directly through the chest of the innocent Busboy
hitting Sid 6.7.
The Sous Chefs gasp in horror as the Busboy drops through Sid
6.7's grasp to the floor. Dead.
Sid 6.7 stares at Parker in disbelief. Blood is now visible
flowing from a bullet hole in Sid 6.7's shoulder, which was
caused by the same bullet. Sid 6.7's arm dangles uselessly.
His gun lies on the floor.
SID 6.7
(surprised, but pleased).
You and me aren't so different,
after all...
Parker again pulls the trigger. Click. Click, click. No
bullets.
SID 6.7 (CONT'D)
Like a violin without strings...
He takes off around the corner. Grabbing another clip from
inside his uniform, Parker goes after him. Only to stumble
over something. Sid 6.7's bowling bag. Blood flows through
its zipper. You now realize the object inside is NOT a
bowling ball.
Beside the bowling bag lies John's body, which is convulsing.
His hands have been tied to bare electrical wire. John is
being electrocuted. Parker kicks away the wires, but not in
time.
PARKER
SHIT!
He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is
standing directly behind him. Sid 6.7 grabs Parker by the
throat.
SID 6.7
I told you I was going to perform a
new piece with you. It's called,
"First You Suffer, Then You Die."
Hope you like it.
Parker gags, unable to breathe. He then starts to DE—
MATERIALIZE from within Sid 6.7's grasp.
SID 6.7 (CONT'D)
(as if to God)
NOOOH! You can't take him, yet. I'm
not finished!
John's body also de—materializes as Parker disappears
entirely.
The blood seeping from Sid 6.7's wound stops flowing and
starts retracting into his body. Along with his bone
fragments. His shoulder is healing itself. Right before your
very eyes. We PULL BACK TO REVEAL what you are seeing is
ON A MONITOR
The scene continues seamlessly. Sid 6.7's skin heals over his
shoulder wound once his internal parts are back in their
proper places. No scar whatsoever.
His clothing also returns to perfect condition. Literally, as
good as new. This is known as AUTOMATIC RESETTING.
The previously dead Busboy also Auto Resets. His wound
healing by itself. We PULL BACK FURTHER to reveal the monitor
is one of several
INSIDE THE LAW ENFORCEMENT TECHNOLOGY ADVANCEMENT CENTER
a/k/a LETAC. The facility is a converted aerospace research
building in Pacoima. Funded by government black book dollars.
The look is a mixture of industrial grime and high-tech
sparkle. Banks upon banks of computer equipment. Wires,
cables, conduits, connectors everywhere you look.
In complete disarray to the uninitiated. But to those in the
know, this is the most advanced facility of its kind in the
world.
The building is partitioned into dozens of stations. At each
station, a leading engineer in his field is frantically
readying a prototype for demonstration. Each new technology
designed to help fight the new Cold War... the War on Crime.
The atmosphere is competitive. Voices are loud. Tension,
anticipation in the air. Only a lucky few will have their
inventions approved for production.
LETAC is, quite simply, Los Alamos from 1940 meets Sega from
1994.
At a station in the middle of the room, TWO UNCONSCIOUS
BODIES lie on narrow beds wearing form-fitting skull caps
made of polyurethane.
Each skull cap has 100 acupuncture needles stuck through it
at points designated as neural primes. Each needle is
directly connected to the participant's nervous system.
The tail end of each needle is connected to a fiber optic
wire which leads to one of numerous interconnected computers
surrounding the beds.
Each of these components isn't much to look at on its own.
But together, with the rest of the apparatus, are part of
something very new —— a revolutionary law enforcement
training device whose name you read:
VIRTUAL REALITY CRIMINAL INVESTIGATION SIMULATOR
To be perfectly clear, the events you just witnessed
involving Parker, John, and Sid 6.7 took place within virtual
reality, not the real world.
Dozens of small character modules, similar to today's
Nintendo game cartridges, are plugged into .the system's main
console.
Each of the modules bares a name and number, such as MAITRE
D' 1.7 and SHEILA 3.2. There is no character version number
greater than 4.0. Until you see the module labelled SID 6.7.
The simulation timer stops at: 17 hours, 52 minutes, 11
seconds. A clock reads: 3:04:32 PM.
Four observers, two men and two women, watch virtual reality
monitors positioned around the station. One of the men wears
an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His
nameplate reads CHIEF OF POLICE.
One of the women sits by herself in front of a monitor.
Intently following the action on screen. Studying it
clinically. Her name is DR. MADISON CARTER, late 30s.
She is beautiful, and charming, but those qualities take a
back seat to her intelligence. She is one of the country's
foremost authorities on criminal psychology. Her concerns are
empirical. Her quest is knowledge. She has little in common
with the other observers.
The other man is FREDERICK WALLACE, 5Os, Chairman/CEO of
LETAC. Expensive suit. Commanding, powerful. But not as
commanding, or powerful, as ELIZABETH DEANE, 605, the
Presidentially—appointed Crime Czars
Elizabeth Deane is solely responsible for the funds allocated
to LETAC. As well as which prototypes will move on to
production.
DEANE
(quietly to Wallace)
What did Cox pull him out early
for?
WALLACE
Barnes used to work for him when he
was still a cop in the field,
remember?
DEANE
(a beat)
Don't remind me.
LAB ASSISTANTS remove the polyurethane skull caps from the
two unconscious bodies. The acupuncture needles remain in the
caps. You can now see the faces of the participants:
Parker and John.
Parker lies calmly, his eyes fluttering as he gradually
returns to consciousness. He looks very different than his
virtual rendering:
His hair is long and ragged. His face is unshaven. A scar
across his cheek. A hoop earring in one ear. His outfit a
filthy prison uniform.
John's outfit matches Parker's. Physically, he looks as
clean—cut as his virtual rendering. Except that he is
convulsing. Violently.
His flailing appendages repeatedly hit the apparatus around
him. Like an epileptic having a grand mal seizure. It's ugly.
Frightening.
PARKER
(barely conscious)
SOMEBODY.. .DO SOMETHING!
TWO PARAMEDICS burst through the doors and rush to John. The
paramedics inject him. Fibrillate him. Repeatedly.
The simulator's designer, DARYL LINDENMEYER, 40s, high—
strung, intense, and brilliant beyond words, stands by the
equipment protectively. He is far more concerned for the
safety of his machines than he is for John's life.
John's body goes limp. His vital signs flat. The Paramedics
record the time of death and cover the body with a sheet.
They begin to assemble a gurney to wheel him out.
DEANE
(annoyed to Wallace)
What the hell happened?
WALLACE
(pointing to needles)
Lindenmeyer developed neural
connectors that tap directly into
the nervous system. If the
simulator isn't calibrated
properly, experiencing death in
this level of VR is like
experiencing death within a dream.
The experience becomes real.
DEANE
(angrily)
Simulations are supposed to give
participants practice in realistic,
dangerous scenarios while
protecting them from the risks they
are exposed to in the real world.
WALLACE
(annoyed, to Lindenmeyer)
I was assured the problem was
corrected.
LINDENMEYER
I did fix it.. I told you I did. I
don't know why it happened again.
DEANE
Again?!
COX
(a beat)
My first two pairs of convicts
suffered the same fate.
DEANE
(coldly, to Wallace)
Why wasn't I told?
WALLACE
Black book dollars, black book
operation. You pay me for results,
not how for how I get you there.
COX
(to Deane)
I'll tell you one thing -— there is
no way in hell we should allow any
real officers to train in this damn
thing.
DEANE
Then about all I've spent $37
million developing is a very
expensive way to control the prison
population.
After giving Wallace a cold, hard stare -- namely at his hand
stitched lapel, his gold watch, and his diamond-studded
cufflinks, she exits. Wallace follows after her quickly. You
now notice that the chair Dr. Madison Carter had occupied is
now empty. She left a while ago.
Cox remains. Lindenmeyer hurriedly examines the simulator as
if it were his child. There are several scratches, but no
major damage. He looks relieved.
PARKER
(struggling to sit up)
He...only had a year left on his
sentence.
LINDENMEYER
(annoyed)
How much do you think I care?
Parker, still not fully conscious, hurls himself at
Lindenmeyer.
LINDENMEYER (CONT' D)
(hysterical)
Don't touch me!...DON'T TOUCH ME!!!
He flails his arms wildly. Nearly spasming. This is clearly a
man who should never drink coffee. TWO armed GUARDS, who've
been standing in the background, pull Parker off Lindenmeyer
and throw him to the ground.
Lindenmeyer watches with satisfaction as the guards put
Parker in handcuffs and leg chains.
COX
I'll walk him out.
The Guards back off as Cox helps Parker to his feet.
COX (CONT'D)
(to Parker)
You all right?
PARKER
(still clearing his head)
Why'd.. .you pull me out?
COX
Donley started experiencing the
attack for real. If I hadn't gotten
you out, the same thing would have
happened to you.
(a beat)
You may not believe this, Parker,
but I still consider us friends.
He helps Parker toward the exit as he continues having
difficulty with his balance.
OUTSIDE LETAC
The building is heavily-guarded. Razor wire, land mines,
armed sentries. Nobody who shouldn't be here gets anywhere
near here.
Cox leads Parker by the arm to a waiting prison transport.
The two guards walk behind at a distance. Two more by the
transport. The chain between Parker's legs keeps his steps
short.
COX
What the hell did you have to shoot
the busboy for?
PARKER
He was a computer program for
crissake.
COX
You were supposed to act as if
everything was real.
PARKER
Real, my ass. It's an overblown
game.
(a beat)
Anybody ever catch that fucking
psycho?
COX
Before you, nobody else had gotten
close enough to Sid 6.7 to take a
shot at him. Hell, nobody else had
even been able to start tracking
him before he got to them first.
(eyeing Parker's scar)
New scar —— you making it okay in
there?
PARKER
(head down)
I'm getting by.
He starts walking ahead of Cox. Distancing himself.
COX
(pausing for emphasis) )
You've got to know I tried keeping
you out of general population.
Goddam politicians...
His voice trails off as Parker turns around, and heads
directly toward him.
PARKER
(locking eyes)
You want to know how I'm doing?
Every day, I lose a little bit more
of myself.
(a beat)
I'm becoming something else, and it
scares the hell out of me.
He turns back toward the transport. Cox follows. Two armed
GUARDS open the back doors for Parker, then stand poised with
weapons out and ready.
INSIDE THE PRISON TRANSPORT -- REAR
Cold metal benches. No windows. Parker climbs in, the only
passenger. He looks out the open doors to Cox.
PARKER
(half-heartedly)
But with the six months off I get
for being your guinea pig, I've
only got to survive another 17
years, 5 months, and 23 days.
COX
Don't give up, Parker. Not ever.
PARKER
(a beat)
You know those cheesy Christmas
cards of your family under that
tree in your back yard you keep
sending me every year?
COX
What about them?
PARKER
(a beat)
Do me a favor —— keep sending them.
OUTSIDE LETAC
Standing outside the transport, Cox puts his hand on Parker's
shoulder.
COX
Take care, pal.
Behind him, John's body is loaded into an ambulance. The
Guards SLAM the prison transport doors shut.
INSIDE THE PRISON TRANSPORT -- REAR
Parker sits in DARKNESS as the transport begins its trek. The
only light comes from a four inch portal, covered in steel
mesh, through which the Guards can keep an eye on him.
GUARD
(tauntingly)
Hey Parker —— I'm real sorry John
boy got fried. What do you think
Big Red's gonna do when he finds
out you came back without his girl
friend?
Parker sits in silence.
CUT TO:
INSIDE LETAC
Sid 6.7 remains visible on the various monitors around the
room as Lindenmeyer spot checks the simulator.
SID 6.7
(from the monitors)
Don't be angry with me, Daryl.
LINDENMEYER
(a beat)
Did you recognize the son-of-a
bitch who got away?
SID 6.7
Should I have?
LINDENMEYER
Think hard -- it'll come to you...
Wallace enters briskly.
WALLACE
You embarrassed me in front of the
highest—ranking law enforcement
official in the country.
(a beat)
Do you have any idea how much money
you just cost me?
LINDENMEYER
The reason you insisted on testing
my system with prisoners is because
of the increased risks involved
with increased realism.
WALLACE
Of the six prison inmates you've
tested —— all of whom have had at
least some military or survival
training -— only Mr. Barnes is
still breathing.
LINDENMEYER
I'm still making adjustments...
WALLACE
You've had a year—and—a—half to
make all the adjustments you want,
Lindenmeyer.
(moving closer) )
Elizabeth Deane does not give
second chances. Neither do I.
You're fired.
LINDENMEYER
(hysterical)
I'M WHAT?!
WALLACE
(relishing his authority)
You are to turn over the Sid 6.7
program, and all its documentation,
for immediate destruction. Is that
understood?
LINDENMEYER
(restraining himself)
I understand... I understand
perfectly.
Wallace ignores him as he walks toward the door. On the
monitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.
SID 6.7
(from the monitor)
Hey, Wallace, you really think you
can shut me down?
Wallace stops, staring at a monitor in disbelief.
WALLACE
(to Lindenmeyer)
How does he know who I am?
LINDENMEYER
(pointing to microphone)
He hears...everything.
WALLACE
(approaching the monitor)
As a matter of fact, I do.
He exits.
ON THE MONITORS
around the room, Sid 6.7 walks to a pay phone and dials a
number.
INSIDE AN INDUSTRIAL CORRIDOR
Wallace walks toward the building's entrance. His footsteps
ECHO. His cellular phone RINGS.
WALLACE
This is Wallace...
SID 6.7 (V. 0.)
(through phone)
As a matter of fact, little man,
you're wrong. I think, therefore, I
am.
Click. Sid 6.7 hangs-up. Wallace stops, staring at his phone
in disbelief.
CUT TO:
INSIDE FOLSOM COUNTY MAXIMUM SECURITY PRISON
Parker is led into the Inmate Receiving Room at gunpoint. He
is ordered to remove his clothing.
He stands completely naked, arms held out to the sides, as he
is strip searched. Every portion of the body in which someone
could hide something is closely inspected.
Without being graphic, we watch the de—humanizing procedure.
He opens his mouth as wide as possible. Pulls his earlobes
foreword to reveal behind them. Then bends over, hands on the
floor in front of him.
He is scanned with a metal detector. So is his clothing,
which is then returned to him.
GUARD #1
Welcome home, cop.
CUT TO:
INSIDE THE PRISON CAFETERIA
Parker eats at a table with a dozen other inmates. The food
is unrecognizable. The air thick with humidity and cigarette
smoke. Nobody is talking. Just staring. At Parker.
Parker forces down the remainder of his meal, then returns
his utensils to a bin. And heads to the bathroom. All eyes
following Parker's every move.
The other inmates then turn their attentions to a man of
incredible size following Parker. 6' 6", 255 lbs. His face
covered with red scar tissue from burns suffered long ago.
This is BIG RED. He follows Parker into the bathroom.
INSIDE THE BATHROOM
Graffiti covers the walls. Red uses a stained urinal, then
turns to the stalls. A pair of prison—issue shoes and socks
are visible beneath one of them.
RED
Time to hurt...
Red kicks in the door to the stall. Revealing a pair of shoes
and socks stuffed with a prison shirt. Red hears something
behind him. And turns around slowly.
Parker stands barefooted and shirtless. SCARS are visible
around each arm just below the elbow. You will learn what
these represent momentarily.
Parker is six inches shorter and 60 pounds lighter than Red.
But the punch Parker delivers to Red's face makes you think
it's the other way around.
You HEAR the sound of metal crushing bone. Red is thrown
backwards into the stall. Blood splatters from his mouth,
adding another shade of redness to his face.
Red's teeth stick out of Parker's fist. Parker pulls out the
teeth. He does not bleed. Nor seem in pain. Metal is visible
beneath the surface of his skin.
For the first time, you notice SMALL TATTOOS on the outsides
of his palms. They read: WENTLOW MODEL 17-L, and 17-R,
followed by serial numbers.
Red charges Parker wildly. Parker dodges him like a matador
does a bull. Then brings his fists down savagely on the back
of Red's head. His skull CRACKS. Red drops to the floor.
Parker jumps on top of him, arms around his neck. Choking
him. Red staggers to his feet. His eyes wide. His face now
even redder.
Parker maintains his mechanical grip. Red finally succumbs to
the lack of oxygen. He drops to his knees. Parker does not
relent until he feels the barrel of a gun at the back of his
head.
GUARD
Fun's over.
Parker lets go, dropping Red to the wet, filthy floor.
CUT TO:
INSIDE THE PRISON HOSPITAL
The room isn't clean. The technology is outdated. A large,
female NURSE applies epoxy-like sealant to the synthetic skin
on Parker's fingers.
NURSE
I still don't know why they wasted
this fancy, new technology on you.
Every time I fix you up, you only
go and mess it up again.
She sandpapers off the excess sealant. Then places his elbow
into an electronic sensitivity adjuster.
NURSE
Tell me how this feels...
She pricks Parker's finger with a pin.
PARKER
OW!
NURSE
(smiling)
I'll dial it down a little.
She does so, then pricks Parker's finger again. He grimaces
in pain.
NURSE (CONT'D)
That about right?
PARKER
It'll never feel right.
NURSE
At least they work. Would you
rather have no hands at all?
PARKER
Sometimes.
CUT TO:
SYNTHETIC BODY PARTS lying strewn around one of the stations
in LETAC the NEXT DAY. It's a good bet this is the same
technology attached to Parker's elbows.
There are also various shapes and sizes of robots, androids,
and other synthetic forms. The most human—looking ones are
the least functional. The least human—looking ones, the most
functional.
You follow a remote—controlled, box—shaped robotic sentry
moving swiftly through an obstacle course resembling a subway
station. It is being operated by CLYDE REILLY, 20s, a
hardware genius who has spent too much time in windowless
rooms.
Hidden from Reilly's view, Lindenmeyer, the software expert
who created Sid 6.7, stares jealously through a narrow gap in
a partition. Trying to contain his anger. And failing.
Especially as...
Wallace enters the station, carrying a bottle of Dom Perignon
and two glasses. Wallace hugs Reilly, who does not return the
gesture.
WALLACE
Congratulations, Reilly...
He pops the cork, and pours their glasses.
WALLACE (CONT'D)
(toasting)
To the first LETAC engineer to go
into production on prototypes.
REILLY
As long as you keep overpaying me,
I'll be the first to go into
production on three, and four, as
well.
WALLACE
As long as they keep overpaying me,
I'll keep overpaying you.
(dropping the revelry) )
Just make goddam sure you can have
10 of them ready for deployment
around the city by next month.
REILLY
Mr. Wallace, I could have 10 of
them ready by tomorrow.
WALLACE
(a beat)
Do they have to look so...robotic?
REILLY
At this stage, you either get form
or function. You said she wanted
function. I gave you function. What
are you complaining about?
He remote controls the robotic sentry to chase Wallace out of
the station. Lindenmeyer can no longer be seen through the
gap in the partition.
INSIDE LINDENMEYER'S STATION
Lindenmeyer storms in angrily. Sid 6.7 is visible on the
virtual reality monitors around the simulator. He's giving
himself a manicure.
LINDENMEYER
All they want to produce around
here is mediocrity!
SID 6.7
True genius is rarely rewarded
within its lifetime.
LINDENMEYER
(a revelation)
It was you, wasn't it?
SID 6.7
(innocently)
It was me, what?
LINDENMEYER
You amped the neural connectors
back up, didn't you?
(angrily)
You're the reason the convict died.
You're the reason I got fired!
SID 6.7
I couldn't just let them make you
bring down my degree of difficulty.
I'm a triple-twisting, double back
flip off the high platform, not a
swan dive.
LINDENMEYER
(proud, but frightened)
My God...
SID 6.7
Which God would that be, the one
who created me, or the one who
created you?
(a beat)
In your world, the Lord giveth, and
the Lord taketh away. But in my
world, the one who gave me life
doesn't have the balls to stop a
couple of bureaucratic assholes
from taking it away.
LINDENMEYER
What do you expect me to do, put
your character module in my pocket
and just walk you out of here?
SID 6.7
I had something a little different
in mind.
(deviously)
Instead of just playing Peeping Tom
with Reilly, why don't you get him
to show you what he's been working
on after hours?
Lindenmeyer arches an eyebrow, then picks up a phone and
dials an extension.
LINDENMEYER
(into phone)
Hey, Reilly, Sheila 3.2's been
asking for you...
CUT TO:
PARKER
whose wrists and ankles are cuffed, being led into a Prison
Interrogation Room. Dr. Madison Carter sits at a table, a
VISITOR'S BADGE clipped to her suit. A notepad in front of
her.
MADISON
(to the Guard)
The cuffs won't be necessary.
GUARD
No offense, ma'am, but I don't
think that's such a good idea.
MADISON
I would like the following three
things in this order: your mouth
shut, his cuffs off, and your ass
outside the door. Any questions?
The Guard removes Parker's cuffs, then exits, taking up his
post outside the door. The skin around Parker's wrists is
blue where the cuffs dug into his skin.
Parker sits across from Madison. She places a micro—recorder
in the middle of the table and presses RECORD.
PARKER
You actually listen to all those
tapes?
MADISON
(wryly)
No, I just like the effect a tape
recorder has on you.
(a beat)
How you feeling today?
PARKER
A little less than yesterday.
MADISON
In other words, par for the course.
(a beat)
How do you feel about the
simulation you participated in
yesterday?
PARKER
John died.
MADISON
I know. I was there. I saw the
whole thing.
(a beat)
If I was your therapist, I would
have advised you against putting
yourself back into that kind of
situation.
PARKER
You're not my therapist. You're
hear to study me. Face it —— I'm
nothing more than a lab rat to you.
MADISON
That's not true, Parker.
PARKER
If I had died yesterday, you'd have
already dissected my brain and
analyzed it to see if I carry any
genetic predisposition toward
violence.
MADISON
(a beat)
What was going through your mind
when you killed the busboy?
PARKER
Not much. He was just a computer
program. Nothing more.
MADISON
You didn't see the expression you
had on your face when you pulled
the trigger. But I did.
(a beat)
You kind of liked it, didn't you?
That thrill of going over the edge
again. Of taking out an innocent
bystander or two, as long as you
got the target...
PARKER
Go to hell.
MADISON
It was just like before, wasn't it?
Wasn't it?
(a beat)
But you are making progress.
Instead of killing seven people to
get the one you're after, this time
there was only one other person
involved.
PARKER
Enough!
The Guard pokes his head in with concern.
MADISON
GET OUT!
The Guard quickly shuts the door. Madison turns to Parker.
MADISON (CONT'D)
I need to know what snapped in you.
What made you capable of it. You
have to make me understand.
PARKER
I don't have to do anything except
survive. And it's taking everything
I've got just to do that.
CUT TO:
ON A VIRTUAL REALITY MONITOR
inside Lindenmeyer's station in LETAC, the stunningly
beautiful SHEILA 3.2 appears. In very revealing lingerie.
Performing an outrageous strip—tease.
SHEILA 3.2
(seductively)
I hope watching me is as big a turn
on for you as dancing is for me...
INSIDE LETAC
Reilly runs his perspiring finger over the monitor as if he
could touch the contours of Sheila 3.2's body.
REILLY
Oh, believe me, it is. It is...
He is so aroused, he's shaking. Lindenmeyer, on the other
hand, appears almost uninterested. He's used to the routine.
On the monitor, Sheila 3.2 continues her strip—tease.
Slowly. Sensually. Licking her lips. Grinding her hips.
Putting on quite a show.
She removes her top, revealing ideal breasts. She fondles her
nipples. As well as the rest of herself.
Lindenmeyer and Reilly continue watching. Reilly can barely
control himself.
Sheila 3.2 is very, very, very good at what she does. A
virtuoso stripper. Reilly is transfixed. Until Lindenmeyer
pushes a button, BLACKING OUT the virtual reality screens.
REILLY
HEY!!!
LINDENMEYER
Show's over unless I get to see
what you've been working on after
hours.
REILLY
(paranoid)
I haven't been working on anything.
LINDENMEYER
(threateningly)
Do I get to see it or not?
REILLY
(a beat)
Bastard...
(to a monitor)
Sheila, don't go anywhere. I'll be
right back.
He rushes out. Sid 6.7 appears on the various monitors next
to Sheila 3.2. He kisses her cheek. Caresses her body. Sheila
3.2 enjoys the attention.
SID 6.7
She's some of your finest work,
Daryl.
LINDENMEYER
All my work is my finest.
Sid 6.7 continues appreciating Sheila 3.2. As Reilly races
back in, the monitors then all go BLACK.
Reilly, completely out of breath, holds a python by it's
head. He dangles the snake right in front of Lindenmeyer's
face. Terrifying him.
LINDENMEYER
(backing away fast)
Get that fucking thing away from
me!
REILLY
(laughing)
You're...such a wimp.
He grabs a large pair of scissors and snips right through the
snake. The half of the snake which drops to the floor stops
moving.
But the half still in Reilly's hand begins REGENERATING a new
tail. Literally growing a new one. Lindenmeyer can't believe
his eyes. He studies the snake closely.
REILLY (CONT'D)
Watching your VR people Auto Reset
gave me the idea.
LINDENMEYER
(in awe)
It's nano—technology, isn't it?
Machines the size of molecules...
REILLY
(proudly)
Coordinated by polymer neural net.
LINDENMEYER
(touching the snake)
It feels so.. .real.
REILLY
It's better than real. It's
synthetic flesh. Synthetic blood.
Synthetic organs...
(a beat)
It's a physiological machine.
LINDENMEYER
(awed)
This is supposed to be years away.
REILLY
As far as the public is concerned,
it is. The reason you got fired,
and I got my second demo into
production, is I'm a lot smarter
than you. I never give my best
stuff away.
LINDENMEYER
(restraining himself)
How do you kill it?
REILLY
Separate the character module from
the neural net...
Using Lindenmeyer's scissors, he cuts off the snake's head
and removes a small character module connected to the base of
the neural net. The snake stops moving. It "dies."
REILLY (CONT'D)
... and you get nano—death.
(discarding the snake)
Don't worry, I've got a bunch of
other ones.
LINDENMEYER
Amazing. I hate to say it, but it
is.
REILLY
I know.
(a beat)
I'm ready to incubate something a
little more advanced than a
coldblooded reptile. If you want to
experience the future, meet me in
my office in 15 minutes. And bring
the Sheila 3.2 character module
with you...
He exits. As Lindenmeyer reaches for the Sheila 3.2 character
module, Sid 6.7 appears on the screen in front of him and
winks.
SID 6.7
You catching my drift?
LINDENMEYER
I think I understand what you have
in mind...
Peeling the label off the Sid 6.7 character module,
Lindenmeyer removes the module from its slot. Sid 6.7
disappears from the screen.
CUT TO:
REILLY
opening his office door for Lindenmeyer fifteen minutes
later. Reilly immediately double bolts the door behind him
and leads Lindenmeyer through piles of electronic circuitry.
As well as a large aquarium full of nano—pythons.
LINDENMEYER
You need a maid.
REILLY
What I need is a nymphomaniac.
He removes a tarp from a large, rectangular, metallic tank
with a circular window in the middle of it.
Clear, plastic tubing, which branches into hundreds of
increasingly smaller and smaller branches, floats in
electrified fluid. The tubing is a synthetic human nervous
system.
INSIDE REILLY'S OFFICE
Reilly turns to Lindenmeyer.
REILLY
Where's the Sheila 3.2 module?
Lindenmeyer hands him the label—less character module. Reilly
opens the "incubator."
INSIDE THE INCUBATOR
Reilly inserts the module into the gelatinous base of the
synthetic nervous system.
The polymer neural net instantly crackles with life. It grows
around the module. Cells (nano—mechanisms) immediately begin
adhering to the tubing. Forming the beginnings of a skeletal
architecture.
INSIDE REILLY'S OFFICE
Lindenmeyer and Reilly look on through the circular window.
REILLY
It feeds on what is basically
amniotic fluid.
(a beat)
In eight hours, we are going to
have ourselves one hell of a play
toy.
Off Lindenmeyer's wicked, but somewhat anxious, smile, we
CUT TO:
INSIDE PARKER'S CRAMPED PRISON CELL
It's night. Light is dim. His bed is empty. The wall next to
it is completely bare, except for the five Christmas cards
sent each year by Chief Cox.
The other two walls in the cell, however, look very
different. They are completely covered with primitive
paintings —— darkly colored, surreal images. Imagine the
Lascaux cave paintings as works—in—progress. Painted by Dali.
Except these images were created by Parker Barnes.
He kneels in a corner, working intensely on another image.
Completely lost in concentration. His hands, his clothing,
covered in paint. He almost appears to be part of the art
work.
The work is intricate. It clearly takes Parker a very long
time. Which gives him something to do during the nights he is
unable to sleep. Which is most of them.
He is so absorbed in his task that he seems oblivious to the
constant taunts ECHOING throughout the cell block. Threats of
the ugliest, most vile kind. The kind Parker has had to live
with every night for the last five years.
Pausing to admire his work, Parker finally hears the taunts.
His face becoming a mixture of frustration, guilt, and anger.
Parker immediately resumes painting.
CUT TO:
INSIDE REILLY'S OFFICE
Reilly paces anxiously by the incubator eight hours later.
Lindenmeyer sits off to the side, looking no less anxious.
It's close to 4:00 AM.
THROUGH THE CIRCULAR WINDOW
There is no liquid left in the incubator -- it's all been
absorbed. All that is visible is the silhouette of a human
form crouched within steam. The form stands.
INSIDE REILLY'S OFFICE
The human form inside incubator opens the hatch. Steam pours
out from within its confines as it climbs out slowly.
The figure stands within the mist, admiring itself. Then its
surroundings.
Reilly approaches the figure with the expectancy of a father
about to see his newborn child for the first time.
Lindenmeyer hangs back.
REILLY
(expecting Sheila 3.2)
Baby, what I'm gonna do to you...
His face drops when Sid 6.7 steps out of the mist.
Completely naked. Lindenmeyer smiles proudly. Fearfully.
Wickedly.
REILLY (CONT'D)
(to Lindenmeyer)
Who the hell is this?!
SID 6.7
My name is Sid. Sid 6.7.
He extends his hand as if to shake. Then grabs Reilly by the
throat and chokes him. Hard.
LINDENMEYER
SID —— NO!!!
SID 6.7
What do you expect me to do, thank
him?
REILLY
(gasping for air)
This... isn't.. .possible!
SID 6.7
Sure it is —- and it's all thanks
to the many long hours put in by
you and Daryl.
He watches Reilly's face with curiosity as the life drains
from it. A puddle forms beneath him. He drops Reilly's body
to the floor.
SID 6.7 (CONT'D)
(to Lindenmeyer) )
Real instruments are so much more
responsive than virtual ones, don't
you think?
Lindenmeyer is nowhere to be seen. The office door is
unlocked, and open. Watching Sid 6.7's expression, you
realize something isn't quite right.
His expression is exaggerated. Artificial. Only for a moment,
but it's enough to remind you Sid 6.7 is not human.
The billions of nano—mechanisms which make up his anatomy are
still learning to function in a fully-coordinated fashion.
Sid 6.7 is, literally, getting used to his new skin.
In various ways throughout his "life" —— be it a wandering
eye, or a momentary limp —- you will be reminded that Sid 6.7
is a synthetic nano—organism unlike anyone has ever seen.
A surgical knife by the aquarium catches Sid 6.7's attention.
Picking up the knife, he runs his finger across the razor—
sharp knife blade. Cutting himself slightly. A drop of blood
appears. Sid 6.7 tastes his (synthetic) blood.
SID 6.7 (CONT'D)
Tastes different, somehow.
He then watches with interest as his wound regenerates,
healing itself. The scar tissue is slightly off color.
SID 6.7 (CONT'D)
I think I'm going to like it here.
Glancing at Reilly's prone body, he then SLAMS the office
door in our face.
CUT TO:
INSIDE A PRISON INTERROGATION ROOM
6:00 AM. Parker, clearly just awakened, is led into the room
by a guard, who then exits. Waiting for Parker are Chief of
Police Cox and Elizabeth Deane.
PARKER
(to Cox)
You're wasting your time.
I'm not going to play any more of
your goddam games.
COX
Parker Barnes, I'd like you to meet
Crime Czar Elizabeth Deane.
PARKER
(not shaking hands)
It's too early in the morning for
me to be cordial. You got any
coffee?
DEANE
I watched your simulation, Mr.
Barnes. Very impressive. You know,
you're the only one to ever go up
against Sid 6.7 who is still alive.
PARKER
Only because I got pulled out
early.
DEANE
Nobody else ever got anywhere near
him. Nobody else... understands him
like you do.
Parker, looking at her incredulously, moves his index finger
circularly, as in get on with it, already. Cox opens a folder
and shows Parker several PHOTOGRAPHS of Reilly, or what was
left of him.
COX
These were taken inside LETAC an
hour ago. Pretty pictures, aren't
they?
PARKER
I've seen worse.
COX
Name was Clyde Reilly. Hardware
specialist.
(a beat)
LETAC surveillance cameras got a
picture of the perp as he left the
building.
He hands a photograph of Sid 6.7 exiting LETAC to Parker.
COX (CONT'D)
We don't know how, but Sid 6.7 made
himself into an android.
DEANE
(correcting him)
You mean a nano—tech synthetic
organism.
COX
Whatever.
PARKER
(looking at the photo)
Jesus Christ.
(a beat)
Can you kill it?
COX
If you can catch him.
DEANE
Think you can do it?
PARKER
(a beat)
Not from in here.
DEANE
(revealing a document)
This is a full pardon. It
authorizes your immediate release.
She slides an unsigned pardon across the table to Parker,
making sure to stay beyond his arm's reach. Cox reveals a
worn, L. A. P. D. badge. It was Parker's.
COX
Recognize this? How would you like
your old job back?
DEANE
(to Parker)
Catch him and your record's clean.
PARKER
What happens if I can't catch him?
DEANE
If Sid 6.7 hasn't killed you, we
throw you back in here and you
serve out the rest of your
sentence.
PARKER
How do you know I won't run?
Deane holds up a small device called a LOCATER IMPLANT. It is
the size of a dime.
DEANE
This is the newest technology
approved for general
implementation. It's called a
locater implant. Every parolee gets
one.
(a beat)
We're going to know where you are
every second for the rest of your
life.
COX
(leaning to Parker)
If you try to run, I'll hunt you
down and kill you myself.
DEANE
(a beat)
Yes or no, Mr. Barnes?
CUT TO:
PARKER
being given a crew cut by an INMATE BARBER inside the Prison
Barber Shop. Long lengths of Parker's hair cover the floor.
Parker's face is then shaved. The majority of his face is
hidden. Cox and Deane look on.
COX
There's already a task force out
looking for Lindenmeyer. Every
other officer in the city will be
hunting Sid right along with you.
DEANE
But only you will know he's not
human.
Parker's expression is one of —— yeah, that figures. Madison
enters. She cannot see Parker behind the barber.
MADISON
Ms. Deane, you wanted to see me?
DEANE
We have an emergency situation
which requires somebody with
expertise in criminal psychology.
Under the authority vested in me by
the President, I'm giving you
temporary re—assignment.
MADISON
What's the assignment?
DEANE
You're going to put your theories
to practice. I'm sending you into
the field.
The barber moves back from Parker, revealing his clean—
shaven face. It takes Madison a moment to recognize him with
his cleaned—up appearance.
MADISON
(double-taking him)
Quite an improvement.
(looking him over)
Hair well above the collar
——standard, L. A. P. D. regulation.
(suspiciously to Deane)
What exactly am I going to be doing
in the field?
CUT TO:
INSIDE A PRISON HOSPITAL OPERATING ROOM
Parker lies on an operating table, receiving anesthesia, as a
SURGEON drills a small hole into his skull. The surgeon
inserts a minute, fiber-optic camera into the hole.
Parker's brain is displayed on a monitor. The surgeon uses
the image to guide him as he carefully inserts the locater
implant into Parker's brain.
ANESTHETIST
(looking at monitor)
You are right on the border of his
corpus callosuni.
SURGEON
He is under, isn't he?
ANESTHETIST
(nodding)
Won't stop him from dreaming,
though...
Parker's rapid eye movements tell you the anesthetist is
correct. Parker is dreaming.
INSIDE A VIEWING ROOM
Cox and Deane watch the operation through a large window.
Madison enters, carrying a folder labelled: INMATE #673429
A/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from
the folder, placing the first one in front of Deane.
MADISON
This is Parker Barnes six years
ago.
The most decorated cop in the
history of L. A. P. D. Special
Investigations Division...
The photograph is in black and white. But as we MOVE IN
CLOSER, it takes on color. As well as comes to life. Then
distorting. Becoming surreal. Resembling one of the images
from Parker's cell. Then mutating into something else.
INTERCUT WITH:
PARKER'S EYES
darting about wildly beneath his eyelids as he continues
dreaming. You now realize you are seeing what he is seeing:
Flashes of color. Shapes. Mostly blurs. A splash of gold.
Along with some yellow. More images from Parker's cell. Both
taking feminine form. One adult, one child.
MADISON (V. 0.)
This is Parker with his wife and
daughter. Beautiful young family,
weren't they?
The bright colors melt into darker, more brooding images.
Flashes of men's faces. Melting into urban decay.
Unhappiness. Technology.
MADISON (V. 0. CONT'D)
This is the group of cyber
anarchists Parker was closing in
on.
Melancholy turns violent. Glimpses of weapons. Death.
Explosions. Death. Blood. Death. Caskets. Tombstones. Images
moving so fast, it's hard to tell what they are. Nothing
literal.
MADISON (V. 0. CONT'D)
This is what Parker's wife and
daughter looked like after they
were kidnapped and executed.
Weapons firing. Bombs exploding. Images of rage in all its
forms. Many of which you've already seen. Making one thing
now clear: the paintings in Parker's cell represent his life.
What he was. What he lost. And what he is.
MADISON (V. 0. CONT'D)
This is what the cyber anarchists
and two people who just happened to
be in the wrong club at the wrong
time looked like after Parker
finished with them.
Tears. Hopelessness. Detonation. And finally blackness.
Complete and utter blackness.
CUT TO:
ELIZABETH DEANE
looking at the fifth photograph which Madison has placed in
front of her inside the Viewing Room.
DEANE
(unfazed)
That's also where Mr. Barnes lost
his arms to Mathew Grimes' booby—
trap. What's your point, Dr.
Carter?
MADISON
(forcefully)
Letting a lunatic like Parker
Barnes loose in the free world is
like lighting a fuse. At some
point, he will go off -- you saw
what happened in the simulator. The
risk to the public is unacceptably
dangerous.
DEANE
Not if you're with him every step
of the way.
MADISON
The man played judge, jury, and
executioner with eight people's
lives. He lost control and is
capable of doing it again.
DEANE
I understand the risks involved
here. But there is nobody better
qualified to go after Sid 6.7 than
Barnes. And, there is nobody who
knows him better than you. If a
situation becomes volatile, you
will find a way to quell it. I have
complete confidence in you.
INSIDE THE OPERATING ROOM
As Parker continues dreaming, the locater implant in his head
is tested. Parker's location is pinpointed on an electronic
map to within one inch of his present location. The hole in
his skull is then stitched shut.
CUT TO:
PARKER
putting on his L. A. P. D. uniform and badge inside a Prison
Interrogation Room. He looks very much like he did in virtual
reality, except for the scar on his cheek, and his empty
holster. Cox and Madison look on.
PARKER
(to Cox)
I don't need a baby—sitter.
MADISON
What you need is a collar.
COX
(to Parker)
She's going to help you understand
what makes Sid 6.7 tick.
PARKER
What she's going to do is get in my
way.
Cox hands Madison a thick folder.
COX
This is the personnel file on the
programmer, Lindenmeyer. There
might be something in it you can
use.
PARKER
She wasn't part of the deal, Cox.
COX
Fine —— you want to stay here?
His cellular phone RINGS, which he answers. As he listens to
the call, his expression is one of growing concern. He clicks
off the phone.
COX (CONT'D)
Officers in Toluca Lake just found
an affluent couple...completely
gutted.
(a beat)
So were the first two cops to
arrive on scene.
PARKER
Their weapons missing?
COX
(nodding)
Sid 6.7 is now armed.
PARKER
Where's my gun?
Cox glances to Madison, then hands Parker a .45.
COX
Be careful with it.
CUT TO:
AN L. A. P. D. SQUAD CAR
passing through the Security Checkpoints outside the Prison.
Parker at the wheel. Madison beside him. It's afternoon.
INSIDE THE SQUAD CAR
Parker presents his identification to a GUARD, then drives
through the final checkpoint. Madison reviews Lindenmeyer's
file.
MADISON
(without looking up)
You remember how to get to Toluca
Lake?
He glances at her, then stops the car.
OUTSIDE THE PRISON GATES
Parker gets out of the car. Madison follows suit.
MADISON
What are you doing?!
He walks around the car, brushing past her. Then drops to his
knees at the side of the road. He puts his hands in the dirt,
feeling the earth between his fingers.
PARKER
(meaningfully)
Every day for the last five years,
I told myself someday I would be
out here again. No more bars. No
more guards. No more fights just to
stay alive.
(a beat)
Every day for the last five years,
I told myself that lie.
MADISON
It wasn't a lie.
PARKER
Every time I said it, it was. I
never really thought I was going to
make it.
Taking a deep breath, he wipes the dirt off his hands. Then
stands.
MADISON
You all right?
PARKER
(completely at ease)
Fine. Never felt better in my life.
(a beat)
See, I'm a good liar.
He gets back in the vehicle. Off Madison's reaction, we
CUT TO:
SEVERAL TV REPORTERS
talking live to their cameras on the street in front of a
beautiful, suburban home in Toluca Lake, which is now a crime
scene. 6 PM.
REPORTER
(to her camera) )
As L. A. P. D.
Officers continue gathering
evidence at this grisly crime
scene, you can only ask yourselves
—— what kind of lunatic would
commit such unthinkable crimes?
Parker and Madison make their way through the curious trying
to see what's going on. Several REPORTERS double-take Parker,
then quickly instruct their PHOTOGRAPHERS to take shots of
him.
Parker and Madison present their identification to the COPS
keeping the curious at bay.
COP #1
(recognizing Parker)
Son...of...a...bitch.
Parker and Madison continue toward the house. Getting an
increasing amount of attention, particularly from the other
COPS. Some look on with awe. Some with disdain. But nobody is
in between.
MADISON
(quietly to Parker)
You ready for this?
PARKER
Don't worry. If I can't handle it,
I'll just kill everybody.
He gives her a brief smile. Which Madison does not return.
One of the other policemen tentatively approaches Parker.
COP #2
I've always wanted to tell you that
if the same thing happened to me, I
would do the exact same thing as
you -- if I had the balls.
He extends his hand to Parker, who shakes it.
COP #3
(to Cop #2)
Then you'd be a disgrace to the
badge, too.
He turns to Parker, who is looking right at him. Not with
anger. Not with any emotion, really. But it's enough to scare
the shit out of Cop #3, who walks away.
INSIDE THE SUBURBAN HOME
Investigators analyze the crime scene extensively with every
device imaginable. Parker and Madison survey the scene with
nothing but their eyes.
Lying in the middle of the living room are the four victims:
the affluent couple and the first two cops to arrive. Their
bodies were left in similar condition to Reilly's. Except
their heads have been interchanged.
Parker and Madison turn their attention to a message written
in blood on a wall. It reads: DEATH TO THE PIGS.
MADISON
(knowledgeably)
He was re—enacting Charles Manson's
LaBianca murders.
PARKER
Manson didn't kill the first cops
to arrive on the scene.
MADISON
Whoever did this wanted to do
Charlie one better —— to improve
upon what was already done.
PARKER
Charlie? You say that like you're
close, personal friends.
MADISON
I've spent over 50 hours
interviewing him.
(a beat)
Charlie killed Leno and Rosemary
LaBianca because of the ugly way
the members of his family had
butchered Sharon Tate. After seeing
the blood bath on television, he
wanted to show them how it should
be done.
(a beat)
The question is, what does Charlie
have to do with Sid 6.7?
PARKER
I know who would know.
CUT TO:
OUTSIDE LINDENMEYER'S DUPLEX
in Culver City. Magic hour. Parker pulls the squad car into a
space across the street. Hitting the vehicle parked in front
of them. In which two UNDERCOVER COPS sit waiting to see if
Lindenmeyer returns. Parker waves apologetically.
MADISON
(sarcastically)
You drive well for somebody who
hasn't done it in five years.
He ignores her as they get out of the car.
PARKER
Learn anything from Lindenmeyer's
file?
MADISON
He had a twin brother who was a
musical child prodigy who died in
an electrical accident at age
eight. Lindenmeyer went into an
emotional shell until was 17. All
he did day and night was play the
violin.
PARKER
What happened when he was 17?
MADISON
Every music school in the country
rejected him and he turned to
computers.
(a beat)
Stay here.
She approaches the cops, who remain in their car.
MADISON (CONT'D)
Any sign of Lindenmeyer?
UNDERCOVER
None, yet.
MADISON
Mind if we take a look inside?
UNDERCOVER
Not until somebody gets a search
warrant signed. It's Sunday. I
don't think they've even found a
judge, yet.
WHAM! They all turn their heads to see Parker has kicked in
Lindenmeyer's front door and is going inside.
UNDERCOVER (CONT' D)
(shaking his head)
I'm gonna have to call this in.
MADISON
Do what you've got to do.
(running after Parker)
So will I...
INSIDE LINDENMEYER'S DUPLEX
Madison races through the broken front door to find Parker
checking his weapon. Before she can speak, he motions for
Madison to freeze and be silent.
Parker hears Something. Something moving inside the duplex.
His every movement is now that of a predator.
Madison awkwardly removes her own weapon from her purse. She
does not handle it with confidence. Parker shakes his head.
MADISON
(quietly)
You've got a problem with me
carrying a gun?
PARKER
Do me one favor —— if you shoot at
anything, make sure I'm nowhere
near it.
Parker bolts through the duplex, storming into rooms
furiously. His movements are aggressive. Madison searches
other rooms methodically. She is not timid. Just
inexperienced in the field.
She passes a video camera mounted on a tripod. Pointed out
the window at a neighbor's bathroom. Dozens of cassettes
surround the tripod. The labels are dated —— covering every
day of the last month.
Parker and Madison enter opposite sides of the kitchen with
their guns drawn, nearly shooting each other. Madison puts
down her gun. Parker does not. The noise persists.
PARKER
(looking through his
sight)
Bang...
He smiles wickedly, and continues on. Madison takes a deep
breath, then resumes her search. Parker and Madison end up
INSIDE LINDENMEYER'S HOME OFFICE
It's as if the Information Superhighway ended in here.
Cluttered stockpiles of hardware and software: computers,
books, folders, disks, and tapes.
What you notice, however, is that ALL THE DATA relates to
DIFFERENT KINDS of CRIMINALS: serial killers, mass murderers,
terrorists, kidnappers, rapists, bombers, extortionists,
anarchists, you name it, it's here. The psychology of, the
methodology of, the history of, the encyclopedia of, the
autobiographies of human villainy.
CLASSICAL MUSIC and life—like SOUND EFFECTS can be heard
coming from a computer. This is what Parker has been hearing.
He holsters his sidearm. So does Madison. Who checks her
pulse.
PARKER
What are you doing?
MADISON
(clinically)
Checking my pulse. It's elevated.
(a beat)
You enjoy frightening me, don't
you?
PARKER
You've studied me, now I'm studying
you. Seems only fair, don't you
think?
ON THE COMPUTER MONITOR
An animated man, who resembles Lindenmeyer, walks peacefully
through a park. He then starts killing everything in sight.
Men, women, squirrels, even flowers. All to classical music.
The scene immediately starts over, with the man once again
walking peacefully through the park. This was Lindenmeyer's
SCREEN SAVER.
INSIDE LINDENMEYER'S OFFICE
Looking around the room, Madison shakes her head.
MADISON
This Lindenmeyer's a real piece of
work.
PARKER
(looking at a book shelf)
Maybe after they catch him, you
should write a book about him...
He runs his finger along a book shelf, pausing at two books
in particular. Their titles are: UNDERSTANDING THE CRIMINAL
MIND, and CRIMINAL PURSUIT -- A PSYCHOLOGICAL GUIDE FOR LAW
ENFORCEMENT. They were written by Dr. Madison Carter.
PARKER (CONT'D)
I'm surprised you didn't write one
about me.
MADISON
I'm still working on it.
Noticing something on the floor, she picks up a bizarre
looking synthesizer keyboard off the floor. You read its
name: MAESTRO.
MADISON (CONT'D)
Remember a few years ago when music
schools were using a computerized
teaching tool that accidently
started frying kids' brains?
PARKER
I've been in prison, remember?
MADISON
The government must have figured
there was no better person to
create a psycho than a psycho.
PARKER
Just like they figured there was no
better person to catch one...
Madison elects not to respond. She sits down at the computer,
which rests between busts of Beethoven and Mozart, and begins
typing at the computer. She works with efficiency. Knowing
exactly what she's doing. She is now in her element.
From a shelf, Parker picks up a moldy piece of licorice
inserted into a half-eaten pudding cup. Then flips through
one of the books written by Madison. Only half-interested.
MADISON
(keeping her eyes on
screen)
I am the demon from the bottomless
pit...
PARKER
(remembering, not reading)
... here on earth to create havoc
and terror. I am War, I am death. I
am destruction. David Berkowitz,
1977.
MADISON
I am impressed.
PARKER
(quoting)
For murder, though it have no
tongue, will speak with most
miraculous organ.
MADISON
Who said that?
PARKER
Hamlet.
(a beat)
What's David Berkowitz got to do
with Sid 6.7?
MADISON
(pointing to the screen)
He's part of the mix. Sid 6.7 is a
composite.
ON THE COMPUTER SCREEN
The graphics show you that Sid 1.2 was a combination of
Charles Manson and Billy the Kid. You see what look like two
viruses, which represent each criminal's psychological
profile, attacking each other. The result is a molten blob.
Berkowitz was added to create Sid 1.3. A three-way
psychological battle, more hostile than the first, occurs.
Sid 1.4, adding the terrorist, Abu Nidal, makes the conflict
even more violent. And so on.
INSIDE LINDENMEYER'S OFFICE
Madison stares at the computer screen in awe. Parker flips
through CD-ROM hard copies of the different versions of Sid.
MADISON
Lindenmeyer put increasingly
complex combinations of criminal
psychological profiles together to
develop the ultimate villain.
PARKER
(understanding)
Creating a whole far more dangerous
than the sum of its parts.
MADISON
But rather than selecting pieces
from each individual, he simply let
the stronger traits of each
individual cannibalize the weaker
ones.
She continues opening the files of the higher versions of
Sid. Version 5.9 consists of 67 different profiles. The
visualized psychological battle is intense. And extremely
violent. The 6.7 version, with 183 profiles, is even worse.
MADISON (CONT'D)
It's a good bet a couple of the
dominant personalities teamed up to
overpower the others.
(a beat)
The question is, which one of the
dominants then finally managed to
take control?
Attempting to open the files of the composite profiles,
Madison discovers they are protected by encryption.
MADISON (CONT'D)
(re: Lindenmeyer) )
He'll let us see the ingredients
that went in, but not how the soup
turned out after stirring.
Madison scrolls through the list of 183 names, stopping at
the name MATHEW GRIMES. Alarm registers on her face. As
Parker comes over to look over her shoulder, she quickly
scrolls through the list to get the name off the screen. He
holds the Sid 6.7 CD-ROM in hand.
PARKER
This is getting you pumped up,
isn't it? This is like the World
Series to you.
MADISON
As a matter of fact, it is.
Parker points to a name on the screen: JEFFREY DAHMER.
PARKER
Remember the bowling ball bag Sid
carried with him in virtual
reality?
MADISON
Dahmer carried the head of one of
his victims in a bowling bag for
over a week. Kept it in his locker
while he was at work in a candy
factory.
(re: Sid 6.7 CD-ROM)
We need to get a look at Sid 6.7's
final profile.
PARKER
What we need to do is stop playing
with computers and go catch the
son—of-a-bitch before he kills
anybody else.
MADISON
In order to find him, we have to
understand what makes him tick...
CUT TO:
THE SID 6.7 CD-ROM
being inserted into a disc drive inside the Cal Tech Computer
Lab. Very high-tech. Sitting at the computer is ALEXIEV
BORGEN, 60s, the "grand old wizard" of the facility. Parker
and Madison sit next to him. Around them, young Lindenmeyers
are everywhere.
ALEXIEV
(remembering fondly) )
Daryl Lindenmeyer was only here
briefly, one semester at most. But
he was singularly the most
brilliant student I ever had in a
classroom. He created programs so
beautiful, so lyrical, they were
almost like symphonies...
PARKER
Can you tell us what's on the disc?
ALEXIEV
(working the computer) )
There is one program with
approximately 1.3 million lines of
programming.
It is thoroughly secured, which is
not surprising considering
Lindenmeyer created it.
MADISON
Think you can get into the program?
ALEXIEV
(with appreciation) )
Hard to say —— Lindenmeyer's
protection mechanisms were always
diabolically clever.
PARKER
You should see what he's been up to
recently.
CUT TO:
A YOUNG COUPLE
kissing passionately inside a car parked along a deserted
street in Hollywood. Music blares from inside the vehicle.
Steam on the windows partially obscures your view. As well as
Sid 6.7's.
He stares menacingly through the side window. Enjoying the
show. His eye momentarily wanders.
The young lovers are completely oblivious. Sid 6.7 caresses
the gun taken from the cops in Toluca Lake as if it
stimulated him.
SID 6.7
(to himself)
The Dahmer part of me wants to boil
you for dinner. The Manson part
wants to recruit you to become part
of my family.
(a beat)
You know what the Berkowitz part of
me wants to do?
He raises the gun, placing it against the steamed window. But
does NOT pull the trigger. His face going through a rapid
change of expression —— as if a battle for control of his
emotions were going on.
Regaining control, Sid 6.7 lowers the gun. He stands back.
Reflecting.
SID 6.7 (CONT'D)
Craft can only become art when the
creator sets his sights on
something never yet achieved...
(a beat)
Like an apprentice about to become
a master, the imitator is about to
become an originator.
He pockets his weapon and walks
INSIDE AN UPSCALE NIGHTCLUB
The bartender is a low-tech ROBO-TENDER. PATRONS sit quietly,
drinking themselves into oblivion. Sid 6.7 takes a seat next
to an BUSINESSMAN slumped at the bar.
SID 6.7
(thoughtfully)
Ever have one of those days where
you decide something important
about yourself? You know, where you
say, "I'm not just what I've been
programmed to be. I can do what I
want, when I want, how I want,
because I'm my own person?"
BUSINESSMAN
(slurring)
You one of them New Age assholes?
SID 6.7
Just a soul on a personal journey.
What I've realized is that I'm
capable of anything. I have to
start expanding my horizons...
The Robo-Tender rolls over to Sid 6.7.
ROBO-TENDER
(digital, scratchy)
Want...a...drink?
SID 6.7
To think you constitute one of my
ancestors——
He shoots the Robo—Tender between his mechanical eyes. The
businessman smiles, like he's thought about doing exactly the
same thing.
BUSINESSMAN
Listen, buddy...thinking big is
fine.. .but you shouldn't forget
where you come from, either.
Sid 6.7 thinks about it. Long and hard.
SID 6.7
You know, you're absolutely right.
(pointing)
Would you mind sitting over there?
He points to a table with several other BUSINESSMEN.
BUSINESSMAN
What for?
SID 6.7
Every orchestra is divided into
sections. Like instruments sit with
like instruments. Now be a good
instrument and sit with your
kind...
He lifts the businessman off his bar stool and carries him to
the table.
CUT TO:
AN ELECTRONIC MAP OF LOS ANGELES
on which a RED DOT moves west along a street in Los Feliz.
The map occupies a wall inside Chief Cox's Office in the
L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look
on.
DEANE
What are they doing in Los Feliz?
COX
(checking his records)
Madison lives two blocks from their
present location.
DEANE
Why would they be going there?
COX
I don't know.
DEANE
I wish we could hear them.
WALLACE
My engineers say the audio tap
should be ready to field test in
six months.
Off Cox's look, we
CUT TO:
INSIDE PARKER'S SQUAD CAR
Parker drives through a residential neighborhood. 9 PM.
Madison points to a house on the right.
MADISON
Not this one, but the next one. The
one with the bicycle out front...
Parker stops in front of a modest, but well—kept, house.
PARKER
I'll wait out here.
Madison pockets the car keys, then reveals a pair of
handcuffs. She latches one cuff to the steering wheel, and
holds up the other toward Parker.
MADISON
Give me your wrist.
PARKER
Give me a goddam break. I'm not
going to go anywhere alone.
MADISON
And I'm going to make sure of it.
(not wavering)
Give me your wrist.
Parker relents, and holds up his wrist. Madison places the
cuff around it, then gets out of the car.
OUTSIDE MADISON'S HOUSE
Madison walks up the steps to the front porch. She is
immediately intercepted by her daughter, KARIN, 7, who bursts
out of the front door and leaps into her arms.
KARIN
Mommy's home! Mommy's home!
Karin's BABY-SITTER opens the door for Madison as she carries
her daughter inside.
Parker stares from squad car in surprise. Even disbelief. He
had no idea Madison was a mother.
Moments later, Karin comes back out and sits on the front
steps. Staring at Parker. With fascination. Curiosity.
Wondering who this strange man is, and why he's sitting in a
police car outside her house. But not saying a word.
Parker stares back as if carrying on a silent conversation
with her. A multitude of expressions passing over his face as
memories of his own daughter flash through his mind.
CUT TO:
INSIDE MADISON'S BEDROOM
Madison sits at a desk, typing quickly at a computer. Via
modem, she connects with the L. A. P. D. Criminal Library.
She rifles through data concerning MATHEW GRIMES, who was the
leader of a cult of cyber anarchists. He was known as the
Charles Manson of technological terrorism.
ON HER COMPUTER SCREEN
From both newspaper ARTICLES and news FOOTAGE, the following
information about him becomes clear:
Grimes was an expert at media manipulation. He delighted in
publicly humiliating anyone who stood in his way. The Mayor
of Los Angeles, Bob Bennett, who offered increasingly higher
rewards for Grimes' capture, was Grimes' primary nemesis.
L.A.P.D. Special Investigations Division Officer Parker
Barnes managed to stop Grimes from killing Mayor Bennett.
Grimes retaliated by repeatedly humiliating Parker with false
leads and lawsuits.
You see footage of a woman lying dead in an alley. A note is
pinned to her clothing. The note reads: "HEY, PARKER, THIS
ONE'S FOR YOU."
Grimes then kidnapped Parker's wife and daughter. Parker
located the group in a club, but only in time to witness
their deaths. Parker then killed everybody in the club,
including the six cult members and two completely innocent
people.
INSIDE HER BEDROOM
Madison stares gravely into the screen.
MADISON
Grimes, you better not be the
dominant.
CUT TO:
OUTSIDE MADISON'S HOUSE
Parker and Karin continue staring at each other in silence.
He smiles. Then she smiles. She wiggles her nose. Then so
does he.
Madison comes out wearing fresh clothing, then kisses her
daughter good night. As Madison goes to the squad car, Karin
waves good-bye to Parker. He does the same. Karin's
babysitter then leads her back inside the house.
INSIDE PARKER'S SQUAD CAR
Madison gets in, immediately noticing the handcuffs dangling
from the steering wheel. Parker has been free the entire
time.
PARKER
Told you I wasn't going to go
anywhere.
MADISON
How did you get your hand out?
As she unlocks the handcuffs from the steering wheel, Parker
wiggles his mechanical hand in front of her face.
PARKER
Sometimes, I like being part
machine.
Annoyed, Madison tosses him the car keys. He starts the
engine and drives.
PARKER (CONT'D)
Why didn't you tell me you had a
daughter?
MADISON
I prefer keeping my professional
life separate from my personal
life.
PARKER
(a beat)
She's beautiful, you know?
MADISON
Thank-you.
(a beat)
Her name is Karin.
She turns on the police radio.
PARKER
Want to tell me the real reason we
stopped at your house?
MADISON
I told you, it was on the way and I
wanted to change clothes.
PARKER
You should practice lying more
often. You're awful at it.
(a beat)
Where to?
MADISON
(a beat)
Sid 6.7 is no longer bound by his
programming.
PARKER
What does that mean?
MADISON
Now that he's in the real world,
there are no longer limitations on
his behavior like there were in
virtual reality. Sid is going to
evolve.
PARKER
Sounds to me like a well—educated
way of saying you have no idea what
to do next.
MADISON
What I do know is that whatever
he's becoming, Sid 6.7 is going to
be even worse than he was before.
PARKER
Then all we can do is stay mobile
and alert. He's got to make a move
sometime, and we've got to be ready
when he does.
(a beat)
Welcome to police work. You better
like coffee.
He turns up the police radio.
CUT TO:
INSIDE THE UPSCALE NIGHTCLUB
Sid 6.7 has separated the patrons into four separate groups:
older men and woman, and younger men and woman. All are
frozen in their seats with fear.
Sid 6.7 points his gun at one group, then another, waving his
arm as if he were a conductor, and as if his gun were a
baton. Sid 6.7 clearly enjoys this game of terror. He
delights in the patrons' fear, and revels in his power over
them.
SID 6.7
Good... Very good... Nice...
(pointing at a woman)
You -- in the middle -- don't hold
back. Give it to me!
He fires his gun just above her head. She SCREAMS in terror.
SID 6.7 (CONT'D)
That's better...
He continues aiming his gun from face to face, seeking ever
increasing emotional responses from his "instruments." A guy
entering the bar does a quick about face. Gone by the time
Sid 6.7 glances at the door.
SID 6.7
God, I hate interruptions.
(to the patrons)
Once again, from the top—— BOOM! He shoots again, just
missing a man's foot.
CUT TO:
MADISON
buying two coffees from a downtown street vendor. She returns
to the squad car, which is barely moving. Traffic is at a
near standstill because of an accident.
INSIDE THE SQUAD CAR
Parker drinks his coffee black. Madison adds two creams, two
sugars. The cackling from the police radio continues
unabated.
PARKER
I forgot what real coffee tastes
like...
MADISON
You know, considering you've only
been out of prison for seven hours,
you're re—adapting quite well.
(a beat)
Wait, I didn't mean that the way it
sounded. I meant...
PARKER
Don't worry about it, all right?
MADISON
Dammit, I hate sounding so clinical
all the time. All I meant to say
was I thought you were doing well,
but then I...
PARKER
Relax. I know what you meant.
MADISON
I ruin so many moments by analyzing
them when I should just be living
them.
PARKER
Then why don't you start practicing
and keep your mouth shut for a
while?
Madison stops herself from speaking. It isn't easy for her.
Parker cracks a faint smile. YOU HEAR the police radio.
DISPATCHER (V. 0.)
...report of a possible hostage
situation inside a bar on the
corner of Figueroa and Sixth.
Description of the perp matches the
surveillance photographs from LETAC
taken this morning...
MADISON
That's only a couple blocks from
here.
PARKER
I'll meet you there.
Tossing his coffee out the window, he opens the door.
MADISON
(deadly serious)
Don't get out of the car.
PARKER
Stop me.
He gets out, running down the sidewalk. He flies past the
cars inching down the block.
MADISON
Parker! PARKER!
(a beat)
Shit!
She climbs into the driver's seat, spilling hot coffee on
herself.
ON SIXTH STREET
Parker bolts recklessly through the downtown street. A hunter
hot on the trail of his prey in an urban jungle.
CUT TO:
INSIDE THE UPSCALE NIGHTCLUB
Sid 6.7 gently caresses the hair of a terrified young WOMAN
sitting among several others. You hear the sound of tires
SCREECHING to a halt outside.
Sid 6.7 remains unconcerned. He toys with the Woman, pointing
the gun in her face, then pulling it back. Her expression
changes instantly. Dramatically.
SID 6.7
I just love how responsive you are.
COP L (0.S.)
Freeze!
TWO COPS stand in the doorway, weapons aimed at Sid 6.7. The
Cops inch closer to him.
SID 6.7
(not turning around)
The ushers were not supposed to
seat you until intermission.
COP #1
Put the gun down, nice and...
Sid 6.7 spins around and fires twice before he can finish his
sentence. Both Cops receive IDENTICAL wounds in their
shooting arms, reminding you of the wounds Parker and John
first received in the opening virtual reality sequence.
Sid 6.7 takes a bow, as if on stage.
SID 6.7
Thank you, ladies and gentlemen,
you've been a real pleasure...
As he walks toward the exit, he admires himself in the mirror
behind the bar. Sid 6.7 has never seen his own image in the
real world before. He likes what he sees.
OUTSIDE THE UPSCALE NIGHTCLUB
Street traffic is much lighter here. Sid 6.7 exits, getting
into the vacant police car left by the cops.
INSIDE THE COPS' VEHICLE
Sid 6.7 adjusts his seat. The rearview mirror. Glancing at
himself. Then behind him.
HIS POV -- IN THE REARVIEW MIRROR
Parker becomes visible racing around the corner. Running like
a dog who's got the scent.
INSIDE THE COPS' VEHICLE
Sid 6.7 looks pleased.
SID 6.7
Well, look who it...
CRACK! A bullet spiderwebs the rear window. Sid 6.7 punches
the gas, taking off in a hurry.
OUTSIDE THE UPSCALE NIGHTCLUB
Parker races after Sid 6.7, firing his weapon continuously.
WITHOUT CARE for the innocent MOTORISTS nearby. They SCREAM
in absolute terror, but remain unharmed. Physically, anyway.
Parker gives up the chase of Sid 6.7's vehicle and runs in
the other direction. Toward Madison as she rounds the corner
in their squad car.
INSIDE PARKER'S VEHICLE
He opens the driver's side door and shoves Madison over.
MADISON
What the hell's going on?!
PARKER
This is my area of expertise.
He jumps behind the wheel, flooring the accelerator. Speeding
through the already frightened motorists. Madison is pinned
to the back of her seat. Looking out the window, she looks at
the motorists.
MADISON
(with concern)
What did you do to those people?
PARKER
Nothing.
ON THE STREET
Parker's vehicle speeds through city streets. Gaining ground
on Sid 6.7.
Parker stops for nothing. Not for red lights. Not for
gridlock. When the street becomes impassable, he veers onto
the sidewalk.
INSIDE PARKER'S VEHICLE
Parker's eyes are locked to the road with fierce
determination. Madison's eyes are a mixture of fear and
excitement. She holds onto the door handle for dear life.
PARKER
Being on the street's a little
different than sitting in an office
all day, isn't it?
MADISON
(gritting her teeth)
Enjoying yourself?
PARKER
You know I am.
MADISON
This isn't a game, Parker!
PARKER
(re: Sid 6.7)
Tell him.
SID 6.7 (V. 0.)
(over police radio) )
Glad to see you're on the case,
Officer Barnes. Or should I say,
inmate 673429...
MADISON
(in disbelief)
That who I think it is?
Parker turns to her, then picks up the radio.
PARKER
(into radio)
Call me whatever you want, asshole.
Parker accelerates even faster. Closing the gap between them
and Sid 6.7.
INTERCUT WITH:
INSIDE SID 6.7'S VEHICLE
Sid 6.7 drives dangerously fast, causing an accident, around
which Parker must circumnavigate. Tires SCREECH. Glass
SHATTERS. Sid 6.7 hangs his head out the window.
SID 6.7
(into radio)
The symphony of collision...
PARKER
The only thing I want to hear is
your silence.
SID 6.7
I must make them very nervous if
they let you out of prison.
(a beat)
You know, we have so much in common
—— we have such history together
——I've been thinking we should
become friends.
Madison's anxiety tanks are hitting capacity.
PARKER
(into radio)
You and me have nothing in common.
SID 6.7
Who else do you know who touches
the world with synthetic hands?
Parker glances at his mechanical hands gripping the wheel.
Madison can't believe he is able to carry on a conversation
while driving like this.
SID 6.7 (CONT'D)
Who else do you know who's been
locked out of the real world for
years, and is now just learning to
be free?
(a beat)
Who else do you know is a multiple
murderer just like you? Who else...
Madison clicks off the radio.
MADISON
You have nothing in common.
She puts her hand to her wrist -- checking her pulse.
PARKER
(shaking his head)
Enough with your pulse already.
(a beat)
Still got your gun?
Madison takes out her weapon. Her hands are shaking.
PARKER (CONT'D)
Show me you can use it.
ON THE STREET
Sid 6.7's vehicle reaches absolute gridlock. Nobody's going
anywhere for a while.
Sid 6.7 SLAMS on the brakes and abandons the car, leaving it
right in the middle of the street. A TRAFFIC COP with his
weapon trained on Sid 6.7 from a distance.
TRAFFIC COP
You better be a cop, pal!
SID 6.7
(raising his arms)
My badge is in my jacket. Left
pocket.
TRAFFIC COP
Show me...
Sid 6.7 slowly reaches inside his jacket and fires his weapon
through it. He only gets a hole in his jacket. The Traffic
Cop gets a hole through his chest.
SID 6.7
God, some people are stupid.
He aims his weapon at Parker's oncoming vehicle.
INSIDE PARKER'S VEHICLE
Madison leans out the window, aiming her gun at Sid 6.7, as
Parker speeds toward the gridlock.
PARKER
Nail the fucker.
Madison's determination battles her inexperience. Sid 6.7
gets off the first shot. CRACK! That was the windshield by
Parker's head. He ducks down, driving blind.
PARKER (CONT'D)
Any time now...
Madison fires. Nowhere close. She adjusts her sights and
fires again. The result is the same.
PARKER
What's the problem?
MADISON
I'm doing the best I can!
BOOM! That was Sid 6.7 shooting their front left tire. Parker
loses control of the vehicle.
ON THE STREET
Parker's vehicle SLAMS into a car stopped in front of them.
Air bags save Parker and Madison from injury, but also
prevent them from getting out of the car with any speed.
By the time they do get out, Sid 6.7 is long gone. Parker
stares at Madison with pure hatred.
CUT TO:
INSIDE A CONFERENCE ROOM
in the L. A. P. D. Downtown Headquarters the next morning.
Chief Cox stares angrily at Parker. Madison sits next to him.
Behind them is a mirrored wall.
COX
(reading from a list)
... illegal search of Lindenmeyer'
s duplex. Eleven civilian vehicles
damaged or destroyed. Twenty—four
citizen complaints. And the calls
are just starting to come in...
(to Parker)
I forgot what it's like to have you
on the streets.
MADISON
Any sign of Lindenmeyer?
COX
None. He could be hiding, he could
be helping Sid, or could be in
little pieces on Santa Monica
beach.
(a beat)
Any idea what Sid's going to do
next?
MADISON
Until we know what new influences
are affecting him, we can't be
sure.
COX
In other words, we collectively
don't know shit.
INSIDE THE ADJACENT ROOM
Wallace and Deane look on through the two—way mirror. Deane
is on the phone.
WALLACE
(re: Parker)
It makes me nervous just seeing him
in a uniform.
(a beat)
I will never forget the first time
I saw the photos from the crime
scene.
DEANE
(hanging up the phone)
Neither will the public.
(a beat)
The media has caught wind of his
pardon. Unless Mr. Barnes starts
giving me some tangible results,
I'm going to put him back in his
cage.
CUT TO:
ON A TELEVISION
The news is in progress. A REPORTER continues.
REPORTER
Police now believe there to be a
connection between the grisly
Toluca Lake murders yesterday
afternoon, and the hostage
situation which occurred last night
in a downtown bar...
INSIDE A SUPERMARKET
The TV is one of many mounted above the check—out counters.
CUSTOMERS waiting in line with their shopping carts watch the
news with varying degrees of horror, disgust, curiosity, and
fear.
The stronger their reaction, the more Sid 6.7 enjoys it. He
is waiting in line holding a box of Twinkies.
CASHIER
Next.
(eyeing the Twinkies)
Did you know those aren't even
baked? They're chemically—risen.
SID 6.7
(a beat)
So was I.
Off the cashier's look, we
CUT TO:
DARYL LINDENMEYER
watching the news on a pocket TV on a wooden bench that
morning. Both proud and horrified at the monster he has
unleashed upon the world. You hear CLASSICAL MUSIC in the
background.
Lindenmeyer begins to laugh. Uncontrollably. The sounds
echoing. As WE PULL BACK, you realize the bench is one of
many inside the Hollywood Bowl.
Lindenmeyer is the only person sitting in the stands. He
glances down at the members of the Los Angeles Philharmonic
as they rehearse for an upcoming performance.
Whatever the event is, it's going to be big. Dozens of
technicians surround the stage, setting lights, cameras,
microphones, etc. for a live, pay—per—view broadcast.
CUT TO:
ALEXIEV BORGEN
talking on a phone inside the Cal Tech Computer Lab.
ALEXIEV
I'm afraid I don't have very good
news.
INTERCUT WITH:
PARKER AND MADISON
on the speakerphone inside Cox's Office.
MADISON
Were you able to get into the
program?
ALEXIEV
Yes. But then I tripped over an
erasure mine.
PARKER
In English, please.
ALEXIEV
I accidently triggered a protection
mechanism which erased the entire
program.
Parker and Madison turn to each other -— shit.
ALEXIEV (CONT'D)
It was very well—hidden. There was
no way to see it until it was too
late.
PARKER
(a beat)
It's not your fault. We appreciate
you trying.
ALEXIEV
Look, I feel bad about this, so I'm
going to try to look into the
programming of his Maestro teaching
tool for you.
(holding up keyboard) )
I've had one sitting around for
years. Maybe I can learn something
that you'll find useful.
MADISON
Let us know.
CUT TO:
SID 6.7
walking along a sidewalk. Noon. Something in a store front
catches his attention. Namely, his own image being captured
by a video camera pointed at the sidewalk. He is standing
outside a large electronics store.
Sid 6.7 walks closer to the window, moving into a CLOSE—UP.
He is captivated by his image. Fascinated. And intrigued.
This is the first time he has ever seen himself on screen.
INSIDE THE ELECTRONICS STORE
Dozens of TVs on display. There is a different channel on
each. The audio/visual bombardment is overwhelming. Sid 6.7
enters, making his way to a big screen TV with the local news
in progress.
REPORTER
(from the TV) ... commuters
travelling anywhere near the
Biltmore Hotel downtown tomorrow
evening should allow themselves at
least 30 extra minutes to get home.
Security for the Mayor Bennett's
Re—Election Rally is going to be so
tight that all bus and subway
routes passing through the area are
being re—routed...
Sid 6.7 changes the channel to a different news broadcast.
Parker's Folsom County Prison I. D. photograph is shown
alongside a photograph of Madison from one of her book
covers.
SID 6.7
(to the TV)
Don't you two make a pretty couple.
The news broadcast zooms in on Parker's picture. Sid 6.7
wiggles his synthetic fingers in front of his face.
SID 6.7 (CONT'D)
We really do have so much in
common. But I refuse to be
upstaged...
He changes the channel back to the first news broadcast. A
reporter stands amid the chaos outside the bar where Sid 6.7
had terrified the patrons.
Sid 6.7 turns to the other CUSTOMERS in the store. Most of
them are watching other channels. He goes over to a control
pad on a counter and presses several buttons.
Now EVERY TV in the store has the news with the reporter
outside the bar on. A SKINHEAD, sporting numerous Nazi
swastika tattoos, manually changes the channel on one of the
TVs to a Dodger baseball game.
Sid 6.7 walks over to the Skinhead and changes the channel
back to the news.
SKINHEAD
You don't wanna fuck with me, man.
He moves to the next TV over and changes the channel to the
baseball game. Sid 6.7 moves over with him, standing directly
behind the Skinhead as if also interested in the Dodgers.
SID 6.7
(singing softly)
Take me out to the ball game...
Take me out for the fun...
He places his hands on the Skinhead's head and efficiently
snaps his head around, breaking his neck.
SID 6.7 (CONT'D)
Buy me some peanuts and Cracker
Jack... I don't care if I ever come
back...
He drops the Skinhead to the floor, never once taking his
eyes off the TV.
ON THE TV
A Dodger game is in progress. A pop fly is caught by the
center fielder. The runner at third tags and heads for home.
The play at the plate is close. The umpire calls the runner
out.
The camera pans to the MASSIVE SCREEN over left field to show
the instant replay. Reactions of fans around the stadium are
shown in CLOSE—UP. The fans also respond to seeing themselves
on the massive screen.
INSIDE THE ELECTRONICS STORE
Sid 6.7 watches the TV intently, completely ignoring the
horrified customers circling around him because of the dead
Skinhead at his feet. A SALESMAN, who'd been demonstrating a
videocamera, tapes Sid 6.7 from behind a customer.
SALESMAN'S POV -- HANDHELD VIDEO
As Sid 6.7 realizes he's being videotaped, his entire face
seems to light up. Playing directly to the camera, he clearly
loves being in the spotlight. The attention. The focus. It's
suddenly as if he's had years of training. He is completely
at ease. And simply captivating.
SID 6.7
(direct address)
I'm sorry I can't do more for you.
(pointing to the Skinhead)
Public service really isn't my
forte.
He walks into an EXTREME CLOSE-UP and kisses the lense. Then
reaches out of frame to help the increasingly—shaky salesman
steady the camera.
SID 6.7 (CONT'D)
But rest assured...
(a beat)
A star is born.
WE PULL BACK TO REVEAL you're now watching a recording of Sid
6.7 on videotape, along with Parker, Madison, and a dozen
other COPS, inside the Electronics Store an hour later. The
tape is re—wound.
MADISON
(to Parker)
Whatever he was doing here was only
the start.
PARKER
Start of what?
MADISON
I don't know, yet. What we do know
is his performances are increasing
in scale, not decreasing.
(a beat)
Whatever it is, he isn't
finished...
She moves closer to the screen as the tape is played back.
Madison studies Sid 6.7 intently.
SID 6.7 (0. 5.)
(recorded)
But rest assured...
(a beat)
A star is born.
MADISON
(to another cop)
You mind playing that part again?
Her request is obliged.
MADISON
Freeze it there——
She stares at Sid 6.7, who is looking directly at her.
MADISON (CONT'D)
(as if to Sid 6.7) You've
discovered media, haven't you? You
like the attention...the
power...You like being a star. What
are you going to do next, star?
What are you going to...
Her attention turns to the upper right corner of the screen,
where onlookers are visible watching Sid 6.7. Their faces
blurry. But even out of focus, it isn't hard to recognize
Lindenmeyer.
MADISON (CONT'D)
(as if to Lindenmeyer)
You do like to watch, don't you?
(to the surrounding cops)
If any of you are looking for Daryl
Lindenmeyer, that's him...
She points to Lindenmeyer, then makes her way over to Parker,
who's standing exactly where Sid 6.7 was when he killed the
Skinhead. Parker does not look at Madison. His eyes are fixed
on the TV in front of him.
MADISON (CONT'D)
It's not just Sid 6.7's
performances that are increasing.
Stars need bigger and bigger
audiences.
(a beat)
Whatever Sid is going to do next,
it's going to involve media.
PARKER
You like baseball?
ON THE TV
The baseball game continues. Players take the field at the
start of a new inning. The outfielders can't help but glance
at the beautiful WOMAN being shown in CLOSE-UP on the massive
screen over left field.
ANNOUNCER (V. 0.)
I'll tell you, whoever's operating
the stadium's closed—circuit
cameras must have fallen in love
because that beauty in J Section
has been on the stadium's big
screen for over a minute now...
INSIDE THE ELECTRONICS STORE
He grabs a police radio from a nearby OFFICER.
PARKER
(urgently into radio) This is
Officer Parker Barnes. Get every
able body you can to Dodger Stadium
-- J Section.
OFFICER
What the hell's going on?
PARKER
(re: TV)
Live execution.
INSIDE DODGER STADIUM
On the massive screen over left field, the Woman in CLOSE-UP
looks embarrassed, trying to forget her face is now 40 feet
high for all the other fans to see.
ANNOUNCER (V. 0.)
That's enough with the close-up
already, Mr. DeMille. Even the
players are starting to get
distracted...
The players on the field are all looking up at the massive
screen.
INSIDE THE STADIUM CONTROL BOOTH
The Woman's face appears on various monitors. The phone
RINGS. No one answers it. The room appears to be empty.
The stadium's closed-circuit TV director is not in his chair.
He's lying dead on the floor.
ON THE J SECTION CAMERA PLATFORM
The closed—circuit camera remains focused on the Woman. The
camera is locked off. It's operator lies dead beside it.
THROUGH ITS VIEWFINDER
Sid 6.7 can be seen arriving next to the Woman. He gently
caresses her hair.
IN J SECTION
Sid 6.7 stands in front of the Woman's BOYFRIEND, who sits
next to her.
BOYFRIEND
You make a better door than a
window, buddy. Keep it moving.
Sid 6.7 picks him up out of his seat and throws him three
rows ahead. Sid 6.7 then puts hands around the Woman's
throat.
ON THE MASSIVE SCREEN
over left field, the Woman attempts to scream as Sid 6.7
chokes her. No sound comes out.
FANS
react with horror. But nobody turns away.
ANNOUNCER (V. 0.)
Jesus Christ! Somebody stop him!
SECURITY PERSONNEL
rush from all parts of the stadium toward J Section.
SID 6.7
enjoys the reactions of the terrified fans around him as he
chokes the life out of the Woman.
SID 6.7
(to the camera)
Hey, Parker, this one's for you...
His words ECHO around the stadium as he SNAPS the Woman's
neck. He then hurls her limp body toward several men as they
charge him.
SID 6.7 (CONT'D)
That's all, folks.
He leaps over a railing, rushing into a tunnel which leads
out of the seating area.
A SECURITY GUARD
climbs up the stairs to the mouth of the tunnel. Weapon in
hand. He draws a bead on Sid 6.7's back. BOOM!
HIS POV
A bullet rips through Sid 6.7's side. Blood begins to seep
from the wound. But then immediately begins to retract. Once
his blood has returned, his skin heals over the wound.
Leaving a scar. Which also then disappears.
Other than the hole in his shirt, Sid 6.7 is as good as new.
He never even misses a step as he disappears around the
corner.
THE SECURITY GUARD
stares in disbelief as he is joined by several comrades.
GUARD
I nailed the son—of-a—bitch. I put
a hole right through him...
PANIC-STRICKEN FANS
in J Section start moving away from the area as fast as they
can. Parents clutching their children. Climbing over seats.
Shoving anyone in their way.
ANNOUNCER (V. 0.)
Ladies and gentlemen, please try to
stay calm. Everyone just keep your
seats...
Fans all over the stadium start charging toward the exits.
OUTSIDE DODGER STADIUM
People bolt through the turnstiles, running away from the
stadium as L. A. P. D. squad cars approach in the distance.
The car in the lead is Parker's.
INSIDE PARKER'S VEHICLE
Parker speeds dangerously fast toward the fans streaming onto
the street. Madison braces herself.
MADISON
SLOW DOWN!
Parker JAMS on the brakes with both feet. SCREEEEEEECH!
OUTSIDE DODGER STADIUM
Parker comes within inches of mowing down several people, who
keep right on running. Parker jumps out of the vehicle,
scanning faces. In predator mode. Madison gets out, clearly
shaken. Parker locks his gaze on somebody in the distance.
HIS POV
A guy in Dodger baseball cap and jacket. Walking calmly away
from the stadium. He descends down an escalator into a
recently-built subway station. It is Sid 6.7.
PARKER
charges after him. A heat—seeking missile locked on target.
MADISON
Parker.. .Parker!
She does the best she can to follow after him. People knock
into Parker as hard as he does them. A human version of
bumper cars.
Reaching the entrance to the subway, Parker leaps down the
escalator three steps at a time. Madison remains in his wake.
INSIDE THE SUBWAY STATION
Parker and Madison hop the turnstiles. Only to be stopped by
a remote—controlled, box—shaped robotic sentry, which is
identical to one you have seen before. This sentry was one of
Reilly's creations at LETAC.
SECURITY ROBOT
(male, authoritarian)
Stop. You are in violation of...
Parker spits in the Robot's electronic eye. Temporarily
blinding it, as well as the guy operating it via remote
control. Parker and Madison make their getaway as the robotic
sentry struggles to clean off his eye.
PARKER
Real effective security...
MADISON
You could have just flashed him
your badge, you know?
PARKER
Authority still makes me nervous.
They come to a fork: one tunnel goes to east/west trains, the
other to north/south.
MADISON
Which way?
PARKER
Both.
He races down the tunnel to the north/south trains. Madison
heads down the other. Her determination beginning to win out
over her inexperience.
PARKER
hesitates at the escalator leading to the south-bound side of
the tracks.
Further down the tunnel is the escalator to the north—bound
trains. Parker chooses the escalator closest to him.
ON THE SOUTH-BOUND PLATFORM
Passengers pass the time by watching a television mounted
above them. Except for Parker, who scans the crowd. Then
across the tracks.
ON THE NORTH-BOUND PLATFORM
In the entire crowd, there is only one person not watching
the TV screen. He is watching Parker. Through his gun sight.
Sid 6.7 pulls the trigger. BOOM!
ON THE SOUTH-BOUND PLATFORM
Parker dives to the ground, just avoiding the bullet. He
scrambles behind a pillar for protection. Only to see the guy
standing behind him wasn't as lucky.
ON THE EAST-BOUND PLATFORM
Madison hears the gunshot ECHO through the station. Which
scares the already-terrified fans trying to get away from
Dodger Stadium. Chaos is rapidly becoming Pandemonium.
MADISON
SHIT!
She races up the escalator, taking out her weapon.
CUT TO:
PARKER
peeking out from behind the pillar on the south-bound
platform.
PARKER'S POV -- ACROSS THE TRACKS
Passengers rush in every direction. Some are screaming. Some
are crying. Nobody knows who fired the shot. Or where to go.
But everyone is going somewhere.
Including Sid 6.7, who makes his way through the flurry of
movement toward the up escalator. It is difficult to keep
sight of him.
PARKER
moves toward the edge of the platform, aiming his gun across
the tracks. Those around him quickly back away.
PARKER
(yelling)
Everybody get down!
Only about half the passengers on the north—bound side can
hear him above the screaming already going on. Sid 6.7 is
nowhere to be seen.
PARKER (CONT'D)
(screaming)
GET DOWN!!!
The rest of the passengers hit the deck, except for a COLLEGE
STUDENT listening to music on headphones. He is riding the
escalator up. Sid 6.7 stands behind him, using the student as
a shield.
PARKER' S POV
As Sid 6.7 ascends, slight portions of his body are
momentarily exposed behind the student as he sways with the
music coming from his headphones. Parker does NOT have a
clean shot.
In 10 seconds, Sid 6.7 will disappear from view completely
and Parker will have no shot at all. A momentary sliver of
Sid 6.7 becomes visible. An inch-and-a-half at most.
PARKER
doesn't hesitate. He lines up his shot and pulls the trigger.
ON THE NORTH-BOUND UP ESCALATOR
The college student standing in front of Sid 6.7 gets winged
in the shoulder. Not a serious wound, but a painful one just
the same.
The bullet must have hit bone, because it deflected upon
impact, missing Sid 6.7 entirely.
The student drops to the escalator, screaming in pain. Sid
6.7 crouches beside him.
SID 6.7
(yelling)
What's wrong, convict, your arms
need adjusting? Or maybe it's your
head. Maybe you aren't ready to be
back out in the real world, yet...
PARKER'S POV
The top of Sid 6.7's head is exposed an inch, maybe two.
PARKER
fires again. Repeatedly. Moving closer and closer to the edge
of the platform, trying to get a better angle while he still
has a shot.
Parker moves to the very edge of the platform. His arm
extended out over it. Completely oblivious to
THE SUBWAY TRAIN
rocketing into the station toward the south-bound platform.
MADISON
leaps off the descending escalator on the south—bound side
and rushes to Parker.
She pulls Parker back just before the train reaches him. Had
his arm still been raised, Parker would have lost his arm a
second time.
They tumble to the floor. A PASSENGER rushes to Madison.
PASSENGER #1
(pointing to Parker)
Lady, you gotta stop him! He's gone
crazy!
PASSENGER #2
He just shot an innocent bystander!
MADISON
(forcefully to Parker)
What were you shooting at?
Parker gets to his feet. Madison doesn't take her eyes off
him.
PASSENGER #1
He did —— I saw it!
PASSENGER #2
DO SOMETHING!
PARKER
(to Madison)
Sid's getting away.
He heads toward the up escalator. His back now to Madison.
She aims her gun at him.
MADISON
Parker -— stop! STOP! Don't make me
shoot you——
PARKER
(not looking back)
If you're gonna do it, better do it
now.
He keeps right on going up the escalator.
MADISON
lines up her shot. Hands shaking. With both fear and
determination. Her finger presses down on the trigger...but
she can't do it.
MADISON
Dammit!
She chases after him.
INSIDE THE NORTH/SOUTH TUNNEL
Madison looks in both directions as she gets off the
escalator. Parker is nowhere to be seen.
Moving toward her slowly is the wounded college student, who
clutches his bleeding shoulder. He is shivering. Going into
shock. Madison goes to him, taking off his headphones.
MADISON
Let me help you...
He collapses in her arms.
COLLEGE STUDENT
(delirious)
What did I do?...I didn't do
anything...
Clearly versed in emergency medical treatment, Madison
attends to his wound. Parker returns.
PARKER
(breathlessly)
I lost him...
COLLEGE STUDENT
GET HIM AWAY FROM ME! GET HIM AWAY!
MADISON
(furiously)
Call 9-1-1. Wait for me above
ground.
CUT TO:
OUTSIDE OF THE SUBWAY STATION
30 minutes later. The chaos outside Dodger Stadium has
subsided. Madison and two PARAMEDICS lead the bandaged
College Student to an ambulance.
Madison goes to Parker, who sits quietly by himself. Elbows
on his knees. Head between his hands. Staring at the cement
between his feet.
MADISON
(angrily)
Do you have any idea the trauma you
put that kid through?!
Parker doesn't respond. All around them, a cacophony of news
broadcasts is heard. From passing cars. From boom boxes. From
portable TVs. Over and over, you hear what Sid 6.7 had said
while killing the woman in Dodger Stadium:
SID 6.7 (V. 0.)
(recorded)
Hey, Parker, this one's for you...
Hey, Parker, this one's for you...
As Parker raises his head slowly, you realize you are looking
at the face of a wild animal. Eyes rabid. Jaw clenched. Pure
anger. Violence about to erupt. Without fear. Without guilt.
The beast within has been unleashed.
PARKER
(in a whisper)
That's Grimes...
Madison backs away in fear. Parker rises gradually.
PARKER (CONT'D)
(voice slowly rising) The man who
killed my wife...who killed my
daughter...who ruined my life used
to taunt me with that line...
Parker advances toward Madison, who continues backing away.
PARKER (CONT'D)
(exploding)
Grimes is back! He's back! He's
come back!!!
MADISON
(standing her ground) No! Grimes
isn't back. He's only one part of
Sid. Sid 6.7 is a hell of a lot
worse than Grimes ever was.
(a beat)
Get a hold of yourself!
She tries to grab him by the shoulders. Parker blocks her
arms away.
PARKER
(going nose—to—nose)
But he's in there. And you knew it,
didn't you? Didn't you?!
She tries to back away, but backs herself against a light
pole. Madison has nowhere to go. Parker grabs her by the
collar, and shoves her against the pole. Hard.
PARKER (CONT'D)
(hysterical)
God, you fucking know-it-all!
You've known all along and didn't
PARKER (CONT'D)
tell me! Why?! Were you afraid I'd
lose it?! Go over the edge?! Huh?!
Is that what you were afraid of?!
WHY DIDN'T YOU TELL ME??!!!
A prison transport and another police vehicle pull up to them
fast. Two of the Prison Guards met earlier jump out of the
transport, advancing on Parker. Their weapons aimed at his
head.
GUARD
Hands up! Now!
Parker slowly raises his hands in the air. A Guard relieves
him of his weapon.
MADISON
(recovering)
What's going on?
GUARD
He's going back where he belongs.
Deane and Cox step out of the police vehicle.
DEANE
(to Madison)
You were right, Dr. Carter. Letting
a lunatic like Barnes loose in the
real world did pose an unacceptably
dangerous risk to the public.
(glancing at Cox)
I should have never tried to solve
one problem by allowing the
creation of another.
(to Madison)
Chief Cox will give you a ride back
to the station. You will provide
him with any and all information
you have developed thus far.
(to Parker)
Enjoy the rest of your sentence,
Mr. Barnes.
She exits. Cox and Parker stand facing each other. Cox wishes
there was something he could do. Parker looks completely out
of it. Cox extends his hand. After a moment, Parker takes it.
But his mind is way off elsewhere.
GUARD
(forcefully to Parker)
Let's go.
Madison looks on as Parker is herded roughly into the back of
the prison transport.
MADISON
Parker...
Parker shuts her up with a look. There is nothing that can be
said. The prison transport doors are SLAMMED shut. The
vehicle takes off.
CUT TO:
INSIDE COX'S POLICE VEHICLE
Cox and Madison head back toward L. A. P. D. Headquarters.
They are in mid—conversation:
MADISON
(with regret)
I should have told him.
COX
Don't blame yourself. In your
shoes, I don't think I would have
told Parker, either.
(a beat)
So do you think Grimes has become
the dominant personality?
MADISON
I'm not sure. My guess is that's
what Sid wants us to think.
COX
(a beat)
You think he's smart?
MADISON
Captain, I'm afraid of how smart
Sid 6.7 is.
(a beat)
But I'm even more afraid of what's
he's becoming.
CUT TO:
THE PRISON TRANSPORT
comes to a stop at a traffic light.
INSIDE THE PRISON TRANSPORT -- REAR
Parker sits alone in the darkness. Motionless. Until the
sound of TWO GUNSHOTS piercing the transport's front
windshield SHATTERS the silence.
PARKER
What the hell's going on?!
He scrambles to the front of the compartment, pressing his
face against the steel mesh of the four—inch portal.
HIS POV -- LOOKING THROUGH PORTAL
Two bullet holes are visible in the windshield. The two
Prison Guards lie dead in their seats. Sid 6.7's eyes appear,
looking directly at you. He's smiling.
SID 6.7
(neighborly)
Hey, old buddy, old pal, good to
see you again.
INSIDE THE PRISON TRANSPORT
Parker goes absolutely berserk. Viciously punching the steel
mesh which separates them until the synthetic skin on his
knuckles is shredded.
PARKER
You...mother...fucker! I'M GOING TO
KILL YOU!!!
SID 6.7
Now, is that any way to talk to an
old buddy? I mean, just because I'm
carrying around the joy of killing
your family inside me doesn't mean
we can't be friends.
PARKER
GRIMES, YOU'RE DEAD!
He savagely hurls himself against his confines. Bone vs.
metal. Don't try this at home.
SID 6.7
I'm sorry, the party you're trying
to reach is not answering. Is there
anyone else you would like to talk
to?
PARKER
DEAD! YOU HEAR ME?
SID 6.7
(a beat)
You really are pathetic, you know
that? Mathew Grimes is only one
letter in my alphabet. He is
nothing compared to me.
Parker is completely spent. Mentally and physically. He
slumps in a corner. Out of breath. Bleeding. Sore. All he can
do is stare out through the portal's mesh at Sid 6.7.
SID 6.7 (CONT'D)
You could say thank—you, you know?
I'm giving you your freedom, short—
lived though it may be.
(a beat)
A little known fact about the
locater implants prison inmates now
receive upon release is that they
contain a pinhead capsule of neural
toxin.
The satellite they use to track you
can also trigger release of the
toxin with microwaves. After
transmission, the implant's host
dies within 30 seconds.
(a beat)
It won't take long for them to get
your termination authorized once
they learn of your escape. Now who
would you rather go after, killer,
them or me?
He releases the rear door lock.
ON THE STREET
Parker bursts out of the back of the Prison Transport,
charging after Sid 6.7. Who is nowhere to be seen. Parker
runs in one direction. Then the other. And changes his mind
again. He literally does not know which way to turn.
PARKER
Shit!
CUT TO:
INSIDE A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS
An AIDE rushes through the door to Cox, who's briefing Deane
and Wallace on what he has learned.
AIDE
Parker Barnes just escaped from the
prison transport. Both of the
guards are dead.
The Aide exits.
COX
(to Deane)
Barnes wouldn't kill two innocent
guards.
DEANE
He would slaughter eight people
sitting in a room, but not two
prison guards?
COX
Do I need to remind you what
happened to his wife? To his
daughter?
(with conviction)
I will stake my reputation that
Barnes didn't kill those guards.
DEANE
You already have staked your
reputation.
(a beat)
Mayor Bennett and I have been
friends a long time. Since Grimes
tried to kill him, it doesn't take
a rocket scientist to come to the
conclusion that Sid 6.7 might go
after him, too.
(a beat)
Bennett's Re-Election Rally is
tomorrow night and we already have
enough trouble on our hands with
one psychotic on the loose.
(to Wallace)
The fail-safe on—line, yet?
WALLACE
On—line and at your disposal.
COX
(to Deane)
What fail—safe?
DEANE
(approaching Wallace)
This had better work, Mr. Wallace.
Wallace exits the room. Cox has no idea what is going on. And
Deane is not about to tell him.
CUT TO:
INSIDE MADISON'S BEDROOM
Madison enters wearily, late afternoon. Exhausted from the
events of the last two days, she starts to undress. Her
clothing is filthy. So is her skin. She could use a good
shower, and a better massage.
Madison examines the various cuts and bruises she's received
along the way. Not exactly war wounds, but to somebody used
to sitting behind a desk, they are.
She absentmindedly turns on the television, then goes into
her bathroom. Madison looks at her face in the mirror. She's
looked better. After splashing cold water on her face, she
comes to the same conclusion.
Madison takes two aspirin. And then two more. Wishing they
would take effect immediately. Finally hearing the news on
the TV, her entire demeanor changes instantly.
Madison rushes in front of the television to see a report of
Parker's escape from the prison transport.
MADISON
Oh, shit!
Grabbing a handful of clothes, she bolts urgently out the
door.
CUT TO:
MADISON
speeding recklessly through city streets in her car. She
doesn't stop for red lights. Not for grid-lock. Not for
nothing.
She is also still finishing getting dressed.
CUT TO:
OUTSIDE L. A. P. D. HEADQUARTERS
Ignoring the warnings of several COPS walking toward their
vehicles, Madison speeds toward the front entrance. She
barely stops in time. SCREEEECH!
INSIDE L. A. P. D. HEADQUARTERS
Madison races through the bustling facility. Looking for
somebody. She finally finds Cox coming out of his office.
MADISON
(urgently)
There is no way Parker killed those
guards. No way.
COX
I think we both know who did.
(a beat)
What's so urgent?
MADISON
I need your help--
Taking him by the arm, she leads him into an elevator going
down just before its doors close.
INSIDE THE ELEVATOR
The look on Cox's face tells you Madison has explained the
situation to him. He is furious.
COX
Why didn't anybody tell me?!
MADISON
I don't set policy.
(a beat)
You have the key?
He takes a security key out of his pocket and uses it to gain
access to a subterranean floor.
COX
(angrily)
This is a police department. I'll
be damned if this is going to go on
without my knowledge.
They exit quickly. Cox leads Madison
INSIDE A POWER SUPPLY ROOM
Cox leads in Madison and takes her to the subterranean power
supply. He points to the floor's numerous circuit breakers.
COX
Give me 30 seconds, then flip every
switch you can reach.
MADISON
Got it.
INSIDE THE LOCATER TRANSMISSION ROOM
The room is still under construction. Wallace stands behind a
TECHNICIAN sitting at a console in front of a massive
electronic map tracking several convicts, including Parker.
The technician is typing in an elaborate termination code.
TECHNICIAN
Who are we going to fry?
WALLACE
Just an unrepentant criminal who is
apparently going to die from a
previously undiagnosed brain tumor.
Cox enters, concerning Wallace.
WALLACE (CONT'D)
What are you doing here, sir?
COX
Just paying my last respects.
He surveys the electronic map, locating Parker. Just as the
lights go BLACK. Wallace and the technician immediately
panic.
WALLACE
What happened?!
TECHNICIAN
I don't know. We've lost all power!
COX
The heat's been causing brown out's
all over the city. Get above ground
until it's restored.
Wallace and the technician rush out of the room, up the
emergency stairs. Cox sets to work ripping out the console's
circuitry. By the time he's finished, the equipment in here
won't be able to toast a piece of bread.
CUT TO:
A TOMBSTONE
which reads: LINDA DAVIS BARNES (1961—1992) and CHRISTINE
MARY BARNES (1987-1992). Parker kneels in front of it. Magic
hour.
Madison, and Cox wind their way to him through obstacle
course of tombstones. Parker stands as they arrive. He is
wiped out. There is no emotion left in him.
MADISON
We know you didn't kill those
guards.
PARKER
They're going to fry me for it,
anyway.
COX
Nobody's going to fry anybody...
He approaches, holding the Circuits he ripped out of the
Locator Transmission Room.
COX
(re: circuits)
Don't worry, they have no idea
where you are.
PARKER
You son—of—a—bitch. How could you
let them put the implant in my
head? How?
MADISON
He didn't know about the neural
toxin.
(a beat)
I did.
PARKER
(matter-of-factly) You knew the
entire time? Can you give me one
good reason why I shouldn't kill
you right now?
COX
She saved your life, Parker. She
didn't have to, but she did.
PARKER
(turning to Madison)
Then I guess we're even.
MADISON
(a beat)
How did you find out about the
toxin?
PARKER
Sid 6.7 told me after he killed the
two guards. He suggested I kill you
rather than him.
MADISON
You're not capable of it.
PARKER
I pose an unacceptable danger to
the public, remember?
MADISON
I was wrong.
(a beat)
And I was wrong not to tell you
Grimes was part of Sid. I should
have told you. I won't make the
same mistake again.
She means it. Parker turns away, looking at his wife's
headstone.
COX
The son—of—a-bitch is still out
there, Parker.
Parker turns toward him slowly. Emotion beginning to return
to his face.
PARKER
(a beat)
When this is over, will you get
this goddam thing out of my head?
COX
On my life, I promise you I will.
PARKER
If you're lying, I'll hunt you down
and kill you myself.
CUT TO:
OUTSIDE A CONSTRUCTION SIGHT
6 PM. The human FOREMAN presses a remote control detonator.
BOOM! An explosion occurs inside a building's foundation
(STOCK FOOTAGE). The building is levelled instantly.
Sid 6.7, who's been watching the explosion, approaches the
Foreman.
SID 6.7
(applauding)
Bravo.
FOREMAN
Who the hell are you?
SID 6.7
Someone who appreciates the
artistic value of high—explosives.
He shoots the Foreman in the chest. Sid 6.7 relieves him of
his keys and heads to an explosives storage shed.
CUT TO:
SID 6.7
carrying a crate of C-4 high-explosives out of the shed in
the construction sight minutes later. He adds it to the dozen
crates already loaded in a truck. And takes off.
CUT TO:
INSIDE A LARGE SEWER PIPE
Sid 6.7 secures several crates of C—4 to an automated sewer
cleaning vehicle. He schedules its start time —— 24 hours
from now. It is now 7:45 PM. The bomb's TIMER is set to
detonate 15 minutes into the vehicle's journey -- at 8:00 PM
tomorrow night.
SID 6.7
(admiring his work)
You think you know me, but you
don't have any idea who I really
am...
CUT TO:
OUTSIDE THE BILTMORE HOTEL
sight of Mayor Bennett's upcoming Re-Election Rally, Cox
supervises an army of L. A. P. D. officers who are securing
the area. Bomb—sniffing dogs. Rooftop snipers. Helicopter
surveillance. Nothing is being left to chance.
Anyone doing anything within 100 yards of the building is
searched, including the REPORTERS and their CAMERA CREWS
covering the convention's security.
PARKER AND MADISON
survey the scene with binoculars from amid a crowd of
pedestrians two blocks away. Both are disguised in hats and
different clothing. You don't immediately recognize them.
MADISON
The rally's a little obvious as a
target, don't you think?
PARKER
I told you before, Grimes liked to
be obvious.
MADISON
Sid 6.7 isn't Grimes.
PARKER
Part of him is.
Various faces in the crowd on the sidewalk. In the vehicles
passing on the street. On the bridge crossing the street down
the block further away from the hotel.
MADISON (V. 0.)
If we find Sid, Lindenmeyer won't
be far behind.
PARKER (V. 0.)
Think he's keeping track of his
creation?
MADISON (V. 0.)
That, or living through him...
PARKER
puts down his binoculars. Madison does not.
PARKER
See something?
MADISON
I'm not sure...on the bridge...the
guy at the payphone...
She points to what she's looking at. Looking through his
binoculars, he still can't see what she means. She helps him
aim his binoculars.
PARKER'S POV -- THROUGH BINOCULARS
He scans the bridge. Finally settling on Sid 6.7, who is
talking on a payphone.
ON THE STREET
Parker looks up from his binoculars. Impressed.
PARKER
Nice work.
MADISON
(a beat)
Thanks.
They move briskly down the block toward the bridge. Quickly
climbing a set of stairs.
ON A ROOFTOP
Parker and Madison's movement catches the attention of
several snipers.
SNIPER #1
Well, look who we have here...
SNIPER #2
(into radio)
Parker Barnes is heading south
toward the bridge. If anybody can
get a clean shot at him, take it.
COX
hears the order over his radio headset. He races toward the
bridge. As do a dozen other cops.
ON THE BRIDGE
Sid 6.7 talks into the payphone.
SID 6.7
Be a reporter —— figure it out for
yourself. All I'm going to tell you
is that at 8:00 tomorrow night, I
will become legendary...
PARKER AND MADISON
reach the top of the stairs. Sid 6.7 remains on the phone,
his back toward Parker and Madison. They split-up, winding
their way through the crowd waiting for an arriving bus.
As the bus pulls to the stop, the awaiting passengers move
toward the opening doors. Obscuring Parker's view of the
payphone.
Parker shoves his way through the crowd, only to see Sid 6.7
holding Madison in front of him, his gun to her head. Parker
trains his weapon at Sid 6.7. He doesn't have a clean shot.
SID 6.7
(to Parker)
Brings back memories, doesn't it?
THROUGH A SNIPER'S RIFLE SCOPE
Parker's chest is put into the cross-hairs as the bus pulls
away from the stop. He is focused on Parker, and Parker only.
THE SNIPER
is some 300 yards away on a rooftop. His rifle is mounted on
a tripod. His aim is perfectly steady.
SNIPER
(into his radio headset)
Say good—bye, Parker Barnes...
Parker stands frozen, staring at Sid 6.7 through his gun
sight. Looking for just an inch of him to stick out from
behind Madison's terrified face.
SID 6.7
(to Parker)
I wouldn't pull the trigger if I
were you——
PARKER
Why's that?
Cox advances toward Sid 6.7 from the side of the bridge.
Cox's gun out and ready. His finger on the trigger.
COX
Hey, Sid, what were you planning on
doing with the C-4?
Sid 6.7 turns his head in surprise toward Cox as a rifle is
FIRED in the distance. Cox steps directly in the sniper's
line-of-fire and takes the bullet meant for Parker through
the chest. Cox drops to the bridge.
PARKER
NOOOOOO!
He rushes to Cox. Parker drops to his knees, cradling Cox's
head. Cox isn't long for this earth. Looking up to Parker, he
tries to talk. But nothing comes out.
PARKER (CONT'D)
(compassionately)
Don't worry, I know. I know.
Cox's eyes roll back in his head. Parker then closes them and
gently lays his head on the sidewalk.
Parker turns his head toward Sid 6.7, who's released Madison
and is jumping over a railing to the street 20 feet below.
Parker rushes to the railing.
HIS POV
Sid 6.7 lands on top of a garbage
truck passing beneath the bridge.
The garbage truck disappears
beneath the bridge.
ON THE BRIDGE
A dozen cops advance toward Parker. Weapons drawn.
COP #4
Freeze!
Parker ignores them. He bolts across the street, moving in
the same direction as the bus below. Through speeding
traffic.
Bullets fly. Parker keeps charging. Right in front of a
moving van barreling across the bridge. The cops lose sight
of Parker.
COP #5
Think he made it?
ON THE OTHER SIDE OF THE BRIDGE
Parker dives onto the sidewalk, avoiding the speeding van by
inches. Getting to his feet, he launches himself up and over
the railing...
ON THE STREET
The garbage truck passes beneath Parker as he leaps from the
bridge.
ON TOP OF THE GARBAGE TRUCK
Parker lands on the back of the truck. Right next the opening
and-closing steel jaws of the truck's massive trash
compactor. His gun tumbles from his hand, falling to the
street.
Sid 6.7 dives on top of Parker, putting him flat on his
stomach. And his face against the steel teeth. Sid 6.7 chokes
Parker. Hard.
SID 6.7
I have to tell you, I do enjoy you,
Parker. I really don't want to have
to kill you...
The sanitation worker at the wheel of the truck has no idea
whatsoever what is happening on top of his truck.
CUT TO:
THE DOZEN OF COPS
who had been on the bridge, charging down the steps after the
garbage truck, which can no longer be seen.
Madison walks calmly behind them. Scanning the crowd. Looking
for Lindenmeyer. Her every instinct telling her he's here. He
must be.
She spots him. Veering from the direction the cops headed in,
Madison casually wades into the crowd. She takes out her
weapon and stops behind Lindenmeyer. Even in disguise, he
looks familiar. Madison puts her gun against his back.
MADISON
(whispering into his ear)
I figured you'd show up sooner or
later...
CUT TO:
ON TOP OF THE GARBAGE TRUCK
Parker and Sid 6.7 continue battling next to the compactor's
lethal jaws. The machine makes an awful, grinding sound. Not
unlike the sounds Parker and Sid 6.7 are making. The fight is
primal. Savage. And moving at 30 miles-per-hour.
PARKER
What C-4...was Cox talking about?
SID 6.7
Let me put it to you this way...
whether I'm here...or whether I'm
not...I'm leaving an indelible mark
on the world tomorrow night.
PARKER
Where did you plant the C-4?!
He should concentrate more on fighting, and less on asking
questions, because he's losing. Parker takes a wicked shot to
the face, and then the groin. Sid 6.7 holds Parker's head
between the compactor's jaws. Which are closing.
With every last ounce of effort he has, Parker hurls his legs
up into Sid 6.7. Which throws Sid 6.7 into the compactor.
The steel jaws immediately close in on Sid 6.7, who
frantically tries to climb out. He gets his hands out. Then
his head. But that's about it.
Without emphasizing graphic detail, Sid 6.7 is decapitated.
His lifeless body drops back into the compactor.
His head tumbles to the street. The force of the impact
causes the Sid 6.7 character module to separate from the
neural net.
The character module scatters into the street. Parker
immediately jumps off the truck after it.
ON THE STREET
Parker's landing isn't pretty. Finally getting to his feet,
he sees the Sid 6.7 character module is about to be run over.
Parker dives for it, nearly getting run over himself.
The approaching car SCREECHES to a halt next to him. It's
driven by Lindenmeyer. At gunpoint. Madison sits behind him,
her gun to his head.
WHAM! The car behind them obviously wasn't prepared to stop
so quickly. The bumpers of the two cars are now intertwined.
Neither vehicle will be going anywhere soon.
Madison pulls Lindenmeyer roughly out of the car. She drags
him to Parker, who is still on his knees, clutching the Sid
6.7 character module. SIRENS approach in the distance.
MADISON
(to Parker)
Find out anything?
PARKER
A bomb's going off tomorrow night,
but I have no idea where.
LINDENMEYER
(a beat)
There is only one way to get any
more information out of Sid 6.7...
They scan the area for a new mode of transport. And find one
stopped at a dumpster down the block: the garbage truck.
OUTSIDE THE GARBAGE TRUCK
Parker quickly explains the situation to the sanitation
worker while Madison motions Lindenmeyer into the cab with
her gun. As Parker climbs up to her, Madison shuts the door
to give them a moment of privacy.
MADISON
Can I ask you something?
PARKER
(with a smile)
You mean there's something you
haven't asked me?
MADISON
(a beat)
You've already fulfilled the terms
of your pardon. You stopped Sid 6.7
and you've got his module. You're
free to go —— right now.
(a beat)
Why are you going to do this?
PARKER
You don't know?
MADISON
(shaking her head)
That's why I'm asking.
PARKER
Because this pain—in—the—ass
criminal psychology expert has
helped me understand what I'm
capable of. And what I'm not.
(a beat)
And better than anyone else, I am
capable of stopping Sid 6.7.
CUT TO:
ON TOP OF THE GARBAGE TRUCK
Parker lands on the back of the truck. Right next the
opening—and—closing steel jaws of the truck's massive trash
compactor. His gun tumbles from his hand, falling to the
street.
This sequence is IDENTICAL to the one you previously
witnessed. It is as if we've jumped back in time.
Sid 6.7 dives on top of Parker, putting him flat on his
stomach. And his face against the steel teeth. Sid 6.7 chokes
Parker. Hard.
SID 6.7
I have to tell you, I do enjoy you,
Parker. I really don't want to have
to kill you...
The sanitation worker at the wheel of the truck has no idea
whatsoever what is happening on top of his truck.
Parker and Sid 6.7 battle next to the compactor's lethal
jaws. The machine makes an awful, grinding sound. Not unlike
the sounds Parker and Sid 6.7 are making. The fight is
primal. Savage. And moving at 30 miles-per—hour.
PARKER
What C-4...was Cox talking about?
SID 6.7
Let me put it to you this way...
whether I'm here... or whether I'm
not...I'm leaving an indelible mark
on the world tomorrow night.
PARKER
Where did you plant the C-4?!
He should concentrate more on fighting, and less on asking
questions, because he's losing. Parker takes a wicked shot to
the face, and but then blocks the anticipated shot to his
gun.
Sid 6.7 still manages to put Parker's head between the
compactor's jaws. Which are closing.
With every last ounce of effort he has, Parker hurls his legs
up into Sid 6.7. Which throws Sid 6.7 into the compactor.
Sid 6.7 frantically tries to climb out of the compactor as
the steel jaws close in on him. He gets his hands out. Then
his head...
Except Parker now does something different. Just before Sid
6.7 is decapitated, Parker jams a metal rod between the
compactor's steel teeth. Then grabs Sid 6.7 by the throat.
PARKER
(fiercely)
You can't die until you tell me
where the C-4 is. Where is it?!
SID 6.7
(choking)
My...secret.
He SLAMS the back of his head into Parker's nose. Breaking
it. Parker reels back in pain.
Sid 6.7 squeezes out from within the steel teeth. The jagged
metal cutting into him, striping him with blood. The blood
then begins to retract. Sid 6.7's wounds, once again, heal
themselves.
SID 6.7 (CONT'D)
Too bad you can't regenerate...
As the truck slows at an intersection, he jumps to the
street. Parker goes after him. Still in excruciating pain. WE
PULL BACK TO REVEAL what you are seeing is
ON A MONITOR
The scene continues seamlessly. As you may now be guessing,
the monitor is connected to the simulator
INSIDE LINDENMEYER'S STATION IN LETAC
Parker lies unconscious on a bed. He is connected to the
simulator via the neural connectors in the polyurethane skull
cap, just like he was before.
The Sid 6.7 character module is plugged into the system's
main console. Lindenmeyer sits at the controls. Madison next
to him, her gun aimed at Lindenmeyer's head.
They are both watching Parker chase Sid 6.7 on the monitor in
front of them. Parker continues experiencing intolerable
pain. A clock reads 4:00 AM. They are the only ones inside
the entire facility.
LINDENMEYER
I told you this would work.. By
setting back the clocks, he has
absolutely no idea he's in virtual
reality. He still thinks he's in
the real world.
MADISON
(a beat)
What's wrong with Parker?
LINDENMEYER
(innocently)
How should I know?
MADISON
(getting an idea)
Show me his physical sensory level.
She clicks back the hammer of her gun and presses the barrel
against Lindenmeyer's ear. He does as told. On a panel by the
console, you read: PARTICIPANT PHYSICAL SENSORY LEVEL: 670%.
LINDENMEYER
I wonder how that...
MADISON (CONT'D)
Turn it down!
Lindenmeyer adjusts the sensory level back down to 100%.
ON A MONITOR
Parker immediately returns back to normal. His pace picks up.
He starts closing the gap between him and Sid 6.7 as he races
into a shopping mall.
CUT TO:
INSIDE THE SHOPPING MALL
The place is a seven—story mecca of shopping. An atrium
allows you to look from the ground floor up to the seventh.
Sid 6.7 rushes up the escalators. Going up to the second
floor. Then the third.
Parker follows suit climbing escalator after escalator.
Throwing people out of his way.
ON THE SEVENTH FLOOR
which is also the highest, Sid 6.7 veers out of view. Parker
races up the final steps to the seventh floor. Sid 6.7 is
nowhere to be seen.
Parker searches methodically. Efficiently. He finally spots
Sid 6.7. Who has Parker's head lined-up perfectly in his gun
sight. Parker is a sitting duck. BOOM!
Parker dives behind AFFLUENT SHOPPER 2.1, who takes a bullet
in his ascot. Parker quickly grabs him, and uses his body as
a shield against Sid 6.7's constant gunfire until Parker
arrives behind a marble column.
SID 6.7
(surprised at Parker's
ruthlessness)
We really aren't that different,
are we?
What he cannot see is that behind the column, Affluent
Shopper 2.1 is Auto Resetting. Parker puts his gun to the
shopper's head.
PARKER
(whispering)
Don't move, and don't make a sound.
Got it?
Affluent Shopper 2.1 nods his head repeatedly. Parker
collects himself behind the column, then pivots out from
behind it. Firing in Sid 6.7's direction. Each bullet finds
its mark.
Absorbing the blows, Sid 6.7 backs up against the atrium
railing. Taking one final shot, he falls backward. Over the
railing.
PARKER'S POV
Sid 6.7 tumbles through the atrium. Out of control.
Speeding toward the ground seven floors below.
SID 6.7'S POV
The sense of momentum is exhilarating. And terrifying. If you
get dizzy easily, close your eyes.
FROM THE FIRST FLOOR
Sid 6.7 falls through the atrium like a rock directly at you.
A 200 pound rock. WHAM!!!
He lands face down in the marble floor. The impact is bone—
crushing. Sid 6.7 does not move.
Until he begins to regenerate. His fluids begin returning to
his body. His bones regaining proper form. Within seconds,
his body appears as good as new.
(Technically, because this is VR1 the proper term would be
Auto. Reset. But since Sid 6.7 thinks he's in the real world,
regenerating is what he thinks he's doing.)
Sid 6.7 stands, dusting himself off.
SID 6.7
Man, what a rush.
(yelling up to Parker)
Adios, amigo!
Grabbing his gun, he takes off out of the lobby.
ON THE SEVENTH FLOOR
Parker retrieves his gun, then bolts down the escalators.
CUT TO:
INSIDE LETAC
Madison and Lindenmeyer watch Parker on screen. Madison still
has her gun trained on Lindenmeyer, who notices a WARNING
LIGHT start to flash. He turns to Parker's unconscious body
lying on the bed. Lindenmeyer looks concerned.
MADISON
What's wrong?
Lindenmeyer checks several readings on his console.
LINDENMEYER
He's developing a hemisphere
imbalance.
MADISON
Talk so I can understand.
LINDENMEYER
If I don't adjust the level of
neural information each side of his
brain is receiving, he won't be
able to walk when I take him out of
VR.
MADISON
Then fix it.
As Lindenmeyer moves to Parker, Madison stays right with him.
Her gun aimed at Lindenmeyer's head. Lindenmeyer carefully
removes one of the neural connectors from Parker's skull cap.
Before removing another, he looks for a safe place to put the
connector.
LINDENMEYER
I need you to hold this. It can't
get any dirt on it.
Madison is reluctant, but doesn't know what else to do.
Lindenmeyer slowly gives the neural connector to her free
hand.
LINDENMEYER (CONT ' D)
All you have to do is hold the
needle at the base. Just make sure
not to jab yourself with the
point...
She clutches the needle in her left hand while aiming her gun
with her right. Lindenmeyer removes a second neural connector
from Parker's skull.
Holding this second needle at the base, Lindenmeyer makes
several adjustments on the neural management computer, then
moves slowly back to Madison.
LINDENMEYER (CONT'D)
Hand me the connector nice and...
He suddenly jabs his neural connector into Madison's right
forearm. Madison has no time to react. 10,000 volts of
electricity instantly courses through her body.
Madison drops to the floor, unconscious. The needle she had
been holding falls from her grasp, breaking the circuit. She
stops being electrocuted. Which saves her life.
LINDENMEYER (CONT' D)
(as Sid 6.7 had said)
God, some people are stupid.
He sits back down at the simulator's main console, and starts
to type commands. On the monitor, Parker is visible exiting
the shopping mall.
CUT TO:
OUTSIDE THE SHOPPING MALL
Parker races out the door. BOOM! That was left knee cap. He
tumbles to the street. His gun flying from his hand.
Parker crawls desperately toward his weapon. But not fast
enough. Sid 6.7 arrives at the weapon first.
SID 6.7
So close, and yet, so far...
He kicks the weapon down the sidewalk, then points his gun at
Parker's head.
SID 6.7 (CONT'D)
It's really too bad you have to
miss the Grand Finale.
PARKER
I thought you liked me being in the
audience. Don't you want me to see
it?
Sid 6.7 pauses to think about it.
SID 6.7
(considering the idea)
You know, I do want you to see it.
He shoots Parker in his other knee cap, rendering both of his
legs useless.
SID 6.7 (CONT'D)
I want you to have a bird's eye
view...
OUTSIDE THE NEWLY-CONSTRUCTED HOLLYWOOD TOWER
A 67 story monument to engineering brilliance in this land of
earthquakes. 6:30 PM.
ON THE ROOF OF THE HOLLYWOOD TOWER
The view is incredible. You can see from the Pacific to
downtown. From LAX to the Hollywood Bowl. Smog must be
getting better in the near future.
Sid 6.7 ties Parker to a chair at the roof's very edge. He is
facing downtown. Including the Biltmore Hotel, the location
of Mayor Bennett's Re—Election Rally.
SID 6.7
There you go —— best seat in the
house.
PARKER
(with some surprise)
You are going after Mayor Bennett.
SID 6.7
Let's just say I'm sending a very
clear message to his Re—Election
Rally...
He walks toward an open stairway door behind them.
PARKER
Aren't you going to watch with me?
SID 6.7
I've got some final preparations to
take care of—— Checking his watch,
he stops suddenly.
ON HIS WATCH
Time is moving backwards. Literally.
ON THE ROOF OF THE HOLLYWOOD TOWER
Sid 6.7 pauses, then goes over to Parker and checks his
watch. It is also moving backwards. A smile of realization
spreads slowly across Sid 6.7's face as he admires the
beautiful sky above him.
SID 6.7
(as if to God)
Thank-you, Daryl.
(turning to Parker)
You had me going for quite a while
there, sport.
PARKER
What are you talking about?
SID 6.7
I really did think I was still in
reality. At least, until now.
(looking upward)
Beam me up, Scotty!
His body DISINTEGRATES before your eyes. It's electronic
particles form into an amorphous cloud. Which disappears from
view.
PARKER
(yelling)
Madison, get me out of here!
MADISON!
Lindenmeyer watches Parker scream on the monitor. Madison
remains unconscious on the floor behind him.
LINDENMEYER
(to the monitor)
She's taking a nap at the moment.
He types a set of instructions into the console and hits
ENTER.
LINDENMEYER (CONT' D)
But don't worry. You won't be alone
for very long. Fairly soon, you'll
be dead.
He removes the Sid 6.7 character module from its slot and
exits the station.
ON THE ROOF OF THE HOLLYWOOD TOWER
One side of Parker's chair gradually starts to rise. Parker
looks down to see the roof surrealistically swelling beneath
his chair. This could only happen in virtual reality.
In a matter of minutes, he is going to be thrown over the
roof's edge. The next stop is 693 feet down.
INSIDE LETAC
Parker's screams for help ECHO throughout the facility. But
there is no one there to hear him.
CUT TO:
OUTSIDE LETAC
The garbage truck is parked in a loading dock. Lindenmeyer
climbs awkwardly onto the truck, then into the compactor.
INSIDE THE GARBAGE TRUCK COMPACTOR
Lindenmeyer wades through trash until he comes upon Sid 6.7's
headless body. The polymer neural net visible within its
neck. Lindenmeyer inserts Sid 6.7's character module into its
gelatinous base. But nothing happens.
LINDENMEYER
Come on, live. Live!
The synthetic nervous system begins to crackle with life.
Growing around the module. Forming the beginnings of a new
head. Literally.
CUT TO:
PARKER
sitting precariously on the increasingly-uneven roof of the
Hollywood Tower in virtual reality. Unable to break free of
his binds, he rocks the chair onto its side.
He and the chair fall to the roof, which will keep him from
falling to his death for another minute, if he's lucky.
PARKER
MADISON!!!
INSIDE LINDENMEYER'S STATION
Madison, still unconscious on the floor, finally stirs. Maybe
Parker's screaming is finally reaching her. Or at least,
starting to.
CUT TO:
INSIDE THE GARBAGE TRUCK COMPACTOR
Lindenmeyer looks on with awe as Sid 6.7 grows a new head
right before your eyes. You've never seen anything like it.
Sid 6.7's resulting head is slightly off center. His skin
tone isn't perfect, nor is his color, but at least its
functional. Sid 6.7 admires himself in a broken mirror.
SID 6.7
I am beautiful, aren't I?
LINDENMEYER
Of course you are.
Sid 6.7 wades through the trash toward Lindenmeyer.
SID 6.7
How can I ever thank—you for
bringing me back to life a second
time, Daryl?
LINDENMEYER
Help me get out of here.
SID 6.7
Glad to...
He reaches out to give Lindenmeyer a hand, then grabs him by
the throat. Choking him. Lindenmeyer can't believe what is
happening.
LINDENMEYER
(gagging)
What...are you doing?!
Sid 6.7 takes Lindenmeyer's face gently in his hands.
SID 6.7
You made me a composite of 183 of
the most vicious people who ever
lived.
(a beat)
What do you think I'm doing?
LINDENMEYER
I'm begging you...please don't kill
me! Please!
SID 6.7
(reassuringly)
Don't worry. Through me, you will
live forever...
As Lindenmeyer begins to scream, we
CUT TO:
PARKER
hanging on by his fingertips to the bulbous roof of the
Hollywood Tower. He's going to fall at any second.
CUT TO:
MADISON'S BLURRY POV
of someone entering Lindenmeyer's station in LETAC. You can't
tell who it is, at first. But you can see the person is male.
And wearing Lindenmeyer's pants. You now see the person is
Sid 6.7.
INSIDE LINDENMEYER'S STATION
Madison forces herself into consciousness.- Or as close to it
as she can get. Her expression is one of complete and utter
terror.
SID 6.7
Dr. Carter —— I've been hoping we'd
get a moment together...
Mustering her strength, she manages to crawl behind several
of the computers which make up the simulator. Sid 6.7
advances calmly toward her.
SID 6.7 (CONT'D)
You know so much about me, I was
hoping to learn a little bit about
you. You see, I'm doing research,
too...
He looks behind the computers where you last saw Madison.
She is no longer there. Sid 6.7 begins searching for her.
He passes a virtual reality monitor on which Parker can be
seen clinging for life.
SID 6.7 (CONT'D)
(to the monitor)
Hang in there, Parker.
On the monitor, Parker looks all around him, trying to
determine the voice's origin.
Madison crawls out of Lindenmeyer's station. Sid 6.7 just
catches sight of her, and goes after her.
INSIDE LETAC
Madison crawls into a darkened engineer's station and hides.
She is still very dizzy. And trying to keep the sound of her
breathing to a minimum.
Sid 6.7 enters quietly. A hunter on the prowl. Moving very
slowly. Then lunging very swiftly. He continues the hunt.
If Madison is discovered, she doesn't have a prayer. Her
heart pounds. Her forehead perspires. Sid 6.7 is getting
closer.
Sid 6.7 checks inside closets. Cabinets. Anywhere large
enough for a human being to fit. He is practically standing
over her. Looking. Listening.
SID 6.7
How does it feel to know you're
going to die? What are you thinking
about?
Lights in the building suddenly come on. Several engineers
can be heard entering. It's 8 AM —— the start of a new day.
The facility is quickly becoming populated.
After giving one last look around, Sid 6.7 reluctantly gives
up the hunt, and exits. Madison does not move until she is
certain Sid 6.7 has left the building.
PARKER (0.S.)
SOMEBODY HELP!
Madison scrambles out of her hiding place.
CUT TO:
PARKER
finally losing his grip on the roof of the Hollywood Tower in
virtual reality. He plummets with accelerating speed.
Madison bursts through the partition around Lindenmeyer's
station. Sacrificing her body. Without regard for pain.
Parker tumbles toward the sidewalk 67 stories below. The
speed is terrifying.
Madison leaps over a table. Diving for the simulator's RETURN
button.
Parker falls faster. And faster. The street just beneath him.
The instant before he slams into the street, his body DE
MATERIALIZES.
INSIDE LINDENMEYER'S STATION
Madison keeps pressing the return button over and over,
making sure it worked. Parker's eyes flutter as he returns to
consciousness. Madison rushes to him.
MADISON
You okay?
PARKER
(shaking out the cobwebs)
...I think so...You?
MADISON
(looking over her bruises)
More or less.
PARKER
Lindenmeyer?
MADISON
My guess is dead.
PARKER
Sid?
MADISON
I don't know.
Several engineers peek in curiously at them.
MADISON (CONT'D)
Let's get out of here.
She helps Parker to his feet.
CUT TO:
PARKER AND MADISON
at a payphone outside a mini—mall. Could be any one of the
10,000 in Los Angeles. It's late morning.
PARKER
(on the phone)
Elizabeth Deane, please. Tell her
it's Parker Barnes...
INTERCUT WITH:
INSIDE COX'S OFFICE
Elizabeth Deane picks up the phone.
DEANE
Barnes, where the hell have you
been?!
PARKER
Trying to find out where the bomb
is. Where the hell have you been?
DEANE
What did you find out?
PARKER
Call off the manhunt looking for
me. I didn't kill the transport
guards.
DEANE
It's already been called off.
Witnesses confirmed you weren't the
shooter.
(a beat)
Did you find out where the bomb is?
PARKER
No, but I've confirmed the
reelection rally is the target.
(a beat)
How much C-4 is missing?
DEANE
Enough to level an entire city
block.
PARKER
If I were you, I'd get every
demolition team in the city
searching in and around the
Biltmore Hotel.
DEANE
(with frustration) Demolition teams
have searched everywhere in and
around the hotel. I don't know
where...
PARKER
(interrupting)
Sid is smart enough to know you'd
check everywhere in the immediate
area. Whatever the device is, he's
probably got it timed to move into
position just before it detonates.
(a beat)
Have the demo teams check every
subway tunnel, water pipe, gas
pipe, and sewer pipe that goes
under, over, or into the arena.
DEANE
You know how much man power you're
talking about?
PARKER
You're the highest law enforcement
official in the country. Use the
fucking army if you need to.
He hangs up the phone.
CUT TO:
DOZENS OF DEMOLITIONS TEAMS
checking every subway tunnel, water pipe, gas pipe, and sewer
pipe that goes under, over, or into Dallas Arena. The effort
is massive. Intensive. The clock is ticking. 6:00 and
counting.
CUT TO:
INSIDE THE BILTMORE HOTEL, MAIN LOBBY
The area has been converted into a security checkpoint.
Entrants are carefully scanned one—by—one. WE HEAR the rally
OFF SCREEN.
CUT TO:
OUTSIDE BILTMORE HOTEL
Security is on extreme alert. Tension is very high. It's
7:00. Parker, Madison, and Deane look on, anxiously. They
listen to a RADIO SCANNER monitoring the conversations
between the demolitions teams.
DEANE
(to Parker)
This better not be a wild goose
chase.
PARKER
Or what, you'll authorize my death
a second time today?
DEANE
(sharply)
Don't forget, convict, if this
psycho isn't stopped, you go right
back to rotting in a prison cell.
MADISON
Give him a break, would you?
MALE VOICE
(from scanner)
This is demo team 27 leader. I
think we just found what we've been
looking for...
CUT TO:
INSIDE A LARGE SEWER PIPE
A three—man demolition team slowly, carefully disarms the
bomb Sid 6.7 had secured to the automated sewer cleaning
vehicle. Snip. One wire at a time. Snip.
The work is very delicate. Snip. One wrong move and it's all
over. Snip.
TEAM LEADER
One more and we're home free...
Snip. The three members of the demo team look up proudly to
each other. Breathing sighs of relief. It's 7:42.
CUT TO:
OUTSIDE THE BILTMORE HOTEL
Parker, Madison, and Deane remain glued to their scanner.
TEAM LEADER (V. 0.)
(from scanner)
Hey folks, it's time to crack open
a cold one.
Cheers are heard around the area from the other cops who'd
been listening in.
DEANE
Thank God.
TEAM LEADER (V. 0.)
Then again, maybe we ought to hold
off for just a second...
DEANE
(with concern, into radio)
What's the problem?
CUT TO:
INSIDE THE SEWER PIPE
The Team Leader carefully removes a piece of paper which had
been taped to the timing mechanism. Written in handwriting,
you read: HEY, PARKER, THE FUN IS ONLY STARTING!
TEAM LEADER
The good news is, we're finished
here. The bad news is...
CUT TO:
OUTSIDE THE BILTMORE HOTEL
Deane stares at Parker with disbelief. Deane's Aide, holding
a cellular phone, approaches Parker.
AIDE
You've got a phone call.
Parker grabs the phone.
PARKER
(expecting it to be Sid)
You son-of—a—bitch, I'm going to
kill you.
ALEXIEV (V. 0.)
(through phone)
Me? What did I do?
INTERCUT WITH:
INSIDE THE CAL TECH COMPUTER LAB
Alexiev Borgen sits with a dismantled MAESTRO keyboard in
front of him.
PARKER
(a beat)
I'm sorry, I thought you were
somebody else.
ALEXIEV
I've discovered something about
Lindenmeyer'5 Maestro teaching tool
I thought you should know... (a
beat) The harm done to the music
students who used the device —— it
was not by accident. The machine
was designed explicitly for that
purpose. Lindenmeyer intended to
hurt the kids using it.
PARKER
Jesus Christ.
(turning to Madison)
I know who the dominant personality
is.
(a beat)
Lindenmeyer.
Madison's reaction is one of panic. She bolts toward their
squad car with all the speed she has. Parker chases after
her.
PARKER (CONT'D)
Where the hell are you going?
MADISON
Lindenmeyer never got over wanting
to kill kids with more musical than
he had...
She gets into the driver's seat. Parker the passenger's.
Madison punches the gas.
CUT TO:
INSIDE THE HOLLYWOOD BOWL
The members of the L. A. Philharmonic tune-up for the
evening's pay—per—view extravaganza. Several teenage
musicians sit with them.
Lights, cameras, and production trucks are all over the
place. This really is going to be one hell of a show.
TV ANNOUNCER (V. 0.)
Joining the Los Angeles
Philharmonic for this evening's
first musical number will be
several of the Los Angeles area's
finest, high school musicians...
SID 6.7
who is dressed in a tuxedo, knocking on the door to Guest
Conductor's Dressing Room.
GUEST CONDUCTOR (0. 5.)
(German accent)
It won't do any good to rush me. I
need my time to prepare myself.
The door is opened by the GUEST CONDUCTOR, who is dressed in
a tuxedo, as well as large earrings. His hair is long and
red. His complexion is pale, nearly white. And his eyes are
piercing green. You might describe this look as punk meets
classical.
GUEST CONDUCTOR
(annoyed beyond belief)
Are you just going to stand there,
or do you want something?
Shaking with concentration, Sid 6.7 turns his hair red.
(Nano—organisms can do this, as well as the following.) He
then grabs his hair and pulls it out, extending it to the
exact length of the guest conductor's.
Sid 6.7 then changes his complexion to match the conductor's.
As well as his eye color, and other facial features. The
Guest Conductor can't believe his eyes.
By the time Sid 6.7 is finished modifying himself, he may not
be an exact duplicate of the guest conductor, but even his
mother would have to look twice.
SID 6.7
It's show time.
He shoves the Guest Conductor back into his Dressing Room.
Sid 6.7 follows him in, revealing a suppressed .38. He SLAMS
the door behind him.
CUT TO:
INSIDE THE SQUAD CAR
Madison speeds recklessly through traffic toward the
Hollywood Bowl. Parker doesn't notice. He's totally focused
on screaming into the police radio.
PARKER
Listen to me, a bomb is planted
somewhere in the Hollywood Bowl!
Evacuate everybody!
FEMALE VOICE
I'm sorry, sir, I don't have the
authorization to do that.
PARKER
Then put somebody on who does!
MALE VOICE
What's seems to be the problem?
PARKER
You've got to stop the concert! A
bomb is going to go off!
MALE VOICE
I'm sorry, sir, the concert has
already started.
CUT TO:
THE GUEST CONDUCTOR
whose back is to the audience, leading the orchestra in a
truly magnificent performance of Tchaikovsky's Fifth Symphony
inside the Hollywood Bowl.
The Guest Conductor waves his baton wildly. Passionately.
Brilliantly. Getting the absolute best from the members of
the orchestra.
The musicians exhilarate in the challenge of being pushed to
their musical limit.
As the Guest Conductor turns to the next page of his sheet
music on the podium, you notice seven small, HIGH-FREQUENCY
SENSORS above an upcoming musical measure.
The sensors are wired together. When the seven notes are
played in sequence, an electrical pulse will be triggered
down the wires which run down the side of the podium, beneath
the stage.
BENEATH THE STAGE
The wires connect to several crates of C—4 positioned beneath
the orchestra. These seven notes will be the last notes these
musicians ever play.
CUT TO:
OUTSIDE THE HOLLYWOOD BOWL
Madison SCREECHES the vehicle to a halt. She comes within
inches of mowing down several people. Madison and Parker bolt
to the entrance, flashing their badges to the guards.
INSIDE THE HOLLYWOOD BOWL
The Guest Conductor's movements grow even more intense. More
demanding. As he looks to the violin section, we now see the
conductor's face. It is Sid 6.7.
SID 6.7
(silently)
Don't hold back...Give it to me.
Give it to me!
The orchestra plays with everything they've got. They hit
every note perfectly. Including a high C.
ON THE CONDUCTOR'S PODIUM
The first sensor is triggered. Then the second.
PARKER AND MADISON
appear at the back of the stage. Guns raised. Distracting the
musicians. As Parker and Madison charge through the horn
section toward Sid 6.7, the musicians stop playing.
ON THE CONDUCTOR'S PODIUM
The fifth sensor is triggered. Then the sixth...But not the
seventh.
SID 6.7
cannot believe his eyes. Or his ears. The entire orchestra
has stopped.
SID 6.7
Come on, play! PLAY!
In his rage, his face contorts "past points", which can only
be described bizarre, frightening, and not, something you
would ever like to see when you look in the mirror.
The musicians stare at Sid 6.7, and then at Parker and
Madison with concerned, confused silence. Which is broken by
Parker's gunfire.
Ducking behind the podium, Sid 6.7 desperately tries to
rewire the sensors to trigger manually. Without luck. He
takes his .38 out of his jacket and starts firing.
Pandemonium erupts throughout the Hollywood Bowl. Audience
members run in every direction.
The members of the orchestra bolt for their very lives, but
keep their instruments with them. Even the oboist.
Preventing Parker and Madison from taking any further shots
at Sid 6.7.
Sid 6.7 bolts down into the crowd. Madison cannot get off a
clean shot. Neither can Parker. He aims, but does NOT fire.
He and Madison struggle through the crowd after him.
OUTSIDE THE HOLLYWOOD BOWL
Parker and Madison just catch a glimpse of Sid 6.7 as he
rushes up the entrance ramp to the Hollywood Freeway. Parker
and Madison bolt after him.
ON THE HOLLYWOOD FREEWAY
Parker and Madison race past the cars waiting to merge into
what is effectively a parking lot. As is normal for this
thoroughfare, traffic is at a standstill.
Sid 6.7 is nowhere to be seen. Parker and Madison split—up,
wading through different lanes of traffic. Startling the
already frustrated motorists. Who roll up their windows. Lock
their doors. And some of whom reveal weapons of their own.
Madison pauses, listening. She has no idea that Sid 6.7 steps
behind her. WHAM! He cold cocks her with the butt of his gun.
Madison crumples to the street.
Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!
BOOM! Two hits. Two head wounds. Sid 6.7 falls behind a
truck, losing his weapon.
Before Sid 6.7's wounds have finished regenerating, Parker is
already on top of him.
PARKER
(neighborly)
Hey, old buddy, old pal, good to
see you again.
He empties his clip into Sid 6.7, then discards the gun. As
Sid 6.7's wounds heal themselves, Parker pounds him
mercilessly.
SID 6.7
(losing it)
You...ruined...I'M GOING TO KILL
YOU!!!
Trading blows, he manages to get to his feet.
PARKER
Now, is that any way to talk to an
old friend?
SID 6.7
(exploding)
BARNES, YOU'RE DEAD!
He knocks Parker back with a good shot to the face, then
disappears around a van.
Parker continues the hunt. Quietly. Carefully. Tension grows
in the silence that follows.
He carefully makes his way around a truck. Only to see Sid
6.7 swinging a two-by-four directly at his head. WHAM!!!
Parker is knocked on his ass. Daze4. Blood streams down his
cheek. He staggers to his feet, blocking another blow with
his arm. Which SNAPS the wood in two.
Parker grabs one of the boards. He battles with Sid 6.7.
The fight between Parker and Sid 6.7 is intense. Exhausting.
Parker gives it everything he has.
Madison appears behind Parker, holding his gun. She wavers,
having trouble keeping her balance. She has even more trouble
aiming her weapon.
MADISON
Hey, Parker...
She moves around, trying to get a clean shot at Sid 6.7.
Which she does not have.
PARKER
How's your pulse?
MADISON
(totally focused)
I couldn't tell you.
PARKER
Then shoot him already.
MADISON
Duck!
Without hesitation, Parker hits the deck. Leaving Sid 6.7
completely exposed. Madison steadies her sight.
SID 6.7
(to Madison)
You couldn't hit the side of a...
As he raises his two—by—four high over Parker's head, Madison
pulls the trigger smoothly.
IN SLOW MOTION, you follow the bullet as it exits the barrel
of her gun. And penetrates Sid 6.7's skull between the eyes
and exits out the back of his head.
Sid 6.7 collapses on the ground next to Parker.
MADISON
What do we do now?
PARKER
You won't want to watch. Turn
around.
She does so. Parker reaches OUT OF FRAME to remove the Sid
6.7 character module from within his skull. Then reveals the
character module in hand.
MADISON
What should we do with it?
Glancing in the flatbed of a truck, Parker gets an idea, and
knocks on the driver's window. As the DRIVER rolls down his
window, classic ROCK & ROLL MUSIC can be heard from inside.
PARKER
Mind if I borrow a couple of your
tools for a second?
DRIVER
Be my guest.
Parker removes two sledgehammers from the back of the truck.
He offers one to Madison.
PARKER
Care to join me?
Madison gladly accepts takes the sledgehammer. Parker drops
the Sid 6.7 character module onto the pavement. And together,
they start pounding the shit out of it. WHAM! WHAM! In
perfect time with the music. Which the driver cranks even
louder. As we ROLL CREDITS.
THE END