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ALL SCRIPTS



 
                                  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.



Surrogates



Writers :   John Brancato  Michael Ferris  Robert Venditti
Genres :   Action  Sci-Fi  Thriller


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