SURROGATES
Written by
John Brancato & Michael Ferris
Based on the graphic novel
"THE SURROGATES"
By
Robert Venditti
October 16, 2007
FADE IN ON:
EXT. CITY STREETS - NIGHT -- MOVING
A DISTORTED IMAGE of downtown city streets at night.
This is not a FISHEYE LENS, but the REFLECTION in the
mirrored surface of a helmet visor.
EXT. LUXURY BUILDING - NIGHT
A near-future MOTORCYCLE stops near a dramatic HIGH-RISE
RESIDENTIAL BUILDING. The rider, clad in black leather,
climbs off his machine. We'll call him the ASSASSIN.
He flips up his VISOR. His face is scarred, stubbly. He
conceals himself in an alcove, eyes never leaving the
building's entrance.
A uniformed DOORMAN opens the high-rise's lobby door for
a HANDSOME YOUNG MAN in a TUXEDO and TRENCHCOAT.
THE ASSASSIN has been waiting for this. He removes what
looks like a rifle scope from his jacket, aims it at
TUXEDO.
SCOPE POV - focusing on TUXEDO'S FACE, magnified. A
digital readout: "SCANNING..." Then a long SERIAL
NUMBER reads out and the name, "LIONEL ALEXANDER CANTER,"
along with other personal information below.
THE ASSASSIN puts away the scanner scope, satisfied. He
reaches a hand into a pocket, withdraws a mysterious
DEVICE. The size of a first generation cellphone, it has
a military look, with a clear sliding panel over safety
switches and buttons.
The ASSASSIN hurries toward TUXEDO, but before he can
REACH HIM--
A sleek, futuristic LIMOUSINE pulls up and TUXEDO gets in
the back. They're gone in an instant.
The ASSASSIN, frustrated, dashes for his MOTORCYCLE. He
starts it and pursues the limousine.
2.
EXT. WASHINGTON D.C. - NIGHT
THE MOTORCYCLE pursues the LIMOUSINE along the Potomac,
D. C. LANDMARKS visible in the distance.
EXT. KENNEDY CENTER - NIGHT
FORMAL CROWDS, a RED CARPET, signs for an OPERA. The
LIMOUSINE approaches.
INT. LIMOUSINE - NIGHT
TUXEDO leans forward to the DRIVER, a muscular, handsome
man in a suit named ARMANDO.
TUXEDO
I'm not really in the mood for
opera, Armando.
ARMANDO nods knowingly pulls back into traffic.
ARMANDO
F Street?
TUXEDO
(UNDOING BOWTIE)
You read my mind. Let's not
mention this to my Dad...
As he speaks, he passes a few BILLS over the seat.
EXT. WAREHOUSE DISTRICT - NIGHT
THE LIMO moves through this seemingly deserted area,
pulls up near a STEEL DOOR with a spray-painted X.
TUXEDO emerges sans jacket and tie, his dress-shirt open.
TUXEDO
I can find my way back.
ARMANDO nods and pulls away. TUXEDO moves toward the
entrance, says a word into an INTERCOM with a
SURVEILLANCE CAMERA. The door opens within moments, he
disappears inside.
THE ASSASSIN parks his bike, a few steps behind. Tuxedo
has vanished through the STEEL DOOR before he can catch
up with him.
(CONTINUED)
3.
CONTINUED:
The ASSASSIN takes off his helmet, tries the door. It
won't move. He buzzes the intercom. The DOOR slides
open a crack--
THE BOUNCER is a huge, bald man with JET BLACK skin, RED
EYES and TEETH that glow fluorescently. The THROBBING
BEAT of MUSIC within. The BOUNCER narrows his eyes.
BOUNCER
This is a private club.
ASSASSIN
I just need to talk to--
THE STEEL DOOR has already shut in his face.
INT. THE PIT - NIGHT
POUNDING MUSIC. BODIES SLAM together in a brutal mosh
pit, MEN and WOMEN. All are young, some beautiful,
others extremely decorated and pierced. They tear at
each other brutally, trying to do real damage. On the
edges of the pit, individual FISTFIGHTS go on. An
incongruous CHANDELIER overhead, gilt-edged MIRRORS on
the walls-- the FIGHTERS SLAM INTO and SHATTER them.
A HARD-CORE BAND plays on an elevated stage. The
MUSICIANS are heavily punked out, in outlandish clothes,
with pierced faces, tattoos and body make-up.
IN A VIP AREA, a balcony elevated above the stage,
numerous BEAUTIFUL PEOPLE at tables. Many are making
out, gay, straight, threesomes-- orgies happen up here.
TUXEDO sits by himself. He raises a GLASS TUBE attached
to a CORD, one of a few leading into an ELECTRONIC DEVICE
on the table. As he brings the tube close to his own
neck, an ARC of electricity jumps to his skin. His
features go slack, a shudder goes through him. Then he
lowers the tube with a smile. He's using a JACKER-- a
sort of electro-shock hookah. A SHOUT over the MUSIC:
BLONDE
Mind if I join you?
A stunningly beautiful BLONDE in edgy, dramatic clothes
stands nearby. Tuxedo, recovering from the hit, gestures
graciously for her to sit. She picks up one of the
cords, gives him a sly smile. She opens her mouth,
SPARKS fly to her tongue and--
CUT TO:
4.
EXT. ALLEYWAY - NIGHT
RAIN pours down as TUXEDO and the BLONDE burst out the
door, laughing. He pushes her against a brick wall, they
grope each other hungrily, hands inside clothes, getting
drenched in the warm downpour.
WITH THE ASSASSIN, wearing his HELMET with the VISOR UP,
as he approaches the entwined couple. TUXEDO hears him,
TURNS--
TUXEDO
Get lost, meatbag.
EXT. WAREHOUSE DISTRICT - NIGHT
ANGLE ON the alley's mouth as we hear the BLONDE'S
SCREAM. Seconds later she staggers out, clutching her
head, and collapses to the pavement. We hear an ENGINE
START from the alleyway.
THE ASSASSIN emerges on his bike, rides directly over her
body unconcerned-- and ROARS into the night.
CAMERA PULLS UP to--
EXT. WASHINGTON D.C. - NIGHT
--an AERIAL VIEW of the rain-swept CITY, some futuristic
HIGH-RISES amongst the recognizeable landmarks. Also, a
great number of SUPER-CELL TOWERS and DISHES,
considerably larger than the ones we see today.
CAMERA PICKS UP SPEED, moves quickly to a run-down part
of the city, tenements and vacant lots. MOVE DOWN and
through a third-story window of--
INT. ABANDONED PROJECT BUILDING - NIGHT
A dark, decaying hallway. A MAN and a WOMAN move
stealthily up the stairs, LASER-SIGHT GUNS in hand.
The man is THOMAS GREER, the woman JENNIFER PETERS. Both
are about 30, handsome, athletic. Greer's spent his life
in law enforcement. He's smart and able, wants things to
make sense-- but as the world changes around him, he
feels he's losing the thread. PETERS is junior to Greer,
her attitude's professional but rigid, by the book.
(CONTINUED)
5.
CONTINUED:
GREER, in the lead, waves PETERS up. They approach a
door at the end of the hall. We see now that their
windbreakers read "FBI."
GREER kicks open the door--
INT. PSYCHO'S LAIR - NIGHT
Lit by CANDLES and KEROSENE LANTERNS, SMOKE HANGS in the
room. We glimpse BODIES hanging from the ceiling in
CHAINS. GREER and PETERS train their LASERS around the
place, disturbed by the scene. A flash of MOVEMENT in a
bedroom and a CRASH--
THE PSYCHO who lives here has kicked over a LANTERN, FIRE
spills across the floor. We glimpse a surprisingly good-
looking guy, grinning maniacally. He dashes across the
ROOM--
GREER squeezes off a couple of SHOTS. The PSYCHO's too
fast, he LEAPS through a cracked WINDOW.
EXT. ABANDONED PROJECTS - NIGHT
RAIN has let up. The PSYCHO FALLS thirty feet into a
pile of soft DIRT and TRASH. He rolls to the bottom,
gets to his feet and runs.
GREER looks down from the broken window.
INT. PSYCHO'S LAIR - NIGHT
PETERS is beating at the FLAMES with a towel, sees Greer
is preparing to jump.
PETERS
Let's call for back-up.
GREER
Where'.s the sport in that?
PETERS
IT'S PROTOCOL--
GREER SNORTS and--
EXT. ABANDONED PROJECTS - NIGHT
--LEAPS, GREER hits the dirt hard and rolls. He reaches
the ground and sets off after the PSYCHO at top speed.
(CONTINUED)
6.
CONTINUED:
PLAY A FRANTIC FOOT CHASE, both men scramble over chain-
link fences, leap over trashed cars.
GREER pursues the PSYCHO around a corner, into a
passageway between buildings--
--wherethePSYCHO gets the jump on him, SWINGS a length
of pipeathis head. Greer ducks fast, the blow catches
him inthearm, he drops his gun. The PSYCHO moves to
pick uptheweapon, but Greer tackles him against a
dumpster.
Greer SLAMS the dumpster lid on the man repeatedly.
GREER
You have the right to remain silent--
But the PSYCHO has grabbed something from the trash,
manages to SQUIRT BUG SPRAY in Greer's eyes.
Greer's blinded temporarily, the PSYCHO squirms away,
running from between buildings across a street--
WHAM! He's hit full-on by a SEMI, his body FLIES through
the air. He LANDS HARD on cement, but amazingly is still
alive. He tries to get up, but--
GREER plants a foot on his chest and holds him fast
against the ground. Greer, still wiping at this eyes,
points his weapon at the PSYCHO's head.
GREER (CONT'D)
Stay with me asshole--
PSYCHO
Why would I do that?
The PSYCHO grins-- then his head lolls back, eyes empty.
INT. PSYCHO'S LAIR - NIGHT
PETERS is by a WOMAN'S BODY on the floor, holding a
pocket SCANNER close to her head. This small device
resembles an iPhone. There's tape over the woman's eyes
and mouth, which Peters peels away as she speaks into a
tiny cellphone earpiece.
PETERS
Is this Kathy Welles...? My name
is Jennifer Peters, with the FBI's
surrogate crime division...
(CONTINUED)
7.
CONTINUED:
ON SCANNER-- the name "KATHY WELLES," "REPORTED STOLEN,"
contact information below.
EXT. ABANDONED PROJECTS - NIGHT
ON GREER'S SCANNER - "NEW-U RENTAL AGENCY," with an ID
NUMBER, but no name.
GREER kneels beside the PSYCHO's body, pockets his
scanner. He's angry but resigned, he was half expecting
this.
THE SEMI DRIVER is still behind the wheel of his rig. He
calls out to Greer:
SEMI DRIVER
Am I in trouble?
GREER
(waves him off)
Nah, go back to work.
GREER rises as his PHONE CHIMES, he touches his earpiece.
IN BG, the DRIVER pulls away.
GREER (CONT'D)
PETERS (FILTER)
GREER
He's a rental.
He disconnects, reaches to turn the PSYCHO's head to one
side. The back of his skull is smashed. Instead of gore
and brains, we see torn GRAY PLASTIC and dense CIRCUITRY,
oozing pinkish hydraulic fluid at his neck.
We're in a world of SURROGATES, remotely operated
synthetic humans (also known as SYNTHs). These are not
artificially-intelligent robots-- each is linked directly
to a human being, miles or hundreds of miles away.
Surrogates are distinguishable from flesh-and-blood
humans primarily by their physical perfection-- ugly
surrogates are rare. On closer look, their eyes may have
an inhuman quality. Without a human mind sending and
receiving impulses, they are completely inert.
Suddenly the PSYCHO comes to life, spins his head around
at an impossible angle and BITES GREER'S HAND.
(CONTINUED)
8.
CONTINUED:
He won't let go. Greer stomps on the-PSYCHO's head,
reaches with his other hand into the back of the skull to
wrench out a CIRCUIT BOARD. The PSYCHO finally stops
writhing, disconnected.
INT. PSYCHO'S LAIR - NIGHT
PETERS talks on the phone while scanning a SEVERED HEAD.
PETERS
I don't recommend reconnecting,
Ms. Welles... hello?
The WOMAN on the floor TWITCHES, her eyes open. She sits
up on her elbows, looks down to see--
--her legs are gone. The bottom half of her is missing,
her tattered T-shirt covers the damage, soaked with dark
green and pink liquids-- coolant and hydraulic fluids.
VICTIM
Aw crap, I'm totalled!
PETERS
Your insurance ought to cover it.
EXT. ABANDONED PROJECTS - NIGHT
GREER trudges toward the building, on his cell, leaving
the body behind. He turns the CIRCUIT BOARD over in his
fingers.
GREER
--trash pick-up on Maple and 4th.
DISPATCHER (FILTER)
Coulda just called it in, we'd a
shut him down from here--
GREER
Any ID from the rental agency?
DISPATCHER (FILTER)
Yeah, got a name from their office in
Miami. Ness, Harold P.
GREER
(A BEAT)
Harry P. Ness.
DISPATCHER
Oh. False ID?
(CONTINUED)
9.
CONTINUED:
GREER
You think?
DISPATCHER
Don't be in a rush to get home,
Tom. Two surries down outside The
Pit, hard-core club on F street.
GREER picks up the pace, heads OUT OF FRAME.
CUT TO:
EXT. WAREHOUSE DISTRICT - NIGHT
START ON THE BLONDE, eyes empty, face against the cement.
PETERS
Abandoned.
GREER
Or something happened to the operator.
GREER and PETERS stand over the corpse, a UNIFORM stands
nearby. Greer holds his SCANNER near her head.
GREER (CONT'D)
Registered to a Cameron Michaels,
out in Clarksburg...
(TO UNIFORM)
You call her?
UNIFORM
Left a message.
GREER is leaning closer to the dead Blonde's face.
X-CLOSE-- CRACKS in the GLASS of her eye. We see GREER'S
FRAGMENTED REFLECTION as he peers at this.
GREER
Optics are damaged.
PETERS
Musta cracked when she fell.
(TO UNIFORM)
There's a second?
The UNIFORM leads GREER and PETERS past the blonde, into
the alley.
10.
INT. ALLEYWAY - NIGHT
TUXEDO lies on his side, eyes closed. We can hear MUSIC
THROBBING from within.
UNIFORM
Couldn't get an ID from this one.
GREER kneels by Tuxedo, looks at his fancy CUFFLINKS.
GREER
A tux? Kind of over-dressed for a
jacker joint.
GREER pulls out his scanner.
BY TUXEDO's FACE, the SCANNER reads "NO SIGNAL."
GREER seems surprised. PETERS looks over his shoulder.
PETERS
Maybe he's real.
GREER
Little too pretty for that.
GREER lifts one of Tuxedo's eyelids-- CLOSE, shattered
GLASS, ELECTRONICS visible within.
GREER (CONT'D)
He's synth all right.
PETERS
Looks like the optics exploded...
Greer reaches behind Tuxedo's head, pulls out a small
specially-shaped TOOL and pries up the PANEL at the back
of Tuxedo's skull. He pulls out--
THE CIRCUIT BOARD, melted and scorched.
GREER
So much for the identity chip.
PETERS
I'll call for a pick-up. Maybe
diagnostics can make sense of it.
Greer stands up, looks toward the Blonde's body.
GREER
Clarksburg's just up the 270,
let's talk to our witness.
(CONTINUED)
11.
CONTINUED:
PETERS
(a glance at her watch)
You always work these kind of
hours?
GREER
Got something better to do?
PETERS
Besides sleep?
Greer is already on the move, Peters reluctantly follows.
CUT TO:
EXT. 1-270 - NIGHT
A slightly futuristic sedan speeds through light late-
night traffic. We hear the VOICE of the PROPHET:
PROPHET (RADIO)
You feel you are free. You can be
what you want, do what you want,
nothing can hurt you. But you have
ceased to live.
INT. FBI CAR - NIGHT
GREER drives. PETERS has her eyes closed in the
passenger seat. THE VOICE on the RADIO continues IN BG
through scene.
PROPHET (RADIO)
You think you control your
surrogates, but it is they who have
taken over your lives. You lie in
your cells, pale and fat prisoners,
while the puppets walk and dance
and make love...
Peters BLINKS and comes to.
GREER
Welcome back.
PETERS
(re: the radio)
Are we actually listening to the
Prophet? We oughta lock this guy
up and throw away the key.
(off Greer's shrug)
So is this "know thine enemy?"
(CONTINUED)
12.
CONTINUED:
GREER
The Human Coalition isn't "the
enemy."
PETERS
You're kidding, right? The
Dreads've gotta be behind half the
crimes against surries nationwide--
GREER
"Dreads..."
PETERS
They dread the present, they dread
THE FUTURE--
(points at radio)
You know this joker's calling for an
uprising. In Denver, we got the go-
ahead to jam his broadcasts.
GREER
Sounds like they're doing a bang-up
job out there. Why'd you transfer?
PETERS
D. C.'s the heart of the action,
right? Plus my ex and I were in
the same office, it got a little
uncomfortable.
(BEAT)
You get along with your last
partner?
GREER
Till he retired. Had no idea he
was that old.
PROPHET (RADIO)
.But this I promise: soon the
abominations shall fall where they
stand... and on that day of
resurrection, the dead shall rise...
EXT. MODERN APARTMENTS - NIGHT
MOVE ACROSS the facade of a suburban apartment complex.
A RED GLOW suffuses most of the windows, all of which are
BARRED. In this warm light, we glimpse OPERATORS in
reclining chairs, motionless. They could be watching TV,
but no sets are in sight.
MOVE TO FIND GREER and PETERS as they exit the sedan and
pass a sign: "SURROGATE-READY UNITS AVAILABLE."
13.
INT. MODERN APARTMENTS/CORRIDOR- NIGHT
GREER and PETERS walk along an almost prison-like
corridor, SURVEILLANCE CAMERAS, heavy doors. They follow
an empty-faced walking MANNEQUIN in an ugly pantsuit.
This is the LANDLADY. Her mouth moves like a
ventriloquist's dummy as she speaks self-consciously:
LANDLADY
I been having problems with my
surrie, this is just a loaner. Is
there some kind of trouble?
GREER
Nothing to worry about.
LANDLADY
Cam's a good tenant, y'know. Pays
the rent on time, never leaves the
apartment...
GREER
Who does?
LANDLADY
(POUNDS on a door)
Cam? Wake up, the police are here
to talk to you...
INT. CAM'S APARTMENT - NIGHT
The LANDLADY undoes the MULTIPLE LOCKS on the door of a
small one-room apartment. She opens it and lets GREER
and PETERS inside. A RED GLOW from the far end of the
room-- GREER flicks on overheads. The Landlady hovers by
the door as they move into the place.
It's minimalist, nothing on the walls. Empty pizza
boxes. Skirts, stockings, high-heels strewn around
haphazardly. We also glimpse a large CHARGING CRADLE,
contact points embedded in the foam inside, shaped to
accomodate a curvaceous female body.
GREER
Hello?
A fat, hairy arm hangs over the side of a high-tech
CHAIR. The two feds move quickly to see--
--CAMERON MICHAELS, a 40-ish, overweight, bald male in
his underwear. BLOOD runs from his nose, his face
twitches slightly; he lies in a STIM CHAIR.
(CONTINUED)
14.
CONTINUED:
STIM CHAIRS resemble-oversized massage chairs, contoured
to the body, with padded head supports. They vibrate and
electronically stimulate the user to prevent atrophy.
A SENSORY PROJECTOR sits beside the chair. This device
looks like a COMPUTER TOWER. It's linked to an elaborate
HEADSET, with contact points around the skull. There's
also a MONITOR SCREEN which displays the operator's
remote POV.
LANDLADY
Oh my God, Cameron--
GREER quickly detaches the headset, rips a small
ELECTRONIC SLEEVE off of Cameron's fingertip. He checks
the man's pupil response and pulse.
GREER
Call the paramedics.
While Peters calls in BG, GREER moves to the PROJECTOR'S
MONITOR SCREEN and taps a touchpad.
ON SCREEN - STATIC. GREER REWINDS to POVs at the hard-
core CLUB. FAST FORWARD to the ALLEY, making out with
TUXEDO. This is a recording of recent experience, as
seen through the eyes of the BLONDE.
GREER switches to real-time. Tuxedo breaks the kiss and
turns to look OS.
TUXEDO (ON SCREEN)
Get lost, meatbag.
As Tuxedo turns back TO CAMERA, we hear a hideous
ELECTRONIC SCREECH, Tuxedo's face contorts in pain... and
his EYES BURST, fragments of GLASS and ELECTRONICS fly.
The POV reels, we hear the Blonde's SCREAM-- and STATIC
again fills the screen.
GREER is disturbed by this, looks again at the
unconscious, quivering face of the man in the chair.
CUT TO:
INT. D.C. SUBWAY - NIGHT
A mostly empty car, scattered SURRIE PASSENGERS ride
stiffly, zoned out, empty expressions... except for a
long-haired DREAD, one of the anti-surrogate fanatics.
He's disheveled, hippyish, SHOUTS into the empty faces of
the surrogates.
(CONTINUED)
15.
CONTINUED:
DREAD
Wake up! Wake up! Zombies!
Shitpuppetsl Abominations!
He moves to a YOUNG COUPLE, both slack-faced, on standby.
DREAD (CONT'D)
Wake up and smell the piss!
He starts to UNZIP in front of them.
GREER
Not cool.
The DREAD turns-- GREER is holding up a BADGE. The Dread
scowls, zips up and moves away from Greer, plunks down at
the end of the car. Greer pockets his badge calmly.
EXT. GREER'S BUILDING - DAWN
GREER approaches an urban APARTMENT COMPLEX on foot,
carrying a bag of TAKE-OUT FOOD. HIGH FENCES, SECURITY
CAMERAS and SCANNERS, all commonplace in this world. We
see the RED GLOW from a few windows.
INT. GREER'S BUILDING/HALLWAY - DAWN
GREER moves tiredly down a long hallway to his apartment.
He punches in a CODE at the door.
INT. GREER'S APARTMENT/LIVING ROOM - DAWN
GREER enters, crosses a living room that's been decorated
in a spare, modern style.
INT. GREER'S APARTMENT/KITCHEN - DAWN
GREER sets the bag down on a table, fills a glass with
WATER and moves down a hallway to a BEDROOM.
INT. GREER'S APARTMENT/BEDROOM -- DAWN
GREER enters the bedroom, places the water glass on a
bedside table beside--
--the REAL GREER. He looks five years older, twenty
pounds heavier than his surrogate. He's in a STIM
RECLINER, attached to a SENSORY PROJECTOR like the one we
saw on Cameron Michaels. RED LIGHT suffuses the room.
(CONTINUED)
16.
CONTINUED:
GREER, a surrogate we now realize, undresses, puts his
clothes aside in a CLOSET-- which also contains a foam-
filled CHARGING CRADLE. Down to his underwear, he backs
into this, seems to relax. We hear a low HUM and--
--the REAL GREER's eyes open. He disconnects the HEADSET
and FINGERSLEEVE, the RED GLOW is replaced by WHITE
LIGHT. He sits up, yawns and sips the water. He rises
wearily, stretches, runs a hand through his thinning
hair. He moves to shut the closet door on his synth
unit. As it CLOSES--
CUT TO:
INT. GREER'S APARTMENT/KITCHEN - MORNING
GREER (the real one) sits at the table in a bathrobe,
finishing the food his surrogate brought home. As he
empties the remains into the trash--
--MAGGIE enters. She's Greer's wife, a stylish young
woman, looking ridiculously good for someone who's just
gotten up. Maggie starts at the sight of Greer, begins
to retreat. It's as if she's stumbled upon him in the
bathroom.
MAGGIE
Oh, sorry--
GREER
It's OK. Come in--
MAGGIE
But where's your...
GREER
Put him up. I was about to get
some sleep.
Maggie enters the kitchen, not looking directly at Greer.
She puts some bread in a toaster, prepares coffee.
MAGGIE
You just get in?
GREER
Some poor cross-sexual had an
aneurysm while he was online, had
to get him to a hospital.
Maggie winces, disturbed by her husband's job. She flips
on a small flatscreen TV, volume low. NEWS and WEATHER.
(CONTINUED)
17.
CONTINUED:
MAGGIE
I think I need a new stim chair.
GREER
Bedsores? Want me to take a look?
MAGGIE
(TAKEN ABACK)
No thanks, it's just some
irritation.
GREER
Well, there's room on the credit
card.
(BEAT)
It's been a while since... we've
actually been together.
MAGGIE
(UNEASY)
Are you talking about sex?
GREER
No, I just meant--
MAGGIE
Because I think we're doing just
fine.
GREER
But that's our surrogates. It's
not the same...
MAGGIE
It's better.
(SHRUGS)
I wish that instead of working
every night, you would come out
with me, go dancing, we used to
have such a good time--
GREER
I was thinking more like a
vacation. An island somewhere.
MAGGIE
(likes the idea)
Bridget said she got an amazing
deal on a surrie rental in Tahiti--
she looked just like a native.
GREER
I mean a real vacation-- just us.
Leave our synth units home.
(CONTINUED)
18.
CONTINUED: (2)
MAGGIE
(HORRIFIED)
And get on a plane?
Her TOAST pops up. Maggie takes it with her coffee out
of the room. She shakes her head, amused at Greer's
crazy ideas.
MAGGIE (CONT'D)
Sleep well.
She takes her breakfast through a door in the hall just
off the kitchen-- we can't see inside the room. We hear
the DOOR LOCK behind her.
GREER looks after his wife, a bit dejected. In the quiet
he registers a voice from the TV:
COMMERCIAL V.0.
Remember... it wasn't long ago.
ON TV - the sign "AIR QUALITY - UNHEALTHFUL."
PEDESTRIANS with surgical MASKS and even GASMASKS.
The sign "QUARANTINE." BODIES in a MASS GRAVE.
The sign "TERROR ALERT - HIGH." A BUSY CITY STREET.
Suddenly, a massive EXPLOSION, a car bomb going off.
From the blast, BLEACH TO WHITE.
COMMERCIAL V.0. (CONT'D)
Now... a better world.
A BEAUTIFUL GIRL ENTERS FRAME, turns TO CAMERA and
smiles. Behind her, more happy, healthy, handsome YOUNG
PEOPLE in an abstract, WHITE SPACE. WIDER, there are
THOUSANDS of them.
COMMERCIAL V.0. (CONT'D)
Virtual Self Industries.
ON TV - The LOGO for VSI comes on the screen.
COMMERCIAL V.0. (CONT'D)
Do what you want. Be what you want.
CUT TO:
INT. COLLEGE DORM - DAY
A wood-paneled hallway of an Ivy League dorm, TWO MALE
UNDERGRADS (pimply, glasses, overweight, clearly not
surries) KNOCK on a dorm room door.
(CONTINUED)
19.
CONTINUED:
UNDERGRAD #1
Yo, Canter!
UNDERGRAD #2
Maybe he's still hung over.
UNDERGRAD #1
He's gonna miss the exam.
They try the door-- unlocked.
INT. DORM ROOM - DAY
As soon as they enter, the UNDERGRADS choke on the
stench, covering their noses.
UNDERGRAD #1
Aw, Jesus...
IN THE BED is a YOUNG MALE CORPSE, a SENSORY PROJECTOR
attached to his head, the RED GLOW. OVERHEAD LIGHTS
flick on to reveal goopy BLOOD at his nose and ears, the
pillow soaked.
GREER (V.0.)
Tuxedo's operator turned up,
student at Yale name of Anthony
Canter...
CUT TO:
INT. FBI BUILDING/GREER'S OFFICE - DAY
Cluttered with papers, two desks. GREER sits before a
TERMINAL, staring at his screen.
GREER
They're uploading his memory file.
Seems we're dealing with an actual
homicide.
PETERS, at the other (much neater) desk, leans in to look
over Greer's shoulder while the file uploads.
PETERS
You sound pleased.
GREER
Well, you get a little tired of
property crime, vandalism--
(CONTINUED)
20.
CONTINUED:
PETERS
Thought you took your job
seriously. Surrogates are
extensions of people's selves--
GREER
What are you, quoting VSI?
PETERS
The Supreme Court.
ANTHONY STONE, Greer's BOSS, has entered Greer's office
during the above. He's silver-haired, friendly, in
perfect shape-- another surrogate. He's clearly heard
this argument before.
PETERS (CONT'D)
Synthetic units have the same
rights as biologicals.
GREER
Yeah, yeah. Fact is, most of the
people you refer to as Dreads are
just too poor to afford a synth.
You think they like living on
reservations?
PETERS
That's humanist propaganda. The
restricted areas were their idea,
they hate being around surries.
STONE
Get a room, you two.
He leans between them, hits a button on Greer's computer.
ON SCREEN - A NEW HAVEN PD LOGO at the top of the screen,
indicating this is an EVIDENCE FILE. In a large WINDOW,
TUXEDO'S POV RECORDING plays. We now see the foreplay in
the alley from the other perspective. FOOTSTEPS, Tuxedo
pulls away from the BLONDE--
--and turns to confront THE HELMETED ASSASSIN. TUXEDO's
VOICE: -
TUXEDO (O.S.)
Get lost, meatbag.
THE ASSASSIN narrows his eyes-- then WHITE LIGHT fills
the screen, the BLONDE'S SCREAM CUTS OUT as the audio
goes. Then STATIC and BLACKNESS.
GREER, PETERS and STONE react to this.
(CONTINUED)
21.
CONTINUED: (2)
GREER
Poor kid. Pathologist said his
brains looked like soup.
PETERS
(WINCES)
What could do that to someone?
STONE
Lightning strike, according to
forensics. A massive power surge
shoots through the network...
GREER
Two people in a narrow alley,
surrounded by fire escapes, cell
towers...?
STONE
Got a better idea? In any case,
let's be discreet about this.
There'll be panic in the streets
if the public gets the idea that
using their surries can kill
them...
Greer is rewinding the IMAGE. He points to the face of
the ASSASSIN, partly shielded within his helmet. They
only get a partial of his face, it ENLARGES and
HIGHLIGHTS.
GREER
Is he the perp, or just some
lookie-loo--?
PETERS
He's a "meatbag" all right. Look
at those scars...
An INTERCOM beeps, GREER hits a button.
GREER
What you got?
INTERCOM VOICE
Next of kin. You sitting down?
Kid's father is Lionel Alexander
Canter. The Lionel Canter.
GREER, PETERS and STONE take this in, stunned. STONE
leans closer to the intercom.
(CONTINUED)
22.
CONTINUED: ( 3)
STONE
Stone here. Under no
circumstances do you discuss this
matter with anyone, inside or
outside the Bureau. Got me?
INTERCOM VOICE
Yes, sir.
GREER disconnects the intercom, STONE moves to leave.
GREER
You still thinking lightning?
CUT TO:
INT. LUXURY BUILDING/LOBBY - DAY
Elegant, traditional decor. ARMANDO, the limousine
driver from the opening sequence, is posted amidst the
mirrors and plush furniture.
An elegantly dressed CLERK is at the lobby desk, checking
on a COMPUTER SCREEN. GREER and PETERS wait.
CLERK
Dr. Canter is expecting you. But
no weapons are permitted in the
penthouse.
PETERS
We're federal agents.
CLERK
I'm sorry. You'll have to leave
them with me.
At Greer's nod, Peters takes out her holstered GUN.
GREER does the same. The Clerk locks both the agents'
guns in a drawer, then comes out from behind the desk.
ARMANDO approaches. The Clerk passes him a KEY.
ARMANDO
I work for Dr. Canter. His
private elevator's this way.
They follow him toward an ALCOVE in the back of the
lobby.
PETERS
You're the one who drove Anthony
Canter that night?
(CONTINUED)
23.
CONTINUED:
ARMANDO
(NODS)
I gave the police a statement.
AT A PRIVATE ELEVATOR, while ARMANDO turns a key, a
SCANNER automatically swings out on a cantilevered arm.
GREER
is this necessary?
ARMANDO
Dr. Canter's rules.
LIGHT flashes in their faces as they're scanned. The
elevator doors open, and the three of them get on.
CLOSE ON SCANNER - after they've entered the elevator,
small HEAD-SHOTS of GREER and PETERS, vital stats below,
appear one after the other on the SCREEN.
INT. ELEVATOR - DAY
GREER turns to ARMANDO, who's staring straight ahead.
GREER
Kid liked the wild side, huh. Did
his father know?
Armando doesn't answer, this is getting too personal.
INT. CANTER'S PENTHOUSE/FOYER - DAY
THE ELEVATOR opens into a marble entrance area. It's
traditional, tastefully opulent-- artwork, sculpture. A
small, automated VACUUM CLEANER moves along a Persian
rug. Armando moves ahead of them to announce their
presence. Greer and Peters speak quietly.
PETERS
Nice place.
GREER
Canter must get a piece of every
surrogate they sell.
CANTER emerges from a study. His face is young, but
there's some grey at his temples. Otherwise, he looks
identical to the dead TUXEDO. GREER takes this in.
GREER (CONT'D)
Dr. Canter?
(CONTINUED)
24.
CONTINUED:
CANTER
That's right. You're with the FBI.
PETERS
Yes we are.
He leads them into--
INT. CANTER'S PENTHOUSE/STUDY - DAY
A traditional study, wood paneling, books. WINDOWS lead
to a BALCONY. ARMANDO remains IN BG throughout scene.
PETERS
We're very sorry for your loss,
sir.
CANTER
What progress have you made with
the investigation?
GREER
I can't help noticing, your
surrogate-- it's very similar to
the unit your son was using...
Canter pauses, then moves to a DOOR and opens it.- LIGHTS
INSIDE FLICKER ON, revealing--
--a WALK-IN CLOSET with a half-dozen CHARGING BAYS. Four
surrogates here, all versions of the man we've just seen--
Canter at different stages of life, from youth to almost
elderly. Two of the charging bays are empty.
CANTER
I allowed Tony to borrow one of my
surrogates when he wanted to spend
time in D.C. I encouraged him to
take advantage of the cultural
OFFERINGS--
PETERS
Wait, how is that possible?
Aren't your surries locked to your
neural signature?
CANTER
(closing the door)
I wrote the code that remains at
the core of all surrogates. It
wasn't difficult for me to make my
synth units accessible to my son.
(CONTINUED)
25.
CONTINUED:
GREER -
Like getting the keys to dad's car.
CANTER
I suppose...
(BEAT)
The coroner says that Tony was
online when it happened. Why
hasn't the surrogate been returned
to me?
PETERS
We're still analyzing the damage--
CANTER
It was attacked?
PETERS
We really can't get into the details
of an ongoing investigation--
GREER
Dr. Canter-- we don't know of any
way to kill an operator remotely.
Do you?
CANTER
No, but-- at the beginning, all of
us at VSI were worried about it.
It's why every surrogate has a
built-in fail-safe, they disconnect
before they can transmit a
potentially dangerous signal.
PETERS
Can you think of anyone who might
want to harm your son?
CANTER
I... the sad fact is, Tony and I
were just getting to know each
other... he grew up with his
mother in California.
Canter's voice drifts off, he's starting to look far
away, pained. He sits slowly behind his desk.
CANTER (CONT'D)
If this wasn't an accident... then
it's because of me that he's...
(BEAT)
I'm sorry. You'll have to excuse me.
(CONTINUED)
26.
CONTINUED: (2)
Before Greer and Peters can reply, Canter goes rigid,
eyes blank-- he's disconnected.
GREER
Guess the interview's over.
PETERS
(QUIETLY)
Can you imagine what it's like to
lose your only child?
Greer scribbles something on a BUSINESS CARD.
GREER
Not really. You got kids?
PETERS
(shakes her head)
Jim and I talked about it, but...
GREER
Lot of that going around.
He starts to place the card on the desk before the
immobile Canter. Armando steps forward warily-- Greer
shows him the card before putting it down.
GREER (CONT'D)
If he thinks of anything else.
ARMANDO
(NODDING)
I'll show you out.
As they move back toward the lobby elevator, we remain
with the motionless Canter a beat. Then, the CAMERA
MOVES quickly from the study, and THROUGH A WALL to find--
INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY
--a small, PRIVATE AREA, bathed in RED LIGHT, with a very
fancy, elaborate SENSORY PROJECTOR. REAL CANTER is much
older than his surrogate, his face stubbly. His body is
twisted and nearly useless, his head held up by a brace.
A victim of some horrible degenerative disease, Canter
only has the use of one arm, via an elaborate electronic
armature. He's just disconnected his HEADSET. There are
TEARS streaming down his cheeks.
His projector SCREEN faces him, with his working arm he
calls up an old MEMORY FILE.
(CONTINUED)
27.
CONTINUED:
ON PROJECTOR SCREEN - FOOTAGE SLOWED DOWN SLIGHTLY. A
(the kid we saw dead
POV on eighteen-year-old TONY CANTER
in the dorm room) as he hauls up a sail in the front of a
BOAT. He looks toward CAMERA and smiles.
EXT. LUXURY BUILDING - DAY
GREER and PETERS move from the entrance to Canter's
residential high-rise.
PETERS
So we're talking mistaken T.D.
GREER
Someone targeted Canter's surrie,
got the wrong operator.
They get to their car, parked in a RED ZONE. GREER curls
his lip at a METER MAID-- a DRONE SURROGATE ON WHEELS, NO
EARS, as it rolls calmly away from his car.
GREER (CONT'D)
I'm sure the guy's got enemies he
never even heard of.
PETERS
My money's on the Dreads.
(off Greer's look)
Excuse me, the "humans."
Greer rips the TICKET from the windshield, tears it in
half and throws it in the back of the car, as they both
get in.
CUT TO:
INT. VSI LOBBY - DAY
MOVE OVER a DISPLAY depicting the HISTORY OF SURROGATES.
MODELS are arranged chronologically, from primitive-
looking, obvious ROBOTS, moving stiffly, to ANIMATED
MANNEQUINS (like the landlady) to the MODERN UNITS,
almost indistinguishable from human beings, whose
repetitive movements are smooth, fully articulated.
GREER and PETERS, in plainclothes, move past the display.
Greer stops in his tracks, seeing-'-
(CONTINUED)
28.
CONTINUED:
A DISPLAY that reads, "BREAKING THE MIND'S CODE." A
VIDEO LOOP shows a young CANTER (much like his surrogate)
seated at a worktable with ELECTRONIC GEAR, beside a
SUBJECT lying on a table, hundreds of WIRES affixed to
his head. These lead to a crude MANNEQUIN, which turns
its head, rolls its eyes, moves its mouth. We hear a
VIDEO NARRATOR, volume low.
VIDEO NARRATOR
.Dr. Lionel Canter's breakthrough
experiments led to the technology
for decoding brain impulses and
transferring the signals to
synthetic humans...
GREER
Damn. Why didn't I think of that?
The two of them move on to an ELEVATOR BANK.
INT. VSI CONFERENCE ROOM - DAY
A GORGEOUS ASSISTANT with plenty of cleavage enters with
two cups of coffee. She takes them to GREER and PETERS,
who sit at the table in this dramatic conference area.
PETERS
Thank you.
ASSISTANT
Mr. Welch will be with you in a minute.
(SHIMMIES OUT)
PETERS
She's a little over the top.
GREER
Just advertising the product.
(sips his coffee)
Ugh.
PETERS
It's delicious, if you want it to be.
Adjust your interface.
GREER
Right, I keep forgetting that.
(ANOTHER SIP)
Mmm. So good.
They rise as--
(CONTINUED)
29.
CONTINUED:
--VICTOR WELCH enters. Like most everyone else, he's
30ish, handsome, a slick PR man in a suit. Behind him
are a MALE and FEMALE LAWYER, unsmiling. All wear ID
BADGES around their necks with the VSI logo.
WELCH
Agents Greer and Peters? I'm Victor
Welch, VP corporate relations.
He shakes their hands.
PETERS
Thanks for taking the time to see us.
WELCH
No problem. Do you happen to know
Andy Stone?
GREER
Our immediate superior.
WELCH
Really. Do give him my regards--
The MALE LAWYER cuts him off, leaning across the table to
shake hands.
MALE LAWYER
We're from the legal department.
FEMALE LAWYER
Hope you don't mind if we sit in.
PETERS
Not at all. I didn't get your names--?
WELCH
(OVER HER)
You might be interested in a free
software upgrade we're offering to
all law enforcement officials,
better night vision for your synth
unit, improved pursuit capability...
GREER
Mm. Any idea what could cause a
surrogate's head to explode from
the inside?
On the table, in a plastic EVIDENCE BAG, is a fried
CIRCUIT-BOARD along with a pair of SHATTERED EYEBALLS.
Greer passes this to Welch, who barely looks at it.
(CONTINUED)
30.
CONTINUED: (2)
MALE LAWYER
Mr. Welch isn't qualified to answer
that question. You'd be better off
speaking to one of our technicians.
WELCH smiles pleasantly.
FEMALE LAWYER
What does the operator say?
GREER
Not much. He's dead.
PETERS
A massive brain hemmorhage, it
happened while he was online.
FEMALE LAWYER
I'm sorry to hear that. But I can
assure you it has nothing to do with
VSI products. If a man suffers a
heart attack while driving, he
doesn't have a case against the
automobile manufacturer.
WELCH nods in agreement. GREER gamely continues to
address his questions to the VP.
GREER
No one's talking lawsuit. we'd
just like to know, is there any
precedent for an operator being
killed by signals from his
synth unit?
MALE LAWYER
(ALMOST INDIGNANT)
NONE WHATSOEVER--
FEMALE LAWYER
The idea is absurd. If it were
possible, it would defeat the
purpose of surrogacy.
MALE LAWYER
Surries have jumped from bridges,
been shot or blown to bits without
the least harm to the operators-
the fail-safes always kick in.
Every case that's been brought
against VSI has been shown to be
the result of user negligence.
(CONTINUED)
31.
CONTINUED: (3)
FEMALE LAWYER
We can't help it if customers forget
to eat, sleep or take their medicine.
WELCH shrugs and rises, followed by the lawyers.
WELCH
If that's all... a pleasure
talking with you.
GREER
There is one more thing. The victim
was Anthony Canter. The son of one
of your company's founders.
GREER studies them as they process this news.
GREER (CONT'D)
Kind of a strange coincidence.
WELCH
Dr. Canter has retired, but we'll
be sure to send our condolences.
EXT. VSI HEADQUARTERS - DAY
GREER and PETERS move from a glass corporate tower,
across beautifully manicured gardens. GREER carries the
evidence in a briefcase.
PETERS
What's our take-away?
GREER
(SHRUGS)
I used to be able to read people,
back when they were people...
PETERS
You mean before they all became
lawyers?
GREER
(A SMILE)
You made a joke. Maybe there's
hope for you, Peters...
They head for a MANUFACTURING COMPLEX.
32.
INT. VSI FACTORY - DAY
AN OVERHEAD CONVEYOR carries PLASTIC RIBCAGES and SPINAL
COLUMNS containing ELECTRONIC PARTS, FLUID SACS and
TUBES. ARMS and LEGS, elaborate hydraulic apparatus, are
attached by ROBOTIC ASSEMBLERS. There's no skin yet,
just the exposed machinery, made mostly of plastic and
microcircuitry.
A WINDOW overlooks the factory floor. Here, TECHNICIANS
sit at COMPUTER STATIONS, monitoring the processes below.
GREER and PETERS stand before WATERS, who looks like a
basketball player-- hugely tall, African-American,
tattooed, in casual clothes. GREER waves a hand up in
his face, trying to get his attention.
GREER
Mr. Waters? Seth Waters?
GREER checks the man's ID BADGE-- a PHOTO of a pudgy,
bearded white man with glasses, the name SETH WATERS.
Suddenly, WATERS snaps out of it, looks down at the two
agents. Despite his appearance, his manner is nerdy.
WATERS
Hello, sorry. I was in the can.
PETERS
We were told you could help us
with some technical issues.
WATERS
To whom am I addressing myself?
GREER
We're with the FBI.
He studies the BADGES they hold out.
WATERS
Really? Cool.
INT. VSI LAB - DAY
X-CLOSE on the dense, blackened and partially melted
CIRCUIT BOARD, a labyrinth of LINES and PATTERNS.
WATERS peers into a huge ELECTRONIC MICROSCOPE in this
laboratory. COMPUTER MONITORS, mysterious EQUIPMENT.
(CONTINUED)
33.
CONTINUED:
WATERS
Heat build-up like this? Every
circuit musta fired at once.
Kablooie.
GREER and PETERS hover nearby. Waters turns his
attention to the shattered eyes, picks one up.
PETERS
Ever seen anything like it before?
WATERS
Not exactly... but last week we
got a truckload of GI Joes back
for reconditioning. Couple a the
surries were missing optics.
GREER
May we take a look?
INT. VSI WAREHOUSE - DAY
WATERS opens the doors and flips on FLUORESCENT LIGHTS...
they blink on to reveal--
ROW UPON ROW of SURRIE TEMPLATES, naked, hairless and
robotic, not yet personalized with faces and skin. They
stand packed like sardines, ready for shipment.
WATERS leads GREER and PETERS to a CAGED-IN CORNER of the
warehouse, unlocks the gate.
Inside are STACKED BODIES in the uniforms of different
SERVICES. Many are battered and scarred from battle,
even in pieces. All are wrapped in CLEAR PLASTIC.
WATERS
Old soldiers never die...
He consults a HAND-HELD COMPUTER, checks CODE NUMBERS on
the bags. The SOLDIER'S FACES are all eerily similar...
even identical. No reason to customize cannon fodder.
WATERS (CONT'D)
Here we go.
He peels back the plastic on another identical SOLDIER
whose EYES are missing. The body is otherwise undamaged.
PETERS
No bullet holes, no blast damage--?
(CONTINUED)
34.
CONTINUED:
WATERS
Not a scratch.
GREER moves Waters aside, looks the body over.
GREER
Brand new camos, no mud, no dirt...
this thing's never seen combat.
Name and unit insignia removed...
let me check out the motherboard.
WATERS
Didn't come back with one. I
thought it was a little weird.
GREER stares into the empty eyesockets of the soldier.
He hooks a finger in, comes out with--
A glistening SHARD OF GLASS on his fingertip.
CUT TO:
EXT. BATTLEFIELD - DAY
A FIREFIGHT in a bombed-out DESERT TOWN, somewhere in the
Middle East. A GRUNT'S POV as a small group of SURROGATE
SOLDIERS, the generic "GI JOE" types we saw at VSI, clean
up an insurgent outpost.
PULASKI, a gung-ho SURRIE SOLDIER, charges into MACHINE
GUN FIRE and is BLOWN TO PIECES.
INT. BATTLEFIELD HEADQUARTERS - DAY
A WIDER SHOT reveals that this POV is one of many being
displayed on BATTLEFIELD MONITORS in a warehouse-sized
space. Each hangs above a flesh and blood SOLDIER in
loose MARINE UNIFORM, in stim chairs, hooked into sensory
projectors. The room is bathed in RED LIGHT.
REAL PULASKI bolts upright in his stim chair, a WHITE
LIGHT goes on as his screen turns to STATIC.
PULASKI
I'm down, I'm down!
A CONTROLLER works quickly at a board.
COLONEL BRANDON,_a flesh and blood career military man,
in uniform, moves past Pulaski's stim chair, gives him a
warning look.
(CONTINUED)
35.
CONTINUED:
BRANDON
Damn things aren't free, Pulaski.
Take the snipers from behind this
time.
PULASKI
Yessir.
CONTROLLER
Back on-line.
PULASKI lies back in his stim chair, RED LIGHT UP. The
POV ON his SCREEN switches to the BACK OF A VAN, the
doors open and his new unit charges out, past other
REPLACEMENT SOLDIERS still in charging bays.
COLONEL BRANDON, moving on, touches his earphone.
BRANDON
Yeah, I'll be right over.
He CLAPS a CAPTAIN on the shoulder as he moves out.
BRANDON (CONT'D)
Keep an eye on Bravo company.
CAPTAIN
We will kick some ass, sir.
EXT. MARINE BASE - DAY
HANGARS, boxy buildings, HUMVEES, SOLDIERS marching in
formation. BRANDON walks with GREER and PETERS.
BRANDON
The United States has the largest
surrogate army in.the world. Why
on earth would the defense
department want to develop a
weapon that could wipe out our own
troops?
GREER
So no such thing exists?
BRANDON
If it did, I'd know about it.
PETERS
Those soldiers we saw--
(CONTINUED)
36.
CONTINUED:
BRANDON
(a bit impatient)
We routinely remove motherboards
and optics for analysis. Now if
you'll excuse me, we're in the
middle of a peacekeeping operation.
They've reached their car. Brandon turns on his heel and
heads back for a hangar. Greer and Peters look after him
for a moment.
PETERS
Think he's telling the truth?
GREER
Not when his lips are moving.
Greer shakes his head as they both get in the car.
WITH BRANDON - Out of earshot of the feds, he speaks into
a small earpiece.
BRANDON
Bill, we may have a problem. Is it
possible one of our ODs is loose?
CUT TO:
INT. FBI BUILDING/GREER'S OFFICE - DAY
CANTER'S IMAGE on a COMPUTER SCREEN. It's his surrogate
face, seated at his desk. This is a video-phone
connection.
CANTER
Tell me, have you made any
progress whatsoever?
REVERSE ANGLE, Greer and Peters sit before the screen.
BY ROTE:
GREER
Sir, we are not at liberty to
comment on an ongoing
investigation.
CANTER
Don't blow me off like I'm some
goddamn reporter. I have
resources of my own, do I have to
do your jobs for you?
(CONTINUED)
37.
CONTINUED:
GREER bites back his anger, rises and moves away from the
screen before he says something he'll regret. He sits at
ANOTHER TERMINAL, returns to work. Peters takes his
place, attempting to sound reassuring.
PETERS
We're exploring every avenue, Dr.
Canter, I promise you that, we're
doing everything we can.
CLOSE ON GREER'S TERMINAL - An INSET of the image of the
ASSASSIN'S FACE, no helmet on-- it's much clearer than
the one we saw before, this being the bouncer's
perspective at the door of the club. We hear CANTER and
PETERS continue in BG.
CANTER
What. What are you doing?
PETERS
I understand you're grieving--
CANTER
I'm a target for assassination! I
assume you're at least aware of
that.
WITH PETERS, she looks briefly over her shoulder at Greer
with a "help, get me out of this" expression. He remains
focussed on the image of the assassin, she turns back to
Canter on the screen, maintaining her placating tone.
PETERS
I appreciate your concern and
frustration, obviously we all want
immediate results, but--
CANTER
I've heard enough of your
condescending pap. The people who
did this are going to be punished.
CANTER DISCONNECTS, his angry face VANISHES. PETERS
rises and moves quickly toward Greer.
GREER
You handled that well.
PETERS
(points at screen)
Where'd you get this?
(CONTINUED)
38.
CONTINUED: (2)
GREER
The freak who was working the door
at the club. Got a look at our
perp dead-on.
ON SCREEN - The Assassin's features HIGHLIGHT, the words
"756 PARTIAL MATCHES."
REVERSE ANGLE -- GREER types, PETERS watches.
PETERS
Try narrowing the search for Dread
affiliation...
ON SCREEN - a DIGITAL RAPSHEET, the name JACK STRICKLAND.
A ROTATING 3-D MUGSHOT of STRICKLAND, covering all the
angles of his face.
GREER
Eighty-seven percent match. Close
enough for government work.
GREER and PETERS quickly scan the man's rapsheet.
PETERS
Jack Strickland, one of the Prophet's
groupies... torched a surrogate
display at a department store--
GREER
And they let him off?
PETERS
No known address...
GREER
(RISING)
Not a problem.
INT. FBI BUILDING/CORRIDOR - DAY
GREER and PETERS walk along a windowless, underground
hallway, reach a SECURITY SCANNER.
GREER
Ever come down here? It's like
being inside God's head...
The DOOR UNLOCKS and they enter--
39.
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY -
GREER and PETERS go down metal stairs into-a sprawling,
high-tech surveillance center. COMPUTER WORKSTATIONS are
arranged radially, at the hub is a central COMMAND
STATION with large SCREENS facing in all directions.
GREER and PETERS move toward the center. At first we see
just the head and shoulders of scattered FIGURES, staring
at the monitor screens.
ON SCREENS - these are POV SHOTS from thousands of
SURROGATES, the Feds can have a direct surveillance feed
from any surrogate's eyes.
We glimpse POV SHOTS of-- driving-- drinking in a bar--
intimate conversations-- watching an old movie-- a sex
partner's face.
The FIGURES before the screens are WATCHER DRONES,
specialized surrogates-- a head and shoulders mounted on
a wheeled contraption attached to tracks. This enables
them to move and stop at any monitor quickly, surveilling
dozens of surrogates. Males and females, but all have
the same faces.
PETERS stares in wonder at this voyeur's paradise. GREER
grabs her arm to keep her from getting hit as a WATCHER
tracks past. The Watcher ignores them, intent on work.
They mount stairs into the RAISED HUB that overlooks the
work floor. An extremely corpulent human being-- BOBBY
SANDERS-- sits on a reinforced rolling chair, which he
keeps in almost constant motion, eying the DOZEN SCREENS
up here at once.
ON SCREENS - POVs of actual criminal activity-- frantic
running across a park-- a burglary in a darkened jewelry
store-- packets of drugs changing hands.
BOBBY eats candy, guzzles soda, waves them off for a
moment, speaking rapid-fire into his HEADSET.
BOBBY
Burglary in progress, Charlie4639-
Romeo7812-Sierra8955, need a
warrant to shut him down...
BOBBY gets a message from his headset, kicks his rolling
chair across the room to a special TERMINAL.
BOBBY (CONT'D)
Warrant received.
(CONTINUED)
40.
CONTINUED:
This terminal displays SURRIE SERIAL NUMBERS. As BOBBY
types, the selections narrow until only one is on the
screen: "C4639-R7812-S8955."
PETERS
(WHISPERS)
He can cut off operators from here?
BOBBY
Anybody, anywhere. Ssh, don't
tell anyone. It's a gray area
legally.
PETERS isn't comfortable with this.
BOBBY (CONT'D)
Relax, we're the good guys.
ON TERMINAL SCREEN - "OPERATOR DISCONNECT."
ON THE BURGLARY SCREEN, the POV IMAGE tumbles to the
ground, FREEZES there and turns to STATIC.
GREER nods, impressed. BOBBY eats an entire candy bar in
one bite.
PETERS
You're not a surrogate, are you?
BOBBY wheels closer. With his mouth full:
BOBBY
No ma'am, you're looking at the
genuine article. Bobby Sanders.
He extends a greasy hand, which she shakes lightly.
PETERS
Jennifer Peters.
GREER
They've been trying to puppet
Bobby for years--
BOBBY
(points at his head)
Ain't built the machine yet that
can handle this baby. Recognition
search caught your dreaddie,
screen 11.
They move to a screen numbered 11, Bobby taps a CONTROL.
(CONTINUED)
41.
CONTINUED: (2)
ON SCREEN - SLO-MO, a city street, JACK STRICKLAND, a
moving pedestrian's POV. Strickland's leaning on his
bike, helmet off, talking on a CELLPHONE, free hand
shoved in his pocket. The image FREEZES. The bike's
LICENSE PLATE HIGHLIGHTS, along with STRICKLAND'S FACE.
GREER peers at the time stamp.
GREER
Ten minutes ago? Where?
BOBBY
Baltimore, corner of Eastern and
Decker. Got a feeling he's headed
for the reservation.
GREER
(TO PETERS)
Stay here, keep tabs on him.
PETERS
What are you doing?
GREER
(on the move)
Getting a chopper.
Peters takes this in, calls after him:
PETERS
You need to get approval!
GREER makes a jerking off motion and is gone. BOBBY lets
out a BELCH and winks at PETERS.
CUT TO:
EXT. BALTIMORE SLUMS - DAY
WITH STRICKLAND, finishing his cell call.
STRICKLAND
.maybe I'm not done with the
O.D. Maybe you're not gonna get
it back at all. Guy could have a
lot of fun with your little toy...
oh you can do better than that.
I'll be in touch...
He tosses the cellphone in a trashcan, pulls on his
helmet, STARTS the bike and peels out.
42.
EXT. BALTIMORE - DAY
AERIAL SHOT - CAMERA tracking over the CHESAPEAKE BAY and
into the city, late afternoon. A small black CHOPPER
with doorless openings on either side ENTERS FRAME.
INT. HELICOPTER - DAY
GREER is beside a PILOT, a handsome Hispanic surrie named
LOPEZ. Greer shouts over the BLADE ROAR:
GREER
We're close! Noise suppression!
LOPEZ nods, hits a couple of switches. THE LOUD THROB
becomes a barely audible WHIRR. We hear PETERS' VOICE
over the radio:
PETERS (FILTER)
Got a hit on the bike, half a mile
from the rez, check your screen.
ON THE CHOPPER DASH, A GPS DISPLAY of the nearby
neighborhood, a BLINKING DOT a short distance away.
PETERS (FILTER) (CONT'D)
Baltimore PD's sending back-up.
You can't fly over Dread
territory, you know. We don't
HAVE JURISDICTION--
Greer clicks off the radio, turns to Lopez.
GREER
Ignore her, Lopez. Get us as
close as you can.
LOPEZ grins--and pushes the stick hard--
EXT. BALTIMORE - DAY
THE CHOPPER banks and swoops almost silently.
TNT. FBI BUILDING/SURVEILLANCE CENTER - DAY
BOBBY glances over at PETERS as she monitors a GPS SCREEN
and various INSET VIDEO FEEDS. He continues to work as
he flirts with her.
BOBBY
You really look like your surrie?
(CONTINUED)
43.
CONTINUED:
PETERS throws him a glare, turns back to her work.
BOBBY (CONT'D)
Don't be so touchy. I'm engaged
to B-47 down there.
He points to one of the many identical female DRONES
buzzing along the tracks. PETERS smiles.
EXT. BALTIMORE SLUMS - DUSK
STRICKLAND moves briskly on his BIKE. He glances in his
MIRROR and sees--
--a couple of SQUAD CARS catching up with him.
He hits the THROTTLE. ANOTHER COP CAR roars around the
corner ahead of him, SQUAWKS the SIREN. STRICKLAND
changes direction, veers into a narrow alley.
INT. HELICOPTER - DUSK
LOPEZ and GREER are directly overhead, watching
STRICKLAND maneuver his bike quickly into the alley.
EXT. SLUM ALLEY - DUSK
The alley is a DEAD END, a FENCE blocking the exit.
STRICKLAND skids the bike into a CRASHING STOP, knocking
over piles of GARBAGE.
A SQUAD CAR barely clears the walls on either side,
pursuing. It stops at a narrowing space, cops squeeze
out either door, aiming GUNS.
COP
Freeze!
STRICKLAND stumbles away from his bike, into an alcove.
The cops approach, guns ready.
STRICKLAND yanks off his helmet, pulls his ominous DEVICE
from his pocket. Without poking his head out, he aims it
in the cops direction.
He PRESSES A BUTTON. A row of RED DIODES GLOW on the
device as he sweeps it across the alley, but it emits no
projectiles and makes no sound.
COP #1 is closer-- his GLASS EYES SHATTER.
(CONTINUED)
44.
CONTINUED:
COP #2 drops his weapon, staggers backward and falls,
clutching his head.
INT. HELICOPTER - DUSK
GREER has seen this, horrified.
GREER
Jesus, what is that?
STRICKLAND is on the run again, scaling the fence. He
hasn't spotted the chopper.
GREER looks in the direction he's heading--
A HUGE CHAIN-LINK FENCE, topped with barbed wire,
stretching across the whole city, just a hundred yards
away. PORTRAITS of the PROPHET (the man we heard on the
radio), long-haired and bearded, adorn the fence.
There's a GATE, with two GUARDS checking those entering,
one or two people are waiting.
GREER (CONT'D)
He gets through the gate, we can't
touch him.
GREER readies a RIFLE with a SCOPE, loads a TRANQUILIZER
DART into the chamber. LOPEZ maneuvers to give Greer an
angle out the chopper's side.
EXT. SLUM ALLEY - DUSK
STRICKLAND looks up to see GREER taking aim from the
silent chopper. He leaps for cover behind a dumpster as--
GREER FIRES a DART, which RICOCHETS off the DUMPSTER.
STRICKLAND scrambles around a corner.
INT. HELICOPTER - DUSK
LOPEZ turns the bird forward to pursue, as GREER reloads.
They round the corner. No sign of Strickland on the
pavement. GREER looks to his left, beyond the PILOT--
STRICKLAND has scaled a fire escape, aiming the DEVICE
right at Lopez. Greer sees what's about to happen--
GREER
Pull up, Lopez, pull up!
(CONTINUED)
45.
CONTINUED:
LOPEZ shoots the bird upwards, but--
EXT. FIRE ESCAPE - DUSK
STRICKLAND raises the device to track Lopez and hits the
button-- we see the RED DIODES GLOW and--
INT. HELICOPTER - DUSK
--LOPEZ is hit, his EYES FRAGMENT, shards of GLASS fly.
GREER is close enough to get a partial hit, crouches in
agony. SFX, an awful SCREAMING NOISE inside his head--
INT. GREER'S APARTMENT/BEDROOM - DUSK
SCREAMING NOISE CONTINUES as REAL GREER spasms in pain in
his stim-chair, in the sensory projector's RED LIGHT.
EXT. RESERVATION NO MAN'S LAND - DUSK
THE CHOPPER, pilotless and out of control, heads over the
chain link fence. Beyond are vacant lots, with tents and
makeshift hovels, small buildings.
INT. HELICOPTER - DUSK
GREER regains his senses, just in time to see--
THE CHOPPER careening down toward the Dread encampment.
EXT. RESERVATION NO MAN'S LAND - NIGHT
THE CHOPPER CRASHES on its skids, at an angle, amidst
LEAN-TOs and TENTS-- GREER is thrown out his side with
the impact.
THE CHOPPER'S ENGINE EXPLODES. THE WHIRRING TAIL ROTOR
comes right at him and CHOPS OFF his left arm at the
elbow, BURNING FUEL spreads and IGNITES his back. Lucky
thing he's a surrogate. Less fortunate DREADS run
screaming, we hear the CRIES OF WOUNDED.
GREER lies in the dirt, in flames, motionless. Then his
eyes BLINK and move, taking in the sight of--
STRICKLAND, illuminated by the FIRE, horrified at the
carnage. He's starting to move away from the wreck.
(CONTINUED)
46.
CONTINUED:
With supreme effort, GREER gets to his feet, still partly
IN FLAMES. His stump of an arm SPARKS and leaks
HYDRAULIC FLUID. He reacts at the sight of--
A CORPSE on the ground, an older man crushed by a hunk of
DEBRIS from the chopper. But it's not the corpse that
interests him-- his DART RIFLE lies nearby, thrown from
the chopper during the crash.
GREER grabs it in his right hand. He pushes past DREADS
who move to help their injured fellows, PANIC in the fire-
lit no man's land. He spots--
STRICKLAND, running into the distance. Greer supports
the rifle with the stump of his missing arm and FIRES--
STRICKLAND is hit in the back, the force of the shot
knocks him off his feet.
GREER strides over to STRICKLAND, seemingly oblivious to
the CROWD of Dreads collecting around him, pointing at
him angrily.
STRICKLAND twitches and moans, partly paralyzed. GREER
stands over him, lets the rifle dangle. Strickland has
some trouble speaking.
STRICKLAND
Oh my G-god-- why? What do you
people want from me?!
GREER
You're a killer--
STRICKLAND
They were just surries! Goddamn
machines!
GREER
(A BEAT)
You really don't know?
BLAM! A DOUBLE-BARRELED SHOTGUN BLAST throws GREER
backward, away from STRICKLAND. The DART RIFLE flies
from his grasp.
A heavyset FEMALE DREAD wields the sawed-off shotgun.
She gets between Greer and Strickland, who manages to
crawl away, vanishing behind other DREADS who are
gathering around Greer.
GREER (CONT'D)
Strickland! Wait!
(CONTINUED)
47.
CONTINUED: (2)
Greer tries to get up, a HOLE has been blown in his
chest, exposing SPARKING WIRES and ELECTRONICS, spraying
GREEN COOLANT. He's lost control of his legs, which
crumple beneath him, he falls to his knees.
He's surrounded now by angry, disenfranchised DREADS, all
of whom regard him with hatred.
THE FEMALE DREAD ejects the used cartridges and reloads
the shotgun. GREER stares at her coldly.
GREER (CONT'D)
I'm a federal agent--
FEMALE DREAD
You're an abomination.
THE WOMAN pumps the shotgun again points it a Greer's
head. Just as it GOES OFF--
CUT TO:
INT. GREER'S APARTMENT/BEDROOM - NIGHT
GREER lurches out of his chair, yanking the SENSORY
PROJECTOR off his head-- the RED LIGHT switches to WHITE.
He stumbles out of the room into the hall.
INT. GREER'S APARTMENT/HALLWAY - NIGHT
GREER bangs on the door to Maggie's bedroom, rattles the
knob. A RED GLOW from beneath her door.
GREER
Maggie! Wake up!
He's clearly in pain, clutches his temples. BLOOD begins
to gush from his nose. Greer slides down against the
door, unable to stand.
INT. GREER'S APARTMENT/MAGGIE'S ROOM - NIGHT
THE DOOR rattles, we hear GREER calling:
GREER
Please, I need your help... open
the door!
CAMERA MOVES through the RED-LIT room, to show the WIRES
of a SENSORY PROJECTOR, a partial view of MAGGIE'S HEAD.
48.
INT. GREER'S APARTMENT/LIVING ROOM - NIGHT
MAGGIE (her surrogate), in a tailored business suit,
enters the apartment with BRIDGET, another gorgeous, high-
fashion surrie in party clothes. They're laughing.
BRIDGET
--we're talking turquoise! I
wouldn't carry a purse that color,
much less a whole new skin.
MAGGIE
BRB, I just gotta change. Little
black dress or red bustier?
BRIDGET
Bustier.
INT. GREER'S APARTMENT/HALLWAY - NIGHT
MAGGIE almost trips over GREER, unconscious on the floor.
MAGGIE
Oh my God.
CUT TO:
EXT. MOUNTAIN ROAD - NIGHT
START ON a MAILBOX with the name "PETERS," as CARLIGHTS
catch it. As the CAR turns up the dirt road in this
rural area in the Rockies, it flips its LIGHTS OFF.
INT. PETERS' HOUSE - NIGHT
A pleasant, rustic home. JENNIFER PETERS, somewhat less
perfect than her surrie, disconnects from her SENSORY
PROJECTOR. She looks concerned, very tired. She rises
from her stim chair and moves into a kitchen.
PULL BACK - we're watching her through a WINDOW, with a
very large and powerful-looking STALKER,
LATER - PETERS in bed, fast asleep. A SHADOW crosses her
doorway, but moves on.
AT HER sensory PROJECTOR, the STALKER is SCANNING through
her hard-drive's memory.
ON SCREEN - fast-forwarding rapidly through PETERS' POV,
we see GREER in the alley with the fallen SURRIES...
(CONTINUED)
49.
CONTINUED:
THE STALKER, face illuminated by the screen's GLOW, looks
expressionlessly toward Peters' bedroom, then back to the
images. His eyes have a silvery, inhuman sheen.
DISSOLVE TO:
INT. STRICKLAND'S APARTMENT - DAY
Early morning. STRICKLAND sleeps fitfully in this
gloomy, dingy space. He comes to, startles at the sight
OF--
--a MAN sitting at the foot of his bed. He's very tall,
imposing, bearded, dressed in black-- this is the
PROPHET. Strickland is cowed, this isn't a man you get a
lot of face time with.
PROPHET
You've been keeping secrets, Jack.
TWO LARGE MEN now move into view, flanking the Prophet.
Call them BUD and MILLER. They're scruffy, bearded, not
surries.
STRICKLAND
No, Prophet, I---
PROPHET
This is unfair to your brother
humans.
STRICKLAND tries to get out of bed, Bud pushes him down.
STRICKLAND
Please, I haven't done anything...
PROPHET
I know what you've done. What I
don't know is-- who hired you to
betray us? I want a name.
STRICKLAND
I-- I swear to God I don't know--
PROPHET
Jack...
STRICKLAND
He never said his name, we talked
on disposable cellphones-- I've
never even seen his face! I
couldn't tell you who he was if my
life depended it!
(CONTINUED)
50.
CONTINUED:
On the Prophet's disappointed, even sad expression...
DISSOLVE TO:
INT. HOSPITAL ROOM - DAY
CLOSE ON A MEDICAL MONITOR - high-tech imaging of a HUMAN
BRAIN.
MOVE DOWN to find GREER (the real one), asleep. An IV,
BLEEPING monitors. Uneaten LUNCH on a tray.
MAGGIE, her surrogate that is, sits in a chair beside the
bed, her hand resting on GREER's. He stirs-- she pulls
her hand back, returns to her fashion magazine.
A TV plays above his bed, Greer blinks, squints at this.
ON TV - a small BOY CLIMBS a very tall TREE above a
suburban sidewalk, pleasant MUSIC. Suddenly, a BRANCH
BREAKS, the boy tumbles with a CRY.
GREER winces distastefully.
ON TV - now we see the BOY again, perfectly fine,
standing beside his mother. She strokes his head with a
smile. They look down at his broken SURROGATE on the
ground beside the fallen BRANCH.
COMMERCIAL V.0.
Imagine a world where children are
safe. Always...
GREER, watching the screen, addresses Maggie.
GREER
Would you do that?
MAGGIE
(not looking up)
Hm? Do what?
GREER
Get a surrogate for our kid. Our
hypothetical kid.
MAGGIE
Sure. Why not? They're getting
cheaper all the time.
COMMERCIAL V.0.
A world where every child is
secure and fulfilled...
(CONTINUED)
51.
CONTINUED:
ON TV - A LITTLE GIRL swings back and forth, a blissed-
out smile on her face.
COMMERCIAL V.0. (CONT'D)
.free of pain, fear and
anxiety...
IN SLO-MO she releases at the top of the swing's arc and
flies into the air...
COMMERCIAL V.O. (CONT'D)
That world can be real. Thanks to
VSI. Our software for growing
minds screens out destructive,
negative feelings...
THE LITTLE GIRL lands hard, but gets up laughing.
COMMERCIAL V.0. (CONT'D)
Making every childhood a happy
one...
GREER shakes his head.
GREER
It just seems weird to me.
MAGGIE
(CHUCKLES)
Our grandparents thought seatbelts
were weird.
She nods toward the IMAGE of a SMILING CHILD on TV.
MAGGIE (CONT'D)
Not like it's an issue.
ON TV - the VSI LOGO.
COMMERCIAL V.0.
Do what you want. Be what you want.
AT THE DOOR, PETERS hovers, making up her mind to enter.
She steps into the room.
PETERS
Knock knock.
Greer blinks at her.
GREER
Who's there.-
(CONTINUED)
52.
CONTINUED: ( 2)
PETERS
It's me, Peters, don't you recognize me?
GREER
(almost to himself)
I thought you might've been
telling another joke.
Peters seems relieved. Maggie waits for an introduction,
but Greer seems withdrawn, shy-- Peters has never seen
his physical body.
MAGGIE
Hi. I'm Maggie, Tom's wife.
PETERS
A pleasure to meet you. Jennifer
Peters.
(a glance at Greer)
His new partner.
MAGGIE
(to Greer, brightly)
You should have mentioned her. I
need to get going anyway, I'll let
you two talk business.
(TO PETERS)
I'm a beauty engineer. Drop by
the shop sometime, I'll give you a
free consultation.
PETERS
Thanks...
(as Maggie leaves)
I think.
(STUDYING GREER)
You look just like your unit.
GREER
Except older and fatter. Sorry if
I seem a little out of it.
PETERS
You've been through a lot.
GREER
They're calling it a concussion--
felt like my head was going to
explode.
With a brisk RAP on the doorframe, STONE enters.
STONE
How ya' feeling, Greer?
(CONTINUED)
53.
CONTINUED: (3)
GREER shrinks back in his bed.
GREER
You tell me. How's Lopez?
Stone sighs, looking him over. Quietly:
STONE
The pilot? They found him dead in
his stim chair. Same with one of
the Baltimore cops, other's in a
coma. Four Dreads were killed on
the ground, half a dozen wounded.
Greer closes his eyes in misery.
PETERS
It's not your fault. You were doing
your job.
Stone pulls up Maggie's chair, sits as he speaks.
STONE
I would have to disagree. You
requisitioned that chopper without
authorization. You violated our
treaty with the Dreads-- we're
expecting retaliation. Those poor
cops had no idea what they were up
AGAINST--
GREER
None of us did! We still don't
know. I don't think Strickland
even knew-- he thought he was just
taking down "the abominations."
STONE
I'm sorry, Greer,. but- - you're
suspended, pending further action.
Greer nods slowly, knew this was coming. PETERS takes a
step back, looking on carefully. Greer takes his LAPTOP
COMPUTER off the bedside table, opens it so that Stone
can see it.
GREER
I've been going through my memory
files of the crash... ever seen
anything like this before?
ON SCREEN - a magnified CLOSE-UP of the DEVICE in
STRICKLAND'S HAND, as he points it upward at the
helicopter.
(CONTINUED)
54.
CONTINUED: (4)
PETERS
It's the murder weapon?
GREER nods, STONE studies the laptop, sets his jaw.
STONE
It's more than that. It means
nobody is safe. The Dreads want
us all to be like them-- living in
fear, no better than animals. And
we've only just freed ourselves,
begun to explore our true
potential.
GREER
We need to get this guy.
STONE
We will. Our way of life will be
protected, whatever it takes.
An attractive SURRIE NURSE enters the room.
NURSE
Good news, Mr. Greer. The doctors
say you can go home today.
GREER
(nervous, thrown)
They said the end of the week--
NURSE
Insurance, you know.
She smiles, putting his clothing by the bed and
disconnecting him from the IV and monitors.
STONE
Just take some time to heal.
GREER
What about my surrogate?
STONE
Hasn't been-recovered. I'm afraid
we can't supply you with a new one
until this matter is resolved.
Peters, make sure he gets home in
one piece.
PETERS nods, looking at Greer sympathetically. GREER
sinks back into his pillow, anxious.
(CONTINUED)
55.
CONTINUED: (5)
ON MEDICAL MONITOR - the image of GREER'S BRAIN shuts OFF
with a BLIP.
EXT. HOSPITAL ENTRANCE - DAY
PETERS strides from the doors, GREER follows, dressed in
casual clothes... then slows his pace, breathing hard.
GREER'S POV - CARS zipping past on the street, RUSHING
PEDESTRIANS, PARAMEDICS pushing a body past on a gurney.
From Greer's now human perspective, surrogates seem
artificial, appearance too perfect, eyes empty of souls.
This should be reeling, vertiginous.
PETERS pauses, seeing Greer is having a panic attack. He
has trouble speaking.
GREER
I haven't been out without a
surrogate in a long time...
PETERS
It's OK. Nothing's gonna happen.
GREER
They wanted to give me something
for the anxiety... they call it
corporeaphobia.
PETERS
Just take my arm.
He shakes his head, takes a deep breath and moves out
onto the sidewalk. Peters stays close.
GREER'S POV - SURRIE PEDESTRIANS, moving quickly, seeming
to come right. at him. One bumps into him--
GREER staggers, the surrie moves on as if he hasn't even
noticed. Greer moves toward the curb to get away from
them, stumbles-- PETERS has to pull him out of CAR
TRAFFIC, a HORN HONKS. He's sweating, terrified.
GREER
Jesus Christ.
PETERS
We need to get you a replacement.
She takes his arm forcibly and moves him away.
56.
EXT. SURROGATE DISCOUNT STORE - DAY
A low-end place, BODIES displayed in the windows in their
charging bays, SIGNS reading "HURRY 4 A SURRY! GIANT
SALE! SYNTH UNITS NEW & USED!"
PETERS guides GREER inside.
INT. SURROGATE DISCOUNT STORE - DAY
COFFIN-SIZED BOXES, SENSORY PROJECTORS and STIM CHAIRS
stacked willy-nilly. BRIGHT LIGHTS, VIDEO SCREENS
running PROMOS. A slick, blond Aryan SALESMAN approaches
with a grin. He sizes GREER up, instantly recognizing
signs of withdrawal. He speaks with an incongruous ASIAN
ACCENT.
SALESMAN
Oh you poor guy-- out in just your
skin can be scary. No worries, I
got perfect surrie for you.
He leads them deeper into the store. He wears a clip-on
ID BADGE with the smiling face of a dark-haired ASIAN.
RACKS OF ATTRACTIVE MALE and FEMALE BODIES, in skimpy
BATHING SUITS-- differing heights and degrees of muscle.
GREER looks these over.
GREER
I like to see my own face when I
look in the mirror.
SALESMAN
Fine, you no buy off the rack-- we
customize, on premise, less than
one hour.
As they move on, we glimpse CELEBRITY LOOK-ALIKES on the
rack-- MARILYN MONROE and ELVIS PRESLEY.
LATER - ON COMPUTER SCREEN, a 3-D RENDERING of GREER'S
FACE rotates, shows EXPRESSIONS, smiles, frowns-- and
speaks. A VOICE-PRINT runs below.
GREER'S VOICE
Hello. Testing-one-two-three...
THE SALESMAN works the computer, GREER lies in an
uncomfortable STIM CHAIR attached to a_SENSORY PROJECTOR,
RED GOGGLES over his eyes and a CAMERA pointed at his
face. He seems uneasy. PETERS looks on from nearby.
(CONTINUED)
57.
CONTINUED:
SALESMAN
No worries, we make you good deal,
no payment til next year. Just try
one on for size. You like, we lock
in your neural code, plastiform
your face, you good to go.
THE SALESMAN hits a couple of switches, slips a small
SLEEVE over GREER'S FINGER, it's wired to the projector.
SALESMAN (CONT'D)
Take a whirl.
Greer touches his fingers together--- his body instantly
goes limp and--
-a pale, hairless SURRIE TEMPLATE in a speedo steps out
of a CHARGING BAY. Its head is unfinished, a mechanical
version of a skinless face. Around its neck is a sign
that reads "40% OFF!"
SALESMAN (CONT'D)
Looking gooood.
40% OFF
I dunno...
The VOICE is a tinny, far-away sounding version of
Greer's. Suddenly 40% OFF twitches and stumbles, bumping
into a DISPLAY.
SALESMAN
Try touching your nose.
40% OFF pokes himself in the eye.
'SALESMAN (CONT'D)
Good, good. Takes some time to
break in. Base model come with
vision, hearing-- other senses
optional.
40% OFF
Screw this.
The surrie FREEZES in its tracks... and slowly TOPPLES
OVER as GREER pulls of the projector headpiece. The
SALESMAN sets to righting it, GREER heads for the exit.
SALESMAN
Wait wait wait! I throw in super-
sex software package-- fifty
percent off!
(CONTINUED)
58.
CONTINUED: (2)
PETERS
We can try a department store--
if money's a problem, I can front
YOU TILL--
GREER
No. I'm a grown man for
Chrissake, I should be able to
walk down the street without
completely freaking out.
INT. BAR - DAY
A BARTENDER puts a SODA WATER and a GLASS OF SCOTCH on
the bar in front of PETERS and the shaky GREER.
PETERS
Well, you made it a block.
GREER
(lifts his glass)
Here's to self-medication.
He takes a sip and spits it out. The BARTENDER turns.
BARTENDER
Are you all right, sir?
GREER
What is this?
The BARTENDER gives him a once-over.
BARTENDER
Oh, sorry. We don't get a lot of--
that's synthohol. Just a CPU
inhibition blocker in a non-
corrosive solution...
As the bartender speaks, Greer looks around the dark bar--
--in the back, EVERY COUPLE is gazing into each other's
eyes, clearly hooking up.
GREER continues to watch the other patrons.
GREER
You have any real booze?
BARTENDER
No liquor license.
(CONTINUED)
59.
CONTINUED:
The BARTENDER shrugs and moves off. Peters sips her soda
water, amused.
PETERS
Come here often, stranger?
GREER
You know, they really don't look
human. You can't tell when you're
inside them, but...
GREER turns to PETERS, studies her like the others.
PETERS
I don't like the way you're
looking at me.
GREER
But I'm not really looking at you.
PETERS
Yeah yeah, this is just a lump of
aluminum and polystyrene. Tell
you what, next time you're in
Colorado, look me up for real. We
can have a beer together.
GREER
I'd like that.
PETERS blinks, Greer has suddenly gotten sincere on her.
He looks away.
GREER (CONT'D)
You know, when we started working
together, I thought you were kind
of a stiff.
PETERS
New job, I was defensive.
GREER
It's more than that... you're
different. Or maybe I am.
Greer's embarrassed, shrugs it off. He puts down a bill
and rises.
GREER (CONT'D)
You probably oughta head back to
the office.
PETERS
I can get you home.
(CONTINUED)
60.
CONTINUED: (2)
GREER
I'll be OK.
He moves toward the door, she tags along.
GREER (CONT'D)
I'm thinking you should double-
check Strickland's records, go back
to the hard copies. See if you can
find out why they dropped charges.
PETERS
You seem better already.
GREER
It's like riding a bike.
EXT. METRO ENTRANCE - DAY
subway,
GREER and PETERS walk, he spots a sign for the
changes direction to head for the escalator.
PETERS
Where you going?
GREER
It's a lovely day. Thought I'd take
a trip to East Baltimore.
He pauses at the top, a hit of vertigo.
GREER (CONT'D)
Was it always this steep?
PETERS
Jesus, Tom, the rez?
GREER
Since I'm stuck in my skin, I
oughta take advantage of it. Hell,
as long as Strickland has that
device-- I'm safer this way.
He clutches the handrail, starts moving down.
PETERS
Be careful.
He nods and waves as he disappears down the escalator.
CUT TO:
61.
INT. FBI BUILDING/LOBBY - DAY
PETERS enters this large lobby, bustling with other
AGENTS and OFFICIALS. She moves toward a DESK JOCKEY,
security SCANNERS. She reacts to the sound of--
--SCREAMS and SCREECHING TIRES from outside the building.
PETERS looks toward a large WINDOW to the street-- and
immediately dives for cover as--
--a battered SUV, spray-painted with anti-surrogate
GRAFFITI, SMASHES through the plate glass. SURRIE
PEDESTRIANS are plastered across the grill and embedded
in the windshield.
THE SUV slams into a few SURRIES in the lobby, sends them
flying or runs over them. It spins sideways into a WALL
with the FBI SEAL overhead.
The DRIVER leaps out, armed with a MACHINE GUN. He's
clearly a DREAD, angry and deranged. He starts SHOOTING
at anything that moves.
PETERS crouches for cover as BULLETS shatter GLASS and
smash MARBLE around her.
An army of AGENTS burst from an elevator in Kevlar and
riot helmets, armed with AUTOMATIC RIFLES. They
instantly bring the DREAD down in a barrage of gunfire.
The agents move to the DREAD'S BODY-- he's very dead,
pouring BLOOD from dozens of bullet wounds. One speaks
into his headset:
RIOT AGENT
Secure.
(TO CROWD)
Any biologicals here?
CUT TO:
INT. TAXICAB - DAY
A SMALL FLAT-PANEL TV in the back of the CAB plays NEWS
of the attack on the FBI building. PILES of surries
removed on carts, one BODY on a stretcher.
NEWS READER VOICE
--twenty-seven surrogates irreparably
damaged. Only one dead, the attacker
himself.
(MORE)
(CONTINUED)
62.
CONTINUED:
NEWS READER VOICE (CONT'D)
His motive is unclear at this point,
but may be a response to the recent
incident at the Baltimore human
reservation...
GREER, in the back seat, takes in this news grimly. The
CABBIE has been glancing at his own monitor in front.
CABBIE
Goddamn Dreads... sure you don't
wanna change your mind?
GREER
I'm sure.
EXT. BALTIMORE SLUMS - DAY
Late afternoon. GREER emerges from a TAXI near the same
gate we saw earlier. Greer wobbles, steadies himself
against the car as he pays the CABBIE-- a DRONE
SURROGATE, built into the seat.
CABBIE
You OK, man?
GREER
Just a little carsick.
The TAXI pulls away, Greer heads for the GATE.
EXT. RESERVATION NO MAN'S LAND - DAY
AT THE GATE: METAL SIGNS read "HUMANS ONLY - NO
SURROGATES." GREER goes through a big,.old-fashioned
(present-day) METAL DETECTOR, the light flashes GREEN. A
DREAD GUARD waves him past. Greer gestures toward one of
the many IMAGES OF THE PROPHET to be found in the rez.
GREER
Where would I find the, the what do
you call it, the Temple?
DREAD GUARD
Ten blocks that way, left on
Bloomfield.
GREER
Thanks.
(eyes the grim area)
Catch a lotta surries tryin' to
sneak in, do ya?
(CONTINUED)
63.
CONTINUED:
DREAD GUARD
Piss off.
As Greer crosses the rubble-strewn no man's land, he
pauses, sickened as he sees--
--the burned-out HELICOPTER HULK, now sprayed with
GRAFITTI. "PIGS DIE," etc. And just beyond this--
--what's left of GREER'S SURRIE, half the head blown off
with fried electronics hanging out. It's been lashed to
a makeshift crucifix, made from the bent CHOPPER BLADES.
The clothing is shredded, the remains spray-painted.
GREER, wary of being recognized, continues on.
EXT. RESERVATION STREET - DAY
GREER walks through a poor but surprisingly pleasant
neighborhood-- rowhouses, gardens. Very few cars.
DREADS look like ordinary working-class folks.
A BARBECUE, a group of RESIDENTS laughing and drinking.
Greer inhales the SMOKE as he passes, smiles to himself.
A couple of FRIENDLY DOGS trot curiously after him for a
moment, then return to the barbecue. GREER, not paying
attention, brushes past an ELDERLY MALE PEDESTRIAN.
GREER
Excuse me.
PEDESTRIAN
(smiles and nods)
No problem.
A PLAYGROUND a short distance on,.LOTS OF KIDS shrieking
and running. Greer pauses here, taking this in. These
are the first children we've seen, outside of a TV ad.
A CLOUD OF DIESEL SMOKE from a decrepit BUS. Greer
CHOKES on this, but doesn't seem displeased. His body
language has become more relaxed as he gets further into
the rez, getting his land legs back.
INT. RESERVATION TEMPLE - DAY
A cavernous convention center, thousands of folding
chairs face a raised PULPIT at one end. Behind this is a
SUPERGRAPHIC of the PROPHET, hands raised in benediction.
(CONTINUED)
64.
CONTINUED:
GREER enters, takes this in. He spots a CLEANING LADY,
an older woman sweeping up amidst the rows nearby.
GREER
Excuse me. You wouldn't happen to
know a Jack Strickland? I'm told
he worked here off and on.
CLEANING LADY
(NODS)
You're here for the service? It's
in the park.
EXT. RESERVATION PARK - DUSK
GREER moves down a path in this expanse of greenery. He
comes to an open lawn with a fairly large CROWD gathered,
illuminated by a FLAMING TORCH.
THE PROPHET is speaking. He stands before a platform
atop wooden scaffolding, firewood piled below. A
formidable ring of BODYGUARDS stands between him and the
gathered throng of DREADS.
PROPHET
--serving faithfully beside us in
the cause of humanity. _I had the
privilege of hearing his confession
shortly before his death.
GREER has pushed his way gently toward the front to get a
look at the BODY atop the funeral BIER.
The corpse atop the bier is that of JACK STRICKLAND, eyes
closed, hands folded.
PROPHET (CONT'D)
And I know he would have rejoiced
in the day of resurrection, the
day for which we are all
preparing, the day I promise you
is close at hand...
So saying, the PROPHET lifts the torch and touches it to
the base of the PYRE, which ERUPTS IN FLAME.
CLOSE ON STRICKLAND as the FLAMES lick up around him.
LATER, the BIER consumed in FIRE, the MOURNERS
dispersing. THE PROPHET is moving away, HANDLERS
surrounding him. GREER tags along-- but one of the
Prophet's goons, BUD, gets in his face.
(CONTINUED)
65
CONTINUED:
BUD
Who are you?
GREER
What happened to Jack Strickland?
BUD
He slipped and fell. Friend of yours?
Greer starts to move around him, Bud gets in his way.
GREER
I'd like a word with the Prophet.
BUD
You and everyone else.
MILLER and ADAMS, another goon, now join them.
GREER
Strickland was carrying a weapon.
If it isn't recovered, there could
be serious consequences-- for all
of you.
IN BG, the PROPHET and HANDLERS head toward a large RV.
MILLER
You some kinda cop? Where's your
puppet?
GREER
Needs repairs.
MILLER
You armed?
GREER shakes his head, raises his hands.
GREER
Frisk me if you want.
MILLER
No, that's OK.
With that, he throws a SUCKER PUNCH to the gut. GREER
doubles over. He seems amazed at the sensation, the
pain. But he recovers, throws a wild punch at Miller an d
misses by a foot. [Violence for Greer in human form
should have a very different, painfully visceral feel,
unlike when he was a surrogate.]
(CONTINUED)
66.
CONTINUED: (2)
ADAMS cracks Greer across the back of his head. GREER
falls to the ground. BUD kicks him once. GREER chokes
and groans in pain.
MILLER (CONT'D)
Hurts, doesn't it.
BUD
It's a bitch being real.
GREER lets out a primal CRY and lunges at MILLER, driving
his head into the man's torso, knocking the wind out of
him before the other two can pull Greer back.
ADAMS
I think he likes it.
MILLER
(catching his breath)
So give him some more.
Outnumbered three to one, Greer takes a beating,
continues to throw mostly ineffective punches that just
cause the men to redouble their efforts. Finally, he's
limp in their arms.
Miller plucks Greer's WALLET and BADGE from his pockets,
examines them. As he does so, GREER spits BLOOD on the
man's face. Miller seems about to whomp him again, but
stops himself.
MILLER (CONT'D)
Not gonna give you the
satisfaction.
(to Bud and Adams)
Get him out of here.
Miller tosses Greer's ID at him, then moves toward the
RV, leaving GREER gasping in the clutches of Bud and
Adams, lit by the FLAMES from the funeral pyre.
INT. PROPHET'S RV - NIGHT
A spartan interior. MILLER enters. THE PROPHET stands
with a couple of HANDLERS.
HANDLER
Trouble?
MILLER
Some fed named Greer, he wanted to
talk to the Prophet.
(CONTINUED)
67.
CONTINUED:
HANDLER
About that turkey shoot in DC?
MILLER
Didn't come up. Said they wanted
Strickland's weapon.
PROPHET
Well, maybe I'll just have to
bring it to their doorstep...
In the Prophet's hand, we now see--
--the mysterious DEVICE with which Strickland killed his
targets.
EXT. RESERVATION NO MAN'S LAND - NIGHT
GREER is half-dragged, half-carried, back the way he
came, flanked by BUD and ADAMS. Greer sucks on his
BLEEDING lip, works his tongue around in his mouth. He
touches parts of his bruised body carefully.
BUD
Guy like you oughtn't be out in
just your skin.
GREER
I'm starting to see your point.
AT THE GATE - GREER leaves, trying to muster as much
dignity as he can. The DREAD GUARD calls sarcastically
after him.
DREAD GUARD
Come again real soon!
EXT. BALTIMORE SLUMS - NIGHT
GREER trudges along the seedy streets. He looks a mess--
torn clothing, bloodstains, bruises. Suddenly he's
SHOVED from behind, falls to the pavement.
WHEELS
Oops.
The assailant is a FREAK SURRIE-- extra ARMS, WHEELS
where his feet should be.
A moment later, Greer is surrounded by three rich, FREAKY
TEENS.
(CONTINUED)
68.
CONTINUED:
They've customized their surries in completely bizarre
ways, in addition to the usual tattoos and piercings.
Besides WHEELS, there's a hairless teen with six EYES
scattered around his head. A GIRL has SPIKES sticking
out of her skull and flesh and REPTILE SKIN.
EYES
Watch where you're going, meat.
SPIKES
What are you doin' off the rez?
She bumps against GREER as he picks himself up, he
shrinks from the spikes. She shoots a small blast of
FLAME from her nostrils, then GIGGLES.
GREER
I'm not a Dread.
WHEELS
Then you oughta return that
surrie, looks like shit.
WHEELS comes at Greer again, Greer moves and TRIPS him--
but he just lands on an extra arm and rights himself.
EYES
Hey, it wants to play.
EYES lowers his head and moves to butt him. GREER
dodges, it looks like a bullfight.
SPIKES
Ole, toro!
They turn, hearing a SCREECH OF TIRES.
A LIMOUSINE has pulled up. A 10-year-old BOY climbs from
the back and approaches.
BOY
Agent Greer. Would you like a ride?
The kid's voice sounds like a child's, but with mature
cadences to his speech. -
WHEELS
Check out Richie Rich.
THE DRIVER of the Limo steps out-- it's ARMANDO from
Canter's lobby. He lets his jacket fall open, revealing
a HOLSTERED SIDEARM.
(CONTINUED)
69
CONTINUED: (2)
ARMANDO
We got a problem here?
The FREAKS retreat with dirty looks.
SPIKES
Fascists.
The BOY moves back toward the LIMO. Greer follows.
BOY
(re: the freaks)
So many unforeseen consequences to
the surrogate revolution... I
suppose I should apologize.
GREER
Who are you?
INT. LIMO -- NIGHT
As GREER climbs in, the BOY hands him back his own
BUSINESS CARD, the one Greer left with Canter.
BOY/CANTER
You left this on my desk.
ARMANDO has gotten behind the wheel, starts moving.
Greer looks at the boy, amazed.
GREER
Canter?
BOY/CANTER
It's not safe for me to use my
usual surrogates. This is one of
VSI's.newer models. Not that the
market will be that strong, the
birthrate being what it is.
GREER
You're having me followed.
BOY/CANTER
You know how important this
investigation is to me.
GREER
(A BEAT)
The man who killed your son is dead.
Boy/Canter absorbs this.
(CONTINUED)
70.
CONTINUED:
BOY/CANTER
I want you to tell me everything.
GREER
I suppose you deserve that.
EXT. WASHINGTON D.C. - NIGHT
THE LIMO drives along the Potomac near the city.
INT. LIMO - NIGHT
GREER holds ICE to his swollen face.
BOY/CANTER
This Strickland character. I
don't believe he could have been
acting on his own.
GREER
Why not? You stand for everything
the humanists hate--
BOY/CANTER
Then why would his own people
murder-him?
GREER
He'd outlived his usefulness.
With me all over his ass, he was
becoming a security risk--
BOY/CANTER
To kill someone remotely-- it
would take a virus presumably, one
that could get past every firewall
protecting a surrie's circuitry--
then once in the CPU, override all
the fail-safes and cause
catastrophic brain damage...
GREER
Presumably.
BOY/CANTER
We're talking about an
EXTRAORDINARILY SOPHISTICATED
technology, don't you think? The
Dreads didn't come up with it, -
they don't even like to use
cellphones.
(CONTINUED)
71.
CONTINUED:
GREER
(EXASPERATED)
OK, fine. Maybe we've got our
heads up our own ass--
BOY/CANTER
Maybe that's exactly where you
should be looking.
Greer takes a second to absorb this.
GREER
So now you're the victim of a
government conspiracy?
BOY/CANTER
I think this is your stop.
EXT. GREER'S BUILDING - NIGHT
THE LIMO stops, a light RAIN now falling. GREER gets out
and closes the door, the rear window rolls down.
BOY/CANTER
Somebody hired Strickland. You'll
know who that is when you trace
the weapon.
GREER
You really don't need to do my job
for me.
Boy/Canter takes in Greer's disheveled state.
BOY/CANTER
Yes, I can see you've got things
under control.
The limo pulls away. Greer pauses, looks up at the sky,
letting the rain wash over his face.
INT. GREER'S APARTMENT/LIVING ROOM - NIGHT
AN ELECTRICAL ARC jumps from a GLASS TUBE to a MALE
NOSTRIL.
WIDER, the guy taking the jolt is a lanky male model
named BRIAN. His face goes slack. ATMOSPHERIC MUSIC
PLAYS.
(CONTINUED)
72.
CONTINUED:
MAGGIE and BRIDGET are squeezed together on the couch in
Greer's apartment with BRIAN and a French hunk named
ANDRE, who speaks with a slight ACCENT. Everyone is
pretty high. Andre closes one eye, then the other,
pupils turned inward.
ANDRE
Think my nose is too big...
MAGGIE
For what?
ANDRE
(SQUEEZING IT)
I'm going to have it replaced.
BRIDGET
While you're at it-- I am so sick
of twelve-inch dicks.
MAGGIE chuckles. On the coffee table before them sits a
small JACKER, like the one we saw in the underground
club. The foursome pass a single ELECTRICAL TUBE around,
attached by a cord to the device. Andre and Bridget have
clearly coupled up, Brian touches Maggie's leg casually
from time to time.
ANDRE
What do you want, we're men.
BRIAN
(coming out of it)
Why is that? Why do we all have
to be men and women? I'd rather
be-- I dunno, a lion. Or an
eagle.
MAGGIE
Mm. A spaceship. Or a cloud.
BRIAN
(BEAT)
A cloud?
Maggie shrugs. She lifts the hair from the nape of her
neck, moves the GLASS TUBE there. Brian holds her close.
The ELECTRICAL ARC-- MAGGIE gasps with pleasure,
transported.
A moment later, Andre notices that GREER has entered
quietly during the above, staring at the foursome.
(CONTINUED)
73.
CONTINUED: (2)
ANDRE
Don't look now. Some homeless
meatbag just wandered in.
Maggie has blanked out for the moment. Bridget turns.
BRIDGET
That's Maggie's husband. Hi Tom.
She gives him a little wave. Greer moves past them,
toward the kitchen, and disappears. Maggie comes out of
her trance, blinks and sighs.
MAGGIE
Excuse me.
She hurries after him. Brian shrugs, grabs the tube and
starts to unzip his pants--
INT. GREER'S APARTMENT/KITCHEN - NIGHT
GREER has removed an old, yellowed FIRST-AID KIT from
under the sink, during the scene he cleans up cuts, opens
his shirt to check his bruised ribs, etc.
MAGGIE
What happened to you? I thought
you were-spending another night in
the hospital.
GREER
Obviously. You know I don't like
you jacking in the house.
He finds an untouched, dusty bottle of SCOTCH, sniffs it
and pours a drink. Maggie looks him over.
MAGGIE
Somebody beat you up? How could
you go out like that?
As Maggie speaks, she moves to his side, touching his
injuries gently, truly concerned. Greer flinches back.
MAGGIE (CONT'D)
What were you thinking, Tom? You.
could've been killed.
GREER
Just finding out how the other
half lives.
(CONTINUED)
74.
CONTINUED:
Greer takes a long drink, gestures toward the living
room.
GREER (CONT'D)
So what's his name?
MAGGIE
Oh please, grow up.
GREER
(NODS GLUMLY)
I suppose it doesn't matter. Since,
as you keep telling me, it doesn't
mean anything. Nothing does.
Greer pours another drink.
MAGGIE
I don't expect you to understand
this. But once in a while, I like
to be around people who don't hate
being alive.
GREER
Alive. Is that what they are out
there?
She shakes her head and returns to the living room.
INT. GREER'S APARTMENT/LIVING ROOM - NIGHT
MAGGIE, BRIDGET, BRIAN and ANDRE are still partying-- in
fact, Bridget and Andre are starting to make out-- when
GREER re-enters, in a RAINCOAT, he's a little tipsy. The
BOTTLE pokes out of a pocket.
BRIAN
Hey. You really a G-man?
Greer pauses, stares at the man.
BRIAN (CONT'D)
Can I ask you something? Is it
true you guys are tapping into our
surries? Watching everything we
do, twenty-four seven?
GREER
(A BEAT)
Of course not.
(CONTINUED)
75.
CONTINUED:
Greer starts to move across the room again, heading for
the door. Brian smirks, speaks quietly, thinking only
the others will hear. As he touches Maggie's leg:
BRIAN
Wouldn't want him spying on us
tonight...
Greer spins near the door and, without breaking stride,
returns to the couch.
GREER
Excuse me.
Brian turns, starts to rise. Greer grabs the man and
HURLS him backwards onto the GLASS COFFEE TABLE which
SHATTERS. The other three back away. After a stunned
moment, Brian starts LAUGHING, very hard-- obviously, he
hasn't felt a thing.
MAGGIE
Tom, the table!
Greer steps over the couch calmly and begins PUNCHING and
KICKING the surrie on the floor, working off pent-up
rage. BRIAN just keeps LAUGHING.
Soon Greer's hands are cut and bleeding, he's panting,
exhausted. MAGGIE finally succeeds in pulling him away.-
BRIAN sits up, his FACE is DENTED, the plastic skin
STRETCHED and TORN.
BRIAN
Could we do it again?
ANDRE
(CHUCKLING)
Oh man, your face.
BRIAN
I was getting sick of it, anyway.
As Brian picks bits of GLASS out of his plastic flesh,
Andre suddenly realizes his JACKER is SMASHED, examines
the pieces with a MOAN.
GREER
Guess the party's over.
MAGGIE follows GREER to the door. They speak in hushed
TONES:
(CONTINUED)
76.
CONTINUED: (2)
MAGGIE
What was the point of that?
GREER
Does everything have to have a
point?
GREER takes a breath, bows his head.
GREER (CONT'D)
I'm sorry. I just want us to-- to
connect again. To have a family,
to have a life.
(grabs her arms)
We can't do it through this wall
of plastic.
MAGGIE pulls away, his BLOODY HANDS have left marks on
her blouse.
MAGGIE
I'm sorry, too. But this is my
life.
She looks at him sadly and returns to her guests. After
a beat, Greer heads out the door.
EXT. FBI BUILDING - NIGHT
GREER walks in the RAIN through nearly empty streets
toward the modern headquarters in Washington. There are
BOARDS over the shattered windows in front.
INT. FBI LOBBY - NIGHT
Quiet at this hour. A DESK JOCKEY looks up as GREER
approaches, careful to conceal the bottle.
DESK JOCKEY
Is that you, Greer?
GREER
In the flesh.
He takes in the damage to the lobby, the police tape, the
attacker's chalk silhouette.
DESK JOCKEY
You missed all the excitement.
GREER
Saw it on TV.
(CONTINUED)
77.
CONTINUED:
He passes the SURRIE SCANNER and holds his hand over a
FINGERPRINT MACHINE, which confirms his identity. A
plexiglas door unlocks automatically.
DESK JOCKEY
Says here you're on suspension.
GREER
Mm. Just cleaning out my desk.
DESK JOCKEY
(EYING HIM)
Y'know, you're thinner on top.
GREER
Nice of you to notice. You
remember where the rest rooms are?
DESK JOCKEY
They mostly use 'em for storage.
Think the one on four still works.
Greer nods and continues in.
INT. FBI BUILDING/CHARGING ROOM - NIGHT
DOZENS of SURROGATE AGENTS are lined up against the wall
in here, in their foam CHARGING BAYS.
CAMERA FINDS PETERS in their midst. Her bay HUMS and she
blinks, becomes animated. She steps out of the bay.
INT. FBI BUILDING/GREER'S OFFICE - NIGHT
GREER has his feet up on his desk, the bottle beside him.
There are cardboard BOXES of DOCUMENTS nearby. PETERS
enters, Greer looks up at her.
PETERS
Got your message.
GREER
Hope I didn't wake you.
PETERS
After what happened here today I
couldn't sleep.
GREER
You tell anyone I was going out to
the rez? Canter, for example?
(CONTINUED)
78.
CONTINUED:
PETERS
(TAKEN ABACK)
No. Of course not.
Greer studies her a beat, decides she's sincere. A sigh.
Peters sits on his desk, studies him.
PETERS (CONT'D)
You look terrible.
GREER
Not half as bad as I feel.
Greer refills his coffee cup with Scotch, holds the
bottle out to her questioningly.
PETERS
No thanks.
GREER
Come on. Just pretend to get
drunk with me.
Peters shakes her head with a smile. Greer shrugs, takes
a long drink, sighs and rubs his sore neck.
GREER (CONT'D)
Feel like I've been asleep for
years-- now I wake up an old man.
Rip Van Frigging Winkle...
Peters moves behind him, begins rubbing his shoulders, a
massage.
GREER (CONT'D)
What are you doing?
PETERS
You look like you need it.
GREER
I'm not sure how kosher this is...
PETERS
Relax. It's not me, it's not a
woman touching you-- it's just a
machine.
GREER
Does feel good... better than a
stim chair.
He allows himself to enjoy it for a moment, bows his
head.
(CONTINUED)
79.
CONTINUED: (2)
GREER (CONT'D)
You ever feel like it's... over?
PETERS
What.
GREER
Us. People. The stuff that used
to make the world make sense.
That made us... human. I don't
know, morality, love. Whatever.
(BEAT)
Yeah, yeah, they were probably
saying that back in ancient Rome.
PETERS
We always think technology's going
to improve our lives, but...
GREER
What lives?
A beat, GREER sits up and pulls away from her touch. He
holds up a hand and lets it fall.
GREER (CONT'D)
This has become obsolete. Someday
soon, we'll all just be brains in
jars.
PETERS
Maybe not. I have a feeling
people are going to come to their
senses eventually.
GREER
(shaking his head)
You can't unring a bell.
(turns toward her)
Thought you were the one all into
the brave new world.
PETERS is staring at her own plastic hand. She looks up
at Greer, changes the subject.
PETERS
I found out about Strickland.
She gestures to the boxes of documents.
PETERS (CONT'D)
All the chaos, I was able to waltz
right into the records department.
(MORE)
(CONTINUED)
80.
CONTINUED: (3)
PETERS (CONT'D)
The case files were removed, but
there was a paper trail from
payroll... Strickland was an
informant.
GREER
(PERKING UP)
For us? Who was running him?
PETERS
Wasn't in the paperwork. But he
must've been selling intel on the
Prophet.
Greer has risen, moving restlessly around the room.
GREER
So the Prophet has him killed. And
we have to assume he now has the
power to kill anyone he wants...
CUT TO:
- DAY
INT. MARINE BASE/COLONEL BRANDON'S OFFICE
CLOSE on a PHOTO of the DEVICE in Strickland's hand. The
image has been ENLARGED, giving a pretty clear view of
the weapon.
BRANDON
Where'd you get this photo?
GREER sits opposite COLONEL BRANDON at the man's desk, a
FLAG and other MILITARY MEMORABILIA on display. Greer
eyes the colonel, knows something's up.
GREER
It's from my memory. Damn thing
put me in the hospital.
BRANDON
Wish I could help.
GREER
Killed a couple of cops as well.
We believe this weapon-- the one
that doesn't exist-- is in the
hands of the Human Coalition.
Brandon is finally losing his composure.
(CONTINUED)
81.
CONTINUED:
BRANDON
If this is true... we're going to
have to do everything in our-power
to recover it. Do you have any
idea how serious this is?
GREER
I was hoping you'd tell me.
BRANDON looks conflicted, finally opens up.
BRANDON
This is absolutely off the record.
(off Greer's nod)
It's called an Overload Device, or
O.D. They're brand new, only a
handful exist. But I checked, ran
every serial number-- all accounted
for.
GREER
Not this one. Maybe it never got
to you guys in the first place.
Who makes them?
BRANDON
It's a DARPA design, subcontracted to
Pierson Defense. The idea was to
create a non-lethal weapon that could
disable every surrie in the field.
You beam a software virus straight to
the CPU. The fail-safes kick in and
the operators are cut off. Circuits
all melt down in seconds, you're left
with a field full of scrap.
GREER
You win the battle with one shot.
(BEAT)
Let me guess. You found a way
around the fail-safes.
BRANDON
(GRIM NOD)
Just a few lines of code, the
connection stays open. We tried it on
soldier volunteers... once. The virus
caused every neuron to fire at the
same time. Melted their brains.
GREER
So it's an assassination tool.
(CONTINUED)
82.
CONTINUED: (2)
BRANDON
At the flick of a switch.
CUT TO:
INT. BEAUTY SHOP - DAY
CLOSE on a WOMAN'S FACE being carefully peeled off the
MECHANICAL UNDERPINNINGS. FUNKY MUSIC plays.
WIDER, BRIDGET leans over the body, putting the old face
aside. A row of EXOTIC NEW FACES on a rack nearby.
Bridget begins manipulating the underlying musculature,
changing cheekbones, etc, using delicate TOOLS.
BRIDGET
She wanted blue eyes the size of
golf balls, bee-sting lips and a
tiny ski-jump nose...
MAGGIE
Boop-oop-a-doop.
BRIDGET
Exactly.
Nearby, MAGGIE works on a brown-skinned HAND. She stares
through a mounted MAGNIFYING LOUPE, embedding tiny JEWELS
in the SKIN of the fingers. She uses TWEEZERS and a tiny
BLOWTORCH. After a moment, we realize the HAND has been
disconnected from the body, mounted on a brace.
MAGGIE
You talked her down, I hope.
BRIDGET
Yes, thank God, we're doing a
modified Audrey Hepburn.
MAGGIE glances over at Bridget's work admiringly.
MAGGIE
I'd love you to raise my
cheekbones a half-inch, but Tom
would go ballistic.
THE DOOR CHIMES, Bridget looks up.
BRIDGET
Speaking of the ball and chain...
As GREER approaches, a few of the BEAUTY ENGINEERS glance
up, then return to their business.
(CONTINUED)
83.
CONTINUED:
This place is a cross between a beautician's and an auto
body repair shop. SURRIES in chairs that maneuver into
all kinds of positions. Not only are they having nails
and hair done, but legs lengthened, breasts enlarged,
etc. (Operators check in their bodies and leave them
there for modifications.)
BRIDGET (CONT'D)
Hiya, Tom.
MAGGIE
I didn't hear you come home last
night.
GREER
Worked late. I'd really like to sit
down and talk with you.
MAGGIE
I can take a break--
GREER
No, Maggie, face to face. The two of
us, for real.
BRIDGET is getting uncomfortable.
BRIDGET
These smile muscles need to set.
She exits with a look at Maggie. Maggie stops working
and turns to Greer, speaks passionately.
MAGGIE
Tom, don't you get it? That body
in our apartment-- the one you
call real--- it isn't me. I'm
right here.
GREER
Honey, if you're worried about the
way you look-- it doesn't matter,
it never did--
MAGGIE
Exactly! What matters is who I
choose to be.
As the conversation gets more heated, co-workers
pointedly turn away, while eavesdropping.
GREER
I married a person, you're
choosing to be a thing.
(MORE)
(CONTINUED)
84.
CONTINUED: (2)
GREER (CONT'D)
And I'm so sick of being
surrounded by things-- young,
beautiful things.
MAGGIE
Well that's your problem, isn't
it. if you can be young and
beautiful and feel good all the
time-- why would anyone choose
anything else?
GREER
Because it's bullshit. Because
we're human, like it or not.
MAGGIE
Jesus, Tom. You sound like a
Dread.
Maggie turns back to what she was doing. Greer has
trouble swallowing his anger.
GREER
I may just have to kick down your
bedroom door.
MAGGIE
(not looking up)
I'd never forgive you.
GREER
Then maybe I should just move out.
MAGGIE
Do what you want...
GREER
(A BEAT)
That's a commercial.
Greer turns and exits. Maggie glances after him with a
mixture of anger and regret, then returns to her work.
DISSOLVE TO:
EXT. CHEAP HOTEL - NIGHT
ESTABLISH a dreary place near the highway. A RED GLOW
from a number of windows... FIND A WINDOW illuminated by
WHITE LIGHT. We see GREER within.
85.
-INT. CHEAP HOTEL ROOM - NIGHT
A bland room, a low-rent chain. GREER UNZIPS a SUITCASE,
opens it.
On the top is a WEDDING PHOTO of Maggie and Greer, much
younger.
He places this on the bedside table, moves for the
bathroom.
INT. HOTEL BATHROOM - NIGHT
GREER, in a TOWEL now, having finished a shower. He
wipes STEAM off the MIRROR and takes a hard look at
himself-- his worn face and battered, very human body.
DISSOLVE TO:
INT. FBI BUILDING/GREER'S OFFICE - DAY
ON A COMPUTER SCREEN - American flags, the logo for
PIERSON DEFENSE. A corporate website.
PUSH CLOSE-- in tiny letters at the bottom of the screen:
"A division of Virtual Self Industries."
GREER takes this in. He's at his computer, first thing
in the morning, with a cup of TAKE-OUT COFFEE. PETERS is
going through the box of documents we saw earlier. When
she glances toward him, he clears the screen.
PETERS
What you working on?
GREER
Just checking e-mail.
PETERS
I think you hide things from me.
GREER
Don't be ridiculous.
(takes a sip, winces)
This stuff is awful.
He'scalling up a new file--
ON SCREEN - the name "LIONEL CANTER" followed by the
words "CLASSIFIED - SCAN REQUIRED." A moment later, we
see GREER'S IMAGE, a LIGHT FLICKERS from the webcam on
the MONITOR FRAME. Then the words "UNAUTHORIZED USER."
(CONTINUED)
86.
CONTINUED:
GREER sits back, frustrated.
PETERS
What does AOS stand for? I keep
coming across it on these
invoices. "Advance On Salary?"
Greer thinks- a moment of revelation. He moves to look
over Peters' shoulder.
GREER
What do you suppose VSI has
against Canter?
PETERS
Against him? He's one of them.
(CONSIDERING IT)
'Course, since he owns the patents
on surrogate technology, they must
have to pay him billions.
GREER
(shakes his head)
He dies, they still have to pay
his estate.
PETERS
Wait a minute. You think VSI
hired Strickland to kill Canter?
GREER
There was a middleman.
As he moves for the door, he points at her paperwork.
GREER (CONT'D)
To authorize informant payments,
agent in charge has to initial...
As he exits, Peters looks back down at the documents.
The scrawled initials "AOS" on an INVOICE.
CUT TO:
INT. FBI BUILDING/BULLPEN - DAY
CLOSE ON A NAMEPLATE outside a door, the words "ANDREW 0.
STONE, DIRECTOR SURROGATE CRIME DIVISION."
GREER approaches the open door, moving through a HUBBUB
of AGENTS working in open cubicles. AGENT NAKATA sits at
a desk by Stone's door.
(,CONTINUED)
87.
CONTINUED:
NAKATA -
Hey, Tom. Thought you were on leave.
GREER
Just cleaning out my desk.
A moment later, STONE pokes his head out.
STONE
Greer! You've been cleaning out
your desk for two days. You should
be home recuperating.
GREER
Just about done, sir.
Greer starts to move away, turns back.
GREER (CONT'D)
I almost forgot. Victor Welch
sends his regards.
Stone shakes his head, feigning incomprehension:
STONE
I'm sorry?
GREER
Guy at VSI. You looking forward
to moving to the private sector--?
Nakata is listening curiously. Stone angrily gestures
for Greer to come into his office, he doesn't want to
have this conversation in public. Greer keeps speaking
as he heads inside.
GREER (CONT'D)
Will you finish out the year? We're
sure gonna miss you around here...
STONE SLAMS the door.
INT. FBI BUILDING/STONE'S OFFICE - DAY
Greer keeps speaking calmly, as if there were no tension
in the air.
GREER
I know it's hard to resist, better
hours, better pay--
STONE
Welch told you about this?
(CONTINUED)
88.
CONTINUED:
GREER
(beat, grins)
No. I was just fishing.
STONE
You've suffered brain damage, Greer.
Let's hope it isn't permanent.
GREER
(GRIN FADING)
All surveillance on the Prophet goes
through this office. Jack
Strickland was one of your stoolies.
Why the hell didn't you say
something?
STONE just stares at him, narrowing his eyes.
GREER (CONT'D)
Two cops died. You knew he had the
0. D.--
STONE
I have no idea what you're talking
ABOUT--
GREER
--because you gave it to him.
VSI makes them-- they hand one to
you-- and you chose the trigger
man. Your own little black op.
If anyone looks, they blame the
Dreads. But Strickland didn't
follow the plan, did he? He
didn't give you back the 0. D.
like he was supposed to.
STONE
Are you done with this paranoid
fantasy--?
GREER
Not quite. What I can't figure out
is why. Why kill Canter?
STONE stares at Greer, angry and defiant. He moves to
his desk, types into his COMPUTER. Greer approaches
slowly.
STONE
I'm issuing orders for your
detention. Your mind isn't right,
you've become a threat to national
security.
(CONTINUED)
89.
CONTINUED: (2)
Greer slips a LETTER OPENER off of Stone's desk as he
nears. His hand is SHAKING. Suddenly--
--STONE yanks open a DRAWER and lunges for a GUN. But
before he can bring it to bear--
--GREER STABS him in the back of the head, SKEWERING
STONE'S CPU. STONE FREEZES, hunched over his desk, gun
in hand. Greer just stares at what he's done for a
moment, amazed. Then he waves a hand in front of Stone's
open eyes, makes sure he's out, and--
--carefully pries off a plate and removes STONE'S
MOTHERBOARD, places it on the desk.
GREER pulls the gun out of Stone's hand, rolls him back
in front of his desk, propped up to face the computer.
Greer crouches behind him, operating the keyboard by
reaching around his boss' body.
ON COMPUTER - Greer types in a request for a FILE on
LIONEL CANTER. The words "CLASSIFIED - IDENTITY SCAN
REQUIRED" appear.
GREER pushes the chair a bit closer to the computer,
ducking down, lifts Stone's head by the hair.
The monitor momentarily displays STONE'S FACE. A LIGHT
goes on in the corner of the FRAME, scanning Stone.
"AUTHORIZED USER" appears.
GREER peeks up again, continuing his work.
ON SCREEN - a HEADSHOT OF CANTER, reams of CLASSIFIED
INFO. Greer hits PRINT.
INT. FBI BUILDING/BULLPEN - DAY
GREER emerges, a stack of PAPERS in his hand. He gives a
nod to NAKATA, who nods back as he answers his RINGING
PHONE. Before he can even say a word:
STONE (FILTER)
This is Stone!
Nakata looks toward the office, starting to rise.
NAKATA
What do you need, sir?
90.
INT. STONE'S STUDY - DAY
Upscale. The REAL STONE, a good deal heavier than his
surrogate, is sitting in boxer shorts at the edge of his
STIM CHAIR, a phone in his hand.
STONE
Sonofabitch Greer disabled my
surrie, stop him!
INT. FBI BUILDING/STAIRWELL - DAY
GREER takes a couple steps at a time. He's on his phone.
GREER
Just meet me in the garage-- leave
the trunk open!
As he rounds a corner, he comes face to face with--
--a pair of AGENTS, each carrying a HANDGUN. They
approach from below.
AGENT #1
Tom, we don't want to hurt you.
Greer nods and raises his hands, resigned-- he still
clutches the papers. As Agent #1 nears, Greer suddenly--
--PLANTS a FOOT in the man's chest, sending him crashing
into AGENT #2. Both men topple down the stairs, FIRE
their guns wildly.
Greer has also lost his balance and dropped some papers,
which he has to scoop up as he claws for the. doorway and
dashes through.
INT. FBI BUILDING/PARKING GARAGE - DAY
PETERS waits near an IDLING SEDAN, the TRUNK OPEN. Greer
dives inside, she SLAMS it and gets behind the wheel.
She PEELS out, going up a few levels.
AT AN EXIT GATE - an FBI GUARD looks inside.
FBI GUARD
They're looking for Tom Greer.
You seen him?
She shakes her head, he presses a button to open the gate
and waves her through.
91.
EXT. PARK - DAY
THE FBI SEDAN drives down a curving, forested road.
INT. FBI CAR - DAY
PETERS drives, GREER in the passenger seat, poring over
the papers.
GREER
Ever hear of the Human Defense League?
PETERS
Sure, the extremist wing of the
anti-surrogate movement.
GREER
According to this, their number one
supporter is Lionel Canter.
PETERS
What? The father of surrogacy?
Impossible.
GREER
Says he's funneled billions into
their organization. Not to
mention direct support for the man
who calls himself the Prophet.
Canter's bought him land,
lawyers... and enough weapons to
start a war.
EXT. RESERVATION NO MAN'S LAND - DAY
THE DREADS emerge from tents and shacks at the sound of a
nearby RUMBLING.
ANGLE THROUGH FENCE - BULLDOZERS, TANKS, uniformed
NATIONAL GUARDSMEN (all surrogates with the SAME FACE)
are assembling on the perimeter of the Dread reservation.
They carry non-lethal TASER WANDS and RIFLES.
An OFFICER moves to the front, carrying a WALKIE-TALKIE.
In response to a command, he turns and signals to the
troops behind him and--
--the BULLDOZERS start PLOWING DOWN the fence. As
Guardsmen move past him, the officer calls out:
(CONTINUED)
92.
CONTINUED:
OFFICER
We all know what we're looking
for! Remember these are
biologicals, do not fire unless
absolutely necessary!
INT. CHEAP HOTEL ROOM - DAY
PAPERWORK spread on a table before PETERS.
PETERS
Swiss accounts, anonymous wire
transfers, unattributed testimony--
this isn't proof.
WIDER - GREER lies in his clothes on the bed, bone tired,
a flat-screen TV plays silently.
GREER
Not enough for a courtroom. But
VSI knew that if Lionel Canter
suffered a mysterious brain
hemmorhage, the powers that be
wouldn't be terribly upset.
PETERS
He's not some kind of monster, you
know. Canter's initial research
was in prosthetics-- for amputees,
quadriplegics... people with
degenerative diseases. Maybe he
feels his technology's been
perverted. Maybe it has.
GREER studies her with interest, her tone is strangely
passionate.
GREER
I had no idea you were such a
humanist.
PETERS looks away-- then reacts to something on TV, grabs
a remote and turns UP THE VOLUME.
ON TV SCREEN - HAND-HELD footage as NATIONAL GUARD TROOPS
move across the Dread Reservation No Man's Land, using
TASER WANDS to subdue resisting DREADS, frisking them and
rifling through possessions as they upend dwellings.
(CONTINUED)
93.
CONTINUED:
ANCHOR
--units of the Maryland National
Guard moved into the East Baltimore
Human Reservation this morning, in a
search for contraband weapons...
GREER knows what this is about.
GREER
Colonel Brandon didn't waste any
time.
PETERS
They're looking for the 0. D.
GREER
The what?
PETERS
(A BEAT)
Isn't that what you called it?
What does it stand for again?
GREER
Overload Device.
She nods and turns nonchalantly back to the paperwork.
As she does so, GREER cocks his head and studies her.
Protecting Brand's confidence, he never told her what the
device was called.
PETERS
So what do we do about Stone?
GREER
I call and tell him I'll take
early retirement with full pension
benefits. In return for keeping
his little secret.
PETERS
That isn't funny.
GREER
I'm not laughing.
PETERS
(RISES)
I don't believe you-- they killed
Canter's son, a college kid, his
whole life ahead of him! Don't we
owe him something?
She's genuinely upset. Greer won't meet her eye.
(CONTINUED)
94.
CONTINUED: (2)
GREER
Can't bring him back.
PETERS
(ENRAGED)
They will come after Canter again--
but you're just going to deposit
your pension checks, look the
other way and let him die.
GREER
(looks at her)
Maybe he's got it coming.
PETERS
(BETRAYED)
I thought you were a cop. I
thought you were a human being.
PETERS marches out of there and slams the door on the way
out. GREER waits a few moments, his mind racing-- then
he moves for the door himself.
INT. RENTAL AGENCY - DAY
GREER moves from a desk with a pretty RENTAL AGENT,
working at a small hand-held COMPUTER. LOGOS for GLOBAL
SYNTH RENTALS.
RENTAL AGENT
Our nearest rental office is just
outside Denver, the car and phone
will be extra--
GREER
I'm only gonna be there a couple
hours.
She leads him toward a curtained BOOTH, one of many here.
RED GLOWS emanate from a few.
RENTAL AGENT
Do you want to customize--?
GREER
Generic's fine.
She pulls back a CURTAIN to reveal a STIM-CHAIR and a
SENSORY PROJECTOR.
CUT TO:
95.
INT. RESERVATION TEMPLE -- DAY
THE PROPHET stands with a MIC before a LARGE CROWD packed
into the place, sounds of CHAOS from outside. GUARDSMEN
are moving into the temple, methodically searching those
inside. -
PROPHET
Have no fear, the day of
resurrection is at hand!
A team of GUARDSMEN move to surround the Prophet, his
BODYGUARDS struggle with them.
PROPHET (CONT'D)
No! Do not resist! The
oppressors shall soon fall, never
to rise again...
Ignoring him, some bodyguards pull HANDGUNS and FIRE on
the SURROGATE GUARDSMEN, who immediately RETURN FIRE with
automatic weapons. BUD and MILLER, the Prophet's right
hand men, both take bullets and go down.
THE PROPHET manages to escape out a side exit during this
gunfire-- but a stray BULLET catches him in the back as
he flees.
EXT. RESERVATION TEMPLE - DAY
As he runs from the building, the PROPHET is TACKLED by a
GUARDSMAN. He turns the man over, the Prophet's eyes are
empty, his head lolls back.
A BLOOD-CURDLING SCREAM from nearby as a YOUNG FEMALE
DREAD takes this in.
YOUNG DREAD
They've killed him! They've
killed the Prophet!
Other DREADS nearby react, the CRY spreading.
WITH THE GUARDSMAN, examining the body. The Prophet is
already rigid... and GREEN COOLANT is spreading from an
exit wound in his chest. A guardsman rips open his
shirt, pokes at the wound--
ELECTRONICS and TORN PLASTIC.
THE GUARDSMAN's amazed, gets on his WALKIE-TALKIE.
(CONTINUED)
96.
CONTINUED:
GUARDSMAN
Captain, you'd better come see this.
Nearby Guardsmen react to the furious DREADS massing
around them. A GRENADE LANDS nearby, GUARDSMAN #2 throws
himself on it, his SURRIE BLOWS UP. GUNFIRE ERUPTS
nearby, a MOLOTOV COCKTAIL sails through the air.
GUARDSMAN #3
We need to clear out!
CUT TO:
EXT. MOUNTAIN ROAD - DAY
Late in the afternoon. Rolling green hills, trees, a
rural area. A white COMPACT CAR pulls up a dirt road,
past the MAILBOX with "PETERS" painted on it.
EXT. PETERS' HOUSE - DAY
THE COMPACT pulls to a stop.
GENERIC/GREER climbs out of the car. He's blandly
handsome, in a business suit, with perfect hair that
looks glued in place. His movements are stilted, this is
a cheap model and he's not used to it.
GENERIC/GREER steps onto the porch, knocks on the door.
No answer. He tries the knob-- locked.
INT. RENTAL AGENCY/BOOTH - DAY
MATCH-CUT POV of PETERS' DOOR on a SENSORY PROJECTOR
SCREEN.
REAL GREER in a rental stim-chair, bathed in RED LIGHT.
His face twitches slightly, as if having a bad dream.
EXT. PETERS' HOUSE - DAY
His voice is deep, again generic.
GENERIC/GREER
Peters! It's me, Tom Greer!
He moves along the side of the house, peers in a window--
(CONTINUED)
97.
CONTINUED:
ANGLE THROUGH WINDOW - a STIM-CHAIR sits empty. Dangling
wires, the SENSORY PROJECTOR and HARD DRIVE have been
stolen.
GENERIC/GREER SMASHES the window with his fist and climbs
inside.
INT. PETERS' HOUSE - DAY
GENERIC/GREER moves quickly through the house--
GENERIC/GREER
Peters! Are you here?!
He tries a couple of DOORS, finds a LOCKED one, turns the
latch-- steps leading to the basement.
INT. PETERS' BASEMENT - DAY
GENERIC/GREER flips a LIGHT SWITCH at the top of the
stairs, BARE BULBS come on--
ANGLE DOWN-- THE REAL PETERS lies at the base of the
stairs, in her stained, torn nightgown, motionless. A
pool of BLOOD from her head... her neck is twisted at a
strange angle.
INT. RENTAL AGENCY/BOOTH - DAY
GREER winces with the shock of this.
INT. PETERS' BASEMENT - DAY
GENERIC/GREER hurries down the stairs to REAL PETERS.
GENERIC/GREER
Oh my God, Jennifer--
He can see her neck is broken, he can't move her. Her
eyes are closed, lips parched, hair matted with blood
from a gash in her scalp. Generic/Greer leans close,
takes her pulse.
Suddenly her eyes open. She speaks with difficulty.
REAL PETERS
Who are you?
GENERIC/GREER
Tom Greer. Your partner.
(CONTINUED)
98.
CONTINUED:
REAL PETERS-
Greer...?
GENERIC/GREER
There wasn't time, I rented a
GENERIC
REAL PETERS
How do I know--? Prove you're Greer.
He's already dialing 9-1-1 on a CELLPHONE.
GENERIC/GREER
You can't stand me, I'm old
school, seat-of-the pants--
(connects, ON PHONE)
319
Yes, I need an ambulance at
Mountainview, there's a woman, I
think her neck is broken--
(TO PETERS)
How long have you been down here?
REAL PETERS
Three days I think...
GENERIC/GREER
(INTO PHONE)
Please, hurry...
(HANGS UP)
They're on the way. Somebody's been
using your surrogate.
REAL PETERS
What?
GENERIC/GREER
You-- it's been showing up to work
every day.
REAL PETERS
No, I-- the night your chopper went
down... I woke up and somebody was
here... I fought with him, but he
was so strong--
WIPES
Peters is getting distraught. Generic/Greer gently
her brow.
GENERIC/GREER
Ssh, relax --
REAL PETERS
He tried to bring me down here, we
fell...
(MORE)
(CONTINUED)
99.
CONTINUED: (2)
REAL PETERS (CONT'D)
He took my memory-- the whole
investigation. He said he was
going to do my job for me.
A beat. Their eyes meet as the realization hits
Generic/Greer.
GENERIC/GREER
(under his breath)
Canter.
REAL PETERS
It has to be... oh God, I'm so cold...
She clearly had been fighting to stay alive, just to tell
someone what happened.
REAL PETERS (CONT'D)
Would've been nice to meet you in
person...
She now closes her eyes. Greer agonizes.
GENERIC/GREER
Peters, hang on, please-- it won't
be long...
He rises, finds an old blanket to put around her.
REAL PETERS
Thirsty...
INT. PETERS' KITCHEN - NIGHT
GENERIC/GREER quickly fills a glass of water from the
tap. He hears SIRENS in the distance as he hurries back
into the basement.
INT. PETERS' BASEMENT - NIGHT
GENERIC/GREER kneels down to dribble water on REAL
PETERS' partially open lips. We hear a VEHICLE ARRIVE
outside.
GENERIC/GREER
They'll be here in just a minute...
No response. He brushes her hair back from her face--
REAL PETERS' eyes are half-open, vacant. She's dead.
GENERIC/GREER lets out an anguished CRY.
(CONTINUED)
100.
CONTINUED:
ANGLE UP STAIRS - SURRIE PARAMEDICS rush down with a
STRETCHER. They take in the sight of--
TWO MOTIONLESS BODIES. PETERS, dead... and l ass lass
GENERIC/GREER, kneeling over her body, head bowed, g
still in hand-- checked out.
CUT TO:
TNT. RENTAL AGENCY - DAY
REAL GREER comes out of the curtained booth in a hurry,
moving for the door. He's talking on the phone.
GREER
Who's on duty in surveillance--?
Sanders, great, put me through--
He's pursued by the RENTAL AGENT.
RENTAL AGENT
Sir, sir, sir-- you haven't
returned your unit--
Greer ignores the woman, he's out of there. She calls
after him angrily.
RENTAL AGENT (CONT'D)
You signed a contract!
EXT. WASHINGTON STREET - DAY
A handful of DREADS are storming down the street,
SMASHING WINDOWS and bowling over any SURRIES who get in
their way.
A SCROLLING ELECTRONIC NEWS CRAWL on the side of a
building: "PROPHET SHOT, REPORTED DEAD..."
GREER is walking fast, on the phone, steering clear of
the angry Dreads.
GREER
It's an emergency, you need to
connect me now!
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
TIGHT ON BOBBY, the overweight controller, at his
station. He looks nervous, wearing his HEADSET.
(CONTINUED)
101.
CONTINUED:
Responding to a subtle BEEP in his ear,-he makes as if to
scratch himself, opening the connection. We hear GREER'S
FILTERED VOICE:
GREER (FILTER)
Bobby, it's Greer, I need a remote
shutdown. You'll have the
surrie's digital address on file,
Agent Jennifer Peters.
CAMERA MOVES to reveal that PETERS (the surrie) is
holding BOBBY at GUNPOINT, a grim expression on her face.
She doesn't realize Bobby's on the phone.
GREER (FILTER) (CONT'D)
Hello? Bobby, are you there?
Bobby looks toward the special TERMINAL that displays the
surrie serial numbers. NUMBERS are cranking through
fast, ALL HIGHLIGHTING. Bobby looks at Peters, but
speaks for Greer's benefit.
BOBBY
Peters, have you gone insane?
Put the gun away, what the hell
are you trying to prove?
PETERS ignores him, watching the TERMINAL SCREEN.
WIDER now, we see that all the SURRIE WATCHERS have
disconnected, they're stationary on their tracks. THE
GLOWING MONITORS remain on, showing random scenes,
unwatched. MOVEMENT at the elevated entrance--
--PETERS spins and FIRES HER HANDGUN in that direction.
The intruder retreats. We now see a couple of SURRIES
have already been dropped here, sprawled on the staircase
leading down, bullets in their heads.
PETERS spins on Bobby, who's WHISPERING frantically into
HIS HEADSET:
BOBBY (CONT'D)
She's into the entire surrie
database, I dunno what she's--
Peters YANKS off Bobby's headset and throws it aside.
EXT. WASHINGTON STREET - DAY
GREER has stopped, stunned. Then, realizing what's
happening, he takes off at a sprint in a different
direction. He makes another call:
(CONTINUED)
102.
CONTINUED:
GREER (ON PHONE)
Maggie, please pick up-- damn it,
you have to disconnect as soon as
you get this message-- get off
line, abandon your surrogate!
You're in danger, everyone is--
INT. MAGGIE'S SHOP - DAY
MAGGIE is hard at work, HOT-GLUING a new head of STREAKED
HAIR around the motionless face of a BEAUTIFUL SURROGATE.
She glances at a small CELLPHONE, sitting on a WORK TRAY
nearby. It FLASHES--
CLOSE - "THOMAS GREER" scrolls on the CELLPHONE READOUT.
MAGGIE wants to pick up, but both hands are occupied.
She sighs, returns to her work.
INT. FBI BUILDING/CORRIDOR - DAY
A group of AGENTS in RIOT GEAR are gathered here, WEAPONS
ready. One turns to see--
STONE approaching (his surrie is operational again),
flanked by a couple of other AGENTS.
RIOT AGENT
She'll only speak with you, sir.
STONE
Why the hell don't you just move
in and take her down?
RIOT AGENT
She's got a human hostage.
Stone pauses, takes a breath.
STONE
That fat ass Sanders.
He self-consciously rubs the back of his head, where we
now see ELECTRICAL TAPE holding shut the damaged latch.
INT. LUXURY BUILDING/LOBBY - DAY
GREER, face red, out of breath, is displaying his badge
to the CLERK, who checks his computer.
(CONTINUED)
103.
CONTINUED:
CLERK
I'm sorry, you're not on his list.
GREER
I wouldn't be. I'm here to arrest him.
ARMANDO moves closer at this.
CLERK
I see... do you have a warrant?
GREER
Listen to me. Dr. Canter is
committing a crime via surrogate--
right now. If you don't cooperate
and let me up there, you become an
accomplice.
CLERK
Without a warrant, I'm afraid I
can't help you.
ARMANDO takes Greer by the arm in a painful grip.
ARMANDO
You're gonna have to leave, sir.
Armando escorts Greer none too gently to the door.
GREER
Ow! Easy, I'm only human.
As Armando relaxes his grip a bit, GREER flexes his left
arm-- then gasps and clutches his chest, as if having a
coronary. He stumbles, falls to his knees. Armando
bends over him--
ARMANDO
Are you OK?
Greer suddenly thrusts his hand beneath the man's jacket.
Armando reacts, begins to struggle with Greer-- BANG BANG
beneath his suitcoat.
Armando's ARM SPASMS WILDLY. He takes a few steps back,
SPARKS and HYDRAULIC FLUID coming from his chest. GREER
is holding the man's GUN now, aimed at him.
ARMANDO (CONT'D)
You asshole. I just made the last
payment.
GREER rises and hurries to the CLERK, points the gun at
his head.
(CONTINUED)
104.
CONTINUED: (2)
GREER
The elevator key!
CLERK
I'm calling the police.
The CLERK goes stock still, he's checked out-- he's
obviously making the call from home. Greer shoves the
inert body aside, it falls flat. He reaches for the
elevator key, snatches it up when--
ARMANDO wraps his one good arm around Greer's throat from
behind, choking him. They stagger backward, GREER aims
the gun behind his head and FIRES, blowing a HOLE in
Armando's forehead. GREEN COOLANT, FRIED ELECTRONICS fly
from the exit wound.
They topple to the ground together. GREER struggles from
the frozen surrie's grip, clutching his ear, deafened by
the gun's loud report.
As Greer gets to his feet, the DOORMAN enters, takes in
the tableau-- the gun-wielding man, the two surries on
the ground-- and dashes outside again.
GREER hurries for CANTER'S PRIVATE ELEVATOR. He turns
the key-- no light, nothing. He makes a frustrated NOISE
and dashes for a nearby door to the stairwell.
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
STONE enters warily, looking toward PETERS and the
captive BOBBY.
STONE
Peters! It's me, Andy Stone!
Hands in the air, Stone moves down the stairs, stepping
gingerly over the fallen surrogates.
PETERS finishes CUFFING BOBBY'S WRISTS to a chair with
plastic cuffs. She moves to get a look at Stone, across
the expanse of glowing monitors. She's holstered her
gun.
PETERS
Who was it, Stone? Who was it at
VSI that hired you to kill me?
Stone blinks, trying to process this.
(CONTINUED)
105.
CONTINUED:
PETERS (CONT'D)
Did you feel even a second of
remorse, when you found out you'd
murdered an innocent boy. He was
eighteen!
STONE
I don't believe it...
PETERS
Just tell me what I need to know.
Stone considers this a bit, smiles.
STONE
We spend years trying to nail you
for funding the Dreads-- and now
you hand yourself over to us on a
silver platter. Hijacking an
agent, destroying federal
property, creating a hostage
situation...
Peters pulls her gun and points it at BOBBY'S HEAD. He
cowers in his chair.
STONE (CONT'D)
I wouldn't add homicide to that
list. As it is, you're going to
prison for a very long time.
He turns on his heel, begins walking back up the stairs
for the door.
PETERS lowers the gun, reaches into her pocket and pulls
out the Q.D. WEAPON.
PETERS
An eye for an eye...
She points it at the back of Stone's head and--
--STONE's eyes go wide in agony-- and EXPLODE. He goes
TUMBLING back down the stairs, SMOKE pouring from his
head, BODY twitching crazily.
INT. LUXURY BUILDING/STAIRWELL - DAY
--GREER is GASPING for breath as he reaches an upper
landing. Ahead of him is a heavy STEEL DOOR with a
KEYPAD LOCK. He tries the handle, kicks the door once,
then pulls his gun and aims it at the lock, turning away
as he SHOOTS.
(CONTINUED)
106.
CONTINUED:
THE BULLET RICOCHETS about the narrow area, scaring the
hell out of him. The LOCK is intact.
GREER
Damn it!
He moves to a NARROWER STAIRCASE with a sign, "ROOF
ACCESS."
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
The RIOT AGENTS pour in now, GUNS FIRING.
PETERS drops behind a bank of TERMINALS for cover.
BULLETS rocket past, one CATCHES her in the arm, but
barely phases her.
THE RIOT AGENTS move in, military style, surrounding
PETERS.
PETERS fiddles with the O.D.--
CLOSE - she slides back a panel, hits a couple of tiny
SWITCHES-- the RED DIODES go to BLUE.
PETERS points the device over the terminal, sweeps it in
AN ARC--
--the RIOT AGENTS all FREEZE'IN PLACE for a second-- and
then drop at once. Unlike with Stone, there's no
twitching, smoke or exploding eyeballs. The sudden
silence is eerie.
PETERS rises and moves to STONE, the grotesque, empty-
eyed surrogate. Her expression is grim, but she's
accomplished an important part of her mission.
BOBBY looks around at the many fallen bodies.
BOBBY
Are they dead?
PETERS
(re: the riot agents)
They're fine.
INT. STONE'S STUDY - DAY
The PHONE IS RINGING. Move from it to--
STONE, in his stim chair, projector on his head... eyes
rolled back, dead. BLOOD begins to seep from his ears.
107.
EXT. CANTER'S BUILDING/ROOF/BALCONY - DAY
GREER has come out on the roof. There's an enormous CELL
TOWER and DISH up here. He moves to the edge, peers over
warily.
ANGLE DOWN - forty stories down to the street.
GREER flinches back, reeling with vertigo. He moves
along the edge, looking for something.
ANGLE DOWN - the BALCONY outside Canter's study, just
inside the roof overhang, a fifteen-foot drop.
GREER squeezes his eyes shut, steeling himself for what
he must do. He lowers himself to hang onto the edge,
trying not to look down. He swings his body to get the
momentum going the right way--
--but his grip gives a moment too soon--
GREER plunges from the roof to the BALCONY RAIL, hitting
the railing hard, starting to fall off the wrong way.
But he manages to grab onto the metal. He hauls himself
up and collapses onto the balcony, lying on his back.
HIS LEG has been injured in the fall, the pants torn,
blood. GREER breathes audibly, in pain and exhaustion.
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
ON THE TERMINAL - numbers still HIGHLIGHTING, flying past
at incredible speed.
MOVE TO FIND PETERS, with an open TOOLBOX. She's
expertly wiring the O.D. to the keyboard, cutting,
splicing and reattaching wires.
BOBBY wheels closer, tries to KICK the O.D.
Without flinching, PETERS KNOCKS him back across the
room, the chair FALLS OVER and Bobby moans.
INT. CANTER'S PENTHOUSE/STUDY - DAY
GREER SHOOTS THE GLASS, elbows out the shards and reaches
in to unlock the balcony door. Keeping his gun ready, he
limps painfully into the empty room.
108.
- DAY
INT. CANTER'S PENTHOUSE/VARIOUS ROOMS
QUICK CUTS as GREER hunts for Canter, flinging open doors
into BEDROOMS, a LIVING ROOM, BATHROOMS.
INT. LUXURY BUILDING/LOBBY - DAY
The CLERK, reactivated, leads a squad of UNIFORMED POLICE
toward the stairwell.
INT. CANTER'S PENTHOUSE/HALLWAY
GREER has almost given up hope when he starts at a noise
and spins, ready to shoot at--
--the AUTOMATED VACUUM humming around a corner. As it
moves past his feet, Greer registers--
--a thin strip of RED LIGHT at floor level. After a
moment, he begins rapping at the wall, realizing it's
false.
INT. LUXURY BUILDING/STAIRWELL - DAY
THE CLERK taps a CODE into the KEYPAD of the bullet-
dented door. We hear a HEAVY LATCH disengage.
INT. CANTER'S PENTHOUSE/HALLWAY - DAY
GREER hears FOOTSTEPS of the approaching cops as he tries
desperately to find a way into the hidden space. He
discovers a LATCH at waist level, the wall becomes a
pocket door. He lets himself in and closes it behind him
JUST AS--
THE POLICE and the CLERK round the corner.
INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY
Eerie RED LIGHT, a narrow, snaking passageway. GREER
listens as the FOOTSTEPS pass outside, turns to see--
THE STALKER-- the hulking, silver-eyed surrogate who
broke into Peters' place. He's inert in his CHARGING
BAY.
Beside him is the BOY who picked Greer up in the limo.
(CONTINUED)
109.
CONTINUED:
WIDER, a dozen SURROGATES, different ages and sexes,
lined up in their charging bays. Clearly, Canter can
become anyone he wants to be.
GREER is momentarily stunned to see--
THE PROPHET, a spare surrogate, in a charging bay.
GREER moves carefully onward. Around a corner, he sees--
--a PROJECTOR DISPLAY SCREEN. It's PETERS' POV on the
FBI SURVEILLANCE CENTER, a glance toward the motionless
RIOT AGENTS, to BOBBY struggling on the ground. PETERS'
POV SETTLES on the numbers HIGHLIGHTING on the terminal.
THE 0. D. is connected to the keyboard, BLUE DIODES
FLASH, the jerry-rigging complete.
REAL CANTER is visible from behind in an elaborate
prosthetic WHEELCHAIR, a SENSORY PROJECTOR on his head.
GREER moves toward him and RIPS OFF the headgear.
REAL CANTER opens his eyes, startled.
GREER
You're insane.
INT. FBI BUILDING/SURVEILLANCE CENTER -- DAY
PETERS is frozen in place by the-terminal. BOBBY, on the
ground, realizes something's happened. He strains to see
the numbers screen.
ON SCREEN -- THE NUMBERS have stopped scrolling. A
dialogue box: "FULL DATABASE SELECTED - UPLOADING
SOFTWARE TO NETWORK" with a bar moving up slowly.
INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY
CANTER squints up at GREER from his wheelchair and brace.
He speaks with an ELECTRONIC AID, his voice slightly
artificial-sounding.
CANTER
Jennifer Peters. Is she--
GREER
She's dead.
CANTER
I had no intention of hurting her.
I'm truly sorry--
(CONTINUED)
110.
CONTINUED:
GREER
You bastard, she was my partner, I
cared about her--
CANTER
Did you? You barely knew her. It
was me you came to care about--
GREER
Shut up!
Greer clenches his fist, if the man wasn't in a
wheelchair he would beat the hell out of him. Struggling
to control himself, mind reeling:
GREER (CONT'D)
How many people are you? You're
really the Prophet?
CANTER
I had to fight VSI any way I
could.
As canter speaks, his eyes flick toward the PROJECTOR'S
MONITOR--
--the image of the O.D. DEVICE UPLOADING SOFTWARE from
PETERS' POV. Canter tries to block Greer's view--
CANTER (CONT'D)
There's nothing you can do--
GREER PUSHES CANTER'S WHEELCHAIR out of the way
violently. Greer sits on the floor, leaning against the
wall. He takes a breath and puts on the PROJECTOR
HEADSET. He slips on the FINGERSLEEVE, presses his
fingers together and--
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
--PETERS is suddenly REANIMATED, stumbles a bit where she
stands, as Greer gets his bearings in this new body. He
moves to the KEYBOARD and RIPS THE O.D. from the jerry-
rigged connection. -
ON TERMINAL SCREEN -- "UPLOAD COMPLETE."
PETERS turns to BOBBY.
PETERS
How do I shut it down?
(CONTINUED)
CONTINUED:
BOBBY
(BAFFLED)
You...
PETERS
Bobby, this is Agent Greer!
ON THE CATWALK - a HUMAN agent, he's a SNIPER in black,
creeps into position, readying his rifle.
PETERS/GREER helps BOBBY up, so that he can see the
computer screen. Bobby remains cuffed.
ON SCREEN - "PREPARING TO DISCONNECT OPERATORS - 30
SECONDS." The number is counting down.
BOBBY
(THINKING)
OK... the software from that
thing's already in the system, you
have to abort transmission.
PETERS/GREER
(DESPERATE)
How?1
BOBBY
Hit control-escape, F12.
As PETERS/GREER does so:
PETERS/GREER
This can really send a virus to
every surrie on the network?
BOBBY
Sure, but it has to disconnect the
operators first.
PETERS/GREER
(pauses, surprised)
So people aren't in any danger...
BOBBY
Their surrogates are! Hurry up!
ON TERMINAL SCREEN - "ABORT? YES. NO."
INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY
THE PROJECTOR SCREEN shows the words "YES. NO."
MOVE TO GREER, in the sensory projector, his face tight.
(CONTINUED)
112.
CONTINUED:
CANTER stares at GREER, seeing that Greer realizes what's
at stake-- the fate of humanity.
CANTER
You understand...
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
PETERS/GREER reaches for the keyboard again, hesitates.
A moment of internal conflict.
BOBBY stares, confused.
BOBBY
Do it!
BANG! A CLEAN HEADSHOT drops PETERS/GREER in her tracks,
ELECTRONIC GOO sprays the COMPUTER SCREEN.
BOBBY spins in his chair.
BOBBY (CONT'D)
NOT
He tries desperately to reach the keys himself, but--
ON SCREEN "DISCONNECTING." He's too late.
INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY
GREER yanks off the headset, breathing hard, eyes wide
with shock. CANTER regards him from his wheelchair.
He's been watching the MONITOR, knows what just happened.
CANTER
You could have stopped it. Thank
you...
GREER
Why...?
CANTER
You know why. I won't be
responsible for the death of
humanity. I like the way you put
it-- unringing a bell.
GREER puts his head in his hands, realizing the enormity
of what he's just done.
GREER
You created them.
(CONTINUED)
113.
CONTINUED:
CANTER
I only sought to give people like
me the chance to live normal lives.
But my partners at VSI overrode me.
They saw a much larger market--
surrogates for everyone. Healthy
people. Children. A world without
risk, without pain. Without
feelings. Nothing at stake.
Nothing to live for.
Greer rises shakily.
GREER
What's going to happen?
CANTER
The day of resurrection.
As he speaks, he raises a small white capsule to his
lips.
GREER
No--!
Before Greer can stop him, CANTER BITES INTO IT and
swallows. Greer tries to get the capsule from Canter's
mouth-- but the man is DEAD within moments.
INT. FBI BUILDING/SURVEILLANCE CENTER - DAY
BOBBY KICKS at the COMPUTER frantically, CRYING OUT. THE
SNIPER reaches him, CUTS his HANDS free with a KNIFE.
HUMAN SNIPER
It's OK, sir, you're alright, it's
OVER--
Freed, Bobby lunges at the keyboard, hitting keys in a
frenzy, but--
ON SCREEN - "DISCONNECTING" changes to "OPERATORS
DISCONNECTED..." Then, quickly-- "TRANSMITTING."
EXT. RESERVATION NO MAN'S LAND - DAY
LATE AFTERNOON, golden light. DREADS have been herded
together here, NATIONAL GUARDSMEN surrounding them.
Suddenly the GUARDSMEN all DROP at once.
114.
EXT. WASHINGTON STREET - DAY
CROWDED, rush hour, lots of traffic and noise. Then--
--PEDESTRIANS fall in a wave. CARS VEER out of control,
SMASHING INTO EACH OTHER, careening onto the sidewalk,
rolling over fallen surrie bodies and SMASHING into
storefronts.
INT. FBI BUILDING/BULLPEN - DAY
THE FEDS are all collapsed over desks, or sprawled flat.
INT. SUBWAY - DAY
A CAR FULL OF COMMUTERS-- some slumped in their seats or
hanging from straps, others lying on the floor. The car
STOPS AUTOMATICALLY, the DOORS OPEN with a HISS--
--to reveal a PLATFORM littered with BODIES.
INT. MAGGIE'S SHOP - DAY
ALL EMPLOYEES and CUSTOMERS of the beauty shop are
motionless. CAMERA FINDS MAGGIE on the floor among them,
staring sightlessly at the ceiling.
EXT. LUXURY BUILDING/BALCONY - DAY
ANGLE DOWN on the suddenly quiet street. The surries
have dropped throughout the city.
PULL BACK to reveal GREER looking down on this. He limps
quickly back inside--
INT. CANTER'S PENTHOUSE/STUDY - DAY
--stepping over the BODIES of the FALLEN COPS. He moves
for the ELEVATOR, hits a SWITCH to POWER it up.
EXT. RESERVATION NO MAN'S LAND - DAY
The moment the Dreads have been waiting for. With a mass
CRY, they're charging over the fallen BODIES of the
GUARDSMEN and over the flattened fences.
WIDE as THOUSANDS OF DREADS run out of the reservation
into the streets of the city.
115.
EXT. WASHINGTON STREETS - DAY
GREER hobbles through the dreadful aftermath-- SMOKING
AUTO PILEUPS, BODIES everywhere, most fallen in their
tracks, a few remain on their feet. CAR HORNS, ALARMS in
the distance. -
A few disheveled DREADS are here, taking it in with
delight and amazement. They WHOOP as they TIP OVER a
couple of the standing surries.
GREER passes a CAR on the sidewalk, its DRIVER slumped
against the wheel-- the RADIO BLARES:
RADIO VOICE
The massive surrogate shutdown
appears to be nationwide...
EXT. VSI HEADQUARTERS - DAY
FALLEN SURRIES all over the grounds. ARMED DREADS are
rushing into the place, past the MOTIONLESS SENTRIES.
They're making for the factory.
RADIO VOICE
Rioters presumed to be members of
the Human Coalition seem to be
making coordinated attacks on
SURROGATE-RELATED BUSINESSES
across the country...
INT. VSI FACTORY - DAY
The ROBOTIC ASSEMBLY LINE, still running until--
BOOM! A DREAD shoots an RPG into the machinery.
SURROGATE PARTS are BLASTED in all directions.
INT. VSI WAREHOUSE - DAY
FIRE SPREADS across the rows of SURROGATE TEMPLATES,
packed together tightly.
CLOSE on a MELTING FACE, the deforming PLASTIC SKULL and
ELECTRONICS within.
RADIO VOICE
Citizens are asked to remain in
their homes...
116.
EXT. GREER'S BUILDING - DAY
GREER makes his way toward his place.
INT. GREER'S APARTMENT/LIVING ROOM - DAY
GREER enters, moves immediately for his wife's bedroom.
GREER
Maggie--?
He KNOCKS gently, then tries the door-- it isn't locked.
INT. GREER'S APARTMENT/MAGGIE'S ROOM - DAY
The room is DIM, there's a FORM huddled in the bed,
SOBBING, covers pulled up. GREER moves slowly toward
her, speaks in a soothing voice.
GREER
Maggie, it's me.
She pulls away from his touch at first, struggles.
MAGGIE
No! Please no, don't look at me...
Greer pulls away the covers to reveal the REAL MAGGIE.
She's pale, emaciated and malnourished, tears running
down her face. She shrinks away from him.
MAGGIE (CONT'D)
No Tom, I don't want you to...
It doesn't matter to Greer-- he takes her in his arms and
holds her close.
GREER
It's OK, it's OK...
MAGGIE
No it's not...
GREER
Ssh. It's just us now.
Slowly, she puts her arms around him, weeping against his
chest. PULL BACK and--
117.
EXT. GREER'S BUILDING/NEIGHBORHOOD - DAY
--OUT THE WINDOW. MOVE to show exterior DOORS OPENING
and GREER'S NEIGHBORS EMERGING, blinking in the
unfamiliar sunlight. Most wear robes, sweatclothes.
They're all ages, some overweight, others homely-- it's
almost a relief after all the young, perfect people.
DOWN THE STREET, OTHERS EMERGE, regard each other warily,
like people after an earthquake. Some begin speaking to
each other for the first time, in whispers at first,
others take in the SUNSET which bathes the neighborhood
in orange light.
FADE TO BLACK.
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