FADE IN:
POINT OF VIEW - ZOOMING THROUGH CLOUDS AT MACH TWO
We swoop around thunderheads and break into scattered
sunlight. Somebody seems to be singing off key in time to
the gyrations.
VOICE OVER
Oh...she flies through the air with
the greatest of ease, the daring
young girl in the flying trapeze...
SECOND VOICE OVER
What's that?
ANGLE - ADVANCED TECHNOLOGY AIRCRAFT
The dark, tapering nose fills the screen. Rounded canards,
drooping wings reveal stealth technology. The sky behind
spins as the craft barrel rolls. In the cockpit, two helmeted
figures sit side-by-side. RYAN ROSS, the pilot, is cocky
and confident. His lean muscular frame is enveloped in a
pressure suit. He controls the craft with smooth coordinated
movements of hands and feet.
RYAN
...old song.
KENNEDY
No, that!
RYAN
What?
KENNEDY
That oscillation, feel it?
RYAN
Stabe again?
KENNEDY
Nineteen to Edwards. We..um have an
oscillation. Three degrees yaw...
cycling...um...2 seconds.
DAYTON CONTROL (FILT'RD)
Roger Nineteen. We have it. Appears
you are losing flight sys one.
RYAN
Not again! Shoot, I thought you
guys said you put all the little
screws back in this time. (to
Kennedy) I told you this fly-by-wire
stuff would never work.
-----------------------------------------------------------------------------------------------------
2.
OSCILLATION gets worse, YAW increases. The pilots remain
calm.
KENNEDY
See? If God had meant computers to
fly, he'd have given 'em wings.
DAYTON CONTROL(FILTERED)
Uh...Nineteen, Edwards. Suggest you
take it out and fly by the other
three.
KENNEDY
Roger, Edwards.
He leans forward and throws a switch. The yaw stops.
KENNEDY (CONT'D)
Hey...you guys are all right!
DAYTON CONTROL
Nineteen, Edwards... Do you want to
abort?
RYAN
Abort, what for? Wings are still
on.
DAYTON CONTROL
Ryan, don't take any chances.
RYAN
What, us test pilots take chances?
He turns, winks at his partner. His face lights up at the
challenge. He rolls the aircraft inverted, pulls through
and dives for the ground. We scream down as the Kennedy
calls speed and altitude..
RYAN (CONT'D)
Oh, she flies through the air....
KENNEDY
20 thousand, 800 knots.
RYAN
...with the greatest of ease..
KENNEDY
15 thou. 850.
RYAN
....the daring young girl ...
KENNEDY
Ten thou. 880 knots.
-----------------------------------------------------------------------------------------------------
3.
The radio breaks in...
DAYTON CONTROL (FILTERED)
Nineteen, Edwards. Advise RTB.
RYAN
Aww...Return to Base, we just got up
here!
DAYTON CONTROL
Uh, Ryan, don't like the telemetry.
RYAN
Good thing you guys weren't at Kitty
Hawk, we'd still be taking the train.
KENNEDY
Five thou. 900. Start pulling up.
DAYTON CONTROL
No margin for error down where you
are.
RYAN
You paid us for low-level, and low-
level is what you're gonna get.
He rolls and pulls. We scream down lower and lower, leveling
off at two hundred feet at MACH 2.5. In the dense air and
turbulence, we are rattled and banged around in the cockpit.
DAYTON CONTROL
Roger, Ryan. Just make sure you
don't tie the world's record.
RYAN
Engage TERCON.
Kennedy flips a switch. PILOT opens his hand, releases flight
controls, but stays ready to grab them again. The plane is
now in Terrain-following auto-mode. It swoops and pulls
over ridges, and down canyons faster and lower than humanly
possible. Only thing is, you have to trust it not to try to
fly through a mountain. Suddenly, the yawing is back, the
nose swings rapidly from side to side.
KENNEDY
Base. Oscillation is back! (it
stops) No, there it goes.
RYAN
Fly-by-wire or Radar link?
Rapidly cycling switches.
KENNEDY
Don't know.
-----------------------------------------------------------------------------------------------------
4.
RYAN
Well, we'll never know till we try.
KENNEDY
I don't know, Ryan. We're low and
fast.
RYAN
That's right where we're supposed to
be. Here's where you earn your test
pilot's pay. We let the boxes fly,
they aren't gonna want to pay us for
all this fun. Edwards,
Nineteen...Going to manual.
RYAN flips a switch, takes the controls and flies it. The
oscillations diminish.
RYAN (CONT'D)
That's the trouble with these metal
brains. That's why they're always
gonna need a wet one up here.
KENNEDY
Fine, you talk to congress about it.
A LURCH, A YAW, ever-increasing, banging them from side to
side.
KENNEDY (CONT'D)
Oh shit, what's that?
RYAN
Let's take it up outta here.
He pulls back. As the nose comes up, suddenly, without
warning, it keeps going, flips up and over. They depart
controlled flight.
KENNEDY
Oh, shit!
RYAN
Departed...forward tumble...too low.
PunDmitrig out!
BOOM! Cockpit module fires, blasting them up and away from
the aircraft. We are in a tumble, the world spinning rapidly,
HEAR a CRASH, pass through fireball. A jerk as chutes open,
then a TEARING SOUND. They lurch sideways, hang for a
sickening moment at the apex, then the ground is coming
up..too fast.
KENNEDY
Oh my God, I'm heartily sorry...
-----------------------------------------------------------------------------------------------------
5.
RYAN
Shut up!
The engines SCREAM, the airframe GROANS AND SHUDDERS.
KENNEDY
We're dead!
RYAN
Shut up. We're dead when I say we
are. Mayday!
KENNEDY
I detest my frigging sins... dread
the loss of heaven, the pains of
hell... Oh Christ!
RYAN
Mayday. Going in. Just north of the
River. Joanna...Love you, Joanna..
A SCREAM from somewhere...then NOTHING. BLACK SILENCE ...for
a long time....then Equipment is being turned on and tuned
in. A link is being established. Signals get stronger.
Random dots try to form into a picture. The image solidifies,
breaks up and reforms in different patterns. Positives switch
to negatives. Eventually we start to see, we start to hear.
Figures are moving about. The SOUND becomes recognizable as
speech.
POINT OF VIEW - CLOSE-UP
A man in a lab coat, DR. WISBROD, fills the screen. Others
crowd around. Some have technical jobs to do, some talk
quietly. Some just stare into the lens. The whole right
side of the room is a sophisticated electronic console. The
far wall is glass through which more equipment and technicians
are seen. Against the left wall is a small table and a
window. There is an IV stand with a bag of liquid emptying
into our body off screen. We see a bit of the ceiling and
almost none of the floor. This is our universe.
The scene slowly becomes clear. We can hear and see the
difference as the techs switch circuits in the system.
Williams leans into the lens. The wide-angle distorts his
face.
WISBROD
Captain, if you can hear me, nod
once.
He waits, turns to a tech, AMY, who shrugs, turns back to
lens and stares intently as if willing the correct answer.
A door opens in the far wall and an older, distinguished man
in a lab coat, CHUDRAH, enters, has a brief word with DR.
DMITRI, and they both take up position behind .
-----------------------------------------------------------------------------------------------------
6.
CHUDRAH
Captain, can you hear me?
DMITRI
(To Amy)
Give him a little more gain, will
you?
Levels get LOUDER, video more intense.
WISBROD
Can you hear me? Nod if you can.
AMY
We do have positives on the
instruments.
Wisbrod looks across room at other doctors. They stare back
blankly. He turns back once more to the lens.
DMITRI
After all this time, it must be quite
a shock.
WISBROD
What did you get?
DMITRI
Positive responses. Course it might
just mean the equipment works.
Chudrah walks over to the console and stares intently at the
dials. Amy mutters things to himself. We cannot hear what
he is saying. He adjusts the controls, throws switches,
patches in systems and re-routes things. The lens pans
minutely.
AMY
We have movement, slight change in
heartbeat, brain waves. He seems
excited.
A female doctor, SAM, stands against the wall to the left of
the bed. She leans in, resets the maze of wires, cables and
tubes that connect what is beneath the sheet to the terminals,
monitors and IV.
SAM
He could be sensing us... without
seeing or hearing.
She leans in. The lens pans left a bit, to include her. She
is beautiful. As her face fills the frame, all hell brakes
loose.
-----------------------------------------------------------------------------------------------------
7.
WISBROD
We've got heart change, pulse rate
just went up, brain waves.
Something's happening.
AMY
Positive on all faces.
The Project Director, Chudrah, walks forcefully across the
room, Chudrah approaches very close to the lens, speaking
directly and forcefully into it, demanding response.
CHUDRAH
Captain, if you can hear me, nod
once.
The room is silent. Chudrah is a predominant, demanding
presence in the frame. The others look concerned. Even Amy
turns to look to the lens. Slowly, hesitantly, the lens
nods once. The room EXPLODES in celebration - like the NASA
control room at the completion of a difficult manuever. The
SOUND overloads and distorts.
CHUDRAH (CONT'D)
Captain, if you can see me, nod once.
The nod comes immediately and once more the celebration breaks
out, more restrained this time. There are handshakes and
backslapping all around.
CHUDRAH (CONT'D)
Gentlemen, with God's help, we appear
to be successful in the first stage.
On behalf of the agency, I thank you
for your outstanding efforts.
(crosses to address lens) Captain,
it's been a long time, but you are
alive. I commend you on your courage
...your will to live. I'm sure you
have many questions, but on the strong
recommendations of our doctors, I've
been asked to end this session and
not to overload your...circuits.
Congratulations, and welcome back.
(He turns...) Ok, McKinney.
The tech throws a switch.
BLACKNESS.
INT. RYAN'S ROOM - DAY
Scene FADES IN fast and smooth. SOUND comes with it. Dr.
Wisbrod leans over the bed. Amy sits at the console.
-----------------------------------------------------------------------------------------------------
8.
WISBROD
Captain, I'm Dr. Wisbrod. You've
been, you know, out of touch for...
ORIENTAL DOCTOR
(breaking in...) Two years, seven
months, twenty one days...It's June
1993.
WISBROD
I know this is all a shock to you.
I'll stop talking and let you get
accustomed. I want you to meet...uh.
(indicates the oriental
doctor)
This is Dr. Dmitri.
DMITRI
Uh, Paul Dmitri... Hi, how are you.
Williams indicates the lone female.
WISBROD
And...Dr. Nesson...
She leans in, smiles.
SAM
Sam. I'm in charge of...the living
parts...
WISBROD
The crash destroyed just about
everything ...your face..eyes,
ears...all inputs...all outputs...
We weren't able to save your
arms...legs... We could tell your
brain was intact and active by the
EEG, but you couldn't... didn't
respond. What we did is very
experimental. We went to the brain
directly, tapped into the nerve
impulses, information channels.
We've interfaced you to our computers.
From now on, everything is electronic.
DMITRI
Your eye is an angenieux lens. The
image is converted into data analagous
to optic nerve information. You
should have control of a number of
functions, pan and tilt are just a
question of head movement.
THE LENS SWINGS FROM SIDE TO SIDE WILDLY
-----------------------------------------------------------------------------------------------------
9.
DMITRI (CONT'D)
We'll get it fine tuned.
Turns to Amy at console.
WISBROD
Amy, run IM-26 while he works with
this.
Amy puts disk into terminal. Lights show it going on line.
WISBROD (CONT'D)
Now, we are giving up depth perception
which requires two eyes, two sets of
information, but what you do have,
is basically a zoom eyeball. Since
no one has zoom muscles, we've coupled
it, I believe...I hope, to nerve
impulses controlling the muscles
that squint. If you want to zoom,
squint - relax and it returns to
wide angle. At least that's the
theory. It's up to you to find the
connections. Amy, will you run the
zoom program so Ryan can work on
that too.
PUBLIC ADDRESS SYSTEM: PAGE FOR DR. WISBROD
WISBROD (CONT'D)
I'm due in a meeting. Please work
on these things. The learning
procedures are computer generated.
Amy will work with you. Good to
see you, so long.
He exits. Sam and Amy stand.
INT. RYAN'S ROOM - ANOTHER DAY
Dmitri walks around the room stopping for sound checks.
DMITRI
Testing one two, one two.
AMY
Positive response They move to
different positions and repeat the
procedure. Pan to techs engrossed
in the computer, mumbling in technese.
In the outer room, others run tests.
Doctors, techs and officials in white
coats swarm through.
Sam enters. She is brisk and efficient. A few small hellos,
but mainly her eyes are on us - on the lens.
-----------------------------------------------------------------------------------------------------
10.
Sometimes professionally, sometimes furtively, once or twice
intimately, or are we imagining it? We watch intently, as
if drinking in her beauty; as if we had never expected to
see a beautiful girl again; as if we had forgotten.
We LISTEN to her breathing; the little sighs she makes from
time to time. All other sound seems to recede. She seems
to be aware. She stares deep into the lens for a long moment,
seeming to ask a question. Then she is aware the room
activity has stalled. They are looking at us. She breaks
the mood. She is once again brisk and efficient. She makes
a notation on her clipboard and leaves. The techs in the
room stare at the vacuum where she was. They look at me
curiously. Then the activity resumes.
Camera PANS to a polished silver pitcher on a table. Slowly,
hesitantly, it ZOOMS into EXTREME CLOSE-UP. Distorted in
the curvatures of the picture, a reflection: lumps on a bed.
A head wrapped in bandages and gauze, encased in a tubular
cradle. Wires, tubes, snake everywhere, bundled together
where they terminate in a dozen black boxes. The boxes are
covered with dials, switches and readouts: A technological
masterpiece. ZOOM into the reflection.
INT. RYAN'S ROOM - DAY - TIME-LAPSE MONTAGE
Technicians swarm, smothering us in probes, technical terms
and procedures. They are calm and efficient. A brisk "Hello,
how are you feeling this morning, can you hear me? Nod if
this causes you pain..." Each procedure, each scene is
preceded by a slate, a countdown.
We HEAR snatches of conversation and pick out small pieces
of information as the doctors and techs work..."Integrated
Research Program..."; "work on downloading his ocular data
stream into the eight gigabyte buffer..."; "university grant
for robotics..." "...feed into the DARPAnet, and tie in to
the Strategic Defense database..."; "...military applications
of pure science..."; "...Artificial Intelligence..."
Watch them move around the room and interact, we get a feel
for the personalities...Williams is stolid, Dmitri is
monomaniacally intense, Sam is sweet but distant, and Amy is
iconoclastic and fun. He alone will joke around and
occasionally wink in our direction. But we are faceless,
our feelings are but bits of data. Only a few people really
try to reach us. Sam, is one. And Amy.
AMY
How are you feeling...Okay? I'm
sorry we've been leaving you in the
dark so much. It does seem cruel
after all this time, but there's
some data we just have to get now...
while you are off-line. My name's
Amy.
(MORE)
-----------------------------------------------------------------------------------------------------
11.
AMY (CONT'D)
I'm sort of in charge of this,
(indicates computer bank) on a day-
to-day basis, so we're going to be
seeing a lot of each other. Do you
hear me?
(he nods)
Good. They've done studies... sensory
deprivation... all controlled
experiments. You're the first real
event. The first one to come back.
I hope you don't mind me talking
like this, I feel I know you. I've
been looking at your vital signs so
long I think I can almost guess at
your moods. That's what I do here,
I monitor your impulses and call
someone if there's any change.
INT. RYAN'S ROOM - ANOTHER DAY
A man in a hospital coat looks up from a clipboard, turns to
Amy. Amy nods. The man turns back. He smiles warmly.
FAHD
Morning. I'm Dr. Fahd. I've been
asked to...bring you up to date.
NO RESPONSE.
FAHD (CON'T) (CONT'D)
Um, this may be difficult. If you
want me to continue just nod, if you
want me to stop or go on to another
subject, shake your head no. You
remember everything before the crash?
(no response)
When you hit, there wasn't much left,
but your heart was strong. You were
alive. Once you were stable, they
just continued life support. All
the proper medical releases had been
signed... Your wife, Joanna, could
never accept the circumstances.
There were psychological problems...
The lens slides away, off him and stares at the wall.
FAHD (CONT'D)
We tried to communicate with you by
Morse...tapping out dots and dashes,
but you never responded in any way,
until now.
HE IS CUT OFF BY BLACK
-----------------------------------------------------------------------------------------------------
12.
INT. RYAN'S ROOM - MORNING - BATHED IN SUNLIGHT - SUDDENLY -
COLOR
Colors ripple through, then settle in as the equipment is
tweaked. Amy sits on the foot of the bed smiling. The room
is filled with flowers of all colors. Some have
congratulatory notes, attached.
AMY
Yeah, color!
He holds up a cassette, walks to the console and inserts it.
AMY (CONT'D)
And...it's in your records, you like
Brahms, used to play piano, didn't
you. I'm not really authorized to
turn you on, but what the hell...
Amy moves to console, plugging and switDmitrig as he speaks.
AMY (CONT'D)
This'll be the best speaker in the
world ...if it works.
Sam enters, smiles at Ryan, nods hello.
AMY (CONT'D)
If you're getting a signal, let me
know.
The MUSIC starts softly. Amy looks at the lens. Lens nods
once. Amy leans over and depresses a key, as Sam enters.
Amy turns the MUSIC up and goes to outer control room. The
LENS PANS him out the door and then picks up Sam. The LENS
studies her intently. It ZOOMS IN and RACKS FOCUS. She is
busy checking charts and drug dosages and oblivious of the
stare. A phone rings.
AMY (CONT'D)
...excuse me...
He answers the phone, turns away, the lens PANS back to Sam
as she works. Occasionally, she looks up at the lens and
smiles. She starts to talk to him, then remembers the music.
She comes close and sits down. She stares intently into the
lens for a moment, then breaks off and goes back to checking
the monitors around the room. The lens STAYS on her tight
as if unable to turn away. She is aware, then uncomfortable.
She becomes flustered. Finally, his staring becomes too
much for her and she grabs her charts and flees from the
room. We FOLLOW her out. Then slowly, reluctantly, we PULL
BACK into a WIDE SHOT of the room. The MUSIC ENDS and CLICKS
OFF. THEN BLACKNESS.
-----------------------------------------------------------------------------------------------------
13.
INT. RYAN'S ROOM - NIGHT - DARK - MOONLIGHT FROM THE
WINDOW.
Amy sits at console illuminated by monitor screens.
AMY
I'm not authorized to turn you on
now, but...what the Hell.
(puts hand under Ryan's
jaw)
Go ahead, I know Morse, anything you
want to say, tap it out. Don't worry,
it's my ass not yours if they find
out. They just don't think, don't
really care, whether you're bored or
what. They just all want to be the
first to do a procedure so they can
write it up and get the credit. How
about you? What have you been
thinking about in there? It does
have them worried. I mean if it
were me, I donno, in the dark for so
long, I don't think I'd see things
normally. That's what they'd like
to find out...just how much adjusting
you're gonna have to do. I figured,
look, if I was just coming back,
there are things I'd like to do and
I thought maybe I could do something
for you. You let me know.
INT. RYAN'S ROOM - DAY
Amy and Chudrah are visible in the outer room. They appear
to be shouting at each other. We cannot hear them through
the glass. We slowly ZOOM IN. The sound is boosted and
cleaned up until we can just barely hear what they are saying.
AMY
...a man...not just an experiment...
CHUDRAH
...man is part of the experiment...
supremely important part...He's our
only chance. As we are his. That's
why his activities must remain free
of non- programmed interference...
free of bias.
AMY
A little talk, communication.
CHUDRAH
...will be allowed when called for
by higher ranking people than you.
(MORE)
-----------------------------------------------------------------------------------------------------
14.
CHUDRAH (CONT'D)
I will trust their judgment, not
yours, and you will follow my orders,
not your own personal feelings, is
that clear?
Chudrah storms out of the room.
INT. RYAN'S ROOM - LATER THAT DAY
The door blows open and Dr. Dmitri enters. He nods hello to
Amy.
DMITRI
McKinney, here thinks it's time you
had your own on-off button. We tried
to put it in the nerves controlling
your eyelid muscles. Now try to
close your eyes. Remember the right
impulse? Take your time, and search..
(turns to tech)
Anything, Amy, you let me know.
(back to Lens)
We'll leave our end on. You'll have
control. Keep trying, we've got
plenty...
PICTURE CUTS TO BLACK
AMY (V.O.)
He's off, I think, I can't be sure!
DMITRI (V.O.)
Good, great! In a few days it'll
feel as natural as the real thing.
MONTAGE - ON AND OFF - DIFFERENT TIMES OF DAY.
INT. RYAN'S ROOM - MORNING
Williams, Dmitri, Chudrah, Amy, Sam and other techs.
DMITRI
We think we've tapped into your speech
center.
WISBROD
The tests indicate that you've been,
perhaps unconsciously, exercising
your speech center from time to time.
Talking to yourself, I guess. Anyway,
it shouldn't be difficult. Just
concentrate until you get used to
it. Use your muscles. Force the
air up from your diaphragm, up through
your throat, your jaw, your mouth...
-----------------------------------------------------------------------------------------------------
15.
DMITRI
Okay, the circuit's on, computer's
on-line. Give it a try.
SAM
Go ahead. Just talk.
DMITRI
Why don't we try...oh...lets try
Good Morning... Ga...ooooo....
duh...Ga oo Duh. Okay...?
A wait, he turns up an amp, turns a speaker...HISSING and
NOISE become clearer...A strange 'GRONK' SOUND is heard.
They check a paper readout, and are amazed.
DMITRI (CONT'D)
Very good! Never had a patient learn
this fast. Amazing... Only one thing.
You got GOD instead of good, same
thing, I hope. Okay, let's try again.
Another sound...sort of KKKhhhMMMMehhh.
DMITRI (CONT'D)
This is it. Looks good, It's...
He stops, as if struck, looks at the readout again, in shock.
The others quiet down. Dmitri hands the message to Chudrah
his face grim. Chudrah reads it and holds it to the camera.
CHUDRAH
You mean this?
IT READS: KILL ME NIGHT - THE ROOM IS EMPTY
Chudrah enters unsurely. He looks over, throws a few
switches, hits the chair hard. He has had more than a few.
He pulls the chair over to face Ryan directly.
CHUDRAH (CONT'D)
Been thinking. Too much probably.
My wife, ...I told her the whole
thing. Wasn't s'posed to. Secret
and all. Told her anyway. Had to.
She thinks it's wrong... inhuman.
Cruel and unusual punishment. She's
for euthanasia. Doesn't hold life
too dear. Goes back to her mother.
Incurable cancer, terrible pain
for..years. She begged for it.
Begged for death. To end it. Her's
was terrible physical pain. Yours
is, what? Did you mean it? Do you
mean it now? You know what we are
trying to do, what it could mean.
(MORE)
-----------------------------------------------------------------------------------------------------
16.
CHUDRAH (CONT'D)
And it doesn't matter? It doesn't
mean anything after all these years...
of blackness? What have you seen in
there? Are you totally mad? Is
there no chance? Why couldn't you
do it yourself? Have you been
trapped, no escape, no release? Is
that what you want...you really want?
Okay...Okay.
He pulls out a syringe.
CHUDRAH (CONT'D)
It's not hard, not that hard at all,
set us back months...years. What is
that against your problem? Why go
on, if you're going to pull the plug
anyway. You want it, you want it
now? I'll do it for you. A little
of this... practically undetectable.
Other symptoms...I can fake
afterwards. You want out, you tell
me now.
He grabs the IV tube, puts syringe to it.
CHUDRAH (CONT'D)
Say it, say it, I'll let you out.
Well? Well?
Slowly lens shakes no. Suddenly Chudrah takes the syringe
and sticks it into his own arm. He pushes plunger down,
looks up.
CHUDRAH (CONT'D)
Distilled water. To prove a point.
You didn't mean it, and neither did
I. We've all got too much at stake
to screw around at this point' Don't
we? So let's all cut the shit and
get on with it.
Chudrah leaves, SLAMMING the door behind him. Ryan slowly
PANS the room. He is alone except for the low HUM of
equipment.
INT. RYAN'S ROOM - MORNING
Dmitri, Amy and Chudrah stand. Williams leans in close,
grinning.
WISBROD
Kill me? Now that's what I'd call
a... negative attitude! And it's
not quite the point.
(MORE)
-----------------------------------------------------------------------------------------------------
17.
WISBROD (CONT'D)
We didn't keep you alive. You kept
yourself alive. Most people in your
condition have managed to expire.
No matter how much equipment we had
on them, they'd just duck under the
whole thing and...go. You didn't.
We need that. We need that more
than anything. Very few people with
your injuries make it through the
first month, let alone the first
year. You're an exception and
we...would like to know why. Will
you tell us?
A indecipherable melange of mumble and squawks.
AMY
Don't have a good contact.
WISBROD
Look, try to simplify your thoughts.
Later, when the link is worked in,
you'll be able to transmit subtleties.
Right now, simple words. Try to
make it clear.
Dmitri takes Williams to the back of the room for a
conference.
DMITRI
Maybe we should backtrack for a while.
We're getting into highly charged
areas, here. You're getting emotion
all mixed up with content. Let me
run some learning procedures first
or you'll get all confused at the
start.
WISBROD
We're too close to making this work
to take a chance onhim killing
himself.
DMITRI
You're confusing him. He's in deep
shock, and if he understands you at
all, which is open to question, you
are putting exactly the wrong ideas
into his head.
WISBROD
These things have to come out into
the open so they can be dealt with.
-----------------------------------------------------------------------------------------------------
18.
DMITRI
It's not working, you're not
reaDmitrig him.
WISBROD
Okay, it's yours.
DMITRI
(to Ryan)
Take your time. Form one word.
...a simple one.
A SOUND - JJJOOONNNA - Amy rips off paper, hands it to Dmitri.
AMY
Uh...His wife...
DMITRI
Ah...your wife's not here. I'd hoped
not to go into this...just yet.
ALMOST A SCREAM!!!
RYAN
JOOOOAAAAANNNAAAAAHGHHHOAN
NIGHT.
Amy sits at the console musing quietly to himself, an
indicator light on the console lights up and he is aware
that Ryan is awake. He speaks calmly, thoughtfully over his
shoulder at first, then turns and glides down the console
toward Ryan in his chair.
AMY
I made a tape. Can I run it for
you? Great, just switch to another
channel.
ANOTHER CHANNEL - Montage: paintings, music OVER.
AMY (V.O.) (CONT'D)
Sure freaked them out, Ryan...You
know what I think? I think it's a
smoke screen. You're progressing
much faster than anyone thought
possible. You're way ahead of them.
How far, I don't know, I won't even
guess. It's not my job... Beautiful
isn't it? Man needs to look at
beauty, that's what separates us
from the beasts.
MORNING
A manic, wiry Englishman enters and approaches the bed.
-----------------------------------------------------------------------------------------------------
19.
SHEARER
Morning. Prescott Shearer. Few
days ago they put in a new circuit.
I expect they told you. Yes? No?
Well, anyhow, doesn't matter. These
verbal programs they use...very crude
stuff. No subtleties...no...
character. Now, me, I deal in the
improved model. Charm, class, better
communication in every way. What
say we skip ahead and go for the big
one. I have some tapes of your very
own voice. You'll like it a lot
better when you sound like your old...
er...self. Let's give it a go, what
do you say...
RYAN
(distorted but just
discernable)
Fuck you.
SHEARER
(after a shocked pause)
Well, how's that gonna look in the
history books. Not as good as
"Watson, come here, I want you",
will it. However, seems to work.
Can't say much for your attitude.
..Ah, understand, quite a shock, old
boy, understand... understand, heard
you were a bit... brusque. Well,
not to worry, must be off, call my
lawyer, business manager. It's all
on line. You work at it at your
convenience. You don't need me about
pestering you, do you? No, expect
not. Perhaps we can go on when you're
feeling more up to it.
He exits. Long pause as camera hangs on door, then pull
back to include Amy at console, he turns and looks into lens,
shrugs. Fade to feedback. Video fields and electronic ghost
images. The system is awake with abstract images.
INT. RYAN'S ROOM - NIGHT
Sam approaches Ryan. Amy and Dmitri burst in as Sam, resets
his wires and tubes, smooths down the sheets. She's all
business. Dmitri takes no notice in his excitement.
DMITRI
Wait till you hear this idea!
He enters a program into the keyboard.
-----------------------------------------------------------------------------------------------------
20.
INSERT:
Graphic of a stereo system SUPERED. A series of titles flash
by.
DMITRI
Ok, this is a phantom. Touch this,
you advance the titles. Center it
in "play". That's all there is to
it. A thousand titles from Rolling
Stones to Rachmaninoff. Try it.
After a pause, Ryan moves the controls.
AMY
Good. Now just press play.
Ryan does. Wagner blares out of the system at distortion
level. Amy claps his hands to his ears, motioning Ryan to
turn it down. The volume control appears to move and the
music subsides.
AMY (CONT'D)
Terrific, you really pick things up
fast. Now you have every major
recording. You're also hooked up to
TV. The networks, 83 independent
stations. Cable...also Library of
Congress..Some data bases. All
courtesy of Uncle Sugar.
OTHER CHANNELS - MUSIC OVER.
Ryan randomly samples the channels. He switches faster and
faster. The cuts accelerate until he overloads in confusion.
INT. RYAN'S ROOM - LATER THAT NIGHT
Amy and Sam are at the console. Amy is showing her the
operation of the equipment. They are smiling at each other.
Amy gets up and exits the room, leaving Sam fooling around
with the equipment.
RYAN
Sam.
She looks up, startled, looks around the room.
SAM
Amy, what are you doing?
She gets up, looks around. The room is empty.
RYAN
It is me, Ryan .
She looks at him stunned.
-----------------------------------------------------------------------------------------------------
21.
SAM
You're talking. Wasn't that what
they were trying to get you to do
all day. Why didn't you answer them.
RYAN
Don't want to talk to them.
SAM
You shouldn't hold back. You've got
to tell them that you can do this.
RYAN
They kept me in the dark. They turned
me on and off.
SAM
They...we are doing the best we can.
RYAN
I wanted to thank you first of all.
SAM
...Why me.?
RYAN
Am I the first?
SAM
The first?
RYAN
This experiment, it all seems so
easy. So little wasted motion.
Were there others before me? Are
there others in rooms like this right
now?
SAM
There have been others, I've heard,
but not now. Not anymore.
RYAN
What happened to them?
SAM
I don't know. It was before I
started. All I know is there's no
one now, but you.
She paces the room. She's uncomfortable.
RYAN
...Tell me about yourself...
SAM
Nothing much to say, I work, I live.
-----------------------------------------------------------------------------------------------------
22.
RYAN
Alone?
SAM
Alone.
RYAN
Yeah...me too.
Sam sits on the side of the bed, touches him.
SAM
You're wife... She's...They didn't
expect you to live. She was..very
brave... The total lack of hope...
She.. um...cracked finally. You
can't blame her. She was
institutionalized. When she got out
she was forbidden to.... it was part
of her therapy, that she not come,
not see you. What good would it
have done, how could she have helped?
Ryan HOLDS on her for a moment. She looks away. Ryan PANS
away. He picks up Amy who has been watDmitrig. Amy is
embarassed. He turns back to his work...Ryan PANS back and
catches Sam staring at him.
RYAN
I wanna see her. NOW!
SAM
Ryan, She is gone.
RYAN
Don't believe it.
SAM
You were unreachable, beyond her
ability to help. You couldn't or
wouldn't respond in any way. At the
time, nobody knew this was possible.
As far as they knew, you'd be
just...no inputs, no output, just
the place where all the tubes meet.
RYAN
I want to see her.
SAM
Ryan...She's ....dead. She...it was
an accident, maybe... Look...you
can't do anything... You shouldn't
think about it. You should
think...about yourself. Concentrate
on what we are trying to do.
-----------------------------------------------------------------------------------------------------
23.
RYAN
Why didn't they tell me?
SAM
Look, all this is still very
experimental, you may think you're
over the hump, but you're not, believe
me. We've been very lucky so far,
but that doesn't mean anything.
Maybe they thought...
SHE IS CUT OFF BY BLACK.
INT. RYAN'S ROOM - MORNING
Williams and Dmitri in F.G. A table has been placed over
Ryan's lower body, extending to the wall. Dmitri holds a
miniature robot.
WISBROD
We'd like to try some motor
experiments, if you don't mind. I'm
told you were the best natural pilot
in the test program. As the first
step, we want you to run a robot. A
very simple one. Stop. Forward.
Reverse. Left and right. Think you
can do it?
RYAN
Yes.
WISBROD
Okay. Same basis as the other stuff.
Everything normaled out - arm and
leg inputs. Self-propelled, radio
controlled, powered up and hot to
trot.
RYAN
What makes it go?
WISBROD
You do.
He sets it on the table.
WISBROD (CONT'D)
Step on the gas.
RYAN
Very funny.
WISBROD
Put your foot down.
-----------------------------------------------------------------------------------------------------
24.
RYAN
What foot?
WISBROD
A minor detail.
BACK TO THE ROOM.
RYAN
My what?
Amy stops moving. She has let slip...
AMY
Wha...I'm... I'm sorry. You didn't
know?
RYAN
Know? Know what?
AMY
She was pregnant when... At the time
of the crash...
RYAN
She was hinting...trying to tell me
something...I was thinking about the
mission. I never gave her a chance.
No. It can't be.
She says nothing, busying herself with things around the
room.
RYAN (CONT'D)
Well...
AMY
Well what?
RYAN
What happened...to...her.
AMY
Adoption. I don't know where, don't
ask me. Nobody knows...
RYAN
Nobody?....
DISSOLVE BACK
to memories. Images like old Kodachromes..snatches of
dialogue, distant MUSIC...A farm. Morning light in a cow
pasture. A pretty young girl riding bareback guides a horse
throught the shallows.
-----------------------------------------------------------------------------------------------------
25.
DISSOLVE BACK
The young Joanna sees us and smiles. Other times.... Memory
pictures her house... faded like old slides. Then there is
an image of Ryan as a teenager. He is with the girl. She
is very pretty and smiles at him happily.
MEMORIES FADE
MONTAGE: DATABASE SEARCH - GRAPHICS
Ryan searches through databanks. by social security numbers,
finds her name, then addresses, then change in marital status
to Mrs. Sigafoos, changes of address, then address at Edwards
Air Force Base...then recently, another change.of address.
Then hospitalizations, doctor's records, a birth certificate,
in the name Chloe Ann Sigafoos, a baby girl... with
fingerprints and footprints, then hospitalization and
psychiatric records on his wife, Joanna... Then a trail of
prescription drugs...records of paramedics and overdoses...
A marriage followed rapidly by a divorce. Then, finally, a
death certificate. Records of adoptions. He traces...
narrows the search... all baby girls with blue eyes, a certain
weight, given up for adoption in a certain time...then he
finds the protected data-bank for the adoption agency. He
breaks in. ....all at high speed.
ANOTHER SEARCH - GOVERNMENT AND RESEARCH AGENCIES.
We see the rapid progression of forms, data, regulations and
approvals. We see forms, blank forms...find people in charge,
search their records and find their signatures. We see the
signatures forged on forms. At the same time, people are
hired, facilities are rented, a business is set up, and
funded. We see what he is doing. Ryan is building himself
a camera truck.
EXT. SUBURBAN STREET - AFTERNOON
POV: from a CAMERA TRUCK rumbling down the street. It slows,
THE CAMERA PANS around to see doors, mailboxes, anything
with a name or number. It comes to a mailbox with the name
STONE. It pulls up beside it, PANS the house and HOLDS on
it. A phone is DIALED...a DISTANT RINGING. The house is
empty. We shut down and wait.
TIME LAPSE - SUBURBAN STREET
JUMP CUTS - indicate passage of time. Traffic thins, shadows
lengthen. Sometime later, something attracts our attention.
PAN to a car coming down the street. It slows and pulls
around us to get into the driveway. A harried housewife
comes to the back and takes bags of groceries from the car.
From a backseat car-chair she takes a child. She pauses and
looks over toward us for a moment. ZOOM IN on her. She
looks thoughtful.
-----------------------------------------------------------------------------------------------------
26.
Then the kid is tugging at her and she turns and walks up
into the house. We can see her through a window.
A phone is ringing, Finally, she answers it, out of breath
from running.
WOMAN
Hello? Hello?
After a moment the connection is broken.
INT. RYAN'S ROOM - SAME TIME
Amy is at the console. The image of the suburban street
drops out.
RYAN
Were you watching that?
Amy turns, startled.
AMY
What? I'm sorry, Ryan, did you say
something?
As she paces the room, Ryan starts to frame-store various
angles of her. Finally, he finds a good angle, a CLOSE-UP.
We FREEZE on it and OPTICALLY ZOOM even tighter.
RYAN
No. Nothing. What are you doing?
AMY
Just thinking...
ISOLATE on one eye. A SUPERED graphic of an iris is divided
into sectors, each analagous representation of an area of
the body.
RYAN
...about me?
AMY
Well, yeah...I was just checking
the...
RYAN
I mean me. Me here. Not the
chemicals and frequencies.
AMY
I don't think that's fair.
RYAN
I think about you. All the time.
-----------------------------------------------------------------------------------------------------
27.
TIGHTEN on one area of the graphic. The sector is damaged,
the symptom of disease...the graphic indicates that it is
the Central Nervous System.
AMY
(uncomfortable)
...I know...
RYAN
Occupational hazard?
He has touched a nerve. She starts to say something, changes
her mind. We look closely into her eyes. They are dull,
dilated. She turns away, angry and uncomfortable.
AMY
It happens. It's natural...a natural
reaction.
RYAN
Is that why you do it?
AMY
(hurt)
I hope not. I don't want to analyze
it that far.
RYAN
I'm safe, is that it?
AMY (V.O.)
Understand the realities...don't try
to make this into something it can't
be.
RYAN
There's nothing it can't be. That's
what I'm trying to tell you.
Everything is possible. Believe me.
She hesitates, then starts away. Soft MUSIC plays.
MONTAGE - A DATA SYSTEM
Information is a blur. Suddenly, we are in.
NATIONAL DRUG INDEX
WARNING: Classified Area. Do not attempt access. Security
Clearance R3, Hl-M, Unauthorized Access Liable for Felony
Prosecution. Fed. Stat. 1606-18 Sub8 A FLASH. This field
clears and we are through. A new field appears.
LAKE, AMY NORA d/b 17FEB50 Beneath this a complete history
of every drug she has prescribed with generic name, patient,
date...etc.
-----------------------------------------------------------------------------------------------------
28.
Then we are into a drug bank marked: EXPERIMENTAL:
The drug BETA ENDORPHIN shows up regularly, as does
NEUROTENSIN. SYNTHETIC ENKEPHALIN AND DPA; D PHENYLALANINE.
A listing of all research programs in which the experimental
drugs are being tested. Among them are: MD-302, Muscular
Distrophy and CN-888, Idiopathic Nerve Degeneration.
BACK TO ROOM.
ANOTHER GRAPHIC - A MEDICAL DICTIONARY DATABASE IDIOPATHIC:
CAUSE UNKNOWN BACK TO ROOM - CU AMY
She is looking away. WIDEN AND PAN to show what she is
looking at: A monitor - Idiopathic....
She looks at him and knows he knows.
INT. RYAN'S ROOM - MORNING
Williams comes in. Camera ZOOMS in. He puts drug ampule into
receptical, hands Amy a disk.
RYAN
What's that?
WILLIAMS
Routine. I'm feeding in a mild
sedative. It'll put you out for a
while.
RYAN
Why?
WILLIAMS
We want to get some pure data. This
program isn't set up for running
when you're conscious. Usually these
are stacked up and run at night in
your normal sleeping periods. This
one we'd like to get now if it's not
too much trouble.
RYAN
Is something wrong?
WILLIAMS
No, nothing, just routine. Don't
worry. You should be getting drowsy.
You'll sleep for an hour and be up
and around by dinner. No side
effects, I promise.
RYAN
...I don't.. want to.
-----------------------------------------------------------------------------------------------------
29.
WILLIAMS
Ryan, please cooperate. This is a
medical test, its for your own good.
(to Amy)
Has he been like this long?
AMY
Just nerves.
WILLIAMS
It indicates more testing. Perhaps
we should run a complete system, a
501 and a full brain.
RYAN
Talk to me you asshole, I'm not your
fucking electric train set.
WILLIAMS
Ryan, I don't know what brought this
on, but I wish you would relax a
bit.
RYAN
I don't want the drug. I should
have the right to say no.
WILLIAMS
Not where your health is concerned.
I'm the doctor and I'm responsible
for that.
RYAN
(Groggily)
Yah, bullshit.
WILLIAMS
You're a patient here. I don't think
I should have to order you to
cooperate.
RYAN
(Groggy)
Get out of here. I've got a right
to have some say in this.
WILLIAMS
Yes and I will make a note of that.
RYAN
I mean it, get out!
WILLIAMS
The test is on the schedule. It is
not my decision to make, and if it
was, I wouldn't change it. Now just
relax. Breathe deeply...
-----------------------------------------------------------------------------------------------------
30.
RYAN
You son of a bitch, son of a God
damn...
WILLIAMS
Jesus, what set him off.
AMY
Don't know.
WILLIAMS
I think we should review some of the
psychological data.
AMY
Look, everybody has moods. It's
hard to blame him.
WILLIAMS
I know, but I think we should....
CAMERA SLIDES OFF THEM, GOES BLACK. SOUND CONTINUES.
WILLIAMS (CONT'D)
...run a few evaluations...
Bad dreams float by, then darkness. Then strange images and
voices. We don't know if it's a dream, or if it's real.
RYAN
Did you receive the check?
There is immediate suspicion on the other end.
MAN
What check?
INT. AN OFFICE - ANONYMOUS AND NON-DESCRIPT
A businessman with a suspicious air, is seen from a high-
angle surveilliance camera sitting at a desk, speaking on a
phone.
RYAN
Let's not waste time. The check is
pre-payment.
MAN
For what?
RYAN
The usual. A little black back work.
MAN
Who are you?
Ryan just laughs.
-----------------------------------------------------------------------------------------------------
31.
RYAN
I need to know who I'm working for.
MAN
No you don't.
SUPERED GRAPHIC - A CREDIT DRAFT - A SWISS BANK TRANSFERS
FUNDS TO AN OFFSHORE HOLDING COMPANY.
In the office, the computer turns itself on. The printer
spits out a notice.
EXT. STONE HOUSE - NIGHT
MOBILE SURVEILLANCE VAN MOVES IN AT A SLOW CREEP. WE ZERO
IN ON A BEDROOM WINDOW, BOOM UP AND ZOOM THROUGH TO:
INT. ANGLE - A CRIB
An infant is awake, playing with her feet, making baby noises
to herself...She becomes aware of the camera...It moves in
slowly, so as not to scare her. She looks at it curiously.
RYAN
Chloe...
He pans over to the crib...Her new name is spelled out;
Christina... He doesn't care. He speaks to himself as if to
her.
RYAN (CONT'D)
Are you Chloe. Is that who you are?
Do you know? Do you have any idea?
Will you ever know? Would it be
fair?
POV DRONE CAR - NIGHT - LOUD ROCK MUSIC - HIGHLY REVVED MOTOR.
LIGHTS WHIZ BY. POV from front of drone car as it blasts
along country roads at very high speed. It is dusk, the car
slams around corners going from light fields to dark tunnels.
The light levels change drastically, leaving lens momentarily
b blinded from time to time.
A SCREECH - The car nearly goes off the road. The lens swings
around to gaze out the side, returning to face front just in
time to correct course before hitting a bank. Speed builds
up, tires SQUEAL, GEARS WHINE as the car is driven at its
limits.
The car sways and swerves in time to the MUSIC it. The effect
is that of a fast, reckless joy ride. Then, a SIREN in the
distance. A police car appears in the REAR CAMERA.
Both cars speed up. For a few moments, the drone car loses
the cop.
-----------------------------------------------------------------------------------------------------
32.
Then, slowly, dangerously the cop car approaches nearer and
nearer. The drone accelerates to the limit with a terrible
tight curve coming up.
Beyond the curve is the river. The cop holds position, then
slows, then breaks in a panic stop.
The drone car keeps accelerating, straight through the curve
at flat-out acceleration. It hits a bank and becomes
airborne, spinning rapidly. Water, flames, then an EXPLOSION.
The screen goes dark, there is another EXPLOSION and the
sound CUTS OFF.
INT. RYAN'S ROOM - NEXT DAY
Amy enters, approaches bed.
AMY
Are you crazy, you think...you really
believe you can get away with
something like that. And don't tell
me you got it covered. You're gonna
have some visitors right now and boy
are they pissed.
Door in background opens. Chudrah and Dmitri enter. Amy,
still glaring at Ryan, retreats to his console.
CHUDRAH
(trying not to show
anger)
How are you, Ryan?
RYAN
Pretty good. This about the car?
CHUDRAH
State Police were involved in a high
speed chase last night. Car exploded
just before it flew into the River
at a speed in excess of 100 miles an
hour. They haven't recovered the
car, or any bodies, but the plates
are registered to one of our
subsidiaries. I believe you know
what I'm talking about.
RYAN
The car exploded on impact. Nothing
will be found.
CHUDRAH
You know what my orders are in the
event this program is compromised?
RYAN
But you won't.
-----------------------------------------------------------------------------------------------------
33.
CHUDRAH
Why won't I?
RYAN
We're doing too well, aren't we?
CHUDRAH
I can't believe you would jeopardize
something as important as this program
on a bonehead play like that. What
the hell were you thinking about?
No, never mind, I don't want to hear
it. I'll be hearing it soon enough
from the others. Jesus, it damn
near made the evening news. Do you
have any idea how much it costs to
cover this up.
RYAN
Why cover it up? What's the
difference?
CHUDRAH
This has the highest classi- fication
I've ever worked on. Our sponsors
are going to want to fool with this
for at least a week before it shows
up in Popular Science.
CHUDRAH EXITS AMY MOVES CLOSER
RYAN
I screwed up.
AMY
I've never seen him so pissed.
RYAN
What'd he mean?
AMY
I'm just a tech here, a hired
soldering gun, what do I know? But
screw up again and you'll be trying
to run this junk on D cells.
MONTAGE: FINANCIAL AND ECONOMIC DATA
Flashing at extremely high speed. Arcane formulas, data
banks, Swiss Francs, Portugese Lira, debentures, coded
accounts, financial instruments. Ryan is busy at something.
INT. RYAN'S ROOM - LATER THAT NIGHT
Amy is at the console, working irritably.
-----------------------------------------------------------------------------------------------------
34.
RYAN
I'm real sorry about the car.
AMY
(curtly)
Don't tell me. Tell the rest of
them. They're still mad as hell.
RYAN
I want to make it up.
AMY
Just forget it.
RYAN
And I want to make it up to you.
AMY
Leave me out of it, Please.
RYAN
No. I can't. You're my friend, I
got you in trouble, I shouldn't have
done that. It was very thoughtless,
very selfish of me.
AMY
I accept your apology, forget it.
The TELEFAX PRINTER suddenly activates. Amy is startled.
He looks at Ryan suspiciously, then tears the copy from the
maDmitrie.
AMY (CONT'D)
What? A check in my name...for a
million dollars!
RYAN
Count the zeros again.
He looks again. His eyes bug out.
AMY
What have you done? Are you crazy?
I couldn't cash this if it were real.
RYAN
It's just a souvenir. The money's
already in an account for you.
AMY
You...you can't do that.
RYAN
Doesn't compute. Did it!
-----------------------------------------------------------------------------------------------------
35.
AMY
How?
RYAN
With my computers. It's called
Salami. A lot of thin slices, a few
cents here, a few cents there, times
a few million. Nobody will ever
know. They won't have a clue, unless
you're so dumb as to try to put it
back.
AMY
What if they find out?
RYAN
How they gonna find out? No finger-
prints, just various glitches.
AMY
They'll trace it somehow..
RYAN
Laundered cleaner than you're socks.
Considerably cleaner. This cash has
been around the world a few times.
London, Geneva, Stockholm, South
African gold. Made money in every
transaction. I should, I have
immediate access to the best financial
reports...in fact, all the information
in the world, just a matter of paying
attention..
AMY
But...
RYAN
Don't worry, there's plenty more
where that came from.
AMY
How much?
RYAN
This is just profit. I put the
original back. We can't get caught.
AMY
It's not that.
AMY (CONT'D)
What about the program?
RYAN
It'll go on. Under new management.
-----------------------------------------------------------------------------------------------------
36.
AMY
What are you gonna do, buy out the
government?
RYAN
Yes.
AMY
You are crazy.
RYAN
You'll have everything you need.
Everything you can imagine and more;
everything I can imagine, and I can
imagine a lot. We will live anywhere,
everywhere in the world. And we
will live well. You, me, Amy.
EXT. BUILDING FROM HIGH ROOF, OVERLOOKING COUNTRYSIDE.
PAN 360`.
AMY (V.O.)
What's that? Where'd you find that?
RYAN
Surveillance system. Building
security.
AMY (V.O.)
But you're not connected to that.
RYAN
Details.
AMY (V.O.)
(sarcastic)
Great, now you can look outside
without permission.
RYAN
But look what's there.
THE CAMERA PANS, comes to rest on a satellite dish.
RYAN (CONT'D)
A ground station. The size is a
clue. Ten meters means it's probably
capable of sending and receiving. I
checked it out. It is.
AMY (V.O.)
They control it downstairs.
RYAN
Sometimes.
-----------------------------------------------------------------------------------------------------
37.
AS THEY WATCH IT MOVES.
AMY (V.O.)
Ryan, don't screw around with it.
RYAN
They don't use it half the time.
All that potential going to waste.
I can send on it too.
AMY (V.O.)
What would you send?
RYAN
I'll think of something.
PIX CITYSCAPE.
RYAN (CONT'D)
Surveillance cameras. All important
buildings. Here's, let's see, City
Hall Boston.
A VARIETY OF SHOTS FROM SURVEILLANCE POSITIONS - BOSTON
RYAN (CONT'D)
Washington seems to have more cameras
than people.
VARIOUS SHOTS - WASHINGTON PUBLIC BUILDINGS
AMY (V.O.)
Those are closed circuits, short
range only...
RYAN
Very few I can't get into if I want
to. The only trick is finding out
where they are electronically.
Luckily I have access to some good
computers. Sooner or later I can
find anything. Here! New York.
Sheik Akmad Amani, Central Park South,
his game room.
SHOTS OF SEMI NUDE GIRLS RELAXING IN BATHS.
RYAN (CONT'D)
The Sheik sometimes likes to tie in
by remote. Makes those boring oil
conferences go much faster.
AMY (V.O.)
What if...
-----------------------------------------------------------------------------------------------------
38.
RYAN
What if I want to go somewhere where
there isn't a camera?
AMY (V.O.)
Yeah, right.
RYAN
I order one. Through the .O.I.S.,
Office of Internal Security. I have
the secret codes, computer
access...access to everything!
EXT. AERIAL POV
CAMERA ORBITS SLOWLY at 1500 feet. An All-terrain vehicle
tears across the ground. The camera centers cross-hairs on
the vehicle. A red laser designator follows it despite its
attempts to evade.
WILLIAMS
Very good, Ryan, bring it in.
The CAMERA banks away, rolls in and drops to the landing
strip. It picks up the tech on the runway, flares to a
perfect landing. It rolls out and taxis to them. One walks
over to us. As he approaches, he seems to grow to gigantic
proportions. His foot fills the frame. A hand comes down
and picks up the whole airplane.
CUT TO - ANOTHER ANGLE - FROM THE MOBILE VAN
Dmitri, holds the plane which is no bigger than a model.
DMITRI
You killed every tank in the 3rd
division.
RYAN
Just like the Bekaa valley.
DMITRI
Better.
AMY
If you're through, I'd like to go.
DMITRI
Sure, where you going?
AMY
Oh, meet some friends...
MONTAGE - DARK EROTIC DREAMS
Female forms rythmically, sensually moving. Occasionally
Amy's face is discernable...then sometimes, Joanna's.
-----------------------------------------------------------------------------------------------------
39.
INT. RYAN'S ROOM - NIGHT
Amy at console.
RYAN
Hey, Amy, look at this, will you.
Amy turns and tunes the monitor. An image appears. A digital
rendering like a pointilist painting. A sequence of angles:
dreamy..
BACK TO AMY - SHOCKED...VERY UPSET
AMY
What have you been doing? How did
you do that. That scene, it's not
even real, just my imagination. How
did you get it?
RYAN
Just picked it up.
AMY
That's my mind, that's sneaky of
you.
RYAN
I'm sorry. I didn't mean anything.
AMY
You should let me know.
RYAN
I thought we were friends. I thought
we could speak to each other.
AMY
We can, we can, but I just don't
like...
RYAN
You do it to me all the time. You
all do.
AMY
That's different.
RYAN
How?
AMY
It just is.
RYAN
I thought things were 50/50 with us.
-----------------------------------------------------------------------------------------------------
40.
AMY
They are, of course. I'd just rather
you asked me before you try that
again, Okay.
EXT. (DRONE CAR) POV PULLS UP IN A CLEARING AT DUSK.
A clearing seen through sparse woods off a dirt, country
road.
RYAN
This is it.
AMY (V.O.)
It's lovely.
RYAN
Come on. Take the portable in the
back seat.
She comes into frame reaDmitrig behind the LENS.
RYAN (CONT'D)
Don't forget the wine.
AMY
Really! Wine?
RYAN
I hope it's good. I generally pick
them for their color.
AMY
Well?
RYAN
Right in back of you. The path
through the woods.
She turns and starts up the trail. Ryan's mobile camera
follows. They come into a clearing overlooking a bend in
the river. The setting sun glints off the water and the
surrounding trees wave in the dying light.
AMY
Oh, it's beautiful.
RYAN
Used to come here when I was a kid.
She sits. The sun is setting behind her. The leaves are
gold.
RYAN (CONT'D)
Please, have some wine.
-----------------------------------------------------------------------------------------------------
41.
AMY
Here's looking at you, kid.
RYAN
Here's looking back.
RYAN (CONT'D)
I see a lot, Em, more than people
give me credit for.
AMY
I guess, a little...I don't
want...that.
RYAN
I want you to be happy. I'd do
anything.
She looks away.
AMY
Beautiful, isn't it.
RYAN
That nuclear power plant. If the
melt down had occurred, this area
would have been contaminated for
hundreds of years. A void, no people,
no people at all.
AMY
Just radioactive squirrels and...
RYAN
And me
AMY
You?
RYAN
Sometimes I think cancer is the
dominant form of life here. Radiation,
nuclear bombs, pollution, smog,
insecticides, cancerous poisons in
the air and water, in food, in drugs.
The earth is becoming a terrible
place for a human to live. But for
us, me and the maDmitries, it's like
a spring breeze.
AMY
You and the maDmitries. You're going
to take over?
RYAN
Too soon.
-----------------------------------------------------------------------------------------------------
42.
AMY
Well, I'll keep my body for the time
being. Maybe when it gets old and
wrinkled, I'll trade it in.
RYAN
You better take care of yourself.
AMY
You too.
RYAN
You look tired. I have a place.
AMY
A what?
RYAN
You could go away. We could just
go, the two of us.
AMY
Ryan...you're...
RYAN
Serious. I know what drugs you're
taking and why! Give me a chance.
AMY
Ryan , you've got to stop this.
It's got to end badly. I don't want
it to.
RYAN
Neither do I.
MONTAGE - DIFFERENT TIMES
He watches Amy with Amy. He watches her alone. He watches
her watch him.
INT. RYAN'S ROOM - LATER
Amy works in the outer room. She looks up, as if called,
and enters. AMY Did you want me?
RYAN
How did you know?
AMY
(a little confused)
I...don't know...just felt..you did.
(she sniffs the air)
What's that?
RYAN
Lilacs, apple blossom.
-----------------------------------------------------------------------------------------------------
43.
AMY
It's like ...I smell them, only...
RYAN
Want to taste them?
AMY
You're doing that, but how?
RYAN
Magnetoencephalography. Electro-
cortical stimulation.
AMY
(slightly dizzy, leans
on bed)
I feel...
RYAN
Sexy?
AMY
No..sexy?
RYAN
You radiate it.
AMY
How do you....?
RYAN
..I know you. Inside and out.
RYAN (CONT'D)
MaDmitrie intuition.
She smiles.
RYAN (CONT'D)
You love ...me.
AMY
Ryan, you know I care about you...but.
RYAN
But you need more.
AMY
I guess so...
RYAN
Good. Cause it's all in the mind.
AMY
(skeptically)
Not all?
-----------------------------------------------------------------------------------------------------
44.
RYAN
Like sex. It's just a mingling of
nerve ends. An orgasm is not a
genital event, it's a neural one.
You ever hear of status orgasmus?
AMY
What's that?
RYAN
Very rare.
AMY
Tell me what it is.
RYAN
I could show you.
AMY
You could?
RYAN
Yes. Just open your mind.
AMY
You're crazy.
CLICK OF A DOOR LOCK. She feels hot, opens a button on her
blouse.
RYAN
That's what they tell me. The room
is locked. We're alone. You're
hot.
AMY
I am not.
RYAN
Your pulse is up.
AMY
You're making me nervous.
RYAN
Hot and bothered.
AMY
No.
RYAN
Why are you flushed?
AMY
I'm not.
-----------------------------------------------------------------------------------------------------
45.
RYAN
The flush. Your ears are burning,
your pupils dilated, vasocongestion,
elevated muscle tension.
AMY
I know the symptoms.
RYAN
What does it mean?
AMY
I..I'm a little...
RYAN
Excited.
AMY
Ryan...
RYAN
Concentrate.
AMY
This is...
RYAN
Possible.
AMY
...not happening!
She shudders.
RYAN
What's that?
AMY
Chills up my spine.
RYAN
Child's play.
AMY
It's you?
RYAN
It's us.
Her body seems to glow with visible energy. Colors radiate
from her.
RYAN (CONT'D)
There's much more than the visible
spectrum. You're as pretty as you
feel.
-----------------------------------------------------------------------------------------------------
46.
She squirms as the colors intensify.
AMY
Oh, God. I feel...How do you do
that?
RYAN
Let's not talk technique.
She reaches for him.
RYAN (CONT'D)
That's the old way. This is the
new.
She shudders orgasmically. She brushes her damp hair away
from her face and slumps in her chair.
AMY
You shouldn't do this.
RYAN
You're free. You can walk out
anytime. Do you want to leave.
Shakes her head.
AMY
What do I do?
RYAN
Just give in. Come along with me.
Make the connection.
AMY
I'm...
RYAN
I can feel you. I can feel your
heart. I can feel your skin. Under
your skin. I'm with you. The blood
is rushing to your breasts..I can
feel it. You're ready. I'm there,
I'm already there. Let go, let...come
with me...
MONTAGE: CEREBRO-SEXUAL
She appears to pulsate with the Music. Waves of electronic
colors wash down her body and out her arms and legs, then up
to her brain and down again to her breasts, her legs. The
cycle speeds up and she is MOANING, stretDmitrig her body.
We can see the waves rippling off her into the air.
-----------------------------------------------------------------------------------------------------
47.
MONTAGE: CEREBRO-SEXUAL
The colors come at us and we are engulfed. She shudders all
over, her eyes widen, she MOANS and her body dissolves in a
shimmering shower of pulsating electrons. The real world
FADES and we are DISSOLVING, co-mingling waves of energy...a
mindfuck..an inner world of rhythmic patterns, orgasmic
movements, the whole cosmos is alive with pro-creative energy,
orgasmic shapes, arms, legs, breasts, fins, tails-- the orgasm
builds and over it, rising and falling with the waves, a new
SOUND. She is MOANING in time with the waves, in sync with
the visual flow. We HEAR a new sound, a mixing of all her
unique elements; blood flow, cerebral activity, nerve
firings...and the Humming/Moaning sounds she makes deep in
her throat...her unique SOUND SIGNATURE... then it hits her
and she screams...
INT. RYAN'S ROOM - LATER THAT NIGHT
The real world FADES IN. Amy slumps in her chair, semi-
conscious, eyes unfocused, wet hair plastered to her face.
She is ravaged, still fully dressed. She tries to rise.
She looks like a bomb victim, totally distracted and even
sexier than before.
RYAN
Don't go. There's more.
AMY
Oh, God. I wouldn't live through
it.
RYAN
Has there ever been anything like
that before?
AMY
No, you're the best, I promise
(laughs) I mean..what? how...when
did you...?
RYAN
I'm inspired. I'm in love.
AMY
God help me. God help us. I have
to go.
RYAN
You can't.
AMY
Why not.
RYAN
You can't leave. I'm with you.
-----------------------------------------------------------------------------------------------------
48.
She shudders.
POV - A JET ROCKETS ALONG AT MACH THREE
It hugs the ground. Objects on the ground zip by so fast
they blur. We top a rise and burn down the other side,
following a valley at supersonic speed through ground mist
and low clouds with impossible maneuvers and split second
timing. We scream around a cliff in an impossibly tight
turn and straighten out. Before us in the distance we see a
town. A bridge straddles the river. A superimposed aiming
sight comes on screen.
RYAN (CONT'D)
Target in sight.
A pulsing, high-pitched TONE changes to a low GRUMBLE as our
missiles lock on.
RYAN (CONT'D)
Locked on. Permission to fire...
RADIO (FILTERED)
Permission granted.
A WHOOSH as the rockets sail out from under the screen. We
lose sight of them as we take a tight climbing turn out of
there. Now a new NOISE is heard. Something is tracking us.
RADIO (CONT'D)
Missile radar locked on you. Take
evasive action.
The sky and ground fly apart as we are wrenched around in
evasive maneuvers. Then we fly straight for a time. We
cant over and see what looks like three telephone poles blast
up at us.
RADIO (CONT'D)
Wait for it. Wait for it.
We stay canted over watching them snake up at us.
RADIO (CONT'D)
Now.
At the last micro second, we wrench over in evasion. A tight
cork- screwing turn and one missile flashes past. Another
violent turn suddenly a violent EXPLOSION and BLACKNESS.
RADIO (CONT'D)
Too bad. You broke just a moment to
early...gave them a chance to adjust.
-----------------------------------------------------------------------------------------------------
49.
BACK TO ROOM SAME TIME
The VOICE fron the radio continues. It now has a face and a
uniform. He is looming over a portable flight simulator.
INSTRUCTOR
The theory, as you may recall, is to
get between the missile and another
source of heat..the sun. Draw him
into locking on the sun and then
slip out from in-between. It's tough
when they launch a flock. You timed
the first one right, the second came
too close on his heels and iced you.
Okay, try again.
POV - Screaming through another landscape.
MONTAGE - WEIRD CEREBRAL ACTIVITY - NIGHTMARE LANDSCAPES
INT. RYAN'S ROOM - NIGHT
It is quiet, only the HUM of the maDmitries. Amy comes in.
She pulls up a chair and sits next to Ryan. The monitor
casts a flickering glow on her face. She says nothing but
seems to be communicating on some other level.
MONTAGE: Strange patterns, SOUNDS, distorted images and
interference.
RYAN
Something's wrong. I have a feeling.
AMY (V.O.)
You have a feeling?
RYAN
I know. It's not scientific. I
can't place it. It's... There's
something going on. I get hints.
AMY (V.O.)
Hints?
RYAN
Not intentional, I'm sure. Traces,
tracks where they've been. Everything
that passes, an animal, a program,
leaves a sign of its passing. I can
feel it. It's still warm. There's
something in here with me and I don't
know what it is..
MONTAGE
Changes to a search throught crystalline forms. An occasional
energy beam slices at us, we dodge instantaneously.
-----------------------------------------------------------------------------------------------------
50.
AMY (V.O.)
What do you think it is?
RYAN
You know what a virus is?
AMY
Yeah, sure.
RYAN
A software virus...
AMY
(hesitates)
When...they think a program may be
getting out of hand, getting to
strong, too uncontrolled...growing...
They create another program...a
bug...a virus that attacks the host
program...
RYAN
Maybe they got more than one of me.
Maybe the other side has one. Maybe
the maDmitrie has reached critical
mass. Maybe you guys created a
monster. Maybe it's God, maybe the
abyss is looking back at me, how the
hell do I know. You don't believe
me, do you?
BACK TO ROOM - SAME TIME
Amy is concerned.
RYAN (CONT'D)
Maybe I am crazy.
AMY
You're not crazy. You're overwrought.
Why don't I get you some
tranquilizers.
RYAN
What are you trying to do.
AMY
I'm trying to help you. What do you
think? ... You really think they
downloaded something, some program
in with you?
RYAN
You don't believe me.
-----------------------------------------------------------------------------------------------------
51.
AMY
Who would want to attack you? For
what reason? What is it, the flying,
it bother you?
RYAN
The flying, hell no. I love it.
Almost as good as the real thing.
AMY
It is the real thing. As real as
it's gonna be from now on. It's
obvious. We got planes, guns that
can fly and shoot faster than you
can think. But take a man up there
you gotta have pressure suits, armor,
oxygen and for what? All that stuff's
expensive; millions per plane in
creature comforts. What if we didn't
need it.
He is up, walking around the room.
AMY (CONT'D)
And we don't, because you can be
there and never leave this bed. The
next wars are going to be fought by
unmanned drones and missiles. They
are faster, meaner and cheaper to
produce and you don't use up expensive
pilots. You get shot down, you just
take up another aircraft. Neat,
clean, no blood, and no dead bodies
falling out of the sky. What's wrong
with that?
RYAN
They want me to run their maDmitries.
They want me to be their long range
missile. But they want control.
They want me scared.
AMY
Looks like they've succeeded then.
RYAN
Who's side are you on?
AMY
There are no sides, no conspiracy.
If there were, I would know about
it.
RYAN
You're just a technician, you said
so yourself. Why would they tell
you?
-----------------------------------------------------------------------------------------------------
52.
AMY
I'd know. I run their little programs
for them. Just relax and do what
they ask. What have you got to lose?
RYAN
My self.
AMY
Your what?!
RYAN
My soul.
AMY
Look, I know what you're doing.
You're working yourself into a
paranoid state. Too much time to
think, too many drugs. You don't
like to have someone else in control
of your life. Neither does anybody
else, but we have to submit to it.
These weapons have immense power,
the people in charge need some
reassurance.
RYAN
So they keep me wired, and if I look
like a bad bet for any reason, poof,
like the others. Don't bullshit me,
I found traces. There were others.
AMY
Every experiment has its failures.
RYAN
What happened to them?
AMY
The plug.
RYAN
Just like that?
AMY
No, first a dinner dance.
RYAN
Fuck you.
AMY
...Then a medal, then lights out.
Write it off as equipment failure,
or don't write it at all, who's gonna
know.
-----------------------------------------------------------------------------------------------------
53.
RYAN
Why?
AMY
Why! The big question. Because
they go crazy, an instability we
can't control. They turn manic and
go singing through the wire, they
turn depressive and try to hide in
there. Maybe they were nuts to start
with. Maybe there's some factor we
don't know about. Maybe ...there is
something else in the system. Maybe
all humans are nuts and it just
doesn't show so much on the rest of
us.
RYAN
And you just turn them off and leave
them in the dark.
AMY
What do you do with crazy people
anywhere?
RYAN
Maybe they're the ones I hear.
Calling to me. Trying to patch in.
Trying to get back on line.
AMY
You got to watch yourself. Fight
these tendencies. Act like a normal
person. You've got to stop pushing,
relax, do what they want, nothing
else.
RYAN
Or else.
AMY
(nods)
Or else. Don't you understand?
You're plugged in. Everything,
everything you see, hear, think...
all the imagery you produce. It's
recorded. They have it.
RYAN
They watch everything?
AMY
They spot check. The computers are
programmed to look for anomalies...
stress, excitement, changes in
patterns.
-----------------------------------------------------------------------------------------------------
54.
RYAN
What will they do to you for telling?
AMY
If things work out, nothing.
RYAN
What about me.
AMY
From now on, you have to be good.
RYAN
You know?
AMY
I'm the one who's been trying to
cover it up for the last eight hours.
How did you do it? How did you
arrange all that?
RYAN
Lots of money.
AMY
Ryan, for Christ's sake. They're
gonna blame me for this. I'm the
one supposed to keep my eye on you.
I'm sitting here like a jerk. What
do I say?
RYAN
It'll blow over.
AMY
Blow over!
HOLD ON AMY - He starts to say something, changes his mind.
MONTAGE - VIOLENT SCENES - LATER
Abstract motions dynamically moving through the scene. SFX
of violence...people being beaten up, punches, kicks, not
really seen. Implied anger and aggression.
SERIES OF IDYLLIC SCENES
Nature, flowers, birds flying; MACRO SHOTS of grass, etc.
VIOLENCE AGAIN.
Shorter, more brutal. The SOUND is retarded so the violent
pictures appear over the idyllic shots. Vaguely and mostly
hidden, recognize Chudrah, Williams and others being beaten,
killed. Anger comes through again despite attempts to mask.
-----------------------------------------------------------------------------------------------------
55.
CUT BACK AND FORTH - ending on a pastoral scene...woods,
countryside.
AMY (V.O.)
You must be feeling better.
RYAN
I'm okay.
AMY (V.O.)
The important thing is to relax. Be
honest with yourself. You have
limitations just like all of us.
A momentary violent image breaks through.
RYAN
I'm gonna kill Chudrah.
AMY (V.O.)
Ryan, don't even kid around.
More idyllic countryside.
AMY (V.O.) (CONT'D)
Words like kill will pop this whole
conversation out to be checked.
RYAN
Not this one.
AMY (V.O.)
Why not?
RYAN
Cause this one I lose. They check
this time and channel they're gonna
get these post cards from the
countryside.
AMY (V.O.)
They got some good brains working
for them. It can't be that easy.
RYAN
I got nothing else to do. I can
hide things faster than they can
find them.
AMY (V.O.)
And then what?
RYAN
Nothing, just a little bit of freedom.
It's in the constitution, freedom
from unreasonable search.
-----------------------------------------------------------------------------------------------------
56.
AMY (V.O.)
We all lost that one a long time
ago.
RYAN
Well, I'm gonna get it back.
MONTAGE: High speed search of surveilliance channels.
AN OFFICE dimly picked up. We can't hear what is said.
They get up and leave. BLACK. The scene is rewound and
played again. First the picture is dealt with. As a door
opens, light is thrown on one of the faces. FREEZE and ZOOM
IN TIGHT. The quality deteriorates with the ZOOM, but there
is enough information to recognize him; Chudrah.
HOLDING TIGHT, we rewind and work on the sound. It is
computer synthesized from lip movement, just clear enough to
understand. Now the sequence is run from the top.
CHUDRAH
...update on everything. I want to
know mental state, psychological,
physiological...everything.
WILLIAMS
Yes sir.
CHUDRAH
Any problems of the magnitude
suggested here, anything we can't
handle, I want to know...in time to
make the decision.
WILLIAMS
There is no question of instabilty,
he is unstable, by any criterion.
He knows a lot and his potential is
greater that the expected parameters.
I'd say we must definitely control
his access to the outside and...
CHUDRAH
(interrupting)
...Whatever else is necessary.
UNDERSEA SCENES - WIDE SCREEN - FULL GRAIN
Strange SOUNDS are heard - distant SQUEAKS AND SQUEAKS: Whale
and Dolphin language. The sound information is transposed
into its visual analogue. POV rushing through the murky
water. Suddenly, as they emit sounds, the images of whales
and dolphins appear. The contours of their bodies decay as
sound energy as they fade out of hearing. Ryan is imaging
from sonar information.
-----------------------------------------------------------------------------------------------------
57.
AMY (V.O.)
What's all that?
INT. RYAN'S ROOM - AFTERNOON
RYAN
Dolphins, whales.
AMY
(joking)
Friends of yours.
RYAN
Aquaintances.
AMY
Do you talk to them?
RYAN
In a way.
AMY
What about?
RYAN
Lots of things. They seem very
curious.
AMY
What do they want to know?
RYAN
Different things.
AMY
For instance.
RYAN
Well... They want to know...if men
are going to kill them.
AMY
What do you tell them?
RYAN
I tell them yes.
She stares at him as if she wants to say something but can't
figure out how to begin.
RYAN (CONT'D)
What's wrong?
AMY
Nothing.
-----------------------------------------------------------------------------------------------------
58.
RYAN
You can talk to me. I hope you can.
I hope there is nothing you can't
talk to me about.
AMY
(hesitates, then, in
a rush)
They're scared. They didn't think
you'd grow so fast, learn so..It
scares them.
RYAN
What else?
AMY
You...you're....
RYAN
(angry)
What have they been doing, training
me... For what...for war again. I
know that. You're with me. You're
on my side. You're the only one,
you and Amy. You know who I am. I
want you with me. I just need to
know I'm not helpless.
AMY
Ryan, take a stand. Do something.
What have you got to lose?
RYAN
I'll take care of everything. Just
stay calm and trust me. don't let
on. I'll get out of this. I'll get
us all out of this. Just pretend
nothing is wrong.
She realizes she is not reaDmitrig him, she can't. there is
no way to convince him, there is nothing more to say.
RYAN (CONT'D)
Wait!
MONTAGE - SURVEILLIANCE CAMERAS OF HOSPITAL CORRIDORS, LABS,
OFFICES. FAST SWITCHING...SEARCHING.
AN OFFICE
Amy gathers her things. Williams is trying to hold, to talk
to her.
WILLIAMS
What are you afraid of, you afraid
of him?
-----------------------------------------------------------------------------------------------------
59.
AMY
I just don't want to be here when it
happens.
WILLIAMS
What's gonna happen? Nothing's gonna
happen. What can he do?
AMY
It's what he can't do. He can't get
away. I feel, I feel somebody's
going to do something to him.
WILLIAMS
Maybe for the best.
AMY
What?
WILLIAMS
It's his own fault, I've tried to
talk to him. He doesn't listen.
He can't fight them all... Chudrah,
the university, the government.
They got it covered. They got the
power. He's isolated. Nothing you
or I can do will matter.
AMY
Except to him. And us.
WILLIAMS
That's right, us. I wish I could
help him. I really do.
AMY
And you won't try. Why? Because of
me.
WILLIAMS
No...
AMY
You must try to help him. You must.
WILLIAMS
It may have gone too far.
She looks at him for a moment, then brushes by him, SLAMMING
the door as she leaves.
MONTAGE
COMPUTER GRAPHIC..in rippling vivid colors.
-----------------------------------------------------------------------------------------------------
60.
MONTAGE
What looks like a pathway...or maybe it is biological...nerves
leading to a spinal column rotating as we ZOOM UP into....
We don't know how he got there but he seems to be
looking...scanning into the architecture of a live human
brain.
INT. AMY'S APARTMENT
EXT. CITY STREETS - NIGHT
Mobile camera truck pulls up to crowded open air cafe.
Chudrah, Williams Dmitri and others are surrounded by
revellers. The NOISE is deafening as they talk...Ryan cuts
the SOUND. Now there is SILENCE. As we get a clear shot of
someone's face, their VOICE is synthesized, metallic but
discernable.
DMITRI
...and...he's not sleeping. Not at
all.
WILLIAMS
His activity levels, in certain
regions of the brain don't slope off
as they should during sleep, or in
what we've been reading as deep sleep.
In fact, in certain levels, his brain
activity goes up, way up.
CHUDRAH
Why didn't you tell me?
WILLIAMS
We weren't set up to discriminate
...minute areas. We ran a special
program. The output didn't fall
within new parameters, It led us to
investigate the...
CHUDRAH
Why wasn't I notified?
WILLIAMS
We just found out.
CHUDRAH
How long has this been going on?
WILLIAMS
We're checking.
AMY'S APARTMENT - NIGHT
Through the half open door to her bedroom we can see her
sleeping form. The phone rings. She doesn't stir.
-----------------------------------------------------------------------------------------------------
61.
ZOOM into close-up. Her breathing is shallow. Pan to the
night table. A syringe and drug bottles are visible. Another
PHONE LINE is dialed, connects.
OPERATOR (FILTERED)
Metropolitan Police Ambulance.
RYAN
Possible barbiturate overdose. 96
Herford, third floor. Name is Lake.
MONTAGE - THE SEARCH
Computer graphics of nerve systems, synapses, nerve bundles
firing. Then, superimposed maDmitrie architecture, then the
model and the living human brain reduced another level to
DNA, RNA. We comb the double helix searDmitrig, learning.
We SEE the maDmitrie model learning, adapting. We SEE that
at the very basic levels of life and intelligence, there is
less and less difference after all.
STREET - MOMENTS LATER
Mobile Camera Truck pulls up in time to SEE Amy being brought
downstairs unconscious. She is put into an ambulance. We
pull in behind and follow it to a hospital. It goes past
the entrance and through a special gate to a small emergency
heliport. The ambulance pulls up beside a jet helicopter.
Amy is transferred and it takes off. We PAN IT out of sight.
INT. RYAN'S ROOM - NIGHT
We come on line. Nothing is happening, but we have a sense
that something soon will. Amy bursts through the door. He
is distraught. He glances around for outsiders, he glances
at the equipment indicating that Ryan is awake and on line.
He approaches the lens.
AMY
She's gone!
RYAN
Yeah.
AMY
Disappeared. An ambulance
helicopter... she ..You know!
How...do you know?
RYAN
I saw it happen. Tried to call you.
AMY
Where is she?
-----------------------------------------------------------------------------------------------------
62.
RYAN
The last I saw, a helicopter took
her off.
AMY
Did you track it?
RYAN
It disappeared from radar.
AMY
But why, what happened?
MONTAGE:
Helixes, synapses grow smaller as we
rapidly change magnitude to full
brain and upper torso - A vividly
colored figure, moving and changing
in rippling colors...a scan of the
skull, a sectioning of the brain.
Dark grey, spidery streaks are
visible.
RYAN
You know what this is...?
BACK TO ROOM
Amy, dialing phone frantically, he
glances up, impatiently.
AMY
Video painting...not now.
MONTAGE - RYAN
RYAN
A spectrogram...heat picture of the
body. Healthy areas show up in
assigned colors...Red means good
blood flow.
AMY (V.O.)
(growing suspicious)
And the grey areas?
RYAN
Disease.
BACK TO ROOM - SAME TIME
AMY
How bad?
RYAN
The worst.
INSERT: The figure transforms to normal picture. It is Amy.
-----------------------------------------------------------------------------------------------------
63.
BACK TO ROOM - Amy looks at the monitor, stunned.
RYAN (CONT'D)
She OD'ed.
AMY (V.O.)
(rattled)
No, God. But where'd she go? Who's
taken her? Maybe she...wanted to
get away. Maybe she knew you were
watDmitrig her and just wanted out.
Amy picks up the phone and dials.
AMY (CONT'D)
Any luck. You sure? Yes, anything,
anytime.
(to Ryan)
Try not to worry. I'll be back in a
while.
He leaves. Ryan holds on the room for a moment.
MONTAGE - THE SEARCH BEGINS.
Series of GRID SHOTS of the city.
SURVEILLANCE CAMERA SHOTS from a downtown area. Exteriors
of hospital buildings. Finally a small entrance way.
ZOOM past a sign; SUFFOLK NEUROLOGICAL INSTITUTE.
A further series of interior surveillance cameras. Different
floors. Finally we trace to master control. We see 32 camera
POV's of each floor. Then 32 more, then 16 of these 32,
then 8, then 4. These monitor intensive care.
INTENSIVE CARE UNIT
A small group of TECHNICIANS and SURGEONS cluster around a
body on an operating table. The OVERHEAD CAMERA ZOOMS IN.
They work feverishly. Wires come from the skull of the
patient. We come in closer and recognize Amy. Her eyes are
open and sightless. Her body is connected to advanced
maDmitriery. It is constantly monitoring.
DOCTOR
What happened. Did something just
happen?
CAMERA ZOOMS to her face in EXTREME CLOSE-UP.
RYAN
Amy, can you hear me. It's Ryan.
Amy, Amy.
-----------------------------------------------------------------------------------------------------
64.
2ND DOCTOR
Can you hurry the procedure? lST
DOCTOR No. Give me power.
A tech moves to the equipment, and reaches for a switch.
Just before he gets to it, it turns itself on. The tech is
shocked. He turns to the others, is about to say something
when...A MOAN stops everybody in their tracks. She is awake,
straining against the restraints. Her eyes are wide,
unfocussed, but questioning. They press her back down. Her
eyes suddenly focus on US. She smiles a very slight smile.
The MUSICAL SOUND, her signature... is heard again, heard by
all the techs, they seem to follow it into the equipment.
Then the light in her eyes goes out. All the ALARM BELLS
AND BUZZERS GO OFF.
NURSE
We're losing her.
2ND DOCTOR
It's not possible. lST DOCTOR It
seems it is.
MORE ALARMS kick in. lST DOCTOR Can you kill that noise,
nurse.
Feverish activity to save her winds down. It is to no avail.
The pulse stops, brain activity stops.
2ND DOCTOR (CONT'D)
Forget it, Al, She's gone.
A moment's hesitation, then reluctantly, he draws the sheet
over her head. Other DOCTORS enter, hurriedly.
DOCTOR
Amy Lake? lST DOCTOR Too late.
At an unspoken signal, the new doctors take up tactical
positions surrounding Amy's body. The emergency room staff
is blocked out. A fourth, DOCTOR whips out credentials.
4TH DOCTOR
(showing credentials)
We'll take it from here.
The emergency room doctor starts to protest, but the new
doctor's bearing precludes this. In seconds, they spirit
Amy out the door and disappear leaving the ER staff stunned
and confused by the swift fait accompli.
BACK TO ROOM - SAME TIME
Amy at foot of bed, distraught.
RYAN
Maybe it's for the best.
-----------------------------------------------------------------------------------------------------
65.
AMY
(shocked)
What are you talking about. She
could have lived, for months, maybe
years. There could have been a
remission. A cure.
RYAN
The doctors did what they could.
There was brain damage.
AMY
Those idiots. They did nothing.
They couldn't save her. I'm gonna
find out about this. There is more
to it...
He lifts his head. A sudden thought hits him and he stares
very thoughtfully at Ryan.
EXT. CITY STREETS - NIGHT
Mobile surveillance van pulls abreast of a moving car.
Williams and Chudrah are talking. Their VOICES are
synthesized as the CAMERA gets a clear shot of their faces.
Chudrah drives. Williams checks paper read-outs.
WILLIAMS
Look at this. I'm very worried.
CHUDRAH
How much time?
WILLIAMS
Sixteen hundred hours.
CHUDRAH
(shocked)
Sixteen hundred? How much net?
WILLIAMS
400 hours, prime. Another five or
six hundred partial. And that's
what we found on the first try. God
knows what the real total is. But
he's very busy. And lately, some
new variables have been introduced.
CHUDRAH
How... lately?
WILLIAMS
Four, five months ago.
CHUDRAH
Coincident with what?
-----------------------------------------------------------------------------------------------------
66.
WILLIAMS
Ryan coming on line.
CHUDRAH
This must fall within acceptable
error, deviation. We are into a
human brain. Of course there will
be a lot of confusion.
WILLIAMS
Confusion yes. Chaos even yes.
Patterns no. Not like this.
CHUDRAH
Like what?
WILLIAMS
Subtle, sophisticated, hidden..
CHUDRAH
Hidden? We have experts, hundreds
of them, the best brains I know of.
WILLIAMS
And they are running in the dark.
It's hard to program a detection for
the unexpected. But there are certain
resonances, inexplicable mathematical
mirror effects in the read-outs.
He glances at the papers.
CHUDRAH
I don't see it.
WILLIAMS
That's what's frightening, it's
masked. There is no indication of
it under any monitoring program we
are running. But come off line
unexpectedly, by accident like last
week and see what happens. The
variation continues for a few seconds,
and then disappears. We ran
simulations, its gone.
CHUDRAH
So?
WILLIAMS
One, an act of God. A gremlin, a
normal deviation.
CHUDRAH
Two?
-----------------------------------------------------------------------------------------------------
67.
WILLIAMS
It was him and he stopped doing it.
CHUDRAH
Three?
WILLIAMS
He had an ongoing consciously hidden
program. It got uncovered
unexpectedly. Within nanoseconds,
it detected the breech and came up
with a program to hide itself
again...a very sophisticated program,
one which we've not been able to
discover in hundreds of hours of
work.
CHUDRAH
Or four, it's not him at all. He
claims someone, something is after
him.
WILLIAMS
He's gone paranoid.
CHUDRAH
Even paranoids have enemies.
WILLIAMS
And who would they be, someone from
the other side.
CHUDRAH
Or a virus. A bug...a worm... As
these self-replicating programs get
bigger and ... more intelligent,
they get...more difficult to contain.
So you create a destructive program,
to search it out and destroy it.
Maybe somebody created a program to
get at Ryan...
WILLIAMS
Who?
CHUDRAH
I have no idea.
WILLIAMS
Whatever, whoever it is, he is way
ahead of what we can do. And he is
watDmitrig us and staying ahead.
CHUDRAH
And what if he is watDmitrig?
-----------------------------------------------------------------------------------------------------
68.
WILLIAMS
It means he is in control, not us.
CHUDRAH
I don't see that.
WILLIAMS
He can manipulate information before
we get it. If you control
information, you control everything.
CHUDRAH
But what can he do?
WILLIAMS
Well, for the last couple of minutes,
I've been trying to figure out what
he can't do.
CHUDRAH
Well, then you better figure out
what we're gonna do...And then you
better do it.
WILLIAMS
Me!...Why me?
Chudrah looks away. Williams looks worried and ...fearful.
INT RYAN'S ROOM.
RYAN
There is something, somebody else.
I'm meeting, I'm feeling... I don't
know, resistance, a presence.
AMY
Where is it?
RYAN
I can't pin it down. It's
searDmitrig. It's looking for
something.
AMY
It's a program, a search program.
RYAN
No, I've seen those. It's too subtle,
too quick, more intuitive. It's
alive, a person. An entity anyway.
I'm afraid of this thing. I don't
know what it wants. I have to have
protection. I'm too vulnerable. My
address is right there out in the
open. In here I can feel it. Like
someone staring at me.
-----------------------------------------------------------------------------------------------------
69.
AMY
Who?
RYAN
I don't know.
AMY
What could they do?
RYAN
Just about anything. Tap my inputs,
skew the data, interrupt it...cut me
off.
AMY
(worried)
Maybe it's another department. A
double check.
RYAN
Maybe you better find out. What if
they get at my medical program. I'm
afraid of what they could do.
INT. RYAN'S ROOM - NIGHT
The room is deserted. Ryan PANS the console. Everything
seems normal -- but Ryan is uneasy. The EEG and EKG monitors
are erratic -- Gremlins flicker the readouts -- motors WHINE
under varying loads and surges.
MONTAGE - RYAN'S MIND - FINE GRAIN. Strange dreams and
images. Ryan is searDmitrig for something...an apparition
barely glimpsed glows electrically. We chase it through
mutating surreal landscapes -- alleys, dark woods, a distorted
maze. We hurry after the thing, but it's escaping.
We are in a nightmare...one of the worst. Monstrous things
dart out at us and try to grab hold -- we burst througH them
in our pursuit, but we are tiring, slowing down. The horrors
pull at us; they threaten to overwhelm.
RYAN'S ROOM appears in a VIGNETTE in the middle of the dream,
then the VIGNETTE closes. Ryan is fighting his way back.
He struggles against the horror of the dream and forces his
way back into his room. He sees sombody, a figure dimly
perceived sitting at the console, his back turned to us.
RYAN
(distorted scream)
Help!
The person in the room deosn't hear. He turns slightly. It
is Williams. He is working at the console. The image
dissipates violently to BLACKNESS, the vignette collapses.
-----------------------------------------------------------------------------------------------------
70.
BACK TO DREAM
Ryan is pushing through the horrors. He gets away and turns
a corner. The apparition is there, lurking. With a roar,
it turns on him and attacks. It has no form, just a half-
seen amorphous charge of energy. Ryan retreats but the ground
seems to fall away from under him. He looks down. Far below
is a vortex. Ryan is about to fall, to let go...
Anything to get away from the terror. Far below him, the
image of a GIRL calls. Her voice sounds like Amy's.
GIRL
Let go, Ryan.
She is below him in a clear idyllic pond. The temptation to
let go is overwhelming.
Look down Ryan. Look here. Don't worry. It's not death.
There is no death for us, not now. Relax, Come to me. Come
on. What is it, the pain?
Ryan groans, camera SWAYS as if pain has hit him.
That's nothing. Just an illusion. It will pass. Let go.
Come to me. Look out!
Camera looks up. A ROAR. The beast attacks.
GIRL (CONT'D)
Let go. He'll smash you.
The beast has a large rock...It comes down, lt comes down
again.
BACK TO ROOM
The rough vignette expands and vibrates as Ryan struggles to
keep it open and fight his way back.
RYAN
(distorted)
Williams!!!
Williams turns and looks at him.
RYAN (CONT'D)
Help me!
Williams hits a switch, pulls some plugs. As he does, the
image deteriorates. The vignette slams, shutting us out of
Ryan's room. The last image we see is Williams's face. It
is fearful, set and hard. There is no solace in it for us.
We tumble.
-----------------------------------------------------------------------------------------------------
71.
BACK TO DREAM
The beast lunges, there is a terrible blow, the CAMERA SWAYS
under the impact, Ryan slips, he's falling. The vignette
opens.
BACK TO ROOM
The video has deteriorated. The image is rough. We can
hardly see. Williams wroks the console intently, plugging
and switDmitrig.
RYAN (DISTORTED)
Williams, help me...PLEASE!!!
Williams turns to look at us. His face reveals nothing. He
is analyzing, considering, computing. Is he softening, or
not?... For a long moment, he weighs our fate. He pulls
more plugs, then hesitates.
RYAN (CONT'D)
Steve. Please!!!
Williams arms a switch, looks at US, hesitates, then hits
the switch. There is an IMMEDIATE BLUE FLASH. The room is
engulfed. An electric charge ripples off the console and
the walls. A BLAST OF ENERGY SURGES through Williams, welding
him to the maDmitrie, shaking him like a doll. Smoke purs
from the console, the lights DIM and the SCREEN GOES DARK.
BACK TO DREAM
Ryan is falling through the vortex, sucked down fast, through
memories of the crash..a distorted, warped SCREAM, as he
tumbles ever faster.
BACK TO ROOM - SAME TIME
He struggles back. The room is empty. Looks around wildly.
No one in sight. On the console, a red light FLASHES. He
looks at the terminal and tubes. Liquid is running in two
of them. He PANS to master control. A FLASHING RED LIGHT
above a read-out. A medication formula is reading out with
a flow count of dosage. ZOOM TIGHT on this. BEEP TONES as
Ryan dials a number.
RYAN
(short of breath)
Dr. McKinney...Emergency.
OPERATOR (V.O.)
He's not in the building, Sir.
RYAN
Use the beeper, emergency!
-----------------------------------------------------------------------------------------------------
72.
OPERATOR
Hang on..
Dials, switching CLICKS.
RYAN
Oh Christ!
Phone RINGS, CONNECTION.
AMY
Hello..
RYAN
(very slow, groggy)
Amy!
AMY
Who is this?
RYAN
Ryan.
AMY
What is it?
RYAN
(slower, groggy)
Alarm, not working, no alarm.
AMY
What?
RYAN
Drugged, Help me.
AMY
What are you talking about? You're
getting a sedative, for your
nerves...to sleep.
RYAN
Phenobarbital. 60cc per minute.
AMY
I'm not a medical doctor. If that's
what's prescribed.
RYAN
Red light flashing.
AMY
What light?
RYAN
Malfunction. Emergency.
-----------------------------------------------------------------------------------------------------
73.
AMY
We'd all hear it, believe me.
RYAN
Just here, only here, it is..it is...
AMY
Keep talking (dials another phone)
Nurse, Sound emergency Ward C, Special
Project. Cleared staff only. (to
Ryan) Ryan where are the techs?
Ryan...?
People run into room, one sees something out of sight on the
floor.
DMITRI
It's Williams, call a Code Blue.
A doctor drops to the floor and starts to pound on Williams's
chest (O.C.). DMITRI looks at the medication read-out
DMITRI (CONT'D)
My God!
He tries to reset it, struggles with it. Amy bursts in. He
looks, he grabs the IV tube, clamps it double, shutting off
the flow. Another DOCTOR enters, crosses to lens, feels for
pulse, looks at readings.
DOCTOR
Oxygen, heart needle. Gotta flush
this.
They crawl all over him. SCREEN GOES DARK.
INT. RYAN'S ROOM - NEXT MORNING
Various techs, doctors in backround. Amy next to bed.
RYAN
Intentional.
AMY
What are you talking about. A
tragedy. Williams is dead. Heart
attack. The system malfunctioned,
he wasn't alive to monitor it.
RYAN
It killed him.
AMY
Oh, come on.
-----------------------------------------------------------------------------------------------------
74.
RYAN
The system is supposed to monitor
itself.
AMY
It did. It flashed the alarm. It
checked for error, it checked the
program and the code.
RYAN
It almost killed me.
AMY
We're checking it out.
RYAN
And you found nothing.
AMY
Not yet.
RYAN
Not ever. Unexplained, a gremlin.
Only it wasn't so. It was
intentional. It tried to kill me.
AMY
What did, a collection of circuits.
A bunch of transistors made up their
mind to kill you? Why? You hogging
their juice?
RYAN
Something is in here or can get in
here to use your system to get to
me. Or maybe you're doing it to
test me. Or maybe it's something
else.
AMY
What?
RYAN
How do I know?
AMY
And how do we know?
RYAN
You keep looking, and you do something
to protect me.
AMY
From whom?
RYAN
From everything.
-----------------------------------------------------------------------------------------------------
75.
AMY
You're just tired. You've been
through a lot. You need rest.
RYAN
Not like this. Not this kind. Come
here.
Amy moves closer.
RYAN (CONT'D)
Can't think...being drugged.
AMY
Of course you are.
RYAN
No. More than that. Not the normal
stuff.
AMY
Hold on.
He goes to the terminal and programs. He tears off a tape,
returns.
AMY (CONT'D)
Negative. Nothing. Not an aspirin.
RYAN
It's true.
AMY
It would show up. Here's what's
going in. Here is what's coming out.
There is nothing being given you,
nothing in your system, because it
would show up here.
RYAN
Something new. Something you can't
trace.
AMY
How's it getting here, airmail?
RYAN
It's screwing up my mind. I can't...
AMY
You're just tired and depressed, we
all are. Just relax. It'll pass.
trust me.
BUT RYAN PASSES OUT.
-----------------------------------------------------------------------------------------------------
76.
MONTAGE - FINE GRAIN - LATER
He flies over a cliff edge into dark water. Then, images of
country- side. The mood is serene, with flowers, flashes of
a funeral, of dead friends. Tranquilized images of the past,
of dark forest, walking through dark woods, trees swaying in
the breeze. A distant VOICE:
Rest...Just lie down.
The CAMERA DROPS DOWN UNDER A TREE. THINGS GROW VERY QUIET
AND THE LIGHT THROUGH THE TREES STARTS TO GROW DIM.
RYAN
No, not now. Not yet.
Other images struggle to break through: Amy, flashes of color.
He struggles against the dark and wins. He breaks through
into:
MONTAGE - INTENSE HIGH-SPEED SEARCH THROUGH MATRIX -
ELECTRONIC PATHWAYS. We are mentally flying through the
communication network. A dazzling display that ends on what
we are looking for...
INT. NONDESCRIPT ROOM - POV HIGH ON WALL IN CORNER.
The scene is dark. A group of men in LONG SHOT cluster around
a table. They speak intently in hushed tones. The image is
amplified until we recognize Chudrah, Dmitri..others. The
sound is PROCESSED until we can hear.
CHUDRAH
..We are not here to place blame or
find fault. We are here to look at
the facts and make a decision...or
recommend one.
He defers to person with back to camera.
FAHD
Nobody's asking for blame to be
placed.
DMITRI
Let's calm down and look at the data.
CHUDRAH
Number one. The project is a
tremendous success. In terms of
what we set out to do, and in what
we've accomplished above and beyond
that.
FAHD
Nobody denies that.
-----------------------------------------------------------------------------------------------------
77.
CHUDRAH
We've gone past the assigned
parameters. Now we're breaking
completely new ground.
1ST DOCTOR
We could terminate it now and claim
one hundred percent success.
CHUDRAH
Or we can go on and get into
potentially dangerous areas.
PERSON WITH BACK TO US
We are in a dangerous area. Right now.
DMITRI
New discoveries are always dangerous.
They always have that potential.
CHUDRAH
Let's cut the shit and get to the
point. We are no longer in control.
He is. And for all we know he's a
madman. But don't take my word for
it, ask the man who knows best. Ask
the boss. Is he a dangerous looney.
What do you say?
Heads turn to the man with his back to us. He rises slowly,
wasted and distraught. We can see his face. It is Amy.
AMY
Yes.
CHUDRAH
He's certainly not normal.
AMY
I wouldn't expect him to be, after
what he's been through. What you,
we, what I've done to him. I take
responsibility. I thought I could
control him better, being close to
him. As a friend, without the mantle
of authority.
FAHD
And that cost poor Williams...
AMY
We had to be close, trusted, inside
his defenses, if we were to get the
data, to know him, to know what he
was thinking, to control things, to
(MORE)
-----------------------------------------------------------------------------------------------------
78.
AMY (CONT'D)
control him. In order to act before
things got out of hand.
CHUDRAH
Too late...for Williams, for...
AMY
For Amy...
CHUDRAH
We don't know that, we have no proof.
DMITRI
We never will if we end it now.
AMY
We know there's no one else in there.
NO one after him. He faked it. He
wanted to throw us off. Give himself
time.
FAHD
For what
AMY
I guess he never really did trust
us.
DMITRI
Would you?
CHUDRAH
You got too close. You waited too
long.
FAHD
That's beside the point. We have to
deal with the present. Is he
dangerous?
AMY
Definitely, dangerous. He has almost
unlimited power, as I understand it.
Of course he's dangerous, anybody
would be. It's a question of
constraints, limitations we can place
on him to control that power.
DMITRI
And we have to move fast.
AMY
I know that. I am in complete
agreement on that.
-----------------------------------------------------------------------------------------------------
79.
CHUDRAH
The question is how to limit him.
FAHD
Cut him off from net.
DMITRI
He's way beyond us on that. We
haven't a prayer.
CHUDRAH
Drug him.
DMITRI
We're doing that right now.
AMY
It's temporary, impractical, a half
measure. There is only one thing we
can do.
Slow ZOOM into Amy.
CHUDRAH
Termination.
DMITRI
Murder.
AMY
Yes. Murder. Call it by it's right
name.
CHUDRAH
No, we're meerly withdrawing life
support. If he can survive...
DMITRI
He's a conscious human being. He is
capable of living. To go back into
the black...It will kill him. It is
murder there is no way out of that.
AMY
(staring at lens)
Except self-defense.
DMITRI
(skeptically)
What?
AMY
Hello, Ryan.
They all turn and follow Amy's glance.
-----------------------------------------------------------------------------------------------------
80.
DMITRI
Surveillance!
CHUDRAH
Impossible, this room was swept.
DMITRI
By whom?
AMY
It doesn't matter now.
Total silence in the room. Amy goes to his chair and calmly
gathers his things. Dmitri follows him. Amy nods to the
group and quietly goes out the door. Others follow, glancing
now furtively toward camera.
CORRIDORS
Amy, Dmitri, others Running wildly
down the halls. Picked up on series
of monitoring CAMERAS, Amy and Dmitri
are arguing wildly.
DMITRI
Wait a minute.
AMY
Too late.
DMITRI
Wait a minute. I
AMY
It's necessary. I don't want to be
the one responsible for him. It's
like inventing Cancer.
DMITRI
Think a minute. He saw us. He must
of heard us too.
AMY
I know, I know.
DMITRI
And he must have recorded.
CHUDRAH
And I'll bet he is sending it
somewhere right now.
AMY
Where?
CHUDRAH
I don't know, and neither do you.
(MORE)
-----------------------------------------------------------------------------------------------------
81.
CHUDRAH (CONT'D)
But whatever happens...it won't be a
secret.
Amy breaks away and dashes down the hall toward the room.
INT. RYAN'S ROOM - DAY
The room is quiet and empty except for a tech monitoring the
console. The SOUND of a door bursting open in the distance.
Men running down a corridor, the door to the room bursts
open and Amy, Chudrah and Dmitri fly through it, closely
followed by the others. Amy pushes the tech out of the way
and starts typing out commands on the terminal feverishly.
RYAN
What are you doing, Amy?
AMY
(over shoulder, while
typing)
I'm sorry Ryan, I'm really sorry.
We did our best. I can't take the
responsibility.
RYAN
Are you killing me?
AMY
You're as close as my brother, Ryan.
RYAN
Don't Amy.
AMY
I'm scared.
RYAN
Of me, of me?
AMY
Of what you could do. What you have
done.
RYAN
I have to protect myself. Trust me,
give me a chance. Amy, you'll be
sorry.
Williams keeps typing.
WILLIAMS (V.O.)
Amy, please,don't.
DMITRI
(rushing to Ryan and shaking him)
What have you done with her?
-----------------------------------------------------------------------------------------------------
82.
WILLIAMS
She's dead. He can do voices.
DMITRI
Please Amy, for me.
WILLIAMS
He killed her, it was him.
AMY
I'm not dead. I'm right here.
Williams gets up in fury. Knocking over chair.
WILLIAMS
(shouts)
YOU LYING BASTARD! SHUT UP!
He makes a move toward Ryan, Dmitri stops him..
DMITRI
Hold off. What if it's true. What
a breakthrough!
WILLIAMS
Would you do it, would you take the
chance?
DMITRI
I think I would.
WILLIAMS
Get out of my way.
Williams pushes him out of the way and lunges for the console.
He looks at Ryan and wavers for a moment. Then hits the
program activate button and collapses back in the chair in a
daze. Others are recovering, slowly picking each other up
from the floor.
CHUDRAH
We can hush this up. We'll get into
the tapes and erase them. Don't
worry about it.
AMY
I don't care. It was my fault.
DMITRI
No.
AMY
Yes. I let it get out of hand.
TECH
Sir, something funny.
-----------------------------------------------------------------------------------------------------
83.
Amy stares at him dully, not comprehending.
WILLIAMS
The program go through.
TECH
Yes sir.
WILLIAMS
Then what is it?
TECH
Still getting levels.
AMY LURCHES OVER TO THE BED,
WILLIAMS
His body is still going for a few
moments, that's all. I'm sorry Ryan.
I'm sorry.
He stops in mid-thought. He frowns. He looks down and seems
to sniff the air. He looks up at the lens quizzically and
then gets very worried.
DMITRI
What is it?
Amy ignores him. Reaches up with both hands at Ryan's chest,
looks intently into the lens, then rips the fabric apart.
He pulls bandages off. Everyone clusters around.
WILLIAMS
Oh my God!
Everyone reacts with fear and disgust. Some of them turn
away and start to wretch. Amy brings his hands up into the
frame and stares at them in horror. They are covered with a
disgusting slime.
DMITRI
What is it?
WILLIAMS
(horrified)
Rot!
CHUDRAH
This man's been dead...
DMITRI
Impossible, the equipment, the alarm.
He talked to us. The read-outs, they
are still on.
Amy turns to the console. The camera imperceptibly PANS
with him. He walks over to the monitor.
-----------------------------------------------------------------------------------------------------
84.
We are able to see the graphs of brain and body activity.
Amy is shaking, terrified.
FAHD
I don't understand. He should be
dead.
CHUDRAH
He is dead. His body is, his brain
is.
TECH
A malfunction?
WILLIAMS
No.
DMITRI
Just a reflex action.
WILLIAMS
No. It's him.
DMITRI
(glancing at monitors)
Look, there goes his heart.
The readouts flatten out and disappear.
DMITRI (CONT'D)
He's going, he's...
WILLIAMS
The maDmitrie is going.
He's...already gone.
DMITRI
No.
He turns and looks at them very seriously.
WILLIAMS
It's him. It's still him. He did
it.
DMITRI
He's dying.
WILLIAMS
He's pulling the plug. The last
trace. Now we'll never find him.
He escaped, he's free. They are.
DMITRI
But how can he? What will he do
now?
-----------------------------------------------------------------------------------------------------
85.
WILLIAMS
Anything he wants to.
He leans closely up to the lens and looks into it long and
hard. SearDmitrig.
THE VIDEO STARTS TO FADE, THE SOUND DROPS OUT. THE IMAGE
SHIFTS, THE COLORS DROP OUT OF PHASE, THE PICTURE BREAKS
UP AND SCATTERS INTO BLACK. THEN WE ARE ABOVE, OUT OF BODY.
WE SOAR AWAY. TH THERE ARE TWO OF US...AMY'S MUSICAL SIGNATURE
NOW SEEMS TO BE MORE OF A COSMIC LAUGH. IT IS JOINED BY
RYAN'S LAUGHTER..WE ARE LOOKING DOWN AT EVERYTHING FROM TWO
PERSPECTIVES, THEN THEY JO AND BECOME ONE. AND THEN, WE ARE
EVERYWHERE, ALL AT ONCE.
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