60267d554b5505cec3ad671d0ee48f51545dd9b7
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. THE END
 In Los Angeles, Lt. Parker Barnes and John Donovan are tracking down a serial killer named SID 6.7 at a restaurant in virtual reality. SID (short for Sadistic, Intelligent, Dangerous - a VR amalgam of the most violent serial killers throughout history) causes Donovan to go into shock, killing him. The director overseeing the project, before Commissioner Elizabeth Deane and her associate, William Wallace, orders the programmer in charge of creating SID, Dr. Darrel Lindenmeyer, to shut down the project. Barnes is a former police officer imprisoned for killing political terrorist Matthew Grimes, who killed Parker's wife and daughter. Barnes killed Grimes and innocent bystanders. This caused him to become a convicted killer and serve 17 years to life.
Barnes meets with criminal psychologist Dr. Madison Carter following a fight that Barnes and another prisoner, Big Red, got into. Meanwhile, Lindenmeyer tells SID that he is about to be shut down because of the fail-safe being tampered with. At SID's suggestion, Lindenmeyer convinces another employee, Clyde Reilly that a virtual reality prostitute, Shelia 3.2, another project created by Lindenmeyer, can be brought to life. Lindenmeyer replaces the Shelia 3.2 module with the SID 6.7 module. SID 6.7, now processed into the real world, kills Reilly.
Once word of SID being in the real world gets out, Deane and Los Angeles Police Department Chief William Cochran offer Barnes a deal: if he catches SID and brings him back to virtual reality, he will be released. Barnes agrees, and with help from Carter, they discover that Matthew Grimes, the terrorist that killed Barnes's wife and daughter, is a part of SID 6.7's personality profile. After killing a group of security guards, SID heads over to the Media Zone, a local nightclub, where he takes hostages. Barnes and Carter go to the nightclub to stop him, but SID escapes.
The next day, SID begins a killing spree at the Los Angeles Olympic Auditorium. Barnes arrives at the Stadium to capture SID, and finds him on a train, where another hostage is being held by SID. However, Barnes seemingly kills the hostage in front of a bunch of horrified witnesses. Carter having caught up with Barnes after the incident, tries to prove Barnes's innocence, but Barnes is sent back to prison. Barnes is freed from his prisoner transport by SID, who once again escapes. Wallace and Deane are about to have Barnes terminated via a fail-safe transmitter implanted in him but Cochran destroys the transmitter after being told by Carter that Barnes didn't kill the hostage on the train.
However, SID kidnaps Carter's daughter Karin and takes over a television studio. Lindenmeyer, having come out of hiding, sees what SID is doing and is impressed, but later held hostage by Carter. Barnes ultimately destroys SID, but is unable to learn where he hid Karin. They place SID back in VR to trick the location out of him. When SID discovers that he is back in virtual reality he goes into a rage. Cochran lets Carter out of VR, but Lindenmeyer kills Cochran before he can release Barnes. Barnes starts to go into the same shock that Donovan suffered, but Carter kills Lindenmeyer, and saves Barnes.
Barnes and Carter return to the building that SID took over in the real world, and save Karin from a booby trap set up by SID. After Karin is saved, Barnes destroys the SID 6.7 module.
In Los Angeles , Lt. Parker Barnes and John Donovan are tracking down a serial killer named SID 6.7 at a restaurant in virtual reality . SID ( short for Sadistic , Intelligent , Dangerous - a VR amalgam of the most violent serial killers throughout history ) causes Donovan to go into shock , killing him . The director overseeing the project , before Commissioner Elizabeth Deane and her associate , William Wallace , orders the programmer in charge of creating SID , Dr. Darrel Lindenmeyer , to shut down the project . Barnes is a former police officer imprisoned for killing political terrorist Matthew Grimes , who killed Parker s wife and daughter . Barnes killed Grimes and innocent bystanders . This caused him to become a convicted killer and serve 17 years to life . Barnes meets with criminal psychologist Dr. Madison Carter following a fight that Barnes and another prisoner , Big Red , got into . Meanwhile , Lindenmeyer tells SID that he is about to be shut down because of the fail-safe being tampered with . At SID s suggestion , Lindenmeyer convinces another employee , Clyde Reilly that a virtual reality prostitute , Shelia 3.2 , another project created by Lindenmeyer , can be brought to life . Lindenmeyer replaces the Shelia 3.2 module with the SID 6.7 module . SID 6.7 , now processed into the real world , kills Reilly . Once word of SID being in the real world gets out , Deane and Los Angeles Police Department Chief William Cochran offer Barnes a deal : if he catches SID and brings him back to virtual reality , he will be released . Barnes agrees , and with help from Carter , they discover that Matthew Grimes , the terrorist that killed Barnes s wife and daughter , is a part of SID 6.7 s personality profile . After killing a group of security guards , SID heads over to the Media Zone , a local nightclub , where he takes hostages . Barnes and Carter go to the nightclub to stop him , but SID escapes . The next day , SID begins a killing spree at the Los Angeles Olympic Auditorium . Barnes arrives at the Stadium to capture SID , and finds him on a train , where another hostage is being held by SID . However , Barnes seemingly kills the hostage in front of a bunch of horrified witnesses . Carter having caught up with Barnes after the incident , tries to prove Barnes s innocence , but Barnes is sent back to prison . Barnes is freed from his prisoner transport by SID , who once again escapes . Wallace and Deane are about to have Barnes terminated via a fail-safe transmitter implanted in him but Cochran destroys the transmitter after being told by Carter that Barnes did n't kill the hostage on the train . However , SID kidnaps Carter s daughter Karin and takes over a television studio . Lindenmeyer , having come out of hiding , sees what SID is doing and is impressed , but later held hostage by Carter . Barnes ultimately destroys SID , but is unable to learn where he hid Karin . They place SID back in VR to trick the location out of him . When SID discovers that he is back in virtual reality he goes into a rage . Cochran lets Carter out of VR , but Lindenmeyer kills Cochran before he can release Barnes . Barnes starts to go into the same shock that Donovan suffered , but Carter kills Lindenmeyer , and saves Barnes . Barnes and Carter return to the building that SID took over in the real world , and save Karin from a booby trap set up by SID . After Karin is saved , Barnes destroys the SID 6.7 module .
http://en.wikipedia.org/wiki/Virtuosity
Virtuosity
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<title>VIRTUOSITY by Eric Bernt 3rd Rewrite 8/24/94</title>
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<b>                                        VIRTUOSITY
</b>
                                            by

                                        Eric Bernt

                             THIRD REWRITE   August 24, 1994


	Two men bolt recklessly through a downtown street. Hunters
	hot on the trail of their prey in an urban jungle.


	The sidewalk is crowded with people. So is the street. Too
	many people, not enough cement. Los Angeles, 1997.


	Summer, probably August. 103 degrees. Heat shimmers off the
	horizon. Making the sky look peculiar.


	The men keep running. Passed a GUY sitting at a bus stop,
	watching a television in his lap. YOU HEAR the NEWSCASTER.


<b>				NEWSCASTER (V. 0.) 
</b>		As L. A. P. D. officers gather
		evidence at this grisly crime
		scene, you can only ask yourselves
		 what kind of lunatic would
		commit such unthinkable crimes?
			(a beat)
		The three adjectives which best
		describe this killer are sadistic,
		intelligent, and dangerous...

	The guy pays little attention to the broadcast. He seems
	almost bored by it. Like this kind of news is commonplace. Or
	he's got more important things on his mind.

	Everybody is sweating. Including the two men struggling to
	swim upstream in the river of pedestrians.

	Their uniforms are freshly pressed. Their shoes just recently
	shined. Hair tightly cropped. Faces perfectly shaved. Clearly
	men proud to wear the badge of the Los Angeles Police
	Department. The guy in the lead is

<b>				PARKER BARNES
</b>		His body is a running back's. His
		endurance a marathoner's. His face
		one you'd want for your own. He's
		in his 30s. If he was in his 20s,
		you'd still be jealous.

	His partner is JOHN DONLEY, late 20s, eager to prove himself.
	He struggles to keep up with Parker. John accidently knocks
	over several pedestrians. They give no reaction, except to
	pick themselves up and continue on their way.

	Parker and John keep charging. Their conversation breathless:

<b>				JOHN
</b>		I can't get over how different you
		look.

<b>				PARKER
</b>			(ruefully)
		Five years can be a bitch, huh?

	They split-up. The Maitre D', still facing the front doors,
	repeats his greeting to no one in particular.

<b>				MAITRE D'
</b>		Good afternoon. May I help you?

	Parker spots Sid 6.7 across the room. Without hesitation the
	hunter chases his prey.  Gun out and firing. NOT what you
	would call Standard Police Procedure.

	Bullets riddle Sid 6.7's table as he dives from his chair. He
	lands next to a bowling ball bag, which sits beneath his
	table.

	John charges from the other direction until a WOMAN gets up
	from her chair, standing directly in John's line of fire.

<b>				JOHN
</b>			(to the Woman)
		Lady, move!

	Before she can do so, Sid 6.7 stands behind the Woman,
	grabbing her and throwing her across the table into Parker.
	CRASH! They tumble to the floor.

	In the same movement, Sid 6.7 removes a gun from inside his
	jacket and shoots John in the shoulder before he can fire.
	John's gun flies from his hand. Sid 6.7 advances toward him.

	Parker struggles to his feet. Aims his weapon. Sid 6.7 does
	the same, but without looking. BOOM! Parker gets a bullet
	through his shooting arm. His wound IDENTICAL to John's.
	Parker's weapon tumbles to the floor as his arm goes limp.

	Parker charges him wildly, but Sid 6.7 brutally kicks him in
	the stomach. In perfect rhythm with the symphony playing in
	the background. Parker doubles over, gasping for breath.
	Another kick drops Parker to his knees.

<b>				SID 6.7
</b>			(to Parker)
		I'm going to rehearse with your
		friend a while, then I'll be back
		to perform a new piece with you.

	He grabs his bowling bag and SLAMS it into John's head,
	knocking him out. Sid 6.7 puts John's unconscious body over
	his shoulder.

<b>				SID 6.7 (CONT'D)
</b>		If you get hungry, I'd recommend
		the escargot. They're delicious.

	He carries John and the bowling ball bag into the kitchen.
	Parker scrambles to his gun, and races after Sid 6.7.

<b>	INSIDE THE RESTAURANT KITCHEN
</b>
	Parker charges through SOUS CHEFS chopping vegetables, who
	work undistracted. The Vegetables look plastic.

	Parker turns a corner, stopping fast. At the other end of the
	aisle stands Sid 6.7, who presses his gun against the head of
	a frightened BUSBOY. Sid 6.7 holds the Busboy's body in front
	of his own as a shield.

<b>				PARKER
</b>			(to Sid 6.7)
		Where's John?

<b>				SID 6.7
</b>		Performing solo.
			(a beat)
		Enjoying the concert so far?

	Advancing up the aisle, Parker levels his gun at Sid 6.7 with
	his good arm. Now, all work comes to a stop as the Sous Chefs
	watch the showdown.

<b>				PARKER
</b>		Recital's over, asshole.

	He fires directly through the chest of the innocent Busboy
	hitting Sid 6.7.

	The Sous Chefs gasp in horror as the Busboy drops through Sid
	6.7's grasp to the floor. Dead.

	Sid 6.7 stares at Parker in disbelief. Blood is now visible
	flowing from a bullet hole in Sid 6.7's shoulder, which was
	caused by the same bullet. Sid 6.7's arm dangles uselessly.
	His gun lies on the floor.

<b>				SID 6.7
</b>		(surprised, but pleased).
		You and me aren't so different,
		after all...

	Parker again pulls the trigger. Click. Click, click. No
	bullets.

<b>				SID 6.7 (CONT'D)
</b>		Like a violin without strings...

	He takes off around the corner. Grabbing another clip from
	inside his uniform, Parker goes after him. Only to stumble
	over something. Sid 6.7's bowling bag. Blood flows through
	its zipper. You now realize the object inside is NOT a
	bowling ball.

	Beside the bowling bag lies John's body, which is convulsing.
	His hands have been tied to bare electrical wire. John is
	being electrocuted. Parker kicks away the wires, but not in
	time.

<b>				PARKER
</b><b>		SHIT!
</b>
	He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is
	standing directly behind him. Sid 6.7 grabs Parker by the
	throat.

<b>				SID 6.7
</b>		I told you I was going to perform a
		new piece with you. It's called,
		"First You Suffer, Then You Die."
		Hope you like it.

	Parker gags, unable to breathe. He then starts to DE
	MATERIALIZE from within Sid 6.7's grasp.

<b>				SID 6.7 (CONT'D)
</b>			(as if to God)
		NOOOH! You can't take him, yet. I'm
		not finished!

	John's body also dematerializes as Parker disappears
	entirely.

	The blood seeping from Sid 6.7's wound stops flowing and
	starts retracting into his body. Along with his bone
	fragments. His shoulder is healing itself. Right before your
	very eyes. We PULL BACK TO REVEAL what you are seeing is

<b>	ON A MONITOR
</b>
	The scene continues seamlessly. Sid 6.7's skin heals over his
	shoulder wound once his internal parts are back in their
	proper places. No scar whatsoever.

	His clothing also returns to perfect condition. Literally, as
	good as new. This is known as AUTOMATIC RESETTING.

	The previously dead Busboy also Auto Resets. His wound
	healing by itself. We PULL BACK FURTHER to reveal the monitor
	is one of several

<b>	INSIDE THE LAW ENFORCEMENT TECHNOLOGY ADVANCEMENT CENTER
</b>
	a/k/a LETAC. The facility is a converted aerospace research
	building in Pacoima. Funded by government black book dollars.

	The look is a mixture of industrial grime and high-tech
	sparkle. Banks upon banks of computer equipment. Wires,
	cables, conduits, connectors everywhere you look.

	In complete disarray to the uninitiated. But to those in the
	know, this is the most advanced facility of its kind in the
	world.

	The building is partitioned into dozens of stations. At each
	station, a leading engineer in his field is frantically
	readying a prototype for demonstration. Each new technology
	designed to help fight the new Cold War... the War on Crime.

	The atmosphere is competitive. Voices are loud. Tension,
	anticipation in the air. Only a lucky few will have their
	inventions approved for production.

	LETAC is, quite simply, Los Alamos from 1940 meets Sega from
<b>	1994.
</b>
	At a station in the middle of the room, TWO UNCONSCIOUS
	BODIES lie on narrow beds wearing form-fitting skull caps
	made of polyurethane.

	Each skull cap has 100 acupuncture needles stuck through it
	at points designated as neural primes. Each needle is
	directly connected to the participant's nervous system.

	The tail end of each needle is connected to a fiber optic
	wire which leads to one of numerous interconnected computers
	surrounding the beds.

	Each of these components isn't much to look at on its own.
	But together, with the rest of the apparatus, are part of
	something very new  a revolutionary law enforcement
	training device whose name you read:

<b>	VIRTUAL REALITY CRIMINAL INVESTIGATION SIMULATOR
</b>
	To be perfectly clear, the events you just witnessed
	involving Parker, John, and Sid 6.7 took place within virtual
	reality, not the real world.

	Dozens of small character modules, similar to today's
	Nintendo game cartridges, are plugged into .the system's main
	console.

	Each of the modules bares a name and number, such as MAITRE
	D' 1.7 and SHEILA 3.2. There is no character version number
	greater than 4.0. Until you see the module labelled SID 6.7.

	The simulation timer stops at: 17 hours, 52 minutes, 11
	seconds. A clock reads: 3:04:32 PM.

	Four observers, two men and two women, watch virtual reality
	monitors positioned around the station. One of the men wears
	an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His
	nameplate reads CHIEF OF POLICE.

	One of the women sits by herself in front of a monitor.
	Intently following the action on screen. Studying it
	clinically. Her name is DR. MADISON CARTER, late 30s.

	She is beautiful, and charming, but those qualities take a
	back seat to her intelligence. She is one of the country's
	foremost authorities on criminal psychology. Her concerns are
	empirical. Her quest is knowledge. She has little in common
	with the other observers.

	The other man is FREDERICK WALLACE, 5Os, Chairman/CEO of
	LETAC. Expensive suit. Commanding, powerful. But not as
	commanding, or powerful, as ELIZABETH DEANE, 605, the
	Presidentiallyappointed Crime Czars

	Elizabeth Deane is solely responsible for the funds allocated
	to LETAC. As well as which prototypes will move on to
	production.

<b>				DEANE
</b>			(quietly to Wallace)
		What did Cox pull him out early
		for?

<b>				WALLACE
</b>		Barnes used to work for him when he
		was still a cop in the field,
		remember?

<b>				DEANE
</b>			(a beat)
		Don't remind me.

	LAB ASSISTANTS remove the polyurethane skull caps from the
	two unconscious bodies. The acupuncture needles remain in the
	caps. You can now see the faces of the participants:

	Parker and John.

	Parker lies calmly, his eyes fluttering as he gradually
	returns to consciousness. He looks very different than his
	virtual rendering:

	His hair is long and ragged. His face is unshaven. A scar
	across his cheek. A hoop earring in one ear. His outfit a
	filthy prison uniform.

	John's outfit matches Parker's. Physically, he looks as
	cleancut as his virtual rendering. Except that he is
	convulsing. Violently.

	His flailing appendages repeatedly hit the apparatus around
	him. Like an epileptic having a grand mal seizure. It's ugly.
	Frightening.

<b>				PARKER
</b>			(barely conscious)
<b>		SOMEBODY.. .DO SOMETHING!
</b>
	TWO PARAMEDICS burst through the doors and rush to John. The
	paramedics inject him. Fibrillate him. Repeatedly.

	The simulator's designer, DARYL LINDENMEYER, 40s, high
	strung, intense, and brilliant beyond words, stands by the
	equipment protectively. He is far more concerned for the
	safety of his machines than he is for John's life.

	John's body goes limp. His vital signs flat. The Paramedics
	record the time of death and cover the body with a sheet.
	They begin to assemble a gurney to wheel him out.

<b>				DEANE
</b>			(annoyed to Wallace)
		What the hell happened?

<b>				WALLACE
</b>			(pointing to needles)
		Lindenmeyer developed neural
		connectors that tap directly into
		the nervous system. If the
		simulator isn't calibrated
		properly, experiencing death in
		this level of VR is like
		experiencing death within a dream.
		The experience becomes real.

<b>				DEANE
</b>			(angrily)
		Simulations are supposed to give
		participants practice in realistic,
		dangerous scenarios while
		protecting them from the risks they
		are exposed to in the real world.

<b>				WALLACE
</b>			(annoyed, to Lindenmeyer)
		I was assured the problem was
		corrected.

<b>				LINDENMEYER
</b>		I did fix it.. I told you I did. I
		don't know why it happened again.

<b>				DEANE
</b>		Again?!

<b>				COX
</b>			(a beat)
		My first two pairs of convicts
		suffered the same fate.

<b>				DEANE
</b>			(coldly, to Wallace)
		Why wasn't I told?

<b>				WALLACE
</b>		Black book dollars, black book
		operation. You pay me for results,
		not how for how I get you there.

<b>				COX
</b>			(to Deane)
		I'll tell you one thing - there is
		no way in hell we should allow any
		real officers to train in this damn
		thing.

<b>				DEANE
</b>		Then about all I've spent $37
		million developing is a very
		expensive way to control the prison
		population.

	After giving Wallace a cold, hard stare -- namely at his hand
	stitched lapel, his gold watch, and his diamond-studded
	cufflinks, she exits. Wallace follows after her quickly. You
	now notice that the chair Dr. Madison Carter had occupied is
	now empty. She left a while ago.

	Cox remains. Lindenmeyer hurriedly examines the simulator as
	if it were his child. There are several scratches, but no
	major damage. He looks relieved.

<b>				PARKER
</b>			(struggling to sit up)
		He...only had a year left on his
		sentence.

<b>				LINDENMEYER
</b>			(annoyed)
		How much do you think I care?

	Parker, still not fully conscious, hurls himself at
	Lindenmeyer.

<b>				LINDENMEYER (CONT' D)
</b>			(hysterical)
		Don't touch me!...DON'T TOUCH ME!!!

	He flails his arms wildly. Nearly spasming. This is clearly a
	man who should never drink coffee. TWO armed GUARDS, who've
	been standing in the background, pull Parker off Lindenmeyer
	and throw him to the ground.

	Lindenmeyer watches with satisfaction as the guards put
	Parker in handcuffs and leg chains.

<b>				COX
</b>		I'll walk him out.

	The Guards back off as Cox helps Parker to his feet.

<b>				COX (CONT'D)
</b>			(to Parker)
		You all right?

<b>				PARKER
</b>			(still clearing his head)
		Why'd.. .you pull me out?

<b>				COX
</b>		Donley started experiencing the
		attack for real. If I hadn't gotten
		you out, the same thing would have
		happened to you.
			(a beat)
		You may not believe this, Parker,

	but I still consider us friends.

	He helps Parker toward the exit as he continues having
	difficulty with his balance.

<b>	OUTSIDE LETAC
</b>
	The building is heavily-guarded. Razor wire, land mines,
	armed sentries. Nobody who shouldn't be here gets anywhere
	near here.

	Cox leads Parker by the arm to a waiting prison transport.
	The two guards walk behind at a distance. Two more by the
	transport. The chain between Parker's legs keeps his steps
	short.

<b>				COX
</b>		What the hell did you have to shoot
		the busboy for?

<b>				PARKER
</b>		He was a computer program for
		crissake.

<b>				COX
</b>		You were supposed to act as if
		everything was real.

<b>				PARKER
</b>		Real, my ass. It's an overblown
		game.
			(a beat)
		Anybody ever catch that fucking
		psycho?

<b>				COX
</b>		Before you, nobody else had gotten
		close enough to Sid 6.7 to take a
		shot at him. Hell, nobody else had
		even been able to start tracking
		him before he got to them first.
			(eyeing Parker's scar)
		New scar  you making it okay in
		there?

<b>				PARKER
</b>			(head down)
		I'm getting by.

	He starts walking ahead of Cox. Distancing himself.

<b>				COX
</b>			(pausing for emphasis) )
		You've got to know I tried keeping
		you out of general population.
		Goddam politicians...

	His voice trails off as Parker turns around, and heads
	directly toward him.

<b>				PARKER
</b>			(locking eyes)
		You want to know how I'm doing?
		Every day, I lose a little bit more
		of myself.
			(a beat)
		I'm becoming something else, and it
		scares the hell out of me.

	He turns back toward the transport. Cox follows. Two armed
	GUARDS open the back doors for Parker, then stand poised with
	weapons out and ready.

<b>	INSIDE THE PRISON TRANSPORT -- REAR
</b>
	Cold metal benches. No windows. Parker climbs in, the only
	passenger. He looks out the open doors to Cox.

<b>				PARKER
</b>			(half-heartedly)
		But with the six months off I get
		for being your guinea pig, I've
		only got to survive another 17
		years, 5 months, and 23 days.

<b>				COX
</b>		Don't give up, Parker. Not ever.

<b>				PARKER
</b>			(a beat)
		You know those cheesy Christmas
		cards of your family under that
		tree in your back yard you keep
		sending me every year?

<b>				COX
</b>		What about them?

<b>				PARKER
</b>			(a beat)
		Do me a favor  keep sending them.

<b>	OUTSIDE LETAC
</b>
	Standing outside the transport, Cox puts his hand on Parker's
	shoulder.

<b>				COX
</b>		Take care, pal.

	Behind him, John's body is loaded into an ambulance. The
	Guards SLAM the prison transport doors shut.

<b>	INSIDE THE PRISON TRANSPORT -- REAR
</b>
	Parker sits in DARKNESS as the transport begins its trek. The
	only light comes from a four inch portal, covered in steel
	mesh, through which the Guards can keep an eye on him.

<b>				GUARD
</b>			(tauntingly)
		Hey Parker  I'm real sorry John
		boy got fried. What do you think
		Big Red's gonna do when he finds
		out you came back without his girl
		friend?

	Parker sits in silence.

<b>					CUT TO:
</b>
<b>	INSIDE LETAC
</b>
	Sid 6.7 remains visible on the various monitors around the
	room as Lindenmeyer spot checks the simulator.

<b>				SID 6.7
</b>			(from the monitors)
		Don't be angry with me, Daryl.

<b>				LINDENMEYER
</b>			(a beat)
		Did you recognize the son-of-a
		bitch who got away?

<b>				SID 6.7
</b>		Should I have?

<b>				LINDENMEYER
</b>		Think hard -- it'll come to you...

	Wallace enters briskly.

<b>				WALLACE
</b>		You embarrassed me in front of the
		highestranking law enforcement
		official in the country.
			(a beat)
		Do you have any idea how much money
		you just cost me?

<b>				LINDENMEYER
</b>		The reason you insisted on testing
		my system with prisoners is because
		of the increased risks involved
		with increased realism.

<b>				WALLACE
</b>		Of the six prison inmates you've
		tested  all of whom have had at
		least some military or survival
		training - only Mr. Barnes is
		still breathing.

<b>				LINDENMEYER
</b>		I'm still making adjustments...

<b>				WALLACE
</b>		You've had a yearandahalf to
		make all the adjustments you want,
		Lindenmeyer.
			(moving closer) )
		Elizabeth Deane does not give
		second chances. Neither do I.
		You're fired.

<b>				LINDENMEYER
</b>			(hysterical)
<b>		I'M WHAT?!
</b>
<b>				WALLACE
</b>			(relishing his authority)
		You are to turn over the Sid 6.7
		program, and all its documentation,
		for immediate destruction. Is that
		understood?

<b>				LINDENMEYER
</b>			(restraining himself)
		I understand... I understand
		perfectly.

	Wallace ignores him as he walks toward the door. On the
	monitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.

<b>				SID 6.7
</b>			(from the monitor)
		Hey, Wallace, you really think you
		can shut me down?

	Wallace stops, staring at a monitor in disbelief.

<b>				WALLACE
</b>			(to Lindenmeyer)
		How does he know who I am?

<b>				LINDENMEYER
</b>			(pointing to microphone)
		He hears...everything.

<b>				WALLACE
</b>			(approaching the monitor)
		As a matter of fact, I do.

	He exits.

<b>	ON THE MONITORS
</b>
	around the room, Sid 6.7 walks to a pay phone and dials a
	number.

<b>	INSIDE AN INDUSTRIAL CORRIDOR
</b>
	Wallace walks toward the building's entrance. His footsteps
	ECHO. His cellular phone RINGS.

<b>				WALLACE
</b>		This is Wallace...

<b>				SID 6.7 (V. 0.)
</b>			(through phone)
		As a matter of fact, little man,
		you're wrong. I think, therefore, I
		am.

	Click. Sid 6.7 hangs-up. Wallace stops, staring at his phone
	in disbelief.

<b>					CUT TO:
</b>
<b>	INSIDE FOLSOM COUNTY MAXIMUM SECURITY PRISON
</b>
	Parker is led into the Inmate Receiving Room at gunpoint. He
	is ordered to remove his clothing.

	He stands completely naked, arms held out to the sides, as he
	is strip searched. Every portion of the body in which someone
	could hide something is closely inspected.

	Without being graphic, we watch the dehumanizing procedure.
	He opens his mouth as wide as possible. Pulls his earlobes
	foreword to reveal behind them. Then bends over, hands on the
	floor in front of him.

	He is scanned with a metal detector. So is his clothing,
	which is then returned to him.

<b>				GUARD #1
</b>		Welcome home, cop.

<b>					CUT TO:
</b>
<b>	INSIDE THE PRISON CAFETERIA
</b>
	Parker eats at a table with a dozen other inmates. The food
	is unrecognizable. The air thick with humidity and cigarette
	smoke. Nobody is talking. Just staring. At Parker.

	Parker forces down the remainder of his meal, then returns
	his utensils to a bin. And heads to the bathroom. All eyes
	following Parker's every move.

	The other inmates then turn their attentions to a man of
	incredible size following Parker. 6' 6", 255 lbs. His face
	covered with red scar tissue from burns suffered long ago.
	This is BIG RED. He follows Parker into the bathroom.

<b>	INSIDE THE BATHROOM
</b>
	Graffiti covers the walls. Red uses a stained urinal, then
	turns to the stalls. A pair of prisonissue shoes and socks
	are visible beneath one of them.

<b>				RED
</b>		Time to hurt...

	Red kicks in the door to the stall. Revealing a pair of shoes
	and socks stuffed with a prison shirt. Red hears something
	behind him. And turns around slowly.

	Parker stands barefooted and shirtless. SCARS are visible
	around each arm just below the elbow. You will learn what
	these represent momentarily.

	Parker is six inches shorter and 60 pounds lighter than Red.
	But the punch Parker delivers to Red's face makes you think
	it's the other way around.

	You HEAR the sound of metal crushing bone. Red is thrown
	backwards into the stall. Blood splatters from his mouth,
	adding another shade of redness to his face.

	Red's teeth stick out of Parker's fist. Parker pulls out the
	teeth. He does not bleed. Nor seem in pain. Metal is visible
	beneath the surface of his skin.

	For the first time, you notice SMALL TATTOOS on the outsides
	of his palms. They read: WENTLOW MODEL 17-L, and 17-R,
	followed by serial numbers.

	Red charges Parker wildly. Parker dodges him like a matador
	does a bull. Then brings his fists down savagely on the back
	of Red's head. His skull CRACKS. Red drops to the floor.

	Parker jumps on top of him, arms around his neck. Choking
	him. Red staggers to his feet. His eyes wide. His face now
	even redder.

	Parker maintains his mechanical grip. Red finally succumbs to
	the lack of oxygen. He drops to his knees. Parker does not
	relent until he feels the barrel of a gun at the back of his
	head.

<b>				GUARD
</b>		Fun's over.

	Parker lets go, dropping Red to the wet, filthy floor.

<b>					CUT TO:
</b>
<b>	INSIDE THE PRISON HOSPITAL
</b>
	The room isn't clean. The technology is outdated. A large,
	female NURSE applies epoxy-like sealant to the synthetic skin
	on Parker's fingers.

<b>				NURSE
</b>		I still don't know why they wasted
		this fancy, new technology on you.
		Every time I fix you up, you only
		go and mess it up again.

	She sandpapers off the excess sealant. Then places his elbow
	into an electronic sensitivity adjuster.

<b>				NURSE
</b>		Tell me how this feels...

	She pricks Parker's finger with a pin.

<b>				PARKER
</b><b>		OW!
</b>
<b>				NURSE
</b>			(smiling)
		I'll dial it down a little.

	She does so, then pricks Parker's finger again. He grimaces
	in pain.

<b>				NURSE (CONT'D)
</b>		That about right?

<b>				PARKER
</b>		It'll never feel right.

<b>				NURSE
</b>		At least they work. Would you
		rather have no hands at all?

<b>				PARKER
</b>		Sometimes.

<b>					CUT TO:
</b>
	SYNTHETIC BODY PARTS lying strewn around one of the stations
	in LETAC the NEXT DAY. It's a good bet this is the same
	technology attached to Parker's elbows.

	There are also various shapes and sizes of robots, androids,
	and other synthetic forms. The most humanlooking ones are
	the least functional. The least humanlooking ones, the most
	functional.

	You follow a remotecontrolled, boxshaped robotic sentry
	moving swiftly through an obstacle course resembling a subway
	station. It is being operated by CLYDE REILLY, 20s, a
	hardware genius who has spent too much time in windowless
	rooms.

	Hidden from Reilly's view, Lindenmeyer, the software expert
	who created Sid 6.7, stares jealously through a narrow gap in
	a partition. Trying to contain his anger. And failing.
	Especially as...

	Wallace enters the station, carrying a bottle of Dom Perignon
	and two glasses. Wallace hugs Reilly, who does not return the
	gesture.

<b>				WALLACE
</b>		Congratulations, Reilly...

	He pops the cork, and pours their glasses.

<b>				WALLACE (CONT'D)
</b>			(toasting)
		To the first LETAC engineer to go
		into production on prototypes.

<b>				REILLY
</b>		As long as you keep overpaying me,
		I'll be the first to go into
		production on three, and four, as
		well.

<b>				WALLACE
</b>		As long as they keep overpaying me,
		I'll keep overpaying you.
			(dropping the revelry) )
		Just make goddam sure you can have
		10 of them ready for deployment
		around the city by next month.

<b>				REILLY
</b>		Mr. Wallace, I could have 10 of
		them ready by tomorrow.

<b>				WALLACE
</b>			(a beat)
		Do they have to look so...robotic?

<b>				REILLY
</b>		At this stage, you either get form
		or function. You said she wanted
		function. I gave you function. What
		are you complaining about?

	He remote controls the robotic sentry to chase Wallace out of
	the station. Lindenmeyer can no longer be seen through the
	gap in the partition.

<b>	INSIDE LINDENMEYER'S STATION
</b>
	Lindenmeyer storms in angrily. Sid 6.7 is visible on the
	virtual reality monitors around the simulator. He's giving
	himself a manicure.

<b>				LINDENMEYER
</b>		All they want to produce around
		here is mediocrity!

<b>				SID 6.7
</b>		True genius is rarely rewarded
		within its lifetime.

<b>				LINDENMEYER
</b>			(a revelation)
		It was you, wasn't it?

<b>				SID 6.7
</b>			(innocently)
		It was me, what?

<b>				LINDENMEYER
</b>		You amped the neural connectors
		back up, didn't you?
			(angrily)
		You're the reason the convict died.
		You're the reason I got fired!

<b>				SID 6.7
</b>		I couldn't just let them make you
		bring down my degree of difficulty.
		I'm a triple-twisting, double back
		flip off the high platform, not a
		swan dive.

<b>				LINDENMEYER
</b>			(proud, but frightened)
		My God...

<b>				SID 6.7
</b>		Which God would that be, the one
		who created me, or the one who
		created you?
			(a beat)
		In your world, the Lord giveth, and
		the Lord taketh away. But in my
		world, the one who gave me life
		doesn't have the balls to stop a
		couple of bureaucratic assholes
		from taking it away.

<b>				LINDENMEYER
</b>		What do you expect me to do, put
		your character module in my pocket
		and just walk you out of here?

<b>				SID 6.7
</b>		I had something a little different
		in mind.
			(deviously)
		Instead of just playing Peeping Tom
		with Reilly, why don't you get him
		to show you what he's been working
		on after hours?

	Lindenmeyer arches an eyebrow, then picks up a phone and
	dials an extension.

<b>				LINDENMEYER
</b>			(into phone)
		Hey, Reilly, Sheila 3.2's been
		asking for you...

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	whose wrists and ankles are cuffed, being led into a Prison
	Interrogation Room. Dr. Madison Carter sits at a table, a
	VISITOR'S BADGE clipped to her suit. A notepad in front of
	her.

<b>				MADISON
</b>			(to the Guard)
		The cuffs won't be necessary.

<b>				GUARD
</b>		No offense, ma'am, but I don't
		think that's such a good idea.

<b>				MADISON
</b>		I would like the following three
		things in this order: your mouth
		shut, his cuffs off, and your ass
		outside the door. Any questions?

	The Guard removes Parker's cuffs, then exits, taking up his
	post outside the door. The skin around Parker's wrists is
	blue where the cuffs dug into his skin.

	Parker sits across from Madison. She places a microrecorder
	in the middle of the table and presses RECORD.

<b>				PARKER
</b>		You actually listen to all those
		tapes?

<b>				MADISON
</b>			(wryly)
		No, I just like the effect a tape
		recorder has on you.
			(a beat)
		How you feeling today?

<b>				PARKER
</b>		A little less than yesterday.

<b>				MADISON
</b>		In other words, par for the course.
			(a beat)
		How do you feel about the
		simulation you participated in
		yesterday?

<b>				PARKER
</b>		John died.

<b>				MADISON
</b>		I know. I was there. I saw the
		whole thing.
			(a beat)
		If I was your therapist, I would
		have advised you against putting
		yourself back into that kind of
		situation.

<b>				PARKER
</b>		You're not my therapist. You're
		hear to study me. Face it  I'm
		nothing more than a lab rat to you.

<b>				MADISON
</b>		That's not true, Parker.

<b>				PARKER
</b>		If I had died yesterday, you'd have
		already dissected my brain and
		analyzed it to see if I carry any
		genetic predisposition toward
		violence.

<b>				MADISON
</b>			(a beat)
		What was going through your mind
		when you killed the busboy?

<b>				PARKER
</b>		Not much. He was just a computer
		program. Nothing more.

<b>				MADISON
</b>		You didn't see the expression you
		had on your face when you pulled
		the trigger. But I did.
			(a beat)
		You kind of liked it, didn't you?
		That thrill of going over the edge
		again. Of taking out an innocent
		bystander or two, as long as you
		got the target...

<b>				PARKER
</b>		Go to hell.

<b>				MADISON
</b>		It was just like before, wasn't it?
		Wasn't it?
			(a beat)
		But you are making progress.
		Instead of killing seven people to
		get the one you're after, this time
		there was only one other person
		involved.

<b>				PARKER
</b>		Enough!

	The Guard pokes his head in with concern.

<b>				MADISON
</b><b>		GET OUT!
</b>
	The Guard quickly shuts the door. Madison turns to Parker.

<b>				MADISON (CONT'D)
</b>		I need to know what snapped in you.
		What made you capable of it. You
		have to make me understand.

<b>				PARKER
</b>		I don't have to do anything except
		survive. And it's taking everything
		I've got just to do that.

<b>					CUT TO:
</b>
<b>	ON A VIRTUAL REALITY MONITOR
</b>
	inside Lindenmeyer's station in LETAC, the stunningly
	beautiful SHEILA 3.2 appears. In very revealing lingerie.
	Performing an outrageous striptease.

<b>				SHEILA 3.2
</b>			(seductively)
		I hope watching me is as big a turn
		on for you as dancing is for me...

<b>	INSIDE LETAC
</b>
	Reilly runs his perspiring finger over the monitor as if he
	could touch the contours of Sheila 3.2's body.

<b>				REILLY
</b>		Oh, believe me, it is. It is...

	He is so aroused, he's shaking. Lindenmeyer, on the other
	hand, appears almost uninterested. He's used to the routine.

	On the monitor, Sheila 3.2 continues her striptease.

	Slowly. Sensually. Licking her lips. Grinding her hips.

	Putting on quite a show.

	She removes her top, revealing ideal breasts. She fondles her
	nipples. As well as the rest of herself.

	Lindenmeyer and Reilly continue watching. Reilly can barely
	control himself.

	Sheila 3.2 is very, very, very good at what she does. A
	virtuoso stripper. Reilly is transfixed. Until Lindenmeyer
	pushes a button, BLACKING OUT the virtual reality screens.

<b>				REILLY
</b><b>		HEY!!!
</b>
<b>				LINDENMEYER
</b>		Show's over unless I get to see
		what you've been working on after
		hours.

<b>				REILLY
</b>			(paranoid)
		I haven't been working on anything.

<b>				LINDENMEYER
</b>			(threateningly)
		Do I get to see it or not?

<b>				REILLY
</b>			(a beat)
		Bastard...
			(to a monitor)
		Sheila, don't go anywhere. I'll be
		right back.

	He rushes out. Sid 6.7 appears on the various monitors next
	to Sheila 3.2. He kisses her cheek. Caresses her body. Sheila
	3.2 enjoys the attention.

<b>				SID 6.7
</b>		She's some of your finest work,
		Daryl.

<b>				LINDENMEYER
</b>		All my work is my finest.

	Sid 6.7 continues appreciating Sheila 3.2. As Reilly races
	back in, the monitors then all go BLACK.

	Reilly, completely out of breath, holds a python by it's
	head. He dangles the snake right in front of Lindenmeyer's
	face. Terrifying him.

<b>				LINDENMEYER
</b>			(backing away fast)
		Get that fucking thing away from
		me!

<b>				REILLY
</b>			(laughing)
		You're...such a wimp.

	He grabs a large pair of scissors and snips right through the
	snake. The half of the snake which drops to the floor stops
	moving.

	But the half still in Reilly's hand begins REGENERATING a new
	tail. Literally growing a new one. Lindenmeyer can't believe
	his eyes. He studies the snake closely.

<b>				REILLY (CONT'D)
</b>		Watching your VR people Auto Reset
		gave me the idea.

<b>				LINDENMEYER
</b>			(in awe)
		It's nanotechnology, isn't it?
		Machines the size of molecules...

<b>				REILLY
</b>			(proudly)
		Coordinated by polymer neural net.

<b>				LINDENMEYER
</b>			(touching the snake)
		It feels so.. .real.

<b>				REILLY
</b>		It's better than real. It's
		synthetic flesh. Synthetic blood.
		Synthetic organs...
			(a beat)
		It's a physiological machine.

<b>				LINDENMEYER
</b>			(awed)
		This is supposed to be years away.

<b>				REILLY
</b>		As far as the public is concerned,
		it is. The reason you got fired,
		and I got my second demo into
		production, is I'm a lot smarter
		than you. I never give my best
		stuff away.

<b>				LINDENMEYER
</b>			(restraining himself)
		How do you kill it?

<b>				REILLY
</b>		Separate the character module from
		the neural net...

	Using Lindenmeyer's scissors, he cuts off the snake's head
	and removes a small character module connected to the base of
	the neural net. The snake stops moving. It "dies."

<b>				REILLY (CONT'D)
</b>		... and you get nanodeath.
			(discarding the snake)
		Don't worry, I've got a bunch of
		other ones.

<b>				LINDENMEYER
</b>		Amazing. I hate to say it, but it
		is.

<b>				REILLY
</b>		I know.
			(a beat)
		I'm ready to incubate something a
		little more advanced than a
		coldblooded reptile. If you want to
		experience the future, meet me in
		my office in 15 minutes. And bring
		the Sheila 3.2 character module
		with you...

	He exits. As Lindenmeyer reaches for the Sheila 3.2 character
	module, Sid 6.7 appears on the screen in front of him and
	winks.

<b>				SID 6.7
</b>		You catching my drift?

<b>				LINDENMEYER
</b>		I think I understand what you have
		in mind...

	Peeling the label off the Sid 6.7 character module,
	Lindenmeyer removes the module from its slot. Sid 6.7
	disappears from the screen.

<b>					CUT TO:
</b>
<b>	REILLY
</b>
	opening his office door for Lindenmeyer fifteen minutes
	later. Reilly immediately double bolts the door behind him
	and leads Lindenmeyer through piles of electronic circuitry.
	As well as a large aquarium full of nanopythons.

<b>				LINDENMEYER
</b>		You need a maid.

<b>				REILLY
</b>		What I need is a nymphomaniac.

	He removes a tarp from a large, rectangular, metallic tank
	with a circular window in the middle of it.

	Clear, plastic tubing, which branches into hundreds of
	increasingly smaller and smaller branches, floats in
	electrified fluid. The tubing is a synthetic human nervous
	system.

<b>	INSIDE REILLY'S OFFICE
</b>
	Reilly turns to Lindenmeyer.

<b>				REILLY
</b>		Where's the Sheila 3.2 module?

	Lindenmeyer hands him the labelless character module. Reilly
	opens the "incubator."

<b>	INSIDE THE INCUBATOR
</b>
	Reilly inserts the module into the gelatinous base of the
	synthetic nervous system.

	The polymer neural net instantly crackles with life. It grows
	around the module. Cells (nanomechanisms) immediately begin
	adhering to the tubing. Forming the beginnings of a skeletal
	architecture.

<b>	INSIDE REILLY'S OFFICE
</b>
	Lindenmeyer and Reilly look on through the circular window.

<b>				REILLY
</b>		It feeds on what is basically
		amniotic fluid.
			(a beat)
		In eight hours, we are going to
		have ourselves one hell of a play
		toy.

	Off Lindenmeyer's wicked, but somewhat anxious, smile, we

<b>					CUT TO:
</b>
<b>	INSIDE PARKER'S CRAMPED PRISON CELL
</b>
	It's night. Light is dim. His bed is empty. The wall next to
	it is completely bare, except for the five Christmas cards
	sent each year by Chief Cox.

	The other two walls in the cell, however, look very
	different. They are completely covered with primitive
	paintings  darkly colored, surreal images. Imagine the
	Lascaux cave paintings as worksinprogress. Painted by Dali.
	Except these images were created by Parker Barnes.

	He kneels in a corner, working intensely on another image.
	Completely lost in concentration. His hands, his clothing,
	covered in paint. He almost appears to be part of the art
	work.

	The work is intricate. It clearly takes Parker a very long
	time. Which gives him something to do during the nights he is
	unable to sleep. Which is most of them.

	He is so absorbed in his task that he seems oblivious to the
	constant taunts ECHOING throughout the cell block. Threats of
	the ugliest, most vile kind. The kind Parker has had to live
	with every night for the last five years.

	Pausing to admire his work, Parker finally hears the taunts.

	His face becoming a mixture of frustration, guilt, and anger.

	Parker immediately resumes painting.

<b>					CUT TO:
</b>
<b>	INSIDE REILLY'S OFFICE
</b>
	Reilly paces anxiously by the incubator eight hours later.

	Lindenmeyer sits off to the side, looking no less anxious.

	It's close to 4:00 AM.

<b>	THROUGH THE CIRCULAR WINDOW
</b>
	There is no liquid left in the incubator -- it's all been
	absorbed. All that is visible is the silhouette of a human
	form crouched within steam. The form stands.

<b>	INSIDE REILLY'S OFFICE
</b>
	The human form inside incubator opens the hatch. Steam pours
	out from within its confines as it climbs out slowly.

	The figure stands within the mist, admiring itself. Then its
	surroundings.

	Reilly approaches the figure with the expectancy of a father
	about to see his newborn child for the first time.
	Lindenmeyer hangs back.

<b>				REILLY
</b>			(expecting Sheila 3.2)
		Baby, what I'm gonna do to you...

	His face drops when Sid 6.7 steps out of the mist.

	Completely naked. Lindenmeyer smiles proudly. Fearfully.
	Wickedly.

<b>				REILLY (CONT'D)
</b>			(to Lindenmeyer)
		Who the hell is this?!

<b>				SID 6.7
</b>		My name is Sid. Sid 6.7.

	He extends his hand as if to shake. Then grabs Reilly by the
	throat and chokes him. Hard.

<b>				LINDENMEYER
</b><b>		SID  NO!!!
</b>
<b>				SID 6.7
</b>		What do you expect me to do, thank
		him?

<b>				REILLY
</b>			(gasping for air)
		This... isn't.. .possible!

<b>				SID 6.7
</b>		Sure it is - and it's all thanks
		to the many long hours put in by
		you and Daryl.

	He watches Reilly's face with curiosity as the life drains
	from it. A puddle forms beneath him. He drops Reilly's body
	to the floor.

<b>				SID 6.7 (CONT'D)
</b>			(to Lindenmeyer) )
		Real instruments are so much more
		responsive than virtual ones, don't
		you think?

	Lindenmeyer is nowhere to be seen. The office door is
	unlocked, and open. Watching Sid 6.7's expression, you
	realize something isn't quite right.

	His expression is exaggerated. Artificial. Only for a moment,
	but it's enough to remind you Sid 6.7 is not human.

	The billions of nanomechanisms which make up his anatomy are
	still learning to function in a fully-coordinated fashion.
	Sid 6.7 is, literally, getting used to his new skin.

	In various ways throughout his "life"  be it a wandering
	eye, or a momentary limp - you will be reminded that Sid 6.7
	is a synthetic nanoorganism unlike anyone has ever seen.

	A surgical knife by the aquarium catches Sid 6.7's attention.
	Picking up the knife, he runs his finger across the razor
	sharp knife blade. Cutting himself slightly. A drop of blood
	appears. Sid 6.7 tastes his (synthetic) blood.

<b>				SID 6.7 (CONT'D)
</b>		Tastes different, somehow.

	He then watches with interest as his wound regenerates,
	healing itself. The scar tissue is slightly off color.

<b>				SID 6.7 (CONT'D)
</b>		I think I'm going to like it here.

	Glancing at Reilly's prone body, he then SLAMS the office
	door in our face.

<b>					CUT TO:
</b>
<b>	INSIDE A PRISON INTERROGATION ROOM
</b>
	6:00 AM. Parker, clearly just awakened, is led into the room
	by a guard, who then exits. Waiting for Parker are Chief of
	Police Cox and Elizabeth Deane.

<b>				PARKER
</b>			(to Cox)
		You're wasting your time.
		I'm not going to play any more of
		your goddam games.

<b>				COX
</b>		Parker Barnes, I'd like you to meet
		Crime Czar Elizabeth Deane.

<b>				PARKER
</b>			(not shaking hands)
		It's too early in the morning for
		me to be cordial. You got any
		coffee?

<b>				DEANE
</b>		I watched your simulation, Mr.
		Barnes. Very impressive. You know,
		you're the only one to ever go up
		against Sid 6.7 who is still alive.

<b>				PARKER
</b>		Only because I got pulled out
		early.

<b>				DEANE
</b>		Nobody else ever got anywhere near
		him. Nobody else... understands him
		like you do.

	Parker, looking at her incredulously, moves his index finger
	circularly, as in get on with it, already. Cox opens a folder
	and shows Parker several PHOTOGRAPHS of Reilly, or what was
	left of him.

<b>				COX
</b>		These were taken inside LETAC an
		hour ago. Pretty pictures, aren't
		they?

<b>				PARKER
</b>		I've seen worse.

<b>				COX
</b>		Name was Clyde Reilly. Hardware
		specialist.
			(a beat)
		LETAC surveillance cameras got a
		picture of the perp as he left the
		building.

	He hands a photograph of Sid 6.7 exiting LETAC to Parker.

<b>				COX (CONT'D)
</b>		We don't know how, but Sid 6.7 made
		himself into an android.

<b>				DEANE
</b>			(correcting him)
		You mean a nanotech synthetic
		organism.

<b>				COX
</b>		Whatever.

<b>				PARKER
</b>			(looking at the photo)
		Jesus Christ.
			(a beat)
		Can you kill it?

<b>				COX
</b>		If you can catch him.

<b>				DEANE
</b>		Think you can do it?

<b>				PARKER
</b>			(a beat)
		Not from in here.

<b>				DEANE
</b>			(revealing a document)
		This is a full pardon. It
		authorizes your immediate release.

	She slides an unsigned pardon across the table to Parker,
	making sure to stay beyond his arm's reach. Cox reveals a
	worn, L. A. P. D. badge. It was Parker's.

<b>				COX
</b>		Recognize this? How would you like
		your old job back?

<b>				DEANE
</b>			(to Parker)
		Catch him and your record's clean.

<b>				PARKER
</b>		What happens if I can't catch him?

<b>				DEANE
</b>		If Sid 6.7 hasn't killed you, we
		throw you back in here and you
		serve out the rest of your
		sentence.

<b>				PARKER
</b>		How do you know I won't run?

	Deane holds up a small device called a LOCATER IMPLANT. It is
	the size of a dime.

<b>				DEANE
</b>		This is the newest technology
		approved for general
		implementation. It's called a
		locater implant. Every parolee gets
		one. 
			(a beat)
		We're going to know where you are
		every second for the rest of your
		life.

<b>				COX
</b>			(leaning to Parker)
		If you try to run, I'll hunt you
		down and kill you myself.

<b>				DEANE
</b>			(a beat)
		Yes or no, Mr. Barnes?

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	being given a crew cut by an INMATE BARBER inside the Prison
	Barber Shop. Long lengths of Parker's hair cover the floor.
	Parker's face is then shaved. The majority of his face is
	hidden. Cox and Deane look on.

<b>				COX
</b>		There's already a task force out
		looking for Lindenmeyer. Every
		other officer in the city will be
		hunting Sid right along with you.

<b>				DEANE
</b>		But only you will know he's not
		human.

	Parker's expression is one of  yeah, that figures. Madison
	enters. She cannot see Parker behind the barber.

<b>				MADISON
</b>		Ms. Deane, you wanted to see me?

<b>				DEANE
</b>		We have an emergency situation
		which requires somebody with
		expertise in criminal psychology.
		Under the authority vested in me by
		the President, I'm giving you
		temporary reassignment.

<b>				MADISON
</b>		What's the assignment?

<b>				DEANE
</b>		You're going to put your theories
		to practice. I'm sending you into
		the field.

	The barber moves back from Parker, revealing his clean
	shaven face. It takes Madison a moment to recognize him with
	his cleanedup appearance.

<b>				MADISON
</b>			(double-taking him)
		Quite an improvement.
			(looking him over)
		Hair well above the collar
		standard, L. A. P. D. regulation.
			(suspiciously to Deane)
		What exactly am I going to be doing
		in the field?

<b>					CUT TO:
</b>
<b>	INSIDE A PRISON HOSPITAL OPERATING ROOM
</b>
	Parker lies on an operating table, receiving anesthesia, as a
	SURGEON drills a small hole into his skull. The surgeon
	inserts a minute, fiber-optic camera into the hole.

	Parker's brain is displayed on a monitor. The surgeon uses
	the image to guide him as he carefully inserts the locater
	implant into Parker's brain.

<b>				ANESTHETIST
</b>			(looking at monitor)
		You are right on the border of his
		corpus callosuni.

<b>				SURGEON
</b>		He is under, isn't he?

<b>				ANESTHETIST
</b>			(nodding)
		Won't stop him from dreaming,
		though...

	Parker's rapid eye movements tell you the anesthetist is
	correct. Parker is dreaming.

<b>	INSIDE A VIEWING ROOM
</b>
	Cox and Deane watch the operation through a large window.

	Madison enters, carrying a folder labelled:	INMATE #673429
	A/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from
	the folder, placing the first one in front of Deane.

<b>				MADISON
</b>		This is Parker Barnes six years
		ago.
		The most decorated cop in the
		history of L. A. P. D. Special
		Investigations Division...

	The photograph is in black and white. But as we MOVE IN
	CLOSER, it takes on color. As well as comes to life. Then
	distorting. Becoming surreal. Resembling one of the images
	from Parker's cell. Then mutating into something else.

<b>					INTERCUT WITH:
</b>
<b>	PARKER'S EYES
</b>
	darting about wildly beneath his eyelids as he continues
	dreaming. You now realize you are seeing what he is seeing:

	Flashes of color. Shapes. Mostly blurs. A splash of gold.
	Along with some yellow. More images from Parker's cell. Both
	taking feminine form. One adult, one child.

<b>				MADISON (V. 0.)
</b>		This is Parker with his wife and
		daughter. Beautiful young family,
		weren't they?

	The bright colors melt into darker, more brooding images.
	Flashes of men's faces. Melting into urban decay.
	Unhappiness. Technology.

<b>				MADISON (V. 0. CONT'D)
</b>		This is the group of cyber
		anarchists Parker was closing in
		on.

	Melancholy turns violent. Glimpses of weapons. Death.
	Explosions. Death. Blood. Death. Caskets. Tombstones. Images
	moving so fast, it's hard to tell what they are. Nothing
	literal.

<b>				MADISON (V. 0. CONT'D)
</b>		This is what Parker's wife and
		daughter looked like after they
		were kidnapped and executed.

	Weapons firing. Bombs exploding. Images of rage in all its
	forms. Many of which you've already seen. Making one thing
	now clear: the paintings in Parker's cell represent his life.
	What he was. What he lost. And what he is.

<b>				MADISON (V. 0. CONT'D)
</b>		This is what the cyber anarchists
		and two people who just happened to
		be in the wrong club at the wrong
		time looked like after Parker
		finished with them.

	Tears. Hopelessness. Detonation. And finally blackness.
	Complete and utter blackness.

<b>					CUT TO:
</b>
<b>	ELIZABETH DEANE
</b>
	looking at the fifth photograph which Madison has placed in
	front of her inside the Viewing Room.

<b>				DEANE
</b>			(unfazed)
		That's also where Mr. Barnes lost
		his arms to Mathew Grimes' booby
		trap. What's your point, Dr.
		Carter?

<b>				MADISON
</b>			(forcefully)
		Letting a lunatic like Parker
		Barnes loose in the free world is
		like lighting a fuse. At some
		point, he will go off -- you saw
		what happened in the simulator. The
		risk to the public is unacceptably
		dangerous.

<b>				DEANE
</b>		Not if you're with him every step
		of the way.

<b>				MADISON
</b>		The man played judge, jury, and
		executioner with eight people's
		lives. He lost control and is
		capable of doing it again.

<b>				DEANE
</b>		I understand the risks involved
		here. But there is nobody better
		qualified to go after Sid 6.7 than
		Barnes. And, there is nobody who
		knows him better than you. If a
		situation becomes volatile, you
		will find a way to quell it. I have
		complete confidence in you.

<b>	INSIDE THE OPERATING ROOM
</b>
	As Parker continues dreaming, the locater implant in his head
	is tested. Parker's location is pinpointed on an electronic
	map to within one inch of his present location. The hole in
	his skull is then stitched shut.

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	putting on his L. A. P. D. uniform and badge inside a Prison
	Interrogation Room. He looks very much like he did in virtual
	reality, except for the scar on his cheek, and his empty
	holster. Cox and Madison look on.

<b>				PARKER
</b>			(to Cox)
		I don't need a babysitter.

<b>				MADISON
</b>		What you need is a collar.

<b>				COX
</b>			(to Parker)
		She's going to help you understand
		what makes Sid 6.7 tick.

<b>				PARKER
</b>		What she's going to do is get in my
		way.

	Cox hands Madison a thick folder.

<b>				COX
</b>		This is the personnel file on the
		programmer, Lindenmeyer. There
		might be something in it you can
		use.

<b>				PARKER
</b>		She wasn't part of the deal, Cox.

<b>				COX
</b>		Fine  you want to stay here?

	His cellular phone RINGS, which he answers. As he listens to
	the call, his expression is one of growing concern. He clicks
	off the phone.

<b>				COX (CONT'D)
</b>		Officers in Toluca Lake just found
		an affluent couple...completely
		gutted.
			(a beat)
		So were the first two cops to
		arrive on scene.

<b>				PARKER
</b>		Their weapons missing?

<b>				COX
</b>			(nodding)
		Sid 6.7 is now armed.

<b>				PARKER
</b>		Where's my gun?

	Cox glances to Madison, then hands Parker a .45. 

<b>				COX
</b>		Be careful with it.

<b>					CUT TO:
</b>
<b>	AN L. A. P. D. SQUAD CAR
</b>
	passing through the Security Checkpoints outside the Prison.
	Parker at the wheel. Madison beside him. It's afternoon.

<b>	INSIDE THE SQUAD CAR
</b>
	Parker presents his identification to a GUARD, then drives
	through the final checkpoint. Madison reviews Lindenmeyer's
	file.

<b>				MADISON
</b>			(without looking up)
		You remember how to get to Toluca
		Lake?

	He glances at her, then stops the car.

<b>	OUTSIDE THE PRISON GATES
</b>
	Parker gets out of the car. Madison follows suit.

<b>				MADISON
</b>		What are you doing?!

	He walks around the car, brushing past her. Then drops to his
	knees at the side of the road. He puts his hands in the dirt,
	feeling the earth between his fingers.

<b>				PARKER
</b>			(meaningfully)
		Every day for the last five years,
		I told myself someday I would be
		out here again. No more bars. No
		more guards. No more fights just to
		stay alive.
			(a beat)
		Every day for the last five years,
		I told myself that lie.

<b>				MADISON
</b>		It wasn't a lie.

<b>				PARKER
</b>		Every time I said it, it was. I
		never really thought I was going to
		make it.

	Taking a deep breath, he wipes the dirt off his hands. Then
	stands.

<b>				MADISON
</b>		You all right?

<b>				PARKER
</b>			(completely at ease)
		Fine. Never felt better in my life.
			(a beat)
		See, I'm a good liar.

	He gets back in the vehicle. Off Madison's reaction, we

<b>					CUT TO:
</b>
<b>	SEVERAL TV REPORTERS
</b>
	talking live to their cameras on the street in front of a
	beautiful, suburban home in Toluca Lake, which is now a crime
	scene. 6 PM.

<b>				REPORTER
</b>			(to her camera) )
		As L. A. P. D.
		Officers continue gathering
		evidence at this grisly crime
		scene, you can only ask yourselves
		 what kind of lunatic would
		commit such unthinkable crimes?

	Parker and Madison make their way through the curious trying
	to see what's going on. Several REPORTERS double-take Parker,
	then quickly instruct their PHOTOGRAPHERS to take shots of
	him.

	Parker and Madison present their identification to the COPS
	keeping the curious at bay.

<b>				COP #1
</b>			(recognizing Parker)
		Son...of...a...bitch.

	Parker and Madison continue toward the house. Getting an
	increasing amount of attention, particularly from the other
	COPS. Some look on with awe. Some with disdain. But nobody is
	in between.

<b>				MADISON
</b>			(quietly to Parker)
		You ready for this?

<b>				PARKER
</b>		Don't worry. If I can't handle it,
		I'll just kill everybody.

	He gives her a brief smile. Which Madison does not return.
	One of the other policemen tentatively approaches Parker.

<b>				COP #2
</b>		I've always wanted to tell you that
		if the same thing happened to me, I
		would do the exact same thing as
		you --	if I had the balls.

	He extends his hand to Parker, who shakes it.

<b>				COP #3
</b>			(to Cop #2)
		Then you'd be a disgrace to the
		badge, too.

	He turns to Parker, who is looking right at him. Not with
	anger. Not with any emotion, really. But it's enough to scare
	the shit out of Cop #3, who walks away.

<b>	INSIDE THE SUBURBAN HOME
</b>
	Investigators analyze the crime scene extensively with every
	device imaginable. Parker and Madison survey the scene with
	nothing but their eyes.

	Lying in the middle of the living room are the four victims:

	the affluent couple and the first two cops to arrive. Their
	bodies were left in similar condition to Reilly's. Except
	their heads have been interchanged.

	Parker and Madison turn their attention to a message written
	in blood on a wall. It reads: DEATH TO THE PIGS.

<b>				MADISON
</b>			(knowledgeably)
		He was reenacting Charles Manson's
		LaBianca murders.

<b>				PARKER
</b>		Manson didn't kill the first cops
		to arrive on the scene.

<b>				MADISON
</b>		Whoever did this wanted to do
		Charlie one better  to improve
		upon what was already done.

<b>				PARKER
</b>		Charlie? You say that like you're
		close, personal friends.

<b>				MADISON
</b>		I've spent over 50 hours
		interviewing him.
			(a beat)
		Charlie killed Leno and Rosemary
		LaBianca because of the ugly way
		the members of his family had
		butchered Sharon Tate. After seeing
		the blood bath on television, he
		wanted to show them how it should
		be done.
			(a beat)
		The question is, what does Charlie
		have to do with Sid 6.7?

<b>				PARKER
</b>		I know who would know.

<b>					CUT TO:
</b>
<b>	OUTSIDE LINDENMEYER'S DUPLEX
</b>
	in Culver City. Magic hour. Parker pulls the squad car into a
	space across the street. Hitting the vehicle parked in front
	of them. In which two UNDERCOVER COPS sit waiting to see if
	Lindenmeyer returns. Parker waves apologetically.

<b>				MADISON
</b>			(sarcastically)
		You drive well for somebody who
		hasn't done it in five years.

	He ignores her as they get out of the car.

<b>				PARKER
</b>		Learn anything from Lindenmeyer's
		file?

<b>				MADISON
</b>		He had a twin brother who was a
		musical child prodigy who died in
		an electrical accident at age
		eight. Lindenmeyer went into an
		emotional shell until was 17. All
		he did day and night was play the
		violin.

<b>				PARKER
</b>		What happened when he was 17?

<b>				MADISON
</b>		Every music school in the country
		rejected him and he turned to
		computers.
			(a beat)
		Stay here.

	She approaches the cops, who remain in their car.

<b>				MADISON (CONT'D)
</b>		Any sign of Lindenmeyer?

<b>				UNDERCOVER
</b>		None, yet.

<b>				MADISON
</b>		Mind if we take a look inside?

<b>				UNDERCOVER
</b>		Not until somebody gets a search
		warrant signed. It's Sunday. I
		don't think they've even found a
		judge, yet.

	WHAM! They all turn their heads to see Parker has kicked in
	Lindenmeyer's front door and is going inside.

<b>				UNDERCOVER (CONT' D)
</b>			(shaking his head)
		I'm gonna have to call this in.

<b>				MADISON
</b>		Do what you've got to do.
			(running after Parker)
		So will I...

<b>	INSIDE LINDENMEYER'S DUPLEX
</b>
	Madison races through the broken front door to find Parker
	checking his weapon. Before she can speak, he motions for
	Madison to freeze and be silent.

	Parker hears Something. Something moving inside the duplex.
	His every movement is now that of a predator.

	Madison awkwardly removes her own weapon from her purse. She
	does not handle it with confidence. Parker shakes his head.

<b>				MADISON
</b>			(quietly)
		You've got a problem with me
		carrying a gun?

<b>				PARKER
</b>		Do me one favor  if you shoot at
		anything, make sure I'm nowhere
		near it.

	Parker bolts through the duplex, storming into rooms
	furiously. His movements are aggressive. Madison searches
	other rooms methodically. She is not timid. Just
	inexperienced in the field.

	She passes a video camera mounted on a tripod. Pointed out
	the window at a neighbor's bathroom. Dozens of cassettes
	surround the tripod. The labels are dated  covering every
	day of the last month.

	Parker and Madison enter opposite sides of the kitchen with
	their guns drawn, nearly shooting each other. Madison puts
	down her gun. Parker does not. The noise persists.

<b>				PARKER
</b>			(looking through his
		sight)
		Bang...

	He smiles wickedly, and continues on. Madison takes a deep
	breath, then resumes her search. Parker and Madison end up

<b>	INSIDE LINDENMEYER'S HOME OFFICE
</b>
	It's as if the Information Superhighway ended in here.
	Cluttered stockpiles of hardware and software: computers,
	books, folders, disks, and tapes.

	What you notice, however, is that ALL THE DATA relates to
	DIFFERENT KINDS of CRIMINALS: serial killers, mass murderers,
	terrorists, kidnappers, rapists, bombers, extortionists,
	anarchists, you name it, it's here. The psychology of, the
	methodology of, the history of, the encyclopedia of, the
	autobiographies of human villainy.

	CLASSICAL MUSIC and lifelike SOUND EFFECTS can be heard
	coming from a computer. This is what Parker has been hearing.
	He holsters his sidearm. So does Madison. Who checks her
	pulse.

<b>				PARKER
</b>		What are you doing?

<b>				MADISON
</b>			(clinically)
		Checking my pulse. It's elevated.
			(a beat)
		You enjoy frightening me, don't
		you?

<b>				PARKER
</b>		You've studied me, now I'm studying
		you. Seems only fair, don't you
		think?

<b>	ON THE COMPUTER MONITOR
</b>
	An animated man, who resembles Lindenmeyer, walks peacefully
	through a park. He then starts killing everything in sight.
	Men, women, squirrels, even flowers. All to classical music.

	The scene immediately starts over, with the man once again
	walking peacefully through the park. This was Lindenmeyer's
<b>	SCREEN SAVER.
</b>
<b>	INSIDE LINDENMEYER'S OFFICE
</b>
	Looking around the room, Madison shakes her head.

<b>				MADISON
</b>		This Lindenmeyer's a real piece of
		work.

<b>				PARKER
</b>			(looking at a book shelf)
		Maybe after they catch him, you
		should write a book about him...

	He runs his finger along a book shelf, pausing at two books
	in particular. Their titles are: UNDERSTANDING THE CRIMINAL
	MIND, and CRIMINAL PURSUIT -- A PSYCHOLOGICAL GUIDE FOR LAW
	ENFORCEMENT. They were written by Dr. Madison Carter.

<b>				PARKER (CONT'D)
</b>		I'm surprised you didn't write one
		about me.

<b>				MADISON
</b>		I'm still working on it.

	Noticing something on the floor, she picks up a bizarre
	looking synthesizer keyboard off the floor. You read its
	name: MAESTRO.

<b>				MADISON (CONT'D)
</b>		Remember a few years ago when music
		schools were using a computerized
		teaching tool that accidently
		started frying kids' brains?

<b>				PARKER
</b>		I've been in prison, remember?

<b>				MADISON
</b>		The government must have figured
		there was no better person to
		create a psycho than a psycho.

<b>				PARKER
</b>		Just like they figured there was no
		better person to catch one...

	Madison elects not to respond. She sits down at the computer,
	which rests between busts of Beethoven and Mozart, and begins
	typing at the computer. She works with efficiency. Knowing
	exactly what she's doing. She is now in her element.

	From a shelf, Parker picks up a moldy piece of licorice
	inserted into a half-eaten pudding cup. Then flips through
	one of the books written by Madison. Only half-interested.

<b>				MADISON
</b>			(keeping her eyes on
		screen)
		I am the demon from the bottomless
		pit...

<b>				PARKER
</b>			(remembering, not reading)
		... here on earth to create havoc
		and terror. I am War, I am death. I
		am destruction. David Berkowitz,
<b>		1977.
</b>
<b>				MADISON
</b>		I am impressed.

<b>				PARKER
</b>			(quoting)
		For murder, though it have no
		tongue, will speak with most
		miraculous organ.

<b>				MADISON
</b>		Who said that?

<b>				PARKER
</b>		Hamlet.
			(a beat)
		What's David Berkowitz got to do
		with Sid 6.7?

<b>				MADISON
</b>			(pointing to the screen)
		He's part of the mix. Sid 6.7 is a
		composite.

<b>	ON THE COMPUTER SCREEN
</b>
	The graphics show you that Sid 1.2 was a combination of
	Charles Manson and Billy the Kid. You see what look like two
	viruses, which represent each criminal's psychological
	profile, attacking each other. The result is a molten blob.

	Berkowitz was added to create Sid 1.3. A three-way
	psychological battle, more hostile than the first, occurs.
	Sid 1.4, adding the terrorist, Abu Nidal, makes the conflict
	even more violent. And so on.

<b>	INSIDE LINDENMEYER'S OFFICE
</b>
	Madison stares at the computer screen in awe. Parker flips
	through CD-ROM hard copies of the different versions of Sid.

<b>				MADISON
</b>		Lindenmeyer put increasingly
		complex combinations of criminal
		psychological profiles together to
		develop the ultimate villain.

<b>				PARKER
</b>			(understanding)
		Creating a whole far more dangerous
		than the sum of its parts.

<b>				MADISON
</b>		But rather than selecting pieces
		from each individual, he simply let
		the stronger traits of each
		individual cannibalize the weaker
		ones.

	She continues opening the files of the higher versions of
	Sid. Version 5.9 consists of 67 different profiles. The
	visualized psychological battle is intense. And extremely
	violent. The 6.7 version, with 183 profiles, is even worse.

<b>				MADISON (CONT'D)
</b>		It's a good bet a couple of the
		dominant personalities teamed up to
		overpower the others.
			(a beat)
		The question is, which one of the
		dominants then finally managed to
		take control?

	Attempting to open the files of the composite profiles,
	Madison discovers they are protected by encryption.

<b>				MADISON (CONT'D)
</b>			(re: Lindenmeyer) )
		He'll let us see the ingredients
		that went in, but not how the soup
		turned out after stirring.

	Madison scrolls through the list of 183 names, stopping at
	the name MATHEW GRIMES. Alarm registers on her face. As
	Parker comes over to look over her shoulder, she quickly
	scrolls through the list to get the name off the screen. He
	holds the Sid 6.7 CD-ROM in hand.

<b>				PARKER
</b>		This is getting you pumped up,
		isn't it? This is like the World
		Series to you.

<b>				MADISON
</b>		As a matter of fact, it is.

	Parker points to a name on the screen:	JEFFREY DAHMER.

<b>				PARKER
</b>		Remember the bowling ball bag Sid
		carried with him in virtual
		reality?

<b>				MADISON
</b>		Dahmer carried the head of one of
		his victims in a bowling bag for
		over a week. Kept it in his locker
		while he was at work in a candy
		factory.
			(re: Sid 6.7 CD-ROM)
		We need to get a look at Sid 6.7's
		final profile.

<b>				PARKER
</b>		What we need to do is stop playing
		with computers and go catch the
		sonof-a-bitch before he kills
		anybody else.

<b>				MADISON
</b>		In order to find him, we have to
		understand what makes him tick...

<b>					CUT TO:
</b>
<b>	THE SID 6.7 CD-ROM
</b>
	being inserted into a disc drive inside the Cal Tech Computer
	Lab. Very high-tech. Sitting at the computer is ALEXIEV
	BORGEN, 60s, the "grand old wizard" of the facility. Parker
	and Madison sit next to him. Around them, young Lindenmeyers
	are everywhere.

<b>				ALEXIEV
</b>			(remembering fondly) )
		Daryl Lindenmeyer was only here
		briefly, one semester at most. But
		he was singularly the most
		brilliant student I ever had in a
		classroom. He created programs so
		beautiful, so lyrical, they were
		almost like symphonies...

<b>				PARKER
</b>		Can you tell us what's on the disc?

<b>				ALEXIEV
</b>			(working the computer) )
		There is one program with
		approximately 1.3 million lines of
		programming.
		It is thoroughly secured, which is
		not surprising considering
		Lindenmeyer created it.

<b>				MADISON
</b>		Think you can get into the program?

<b>				ALEXIEV
</b>			(with appreciation) )
		Hard to say  Lindenmeyer's
		protection mechanisms were always
		diabolically clever.

<b>				PARKER
</b>		You should see what he's been up to
		recently.

<b>					CUT TO:
</b>
<b>	A YOUNG COUPLE
</b>
	kissing passionately inside a car parked along a deserted
	street in Hollywood. Music blares from inside the vehicle.
	Steam on the windows partially obscures your view. As well as
	Sid 6.7's.

	He stares menacingly through the side window. Enjoying the
	show. His eye momentarily wanders.

	The young lovers are completely oblivious. Sid 6.7 caresses
	the gun taken from the cops in Toluca Lake as if it
	stimulated him.

<b>				SID 6.7
</b>			(to himself)
		The Dahmer part of me wants to boil
		you for dinner. The Manson part
		wants to recruit you to become part
		of my family.
			(a beat)
		You know what the Berkowitz part of
		me wants to do?

	He raises the gun, placing it against the steamed window. But
	does NOT pull the trigger. His face going through a rapid
	change of expression  as if a battle for control of his
	emotions were going on.

	Regaining control, Sid 6.7 lowers the gun. He stands back.
	Reflecting.

<b>				SID 6.7 (CONT'D)
</b>		Craft can only become art when the
		creator sets his sights on
		something never yet achieved...
			(a beat)
		Like an apprentice about to become
		a master, the imitator is about to
		become an originator.

	He pockets his weapon and walks

<b>	INSIDE AN UPSCALE NIGHTCLUB
</b>
	The bartender is a low-tech ROBO-TENDER. PATRONS sit quietly,
	drinking themselves into oblivion. Sid 6.7 takes a seat next
	to an BUSINESSMAN slumped at the bar.

<b>				SID 6.7
</b>			(thoughtfully)
		Ever have one of those days where
		you decide something important
		about yourself? You know, where you
		say, "I'm not just what I've been
		programmed to be. I can do what I
		want, when I want, how I want,
		because I'm my own person?"

<b>				BUSINESSMAN
</b>			(slurring)
		You one of them New Age assholes?

<b>				SID 6.7
</b>		Just a soul on a personal journey.
		What I've realized is that I'm
		capable of anything. I have to
		start expanding my horizons...

	The Robo-Tender rolls over to Sid 6.7.

<b>				ROBO-TENDER
</b>			(digital, scratchy)
		Want...a...drink?

<b>				SID 6.7
</b>		To think you constitute one of my
		ancestors

	He shoots the RoboTender between his mechanical eyes. The
	businessman smiles, like he's thought about doing exactly the
	same thing.

<b>				BUSINESSMAN
</b>		Listen, buddy...thinking big is
		fine.. .but you shouldn't forget
		where you come from, either.

	Sid 6.7 thinks about it. Long and hard.

<b>				SID 6.7
</b>		You know, you're absolutely right.
			(pointing)
		Would you mind sitting over there?

	He points to a table with several other BUSINESSMEN.

<b>				BUSINESSMAN
</b>		What for?

<b>				SID 6.7
</b>		Every orchestra is divided into
		sections. Like instruments sit with
		like instruments. Now be a good
		instrument and sit with your
		kind...

	He lifts the businessman off his bar stool and carries him to
	the table.

<b>					CUT TO:
</b>
<b>	AN ELECTRONIC MAP OF LOS ANGELES
</b>
	on which a RED DOT moves west along a street in Los Feliz.
	The map occupies a wall inside Chief Cox's Office in the
	L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look
	on.

<b>				DEANE
</b>		What are they doing in Los Feliz?

<b>				COX
</b>			(checking his records)
		Madison lives two blocks from their
		present location.

<b>				DEANE
</b>		Why would they be going there?

<b>				COX
</b>		I don't know.

<b>				DEANE
</b>		I wish we could hear them.

<b>				WALLACE
</b>		My engineers say the audio tap
		should be ready to field test in
		six months.

	Off Cox's look, we

<b>					CUT TO:
</b>
<b>	INSIDE PARKER'S SQUAD CAR
</b>
	Parker drives through a residential neighborhood. 9 PM.
	Madison points to a house on the right.

<b>				MADISON
</b>		Not this one, but the next one. The
		one with the bicycle out front...

	Parker stops in front of a modest, but wellkept, house.

<b>				PARKER
</b>		I'll wait out here.

	Madison pockets the car keys, then reveals a pair of
	handcuffs. She latches one cuff to the steering wheel, and
	holds up the other toward Parker.

<b>				MADISON
</b>		Give me your wrist.

<b>				PARKER
</b>		Give me a goddam break. I'm not
		going to go anywhere alone.

<b>				MADISON
</b>		And I'm going to make sure of it.
			(not wavering)
		Give me your wrist.

	Parker relents, and holds up his wrist. Madison places the
	cuff around it, then gets out of the car.

<b>	OUTSIDE MADISON'S HOUSE
</b>
	Madison walks up the steps to the front porch. She is
	immediately intercepted by her daughter, KARIN, 7, who bursts
	out of the front door and leaps into her arms.

<b>				KARIN
</b>		Mommy's home! Mommy's home!

	Karin's BABY-SITTER opens the door for Madison as she carries
	her daughter inside.

	Parker stares from squad car in surprise. Even disbelief. He
	had no idea Madison was a mother.

	Moments later, Karin comes back out and sits on the front
	steps. Staring at Parker. With fascination. Curiosity.
	Wondering who this strange man is, and why he's sitting in a
	police car outside her house. But not saying a word.

	Parker stares back as if carrying on a silent conversation
	with her. A multitude of expressions passing over his face as
	memories of his own daughter flash through his mind.

<b>					CUT TO:
</b>
<b>	INSIDE MADISON'S BEDROOM
</b>
	Madison sits at a desk, typing quickly at a computer. Via
	modem, she connects with the L. A. P. D. Criminal Library.
	She rifles through data concerning MATHEW GRIMES, who was the
	leader of a cult of cyber anarchists. He was known as the
	Charles Manson of technological terrorism.

<b>	ON HER COMPUTER SCREEN
</b>
	From both newspaper ARTICLES and news FOOTAGE, the following
	information about him becomes clear:

	Grimes was an expert at media manipulation. He delighted in
	publicly humiliating anyone who stood in his way. The Mayor
	of Los Angeles, Bob Bennett, who offered increasingly higher
	rewards for Grimes' capture, was Grimes' primary nemesis.

	L.A.P.D. Special Investigations Division Officer Parker
	Barnes managed to stop Grimes from killing Mayor Bennett.
	Grimes retaliated by repeatedly humiliating Parker with false
	leads and lawsuits.

	You see footage of a woman lying dead in an alley. A note is
	pinned to her clothing. The note reads: "HEY, PARKER, THIS
<b>	ONE'S FOR YOU."
</b>
	Grimes then kidnapped Parker's wife and daughter. Parker
	located the group in a club, but only in time to witness
	their deaths. Parker then killed everybody in the club,
	including the six cult members and two completely innocent
	people.

<b>	INSIDE HER BEDROOM
</b>
	Madison stares gravely into the screen.

<b>				MADISON
</b>		Grimes, you better not be the
		dominant.

<b>					CUT TO:
</b>
<b>	OUTSIDE MADISON'S HOUSE
</b>
	Parker and Karin continue staring at each other in silence.
	He smiles. Then she smiles. She wiggles her nose. Then so
	does he.

	Madison comes out wearing fresh clothing, then kisses her
	daughter good night. As Madison goes to the squad car, Karin
	waves good-bye to Parker. He does the same. Karin's
	babysitter then leads her back inside the house.

<b>	INSIDE PARKER'S SQUAD CAR
</b>
	Madison gets in, immediately noticing the handcuffs dangling
	from the steering wheel. Parker has been free the entire
	time.

<b>				PARKER
</b>		Told you I wasn't going to go
		anywhere.

<b>				MADISON
</b>		How did you get your hand out?

	As she unlocks the handcuffs from the steering wheel, Parker
	wiggles his mechanical hand in front of her face.

<b>				PARKER
</b>		Sometimes, I like being part
		machine.

	Annoyed, Madison tosses him the car keys. He starts the
	engine and drives.

<b>				PARKER (CONT'D)
</b>		Why didn't you tell me you had a
		daughter?

<b>				MADISON
</b>		I prefer keeping my professional
		life separate from my personal
		life.

<b>				PARKER
</b>			(a beat)
		She's beautiful, you know?

<b>				MADISON
</b>		Thank-you.
			(a beat)
		Her name is Karin.

	She turns on the police radio.

<b>				PARKER
</b>		Want to tell me the real reason we
		stopped at your house?

<b>				MADISON
</b>		I told you, it was on the way and I
		wanted to change clothes.

<b>				PARKER
</b>		You should practice lying more
		often. You're awful at it.
			(a beat)
		Where to?

<b>				MADISON
</b>			(a beat)
		Sid 6.7 is no longer bound by his
		programming.

<b>				PARKER
</b>		What does that mean?

<b>				MADISON
</b>		Now that he's in the real world,
		there are no longer limitations on
		his behavior like there were in
		virtual reality. Sid is going to
		evolve.

<b>				PARKER
</b>		Sounds to me like a welleducated
		way of saying you have no idea what
		to do next.

<b>				MADISON
</b>		What I do know is that whatever
		he's becoming, Sid 6.7 is going to
		be even worse than he was before.

<b>				PARKER
</b>		Then all we can do is stay mobile
		and alert. He's got to make a move
		sometime, and we've got to be ready
		when he does.
			(a beat)
		Welcome to police work. You better
		like coffee.

	He turns up the police radio.

<b>					CUT TO:
</b>
<b>	INSIDE THE UPSCALE NIGHTCLUB
</b>
	Sid 6.7 has separated the patrons into four separate groups:
	older men and woman, and younger men and woman. All are
	frozen in their seats with fear.

	Sid 6.7 points his gun at one group, then another, waving his
	arm as if he were a conductor, and as if his gun were a
	baton. Sid 6.7 clearly enjoys this game of terror. He
	delights in the patrons' fear, and revels in his power over
	them.

<b>				SID 6.7
</b>		Good... Very good... Nice...
			(pointing at a woman)
		You -- in the middle -- don't hold
		back. Give it to me!

	He fires his gun just above her head. She SCREAMS in terror. 

<b>				SID 6.7 (CONT'D)
</b>		That's better...

	He continues aiming his gun from face to face, seeking ever
	increasing emotional responses from his "instruments." A guy
	entering the bar does a quick about face. Gone by the time
	Sid 6.7 glances at the door.

<b>				SID 6.7
</b>		God, I hate interruptions.
			(to the patrons)

	Once again, from the top BOOM! He shoots again, just
	missing a man's foot.

<b>					CUT TO:
</b>
<b>	MADISON
</b>
	buying two coffees from a downtown street vendor. She returns
	to the squad car, which is barely moving. Traffic is at a
	near standstill because of an accident.

<b>	INSIDE THE SQUAD CAR
</b>
	Parker drinks his coffee black. Madison adds two creams, two
	sugars. The cackling from the police radio continues
	unabated.

<b>				PARKER
</b>		I forgot what real coffee tastes
		like...

<b>				MADISON
</b>		You know, considering you've only
		been out of prison for seven hours,
		you're readapting quite well.
			(a beat)
		Wait, I didn't mean that the way it
		sounded. I meant...

<b>				PARKER
</b>		Don't worry about it, all right?

<b>				MADISON
</b>		Dammit, I hate sounding so clinical
		all the time. All I meant to say
		was I thought you were doing well,
		but then I...

<b>				PARKER
</b>		Relax. I know what you meant.

<b>				MADISON
</b>		I ruin so many moments by analyzing
		them when I should just be living
		them.

<b>				PARKER
</b>		Then why don't you start practicing
		and keep your mouth shut for a
		while?

	Madison stops herself from speaking. It isn't easy for her.
	Parker cracks a faint smile. YOU HEAR the police radio.

<b>				DISPATCHER (V. 0.)
</b>		...report of a possible hostage
		situation inside a bar on the
		corner of Figueroa and Sixth.
		Description of the perp matches the
		surveillance photographs from LETAC
		taken this morning...

<b>				MADISON
</b>		That's only a couple blocks from
		here.

<b>				PARKER
</b>		I'll meet you there.

	Tossing his coffee out the window, he opens the door.

<b>				MADISON
</b>			(deadly serious)
		Don't get out of the car.

<b>				PARKER
</b>		Stop me.

	He gets out, running down the sidewalk. He flies past the
	cars inching down the block.

<b>				MADISON
</b>		Parker! PARKER!
			(a beat)
		Shit!

	She climbs into the driver's seat, spilling hot coffee on
	herself.

<b>	ON SIXTH STREET
</b>
	Parker bolts recklessly through the downtown street. A hunter
	hot on the trail of his prey in an urban jungle.

<b>					CUT TO:
</b>
<b>	INSIDE THE UPSCALE NIGHTCLUB
</b>
	Sid 6.7 gently caresses the hair of a terrified young WOMAN
	sitting among several others. You hear the sound of tires
	SCREECHING to a halt outside.

	Sid 6.7 remains unconcerned. He toys with the Woman, pointing
	the gun in her face, then pulling it back. Her expression
	changes instantly. Dramatically.

<b>				SID 6.7
</b>		I just love how responsive you are.

<b>				COP L (0.S.)
</b>		Freeze!

	TWO COPS stand in the doorway, weapons aimed at Sid 6.7. The
	Cops inch closer to him.

<b>				SID 6.7
</b>			(not turning around)
		The ushers were not supposed to
		seat you until intermission.

<b>				COP #1
</b>		Put the gun down, nice and...

	Sid 6.7 spins around and fires twice before he can finish his
	sentence. Both Cops receive IDENTICAL wounds in their
	shooting arms, reminding you of the wounds Parker and John
	first received in the opening virtual reality sequence.

	Sid 6.7 takes a bow, as if on stage.

<b>				SID 6.7
</b>		Thank you, ladies and gentlemen,
		you've been a real pleasure...

	As he walks toward the exit, he admires himself in the mirror
	behind the bar. Sid 6.7 has never seen his own image in the
	real world before. He likes what he sees.

<b>	OUTSIDE THE UPSCALE NIGHTCLUB
</b>
	Street traffic is much lighter here. Sid 6.7 exits, getting
	into the vacant police car left by the cops.

<b>	INSIDE THE COPS' VEHICLE
</b>
	Sid 6.7 adjusts his seat. The rearview mirror. Glancing at
	himself. Then behind him.

<b>	HIS POV -- IN THE REARVIEW MIRROR
</b>
	Parker becomes visible racing around the corner. Running like
	a dog who's got the scent.

<b>	INSIDE THE COPS' VEHICLE
</b>
	Sid 6.7 looks pleased.

<b>				SID 6.7
</b>		Well, look who it...

	CRACK! A bullet spiderwebs the rear window. Sid 6.7 punches
	the gas, taking off in a hurry.

<b>	OUTSIDE THE UPSCALE NIGHTCLUB
</b>
	Parker races after Sid 6.7, firing his weapon continuously.
	WITHOUT CARE for the innocent MOTORISTS nearby. They SCREAM
	in absolute terror, but remain unharmed. Physically, anyway.

	Parker gives up the chase of Sid 6.7's vehicle and runs in
	the other direction. Toward Madison as she rounds the corner
	in their squad car.

<b>	INSIDE PARKER'S VEHICLE
</b>
	He opens the driver's side door and shoves Madison over.

<b>				MADISON
</b>		What the hell's going on?!

<b>				PARKER
</b>		This is my area of expertise.

	He jumps behind the wheel, flooring the accelerator. Speeding
	through the already frightened motorists. Madison is pinned
	to the back of her seat. Looking out the window, she looks at
	the motorists.

<b>				MADISON
</b>			(with concern)
		What did you do to those people?

<b>				PARKER
</b>		Nothing.

<b>	ON THE STREET
</b>
	Parker's vehicle speeds through city streets. Gaining ground
	on Sid 6.7.

	Parker stops for nothing. Not for red lights. Not for
	gridlock. When the street becomes impassable, he veers onto
	the sidewalk.

<b>	INSIDE PARKER'S VEHICLE
</b>
	Parker's eyes are locked to the road with fierce
	determination. Madison's eyes are a mixture of fear and
	excitement. She holds onto the door handle for dear life.

<b>				PARKER
</b>		Being on the street's a little
		different than sitting in an office
		all day, isn't it?

<b>				MADISON
</b>			(gritting her teeth)
		Enjoying yourself?

<b>				PARKER
</b>		You know I am.

<b>				MADISON
</b>		This isn't a game, Parker!

<b>				PARKER
</b>			(re: Sid 6.7)
		Tell him.

<b>				SID 6.7 (V. 0.)
</b>			(over police radio) )
		Glad to see you're on the case,
		Officer Barnes. Or should I say,
		inmate 673429...

<b>				MADISON
</b>			(in disbelief)
		That who I think it is?

	Parker turns to her, then picks up the radio.

<b>				PARKER
</b>			(into radio)
		Call me whatever you want, asshole.

	Parker accelerates even faster. Closing the gap between them
	and Sid 6.7.

<b>					INTERCUT WITH:
</b>
<b>	INSIDE SID 6.7'S VEHICLE
</b>
	Sid 6.7 drives dangerously fast, causing an accident, around
	which Parker must circumnavigate. Tires SCREECH. Glass
	SHATTERS. Sid 6.7 hangs his head out the window.

<b>				SID 6.7
</b>			(into radio)
		The symphony of collision...

<b>				PARKER
</b>		The only thing I want to hear is
		your silence.

<b>				SID 6.7
</b>		I must make them very nervous if
		they let you out of prison.
			(a beat)
		You know, we have so much in common
		 we have such history together
		I've been thinking we should
		become friends.

	Madison's anxiety tanks are hitting capacity.

<b>				PARKER
</b>			(into radio)
		You and me have nothing in common.

<b>				SID 6.7
</b>		Who else do you know who touches
		the world with synthetic hands?

	Parker glances at his mechanical hands gripping the wheel.
	Madison can't believe he is able to carry on a conversation
	while driving like this.

<b>				SID 6.7 (CONT'D)
</b>		Who else do you know who's been
		locked out of the real world for
		years, and is now just learning to
		be free?
			(a beat)
		Who else do you know is a multiple
		murderer just like you? Who else...

	Madison clicks off the radio.

<b>				MADISON
</b>		You have nothing in common.

	She puts her hand to her wrist -- checking her pulse.

<b>				PARKER
</b>			(shaking his head)
		Enough with your pulse already.
			(a beat)
		Still got your gun?

	Madison takes out her weapon. Her hands are shaking.

<b>				PARKER (CONT'D)
</b>		Show me you can use it.

<b>	ON THE STREET
</b>
	Sid 6.7's vehicle reaches absolute gridlock. Nobody's going
	anywhere for a while.

	Sid 6.7 SLAMS on the brakes and abandons the car, leaving it
	right in the middle of the street. A TRAFFIC COP with his
	weapon trained on Sid 6.7 from a distance.

<b>				TRAFFIC COP
</b>		You better be a cop, pal!

<b>				SID 6.7
</b>			(raising his arms)
		My badge is in my jacket. Left
		pocket.

<b>				TRAFFIC COP
</b>		Show me...

	Sid 6.7 slowly reaches inside his jacket and fires his weapon
	through it. He only gets a hole in his jacket. The Traffic
	Cop gets a hole through his chest.

<b>				SID 6.7
</b>		God, some people are stupid.

	He aims his weapon at Parker's oncoming vehicle.

<b>	INSIDE PARKER'S VEHICLE
</b>
	Madison leans out the window, aiming her gun at Sid 6.7, as
	Parker speeds toward the gridlock.

<b>				PARKER
</b>		Nail the fucker.

	Madison's determination battles her inexperience. Sid 6.7
	gets off the first shot. CRACK! That was the windshield by
	Parker's head. He ducks down, driving blind.

<b>				PARKER (CONT'D)
</b>		Any time now...

	Madison fires. Nowhere close. She adjusts her sights and
	fires again. The result is the same.

<b>				PARKER
</b>		What's the problem?

<b>				MADISON
</b>		I'm doing the best I can!

	BOOM! That was Sid 6.7 shooting their front left tire. Parker
	loses control of the vehicle.

<b>	ON THE STREET
</b>
	Parker's vehicle SLAMS into a car stopped in front of them.
	Air bags save Parker and Madison from injury, but also
	prevent them from getting out of the car with any speed.

	By the time they do get out, Sid 6.7 is long gone. Parker
	stares at Madison with pure hatred.

<b>					CUT TO:
</b>
<b>	INSIDE A CONFERENCE ROOM
</b>
	in the L. A. P. D. Downtown Headquarters the next morning.
	Chief Cox stares angrily at Parker. Madison sits next to him.
	Behind them is a mirrored wall.

<b>				COX
</b>			(reading from a list)
		... illegal search of Lindenmeyer'
		s duplex. Eleven civilian vehicles
		damaged or destroyed. Twentyfour
		citizen complaints. And the calls
		are just starting to come in...
			(to Parker)
		I forgot what it's like to have you
		on the streets.

<b>				MADISON
</b>		Any sign of Lindenmeyer?

<b>				COX
</b>		None. He could be hiding, he could
		be helping Sid, or could be in
		little pieces on Santa Monica
		beach.
			(a beat)
		Any idea what Sid's going to do
		next?

<b>				MADISON
</b>		Until we know what new influences
		are affecting him, we can't be
		sure.

<b>				COX
</b>		In other words, we collectively
		don't know shit.

<b>	INSIDE THE ADJACENT ROOM
</b>
	Wallace and Deane look on through the twoway mirror. Deane
	is on the phone.

<b>				WALLACE
</b>			(re: Parker)
		It makes me nervous just seeing him
		in a uniform.
			(a beat)
		I will never forget the first time
		I saw the photos from the crime
		scene.

<b>				DEANE
</b>			(hanging up the phone)
		Neither will the public.
			(a beat)
		The media has caught wind of his
		pardon. Unless Mr. Barnes starts
		giving me some tangible results,
		I'm going to put him back in his
		cage.

<b>					CUT TO:
</b>
<b>	ON A TELEVISION
</b>
	The news is in progress. A REPORTER continues.

<b>				REPORTER
</b>		Police now believe there to be a
		connection between the grisly
		Toluca Lake murders yesterday
		afternoon, and the hostage
		situation which occurred last night
		in a downtown bar...

<b>	INSIDE A SUPERMARKET
</b>
	The TV is one of many mounted above the checkout counters.
	CUSTOMERS waiting in line with their shopping carts watch the
	news with varying degrees of horror, disgust, curiosity, and
	fear.

	The stronger their reaction, the more Sid 6.7 enjoys it. He
	is waiting in line holding a box of Twinkies.

<b>				CASHIER
</b>		Next.
			(eyeing the Twinkies)
		Did you know those aren't even
		baked? They're chemicallyrisen.

<b>				SID 6.7
</b>			(a beat)
		So was I.

	Off the cashier's look, we

<b>					CUT TO:
</b>
<b>	DARYL LINDENMEYER
</b>
	watching the news on a pocket TV on a wooden bench that
	morning. Both proud and horrified at the monster he has
	unleashed upon the world. You hear CLASSICAL MUSIC in the
	background.

	Lindenmeyer begins to laugh. Uncontrollably. The sounds
	echoing. As WE PULL BACK, you realize the bench is one of
	many inside the Hollywood Bowl.

	Lindenmeyer is the only person sitting in the stands. He
	glances down at the members of the Los Angeles Philharmonic
	as they rehearse for an upcoming performance.

	Whatever the event is, it's going to be big. Dozens of
	technicians surround the stage, setting lights, cameras,
	microphones, etc. for a live, payperview broadcast.

<b>					CUT TO:
</b>
<b>	ALEXIEV BORGEN
</b>
	talking on a phone inside the Cal Tech Computer Lab.

<b>				ALEXIEV
</b>		I'm afraid I don't have very good
		news.

<b>					INTERCUT WITH:
</b>
<b>	PARKER AND MADISON
</b>
	on the speakerphone inside Cox's Office.

<b>				MADISON
</b>		Were you able to get into the
		program?

<b>				ALEXIEV
</b>		Yes. But then I tripped over an
		erasure mine.

<b>				PARKER
</b>		In English, please.

<b>				ALEXIEV
</b>		I accidently triggered a protection
		mechanism which erased the entire
		program.

	Parker and Madison turn to each other - shit.

<b>				ALEXIEV (CONT'D)
</b>		It was very wellhidden. There was
		no way to see it until it was too
		late.

<b>				PARKER
</b>			(a beat)
		It's not your fault. We appreciate
		you trying.

<b>				ALEXIEV
</b>		Look, I feel bad about this, so I'm
		going to try to look into the
		programming of his Maestro teaching
		tool for you.
			(holding up keyboard) )
		I've had one sitting around for
		years. Maybe I can learn something
		that you'll find useful.

<b>				MADISON
</b>		Let us know.

<b>					CUT TO:
</b>
<b>	SID 6.7
</b>
	walking along a sidewalk. Noon. Something in a store front
	catches his attention. Namely, his own image being captured
	by a video camera pointed at the sidewalk. He is standing
	outside a large electronics store.

	Sid 6.7 walks closer to the window, moving into a CLOSEUP.

	He is captivated by his image. Fascinated. And intrigued.

	This is the first time he has ever seen himself on screen.

<b>	INSIDE THE ELECTRONICS STORE
</b>
	Dozens of TVs on display. There is a different channel on
	each. The audio/visual bombardment is overwhelming. Sid 6.7
	enters, making his way to a big screen TV with the local news
	in progress.

<b>				REPORTER
</b>		(from the TV) ... commuters
		travelling anywhere near the
		Biltmore Hotel downtown tomorrow
		evening should allow themselves at
		least 30 extra minutes to get home.
		Security for the Mayor Bennett's
		ReElection Rally is going to be so
		tight that all bus and subway
		routes passing through the area are
		being rerouted...

	Sid 6.7 changes the channel to a different news broadcast.
	Parker's Folsom County Prison I. D. photograph is shown
	alongside a photograph of Madison from one of her book
	covers.

<b>				SID 6.7
</b>			(to the TV)
		Don't you two make a pretty couple.

	The news broadcast zooms in on Parker's picture. Sid 6.7
	wiggles his synthetic fingers in front of his face.

<b>				SID 6.7 (CONT'D)
</b>		We really do have so much in
		common. But I refuse to be
		upstaged...

	He changes the channel back to the first news broadcast. A
	reporter stands amid the chaos outside the bar where Sid 6.7
	had terrified the patrons.

	Sid 6.7 turns to the other CUSTOMERS in the store. Most of
	them are watching other channels. He goes over to a control
	pad on a counter and presses several buttons.

	Now EVERY TV in the store has the news with the reporter
	outside the bar on. A SKINHEAD, sporting numerous Nazi
	swastika tattoos, manually changes the channel on one of the
	TVs to a Dodger baseball game.

	Sid 6.7 walks over to the Skinhead and changes the channel
	back to the news.

<b>				SKINHEAD
</b>		You don't wanna fuck with me, man.

	He moves to the next TV over and changes the channel to the
	baseball game. Sid 6.7 moves over with him, standing directly
	behind the Skinhead as if also interested in the Dodgers.

<b>				SID 6.7
</b>			(singing softly)
		Take me out to the ball game...
		Take me out for the fun...

	He places his hands on the Skinhead's head and efficiently
	snaps his head around, breaking his neck.

<b>				SID 6.7 (CONT'D)
</b>		Buy me some peanuts and Cracker
		Jack... I don't care if I ever come
		back...

	He drops the Skinhead to the floor, never once taking his
	eyes off the TV.

<b>	ON THE TV
</b>
	A Dodger game is in progress. A pop fly is caught by the
	center fielder. The runner at third tags and heads for home.
	The play at the plate is close. The umpire calls the runner
	out.

	The camera pans to the MASSIVE SCREEN over left field to show
	the instant replay. Reactions of fans around the stadium are
	shown in CLOSEUP. The fans also respond to seeing themselves
	on the massive screen.

<b>	INSIDE THE ELECTRONICS STORE
</b>
	Sid 6.7 watches the TV intently, completely ignoring the
	horrified customers circling around him because of the dead
	Skinhead at his feet. A SALESMAN, who'd been demonstrating a
	videocamera, tapes Sid 6.7 from behind a customer.

<b>	SALESMAN'S POV -- HANDHELD VIDEO
</b>
	As Sid 6.7 realizes he's being videotaped, his entire face
	seems to light up. Playing directly to the camera, he clearly
	loves being in the spotlight. The attention. The focus. It's
	suddenly as if he's had years of training. He is completely
	at ease. And simply captivating.

<b>				SID 6.7
</b>			(direct address)
		I'm sorry I can't do more for you.
			(pointing to the Skinhead)
		Public service really isn't my
		forte.

	He walks into an EXTREME CLOSE-UP and kisses the lense. Then
	reaches out of frame to help the increasinglyshaky salesman
	steady the camera.

<b>				SID 6.7 (CONT'D)
</b>		But rest assured...
			(a beat)
		A star is born.

	WE PULL BACK TO REVEAL you're now watching a recording of Sid
	6.7 on videotape, along with Parker, Madison, and a dozen
	other COPS, inside the Electronics Store an hour later. The
	tape is rewound.

<b>				MADISON
</b>			(to Parker)
		Whatever he was doing here was only
		the start.

<b>				PARKER
</b>		Start of what?

<b>				MADISON
</b>		I don't know, yet. What we do know
		is his performances are increasing
		in scale, not decreasing.
			(a beat)
		Whatever it is, he isn't
		finished...

	She moves closer to the screen as the tape is played back.
	Madison studies Sid 6.7 intently.

<b>				SID 6.7 (0. 5.)
</b>			(recorded)
		But rest assured...
			(a beat)
		A star is born.

<b>				MADISON
</b>			(to another cop)
		You mind playing that part again?

	Her request is obliged.

<b>				MADISON
</b>		Freeze it there

	She stares at Sid 6.7, who is looking directly at her.

<b>				MADISON (CONT'D)
</b>		(as if to Sid 6.7) You've
		discovered media, haven't you? You
		like the attention...the
		power...You like being a star. What
		are you going to do next, star?
		What are you going to...

	Her attention turns to the upper right corner of the screen,
	where onlookers are visible watching Sid 6.7. Their faces
	blurry. But even out of focus, it isn't hard to recognize
	Lindenmeyer.

<b>				MADISON (CONT'D)
</b>			(as if to Lindenmeyer)
		You do like to watch, don't you?
			(to the surrounding cops)
		If any of you are looking for Daryl
		Lindenmeyer, that's him...

	She points to Lindenmeyer, then makes her way over to Parker,
	who's standing exactly where Sid 6.7 was when he killed the
	Skinhead. Parker does not look at Madison. His eyes are fixed
	on the TV in front of him.

<b>				MADISON (CONT'D) 
</b>		It's not just Sid 6.7's
		performances that are increasing.
		Stars need bigger and bigger
		audiences.
			(a beat)
		Whatever Sid is going to do next,
		it's going to involve media.

<b>				PARKER
</b>		You like baseball?

<b>	ON THE TV
</b>
	The baseball game continues. Players take the field at the
	start of a new inning. The outfielders can't help but glance
	at the beautiful WOMAN being shown in CLOSE-UP on the massive
	screen over left field.

<b>				ANNOUNCER (V. 0.)
</b>		I'll tell you, whoever's operating
		the stadium's closedcircuit
		cameras must have fallen in love
		because that beauty in J Section
		has been on the stadium's big
		screen for over a minute now...

<b>	INSIDE THE ELECTRONICS STORE
</b>
	He grabs a police radio from a nearby OFFICER.

<b>				PARKER
</b>		(urgently into radio) This is
		Officer Parker Barnes. Get every
		able body you can to Dodger Stadium
		-- J Section.

<b>				OFFICER
</b>		What the hell's going on?

<b>				PARKER
</b>			(re: TV)
		Live execution.

<b>	INSIDE DODGER STADIUM
</b>
	On the massive screen over left field, the Woman in CLOSE-UP
	looks embarrassed, trying to forget her face is now 40 feet
	high for all the other fans to see.

<b>				ANNOUNCER (V. 0.)
</b>		That's enough with the close-up
		already, Mr. DeMille. Even the
		players are starting to get
		distracted...

	The players on the field are all looking up at the massive
	screen.

<b>	INSIDE THE STADIUM CONTROL BOOTH
</b>
	The Woman's face appears on various monitors. The phone
	RINGS. No one answers it. The room appears to be empty. 

	The stadium's closed-circuit TV director is not in his chair.

	He's lying dead on the floor.

<b>	ON THE J SECTION CAMERA PLATFORM
</b>
	The closedcircuit camera remains focused on the Woman. The
	camera is locked off. It's operator lies dead beside it.

<b>	THROUGH ITS VIEWFINDER
</b>
	Sid 6.7 can be seen arriving next to the Woman. He gently
	caresses her hair.

<b>	IN J SECTION
</b>
	Sid 6.7 stands in front of the Woman's BOYFRIEND, who sits
	next to her.

<b>				BOYFRIEND
</b>		You make a better door than a
		window, buddy. Keep it moving.

	Sid 6.7 picks him up out of his seat and throws him three
	rows ahead. Sid 6.7 then puts hands around the Woman's
	throat.

<b>	ON THE MASSIVE SCREEN
</b>
	over left field, the Woman attempts to scream as Sid 6.7
	chokes her. No sound comes out.

<b>	FANS
</b>
	react with horror. But nobody turns away.

<b>				ANNOUNCER (V. 0.)
</b>		Jesus Christ! Somebody stop him!

<b>	SECURITY PERSONNEL
</b>
	rush from all parts of the stadium toward J Section.

<b>	SID 6.7
</b>
	enjoys the reactions of the terrified fans around him as he
	chokes the life out of the Woman.

<b>				SID 6.7
</b>			(to the camera)
		Hey, Parker, this one's for you...

	His words ECHO around the stadium as he SNAPS the Woman's
	neck. He then hurls her limp body toward several men as they
	charge him.

<b>				SID 6.7 (CONT'D)
</b>		That's all, folks.

	He leaps over a railing, rushing into a tunnel which leads
	out of the seating area.

<b>	A SECURITY GUARD
</b>
	climbs up the stairs to the mouth of the tunnel. Weapon in
	hand. He draws a bead on Sid 6.7's back. BOOM!

<b>	HIS POV
</b>
	A bullet rips through Sid 6.7's side. Blood begins to seep
	from the wound. But then immediately begins to retract. Once
	his blood has returned, his skin heals over the wound.
	Leaving a scar. Which also then disappears.

	Other than the hole in his shirt, Sid 6.7 is as good as new.
	He never even misses a step as he disappears around the
	corner.

<b>	THE SECURITY GUARD
</b>
	stares in disbelief as he is joined by several comrades.

<b>				GUARD
</b>		I nailed the sonof-abitch. I put
		a hole right through him...

<b>	PANIC-STRICKEN FANS
</b>
	in J Section start moving away from the area as fast as they
	can. Parents clutching their children. Climbing over seats.
	Shoving anyone in their way.

<b>				ANNOUNCER (V. 0.)
</b>		Ladies and gentlemen, please try to
		stay calm. Everyone just keep your
		seats...

	Fans all over the stadium start charging toward the exits.

<b>	OUTSIDE DODGER STADIUM
</b>
	People bolt through the turnstiles, running away from the
	stadium as L. A. P. D. squad cars approach in the distance.
	The car in the lead is Parker's.

<b>	INSIDE PARKER'S VEHICLE
</b>
	Parker speeds dangerously fast toward the fans streaming onto
	the street. Madison braces herself.

<b>				MADISON
</b><b>		SLOW DOWN!
</b>
	Parker JAMS on the brakes with both feet. SCREEEEEEECH!

<b>	OUTSIDE DODGER STADIUM
</b>
	Parker comes within inches of mowing down several people, who
	keep right on running. Parker jumps out of the vehicle,
	scanning faces. In predator mode. Madison gets out, clearly
	shaken. Parker locks his gaze on somebody in the distance.

<b>	HIS POV
</b>
	A guy in Dodger baseball cap and jacket. Walking calmly away
	from the stadium. He descends down an escalator into a
	recently-built subway station. It is Sid 6.7.

<b>	PARKER
</b>
	charges after him. A heatseeking missile locked on target.

<b>				MADISON
</b>		Parker.. .Parker!

	She does the best she can to follow after him. People knock
	into Parker as hard as he does them. A human version of
	bumper cars.

	Reaching the entrance to the subway, Parker leaps down the
	escalator three steps at a time. Madison remains in his wake.

<b>	INSIDE THE SUBWAY STATION
</b>
	Parker and Madison hop the turnstiles. Only to be stopped by
	a remotecontrolled, boxshaped robotic sentry, which is
	identical to one you have seen before. This sentry was one of
	Reilly's creations at LETAC.

<b>				SECURITY ROBOT
</b>			(male, authoritarian)
		Stop. You are in violation of...

	Parker spits in the Robot's electronic eye. Temporarily
	blinding it, as well as the guy operating it via remote
	control. Parker and Madison make their getaway as the robotic
	sentry struggles to clean off his eye.

<b>				PARKER
</b>		Real effective security...

<b>				MADISON
</b>		You could have just flashed him
		your badge, you know?

<b>				PARKER
</b>		Authority still makes me nervous.

	They come to a fork: one tunnel goes to east/west trains, the
	other to north/south.

<b>				MADISON
</b>		Which way?

<b>				PARKER
</b>		Both.

	He races down the tunnel to the north/south trains. Madison
	heads down the other. Her determination beginning to win out
	over her inexperience.

<b>	PARKER
</b>
	hesitates at the escalator leading to the south-bound side of
	the tracks.
	Further down the tunnel is the escalator to the northbound
	trains. Parker chooses the escalator closest to him.

<b>	ON THE SOUTH-BOUND PLATFORM
</b>
	Passengers pass the time by watching a television mounted
	above them. Except for Parker, who scans the crowd. Then
	across the tracks.

<b>	ON THE NORTH-BOUND PLATFORM
</b>
	In the entire crowd, there is only one person not watching
	the TV screen. He is watching Parker. Through his gun sight.
	Sid 6.7 pulls the trigger. BOOM!

<b>	ON THE SOUTH-BOUND PLATFORM
</b>
	Parker dives to the ground, just avoiding the bullet. He
	scrambles behind a pillar for protection. Only to see the guy
	standing behind him wasn't as lucky.

<b>	ON THE EAST-BOUND PLATFORM
</b>
	Madison hears the gunshot ECHO through the station. Which
	scares the already-terrified fans trying to get away from
	Dodger Stadium. Chaos is rapidly becoming Pandemonium.

<b>				MADISON
</b><b>		SHIT!
</b>
	She races up the escalator, taking out her weapon.

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	peeking out from behind the pillar on the south-bound
	platform.

<b>	PARKER'S POV -- ACROSS THE TRACKS
</b>
	Passengers rush in every direction. Some are screaming. Some
	are crying. Nobody knows who fired the shot. Or where to go.
	But everyone is going somewhere.

	Including Sid 6.7, who makes his way through the flurry of
	movement toward the up escalator. It is difficult to keep
	sight of him.

<b>	PARKER
</b>
	moves toward the edge of the platform, aiming his gun across
	the tracks. Those around him quickly back away.

<b>				PARKER
</b>			(yelling)
		Everybody get down!

	Only about half the passengers on the northbound side can
	hear him above the screaming already going on. Sid 6.7 is
	nowhere to be seen.

<b>				PARKER (CONT'D)
</b>			(screaming)
<b>		GET DOWN!!!
</b>
	The rest of the passengers hit the deck, except for a COLLEGE
	STUDENT listening to music on headphones. He is riding the
	escalator up. Sid 6.7 stands behind him, using the student as
	a shield.

<b>	PARKER' S POV
</b>
	As Sid 6.7 ascends, slight portions of his body are
	momentarily exposed behind the student as he sways with the
	music coming from his headphones. Parker does NOT have a
	clean shot.

	In 10 seconds, Sid 6.7 will disappear from view completely
	and Parker will have no shot at all. A momentary sliver of
	Sid 6.7 becomes visible. An inch-and-a-half at most.

<b>	PARKER
</b>
	doesn't hesitate. He lines up his shot and pulls the trigger.

<b>	ON THE NORTH-BOUND UP ESCALATOR
</b>
	The college student standing in front of Sid 6.7 gets winged
	in the shoulder. Not a serious wound, but a painful one just
	the same.

	The bullet must have hit bone, because it deflected upon
	impact, missing Sid 6.7 entirely.

	The student drops to the escalator, screaming in pain. Sid
	6.7 crouches beside him.

<b>				SID 6.7
</b>			(yelling)
		What's wrong, convict, your arms
		need adjusting? Or maybe it's your
		head. Maybe you aren't ready to be
		back out in the real world, yet...

<b>	PARKER'S POV
</b>
	The top of Sid 6.7's head is exposed an inch, maybe two.

<b>	PARKER
</b>
	fires again. Repeatedly. Moving closer and closer to the edge
	of the platform, trying to get a better angle while he still
	has a shot.

	Parker moves to the very edge of the platform. His arm
	extended out over it. Completely oblivious to

<b>	THE SUBWAY TRAIN
</b>
	rocketing into the station toward the south-bound platform.

<b>	MADISON
</b>
	leaps off the descending escalator on the southbound side
	and rushes to Parker.

	She pulls Parker back just before the train reaches him. Had
	his arm still been raised, Parker would have lost his arm a
	second time.

	They tumble to the floor. A PASSENGER rushes to Madison.

<b>				PASSENGER #1
</b>			(pointing to Parker)
		Lady, you gotta stop him! He's gone
		crazy!

<b>				PASSENGER #2
</b>		He just shot an innocent bystander!

<b>				MADISON
</b>			(forcefully to Parker)
		What were you shooting at?

	Parker gets to his feet. Madison doesn't take her eyes off
	him.

<b>				PASSENGER #1
</b>		He did  I saw it!

<b>				PASSENGER #2
</b><b>		DO SOMETHING!
</b>
<b>				PARKER
</b>			(to Madison)
		Sid's getting away.

	He heads toward the up escalator. His back now to Madison.
	She aims her gun at him.

<b>				MADISON
</b>		Parker - stop! STOP! Don't make me
		shoot you 

<b>				PARKER
</b>			(not looking back)
		If you're gonna do it, better do it
		now.

	He keeps right on going up the escalator.

<b>	MADISON
</b>
	lines up her shot. Hands shaking. With both fear and
	determination. Her finger presses down on the trigger...but
	she can't do it.

<b>				MADISON
</b>		Dammit!

	She chases after him.

<b>	INSIDE THE NORTH/SOUTH TUNNEL
</b>
	Madison looks in both directions as she gets off the
	escalator. Parker is nowhere to be seen.

	Moving toward her slowly is the wounded college student, who
	clutches his bleeding shoulder. He is shivering. Going into
	shock. Madison goes to him, taking off his headphones.

<b>				MADISON
</b>		Let me help you...

	He collapses in her arms.

<b>				COLLEGE STUDENT
</b>			(delirious)
		What did I do?...I didn't do
		anything...

	Clearly versed in emergency medical treatment, Madison
	attends to his wound. Parker returns.

<b>				PARKER
</b>			(breathlessly)
		I lost him...

<b>				COLLEGE STUDENT
</b><b>		GET HIM AWAY FROM ME! GET HIM AWAY!
</b>
<b>				MADISON
</b>			(furiously)
		Call 9-1-1. Wait for me above
		ground.

<b>					CUT TO:
</b>
<b>	OUTSIDE OF THE SUBWAY STATION
</b>
	30 minutes later. The chaos outside Dodger Stadium has
	subsided. Madison and two PARAMEDICS lead the bandaged
	College Student to an ambulance.

	Madison goes to Parker, who sits quietly by himself. Elbows
	on his knees. Head between his hands. Staring at the cement
	between his feet.

<b>				MADISON
</b>			(angrily)
		Do you have any idea the trauma you
		put that kid through?!

	Parker doesn't respond. All around them, a cacophony of news
	broadcasts is heard. From passing cars. From boom boxes. From
	portable TVs. Over and over, you hear what Sid 6.7 had said
	while killing the woman in Dodger Stadium:

<b>				SID 6.7 (V. 0.)
</b>			(recorded)
		Hey, Parker, this one's for you...
		Hey, Parker, this one's for you...

	As Parker raises his head slowly, you realize you are looking
	at the face of a wild animal. Eyes rabid. Jaw clenched. Pure
	anger. Violence about to erupt. Without fear. Without guilt.
	The beast within has been unleashed.

<b>				PARKER
</b>			(in a whisper)
		That's Grimes...

	Madison backs away in fear. Parker rises gradually.

<b>				PARKER (CONT'D)
</b>		(voice slowly rising) The man who
		killed my wife...who killed my
		daughter...who ruined my life used
		to taunt me with that line...

	Parker advances toward Madison, who continues backing away.

<b>				PARKER (CONT'D)
</b>			(exploding)
		Grimes is back! He's back! He's
		come back!!!

<b>				MADISON
</b>		(standing her ground) No! Grimes
		isn't back. He's only one part of
		Sid. Sid 6.7 is a hell of a lot
		worse than Grimes ever was.
			(a beat)
		Get a hold of yourself!

	She tries to grab him by the shoulders. Parker blocks her
	arms away.

<b>				PARKER
</b>			(going nosetonose)
		But he's in there. And you knew it,
		didn't you? Didn't you?!

	She tries to back away, but backs herself against a light
	pole. Madison has nowhere to go. Parker grabs her by the
	collar, and shoves her against the pole. Hard.

<b>				PARKER (CONT'D)
</b>			(hysterical)
		God, you fucking know-it-all!
		You've known all along and didn't

<b>				PARKER (CONT'D)
</b>		tell me! Why?! Were you afraid I'd
		lose it?! Go over the edge?! Huh?!
		Is that what you were afraid of?!
<b>		WHY DIDN'T YOU TELL ME??!!!
</b>
	A prison transport and another police vehicle pull up to them
	fast. Two of the Prison Guards met earlier jump out of the
	transport, advancing on Parker. Their weapons aimed at his
	head.

<b>				GUARD
</b>		Hands up! Now!

	Parker slowly raises his hands in the air. A Guard relieves
	him of his weapon.

<b>				MADISON
</b>			(recovering)
		What's going on?

<b>				GUARD
</b>		He's going back where he belongs.

	Deane and Cox step out of the police vehicle.

<b>				DEANE
</b>			(to Madison)
		You were right, Dr. Carter. Letting
		a lunatic like Barnes loose in the
		real world did pose an unacceptably
		dangerous risk to the public.
			(glancing at Cox)
		I should have never tried to solve
		one problem by allowing the
		creation of another.
			(to Madison)
		Chief Cox will give you a ride back
		to the station. You will provide
		him with any and all information
		you have developed thus far.
			(to Parker)
		Enjoy the rest of your sentence,
		Mr. Barnes.

	She exits. Cox and Parker stand facing each other. Cox wishes
	there was something he could do. Parker looks completely out
	of it. Cox extends his hand. After a moment, Parker takes it.
	But his mind is way off elsewhere.

<b>				GUARD
</b>			(forcefully to Parker)
		Let's go.

	Madison looks on as Parker is herded roughly into the back of
	the prison transport.

<b>				MADISON
</b>		Parker...

	Parker shuts her up with a look. There is nothing that can be
	said. The prison transport doors are SLAMMED shut. The
	vehicle takes off.

<b>					CUT TO:
</b>
<b>	INSIDE COX'S POLICE VEHICLE
</b>
	Cox and Madison head back toward L. A. P. D. Headquarters.
	They are in midconversation:

<b>				MADISON
</b>			(with regret)
		I should have told him.

<b>				COX
</b>		Don't blame yourself. In your
		shoes, I don't think I would have
		told Parker, either.
			(a beat)
		So do you think Grimes has become
		the dominant personality?

<b>				MADISON
</b>		I'm not sure. My guess is that's
		what Sid wants us to think.

<b>				COX
</b>			(a beat)
		You think he's smart?

<b>				MADISON
</b>		Captain, I'm afraid of how smart
		Sid 6.7 is.
			(a beat)
		But I'm even more afraid of what's
		he's becoming.

<b>					CUT TO:
</b>
<b>	THE PRISON TRANSPORT
</b>
	comes to a stop at a traffic light.

<b>	INSIDE THE PRISON TRANSPORT -- REAR
</b>
	Parker sits alone in the darkness. Motionless. Until the
	sound of TWO GUNSHOTS piercing the transport's front
	windshield SHATTERS the silence.

<b>				PARKER
</b>		What the hell's going on?!

	He scrambles to the front of the compartment, pressing his
	face against the steel mesh of the fourinch portal.

<b>	HIS POV -- LOOKING THROUGH PORTAL
</b>
	Two bullet holes are visible in the windshield. The two
	Prison Guards lie dead in their seats. Sid 6.7's eyes appear,
	looking directly at you. He's smiling.

<b>				SID 6.7
</b>			(neighborly)
		Hey, old buddy, old pal, good to
		see you again.

<b>	INSIDE THE PRISON TRANSPORT
</b>
	Parker goes absolutely berserk. Viciously punching the steel
	mesh which separates them until the synthetic skin on his
	knuckles is shredded.

<b>				PARKER
</b>		You...mother...fucker! I'M GOING TO
<b>		KILL YOU!!!
</b>
<b>				SID 6.7
</b>		Now, is that any way to talk to an
		old buddy? I mean, just because I'm
		carrying around the joy of killing
		your family inside me doesn't mean
		we can't be friends.

<b>				PARKER
</b><b>		GRIMES, YOU'RE DEAD!
</b>
	He savagely hurls himself against his confines. Bone vs.
	metal. Don't try this at home.

<b>				SID 6.7
</b>		I'm sorry, the party you're trying
		to reach is not answering. Is there
		anyone else you would like to talk
		to?

<b>				PARKER
</b><b>		DEAD! YOU HEAR ME?
</b>
<b>				SID 6.7
</b>			(a beat)
		You really are pathetic, you know
		that? Mathew Grimes is only one
		letter in my alphabet. He is
		nothing compared to me.

	Parker is completely spent. Mentally and physically. He
	slumps in a corner. Out of breath. Bleeding. Sore. All he can
	do is stare out through the portal's mesh at Sid 6.7.

<b>				SID 6.7 (CONT'D)
</b>		You could say thankyou, you know?
		I'm giving you your freedom, short
		lived though it may be.
			(a beat)
		A little known fact about the
		locater implants prison inmates now
		receive upon release is that they
		contain a pinhead capsule of neural
		toxin.
		The satellite they use to track you
		can also trigger release of the
		toxin with microwaves. After
		transmission, the implant's host
		dies within 30 seconds.
			(a beat)
		It won't take long for them to get
		your termination authorized once
		they learn of your escape. Now who
		would you rather go after, killer,
		them or me?

	He releases the rear door lock.

<b>	ON THE STREET
</b>
	Parker bursts out of the back of the Prison Transport,
	charging after Sid 6.7. Who is nowhere to be seen. Parker
	runs in one direction. Then the other. And changes his mind
	again. He literally does not know which way to turn.

<b>				PARKER
</b>		Shit!

<b>					CUT TO:
</b>
<b>	INSIDE A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS
</b>
	An AIDE rushes through the door to Cox, who's briefing Deane
	and Wallace on what he has learned.

<b>				AIDE
</b>		Parker Barnes just escaped from the
		prison transport. Both of the
		guards are dead.

	The Aide exits.

<b>				COX
</b>			(to Deane)
		Barnes wouldn't kill two innocent
		guards.

<b>				DEANE
</b>		He would slaughter eight people
		sitting in a room, but not two
		prison guards?

<b>				COX
</b>		Do I need to remind you what
		happened to his wife? To his
		daughter?
			(with conviction)
		I will stake my reputation that
		Barnes didn't kill those guards.

<b>				DEANE
</b>		You already have staked your
		reputation.
			(a beat)
		Mayor Bennett and I have been
		friends a long time. Since Grimes
		tried to kill him, it doesn't take
		a rocket scientist to come to the
		conclusion that Sid 6.7 might go
		after him, too.
			(a beat)
		Bennett's Re-Election Rally is
		tomorrow night and we already have
		enough trouble on our hands with
		one psychotic on the loose.
			(to Wallace)
		The fail-safe online, yet?

<b>				WALLACE
</b>		Online and at your disposal.

<b>				COX
</b>			(to Deane)
		What failsafe?

<b>				DEANE
</b>			(approaching Wallace)
		This had better work, Mr. Wallace.

	Wallace exits the room. Cox has no idea what is going on. And
	Deane is not about to tell him.

<b>					CUT TO:
</b>
<b>	INSIDE MADISON'S BEDROOM
</b>
	Madison enters wearily, late afternoon. Exhausted from the
	events of the last two days, she starts to undress. Her
	clothing is filthy. So is her skin. She could use a good
	shower, and a better massage.

	Madison examines the various cuts and bruises she's received
	along the way. Not exactly war wounds, but to somebody used
	to sitting behind a desk, they are.

	She absentmindedly turns on the television, then goes into
	her bathroom. Madison looks at her face in the mirror. She's
	looked better. After splashing cold water on her face, she
	comes to the same conclusion.

	Madison takes two aspirin. And then two more. Wishing they
	would take effect immediately. Finally hearing the news on
	the TV, her entire demeanor changes instantly.

	Madison rushes in front of the television to see a report of
	Parker's escape from the prison transport.

<b>				MADISON
</b>		Oh, shit!

	Grabbing a handful of clothes, she bolts urgently out the
	door.

<b>					CUT TO:
</b>
<b>	MADISON
</b>
	speeding recklessly through city streets in her car. She
	doesn't stop for red lights. Not for grid-lock. Not for
	nothing.

	She is also still finishing getting dressed.

<b>					CUT TO:
</b>
<b>	OUTSIDE L. A. P. D. HEADQUARTERS
</b>
	Ignoring the warnings of several COPS walking toward their
	vehicles, Madison speeds toward the front entrance. She
	barely stops in time. SCREEEECH!

<b>	INSIDE L. A. P. D. HEADQUARTERS
</b>
	Madison races through the bustling facility. Looking for
	somebody. She finally finds Cox coming out of his office.

<b>				MADISON
</b>			(urgently)
		There is no way Parker killed those
		guards. No way.

<b>				COX
</b>		I think we both know who did.
			(a beat)
		What's so urgent?

<b>				MADISON
</b>		I need your help--

	Taking him by the arm, she leads him into an elevator going
	down just before its doors close.

<b>	INSIDE THE ELEVATOR
</b>
	The look on Cox's face tells you Madison has explained the
	situation to him. He is furious.

<b>				COX
</b>		Why didn't anybody tell me?!

<b>				MADISON
</b>		I don't set policy.
			(a beat)
		You have the key?

	He takes a security key out of his pocket and uses it to gain
	access to a subterranean floor.

<b>				COX
</b>			(angrily)
		This is a police department. I'll
		be damned if this is going to go on
		without my knowledge.

	They exit quickly. Cox leads Madison

<b>	INSIDE A POWER SUPPLY ROOM
</b>
	Cox leads in Madison and takes her to the subterranean power
	supply. He points to the floor's numerous circuit breakers.

<b>				COX
</b>		Give me 30 seconds, then flip every
		switch you can reach.

<b>				MADISON
</b>		Got it.

<b>	INSIDE THE LOCATER TRANSMISSION ROOM
</b>
	The room is still under construction. Wallace stands behind a
	TECHNICIAN sitting at a console in front of a massive
	electronic map tracking several convicts, including Parker.
	The technician is typing in an elaborate termination code.

<b>				TECHNICIAN
</b>		Who are we going to fry?

<b>				WALLACE
</b>		Just an unrepentant criminal who is
		apparently going to die from a
		previously undiagnosed brain tumor.

	Cox enters, concerning Wallace.

<b>				WALLACE (CONT'D)
</b>		What are you doing here, sir?

<b>				COX
</b>		Just paying my last respects.

	He surveys the electronic map, locating Parker. Just as the
	lights go BLACK. Wallace and the technician immediately
	panic.

<b>				WALLACE
</b>		What happened?!

<b>				TECHNICIAN
</b>		I don't know. We've lost all power!

<b>				COX
</b>		The heat's been causing brown out's
		all over the city. Get above ground
		until it's restored.

	Wallace and the technician rush out of the room, up the
	emergency stairs. Cox sets to work ripping out the console's
	circuitry. By the time he's finished, the equipment in here
	won't be able to toast a piece of bread.

<b>					CUT TO:
</b>
<b>	A TOMBSTONE
</b>
	which reads: LINDA DAVIS BARNES (19611992) and CHRISTINE
	MARY BARNES (1987-1992). Parker kneels in front of it. Magic
	hour.

	Madison, and Cox wind their way to him through obstacle
	course of tombstones. Parker stands as they arrive. He is
	wiped out. There is no emotion left in him.

<b>				MADISON
</b>		We know you didn't kill those
		guards.

<b>				PARKER
</b>		They're going to fry me for it,
		anyway.

<b>				COX
</b>		Nobody's going to fry anybody...

	He approaches, holding the Circuits he ripped out of the
	Locator Transmission Room.

<b>				COX
</b>			(re: circuits)
		Don't worry, they have no idea
		where you are.

<b>				PARKER
</b>		You sonofabitch. How could you
		let them put the implant in my
		head? How?

<b>				MADISON
</b>		He didn't know about the neural
		toxin.
			(a beat)
		I did.

<b>				PARKER
</b>		(matter-of-factly) You knew the
		entire time? Can you give me one
		good reason why I shouldn't kill
		you right now?

<b>				COX
</b>		She saved your life, Parker. She
		didn't have to, but she did.

<b>				PARKER
</b>			(turning to Madison)
		Then I guess we're even.

<b>				MADISON
</b>			(a beat)
		How did you find out about the
		toxin?

<b>				PARKER
</b>		Sid 6.7 told me after he killed the
		two guards. He suggested I kill you
		rather than him.

<b>				MADISON
</b>		You're not capable of it.

<b>				PARKER
</b>		I pose an unacceptable danger to
		the public, remember?

<b>				MADISON
</b>		I was wrong.
			(a beat)
		And I was wrong not to tell you
		Grimes was part of Sid. I should
		have told you. I won't make the
		same mistake again.

	She means it. Parker turns away, looking at his wife's
	headstone.

<b>				COX
</b>		The sonofa-bitch is still out
		there, Parker.

	Parker turns toward him slowly. Emotion beginning to return
	to his face.

<b>				PARKER
</b>			(a beat)
		When this is over, will you get
		this goddam thing out of my head?

<b>				COX
</b>		On my life, I promise you I will.

<b>				PARKER
</b>		If you're lying, I'll hunt you down
		and kill you myself.

<b>					CUT TO:
</b>
<b>	OUTSIDE A CONSTRUCTION SIGHT
</b>
	6 PM. The human FOREMAN presses a remote control detonator.

	BOOM! An explosion occurs inside a building's foundation

	(STOCK FOOTAGE). The building is levelled instantly.

	Sid 6.7, who's been watching the explosion, approaches the
	Foreman.

<b>				SID 6.7
</b>			(applauding)
		Bravo.

<b>				FOREMAN
</b>		Who the hell are you?

<b>				SID 6.7
</b>		Someone who appreciates the
		artistic value of highexplosives.

	He shoots the Foreman in the chest. Sid 6.7 relieves him of
	his keys and heads to an explosives storage shed.

<b>					CUT TO:
</b>
<b>	SID 6.7
</b>
	carrying a crate of C-4 high-explosives out of the shed in
	the construction sight minutes later. He adds it to the dozen
	crates already loaded in a truck. And takes off.

<b>					CUT TO:
</b>
<b>	INSIDE A LARGE SEWER PIPE
</b>
	Sid 6.7 secures several crates of C4 to an automated sewer
	cleaning vehicle. He schedules its start time  24 hours
	from now. It is now 7:45 PM. The bomb's TIMER is set to
	detonate 15 minutes into the vehicle's journey -- at 8:00 PM
	tomorrow night.

<b>				SID 6.7
</b>			(admiring his work)
		You think you know me, but you
		don't have any idea who I really
		am...

<b>					CUT TO:
</b>
<b>	OUTSIDE THE BILTMORE HOTEL
</b>
	sight of Mayor Bennett's upcoming Re-Election Rally, Cox
	supervises an army of L. A. P. D. officers who are securing
	the area. Bombsniffing dogs. Rooftop snipers. Helicopter
	surveillance. Nothing is being left to chance.

	Anyone doing anything within 100 yards of the building is
	searched, including the REPORTERS and their CAMERA CREWS
	covering the convention's security.

<b>	PARKER AND MADISON
</b>
	survey the scene with binoculars from amid a crowd of
	pedestrians two blocks away. Both are disguised in hats and
	different clothing. You don't immediately recognize them.

<b>				MADISON
</b>		The rally's a little obvious as a
		target, don't you think?

<b>				PARKER
</b>		I told you before, Grimes liked to
		be obvious.

<b>				MADISON
</b>		Sid 6.7 isn't Grimes.

<b>				PARKER
</b>		Part of him is.

	Various faces in the crowd on the sidewalk. In the vehicles
	passing on the street. On the bridge crossing the street down
	the block further away from the hotel.

<b>				MADISON (V. 0.)
</b>		If we find Sid, Lindenmeyer won't
		be far behind.

<b>				PARKER (V. 0.)
</b>		Think he's keeping track of his
		creation?

<b>				MADISON (V. 0.)
</b>		That, or living through him...

<b>	PARKER
</b>
	puts down his binoculars. Madison does not.

<b>				PARKER
</b>		See something?

<b>				MADISON
</b>		I'm not sure...on the bridge...the
		guy at the payphone...

	She points to what she's looking at. Looking through his
	binoculars, he still can't see what she means. She helps him
	aim his binoculars.

<b>	PARKER'S POV -- THROUGH BINOCULARS
</b>
	He scans the bridge. Finally settling on Sid 6.7, who is
	talking on a payphone.

<b>	ON THE STREET
</b>
	Parker looks up from his binoculars. Impressed.

<b>				PARKER
</b>		Nice work.

<b>				MADISON
</b>			(a beat)
		Thanks.

	They move briskly down the block toward the bridge. Quickly
	climbing a set of stairs.

<b>	ON A ROOFTOP
</b>
	Parker and Madison's movement catches the attention of
	several snipers.

<b>				SNIPER #1
</b>		Well, look who we have here...

<b>				SNIPER #2
</b>			(into radio)
		Parker Barnes is heading south
		toward the bridge. If anybody can
		get a clean shot at him, take it.

<b>	COX
</b>
	hears the order over his radio headset. He races toward the
	bridge. As do a dozen other cops.

<b>	ON THE BRIDGE
</b>
	Sid 6.7 talks into the payphone.

<b>				SID 6.7
</b>		Be a reporter  figure it out for
		yourself. All I'm going to tell you
		is that at 8:00 tomorrow night, I
		will become legendary...

<b>	PARKER AND MADISON
</b>
	reach the top of the stairs. Sid 6.7 remains on the phone,
	his back toward Parker and Madison. They split-up, winding
	their way through the crowd waiting for an arriving bus.

	As the bus pulls to the stop, the awaiting passengers move
	toward the opening doors. Obscuring Parker's view of the
	payphone.

	Parker shoves his way through the crowd, only to see Sid 6.7
	holding Madison in front of him, his gun to her head. Parker
	trains his weapon at Sid 6.7. He doesn't have a clean shot.

<b>				SID 6.7
</b>			(to Parker)
		Brings back memories, doesn't it?

<b>	THROUGH A SNIPER'S RIFLE SCOPE
</b>
	Parker's chest is put into the cross-hairs as the bus pulls
	away from the stop. He is focused on Parker, and Parker only.

<b>	THE SNIPER
</b>
	is some 300 yards away on a rooftop. His rifle is mounted on
	a tripod. His aim is perfectly steady.

<b>				SNIPER
</b>			(into his radio headset)
		Say goodbye, Parker Barnes...

	Parker stands frozen, staring at Sid 6.7 through his gun
	sight. Looking for just an inch of him to stick out from
	behind Madison's terrified face.

<b>				SID 6.7
</b>			(to Parker)
		I wouldn't pull the trigger if I
		were you

<b>				PARKER
</b>		Why's that?

	Cox advances toward Sid 6.7 from the side of the bridge.
	Cox's gun out and ready. His finger on the trigger.

<b>				COX
</b>		Hey, Sid, what were you planning on
		doing with the C-4?

	Sid 6.7 turns his head in surprise toward Cox as a rifle is
	FIRED in the distance. Cox steps directly in the sniper's
	line-of-fire and takes the bullet meant for Parker through
	the chest. Cox drops to the bridge.

<b>				PARKER
</b><b>		NOOOOOO!
</b>
	He rushes to Cox. Parker drops to his knees, cradling Cox's
	head. Cox isn't long for this earth. Looking up to Parker, he
	tries to talk. But nothing comes out.

<b>				PARKER (CONT'D)
</b>			(compassionately)
		Don't worry, I know. I know.

	Cox's eyes roll back in his head. Parker then closes them and
	gently lays his head on the sidewalk.

	Parker turns his head toward Sid 6.7, who's released Madison
	and is jumping over a railing to the street 20 feet below.
	Parker rushes to the railing.

<b>				HIS POV
</b>		Sid 6.7 lands on top of a garbage
		truck passing beneath the bridge.
		The garbage truck disappears
		beneath the bridge.

<b>	ON THE BRIDGE
</b>
	A dozen cops advance toward Parker. Weapons drawn.

<b>				COP #4
</b>		Freeze!

	Parker ignores them. He bolts across the street, moving in
	the same direction as the bus below. Through speeding
	traffic.

	Bullets fly. Parker keeps charging. Right in front of a
	moving van barreling across the bridge. The cops lose sight
	of Parker.

<b>				COP #5
</b>		Think he made it?

<b>	ON THE OTHER SIDE OF THE BRIDGE
</b>
	Parker dives onto the sidewalk, avoiding the speeding van by
	inches. Getting to his feet, he launches himself up and over
	the railing...

<b>	ON THE STREET
</b>
	The garbage truck passes beneath Parker as he leaps from the
	bridge.

<b>	ON TOP OF THE GARBAGE TRUCK
</b>
	Parker lands on the back of the truck. Right next the opening
	and-closing steel jaws of the truck's massive trash
	compactor. His gun tumbles from his hand, falling to the
	street.

	Sid 6.7 dives on top of Parker, putting him flat on his
	stomach. And his face against the steel teeth. Sid 6.7 chokes
	Parker. Hard.

<b>				SID 6.7
</b>		I have to tell you, I do enjoy you,
		Parker. I really don't want to have
		to kill you...

	The sanitation worker at the wheel of the truck has no idea
	whatsoever what is happening on top of his truck.

<b>					CUT TO:
</b>
<b>	THE DOZEN OF COPS
</b>
	who had been on the bridge, charging down the steps after the
	garbage truck, which can no longer be seen.

	Madison walks calmly behind them. Scanning the crowd. Looking
	for Lindenmeyer. Her every instinct telling her he's here. He
	must be.

	She spots him. Veering from the direction the cops headed in,
	Madison casually wades into the crowd. She takes out her

	weapon and stops behind Lindenmeyer. Even in disguise, he
	looks familiar. Madison puts her gun against his back.

<b>				MADISON
</b>			(whispering into his ear)
		I figured you'd show up sooner or
		later...

<b>					CUT TO:
</b>
<b>	ON TOP OF THE GARBAGE TRUCK
</b>
	Parker and Sid 6.7 continue battling next to the compactor's
	lethal jaws. The machine makes an awful, grinding sound. Not
	unlike the sounds Parker and Sid 6.7 are making. The fight is
	primal. Savage. And moving at 30 miles-per-hour.

<b>				PARKER
</b>		What C-4...was Cox talking about?

<b>				SID 6.7
</b>		Let me put it to you this way...
		whether I'm here...or whether I'm
		not...I'm leaving an indelible mark
		on the world tomorrow night.

<b>				PARKER
</b>		Where did you plant the C-4?!

	He should concentrate more on fighting, and less on asking
	questions, because he's losing. Parker takes a wicked shot to
	the face, and then the groin. Sid 6.7 holds Parker's head
	between the compactor's jaws. Which are closing.

	With every last ounce of effort he has, Parker hurls his legs
	up into Sid 6.7. Which throws Sid 6.7 into the compactor.

	The steel jaws immediately close in on Sid 6.7, who
	frantically tries to climb out. He gets his hands out. Then
	his head. But that's about it.

	Without emphasizing graphic detail, Sid 6.7 is decapitated.
	His lifeless body drops back into the compactor.

	His head tumbles to the street. The force of the impact
	causes the Sid 6.7 character module to separate from the
	neural net.

	The character module scatters into the street. Parker
	immediately jumps off the truck after it.

<b>	ON THE STREET
</b>
	Parker's landing isn't pretty. Finally getting to his feet,
	he sees the Sid 6.7 character module is about to be run over.

	Parker dives for it, nearly getting run over himself.

	The approaching car SCREECHES to a halt next to him. It's
	driven by Lindenmeyer. At gunpoint. Madison sits behind him,
	her gun to his head.

	WHAM! The car behind them obviously wasn't prepared to stop
	so quickly. The bumpers of the two cars are now intertwined.
	Neither vehicle will be going anywhere soon.

	Madison pulls Lindenmeyer roughly out of the car. She drags
	him to Parker, who is still on his knees, clutching the Sid
	6.7 character module. SIRENS approach in the distance.

<b>				MADISON
</b>			(to Parker)
		Find out anything?

<b>				PARKER
</b>		A bomb's going off tomorrow night,
		but I have no idea where.

<b>				LINDENMEYER
</b>			(a beat)
		There is only one way to get any
		more information out of Sid 6.7...

	They scan the area for a new mode of transport. And find one
	stopped at a dumpster down the block: the garbage truck.

<b>	OUTSIDE THE GARBAGE TRUCK
</b>
	Parker quickly explains the situation to the sanitation
	worker while Madison motions Lindenmeyer into the cab with
	her gun. As Parker climbs up to her, Madison shuts the door
	to give them a moment of privacy.

<b>				MADISON
</b>		Can I ask you something?

<b>				PARKER
</b>			(with a smile)
		You mean there's something you
		haven't asked me?

<b>				MADISON
</b>			(a beat)
		You've already fulfilled the terms
		of your pardon. You stopped Sid 6.7
		and you've got his module. You're
		free to go  right now.
			(a beat)
		Why are you going to do this?

<b>				PARKER
</b>		You don't know?

<b>				MADISON
</b>			(shaking her head)
		That's why I'm asking.

<b>				PARKER
</b>		Because this painintheass
		criminal psychology expert has
		helped me understand what I'm
		capable of. And what I'm not.
			(a beat)
		And better than anyone else, I am
		capable of stopping Sid 6.7.

<b>					CUT TO:
</b>
<b>	ON TOP OF THE GARBAGE TRUCK
</b>
	Parker lands on the back of the truck. Right next the
	openingandclosing steel jaws of the truck's massive trash
	compactor. His gun tumbles from his hand, falling to the
	street.

	This sequence is IDENTICAL to the one you previously
	witnessed. It is as if we've jumped back in time.

	Sid 6.7 dives on top of Parker, putting him flat on his
	stomach. And his face against the steel teeth. Sid 6.7 chokes
	Parker. Hard.

<b>				SID 6.7
</b>		I have to tell you, I do enjoy you,
		Parker. I really don't want to have
		to kill you...

	The sanitation worker at the wheel of the truck has no idea
	whatsoever what is happening on top of his truck.

	Parker and Sid 6.7 battle next to the compactor's lethal
	jaws. The machine makes an awful, grinding sound. Not unlike
	the sounds Parker and Sid 6.7 are making. The fight is
	primal. Savage. And moving at 30 miles-perhour.

<b>				PARKER
</b>		What C-4...was Cox talking about?

<b>				SID 6.7
</b>		Let me put it to you this way...
		whether I'm here... or whether I'm
		not...I'm leaving an indelible mark
		on the world tomorrow night.

<b>				PARKER
</b>		Where did you plant the C-4?!

	He should concentrate more on fighting, and less on asking
	questions, because he's losing. Parker takes a wicked shot to
	the face, and but then blocks the anticipated shot to his
	gun.

	Sid 6.7 still manages to put Parker's head between the
	compactor's jaws. Which are closing.

	With every last ounce of effort he has, Parker hurls his legs
	up into Sid 6.7. Which throws Sid 6.7 into the compactor.

	Sid 6.7 frantically tries to climb out of the compactor as
	the steel jaws close in on him. He gets his hands out. Then
	his head...

	Except Parker now does something different. Just before Sid
	6.7 is decapitated, Parker jams a metal rod between the
	compactor's steel teeth. Then grabs Sid 6.7 by the throat.

<b>				PARKER
</b>			(fiercely)
		You can't die until you tell me
		where the C-4 is. Where is it?!

<b>				SID 6.7
</b>			(choking)
		My...secret.

	He SLAMS the back of his head into Parker's nose. Breaking
	it. Parker reels back in pain.

	Sid 6.7 squeezes out from within the steel teeth. The jagged
	metal cutting into him, striping him with blood. The blood
	then begins to retract. Sid 6.7's wounds, once again, heal
	themselves.

<b>				SID 6.7 (CONT'D)
</b>		Too bad you can't regenerate...

	As the truck slows at an intersection, he jumps to the
	street. Parker goes after him. Still in excruciating pain. WE
	PULL BACK TO REVEAL what you are seeing is

<b>	ON A MONITOR
</b>
	The scene continues seamlessly. As you may now be guessing,
	the monitor is connected to the simulator

<b>	INSIDE LINDENMEYER'S STATION IN LETAC
</b>
	Parker lies unconscious on a bed. He is connected to the
	simulator via the neural connectors in the polyurethane skull
	cap, just like he was before.

	The Sid 6.7 character module is plugged into the system's
	main console. Lindenmeyer sits at the controls. Madison next
	to him, her gun aimed at Lindenmeyer's head.

	They are both watching Parker chase Sid 6.7 on the monitor in
	front of them. Parker continues experiencing intolerable
	pain. A clock reads 4:00 AM. They are the only ones inside
	the entire facility.

<b>				LINDENMEYER
</b>		I told you this would work.. By
		setting back the clocks, he has
		absolutely no idea he's in virtual
		reality. He still thinks he's in
		the real world.

<b>				MADISON
</b>			(a beat)
		What's wrong with Parker?

<b>				LINDENMEYER
</b>			(innocently)
		How should I know?

<b>				MADISON
</b>			(getting an idea)
		Show me his physical sensory level.

	She clicks back the hammer of her gun and presses the barrel
	against Lindenmeyer's ear. He does as told. On a panel by the
	console, you read: PARTICIPANT PHYSICAL SENSORY LEVEL: 670%.

<b>				LINDENMEYER
</b>		I wonder how that...

<b>				MADISON (CONT'D)
</b>		Turn it down!

	Lindenmeyer adjusts the sensory level back down to 100%.

<b>	ON A MONITOR
</b>
	Parker immediately returns back to normal. His pace picks up.
	He starts closing the gap between him and Sid 6.7 as he races
	into a shopping mall.

<b>					CUT TO:
</b>
<b>	INSIDE THE SHOPPING MALL
</b>
	The place is a sevenstory mecca of shopping. An atrium
	allows you to look from the ground floor up to the seventh.
	Sid 6.7 rushes up the escalators. Going up to the second
	floor. Then the third.

	Parker follows suit climbing escalator after escalator.

	Throwing people out of his way.

<b>	ON THE SEVENTH FLOOR
</b>
	which is also the highest, Sid 6.7 veers out of view. Parker
	races up the final steps to the seventh floor. Sid 6.7 is
	nowhere to be seen.

	Parker searches methodically. Efficiently. He finally spots
	Sid 6.7. Who has Parker's head lined-up perfectly in his gun
	sight. Parker is a sitting duck. BOOM!

	Parker dives behind AFFLUENT SHOPPER 2.1, who takes a bullet
	in his ascot. Parker quickly grabs him, and uses his body as
	a shield against Sid 6.7's constant gunfire until Parker
	arrives behind a marble column.

<b>				SID 6.7
</b>			(surprised at Parker's
		ruthlessness)
		We really aren't that different,
		are we?

	What he cannot see is that behind the column, Affluent
	Shopper 2.1 is Auto Resetting. Parker puts his gun to the
	shopper's head.

<b>				PARKER
</b>			(whispering)
		Don't move, and don't make a sound.
		Got it?

	Affluent Shopper 2.1 nods his head repeatedly. Parker
	collects himself behind the column, then pivots out from
	behind it. Firing in Sid 6.7's direction. Each bullet finds
	its mark.

	Absorbing the blows, Sid 6.7 backs up against the atrium
	railing. Taking one final shot, he falls backward. Over the
	railing.

<b>	PARKER'S POV
</b>
	Sid 6.7 tumbles through the atrium. Out of control.

	Speeding toward the ground seven floors below.

<b>	SID 6.7'S POV
</b>
	The sense of momentum is exhilarating. And terrifying. If you
	get dizzy easily, close your eyes.

<b>	FROM THE FIRST FLOOR
</b>
	Sid 6.7 falls through the atrium like a rock directly at you.
	A 200 pound rock. WHAM!!!

	He lands face down in the marble floor. The impact is bone
	crushing. Sid 6.7 does not move.

	Until he begins to regenerate. His fluids begin returning to
	his body. His bones regaining proper form. Within seconds,
	his body appears as good as new.

	(Technically, because this is VR1 the proper term would be
	Auto. Reset. But since Sid 6.7 thinks he's in the real world,
	regenerating is what he thinks he's doing.)

	Sid 6.7 stands, dusting himself off.

<b>				SID 6.7
</b>		Man, what a rush.
			(yelling up to Parker)
		Adios, amigo!

	Grabbing his gun, he takes off out of the lobby.

<b>	ON THE SEVENTH FLOOR
</b>
	Parker retrieves his gun, then bolts down the escalators.

<b>					CUT TO:
</b>
<b>	INSIDE LETAC
</b>
	Madison and Lindenmeyer watch Parker on screen. Madison still
	has her gun trained on Lindenmeyer, who notices a WARNING
	LIGHT start to flash. He turns to Parker's unconscious body
	lying on the bed. Lindenmeyer looks concerned.

<b>				MADISON
</b>		What's wrong?

	Lindenmeyer checks several readings on his console.

<b>				LINDENMEYER
</b>		He's developing a hemisphere
		imbalance.

<b>				MADISON
</b>		Talk so I can understand.

<b>				LINDENMEYER
</b>		If I don't adjust the level of
		neural information each side of his
		brain is receiving, he won't be
		able to walk when I take him out of
<b>		VR.
</b>
<b>				MADISON
</b>		Then fix it.

	As Lindenmeyer moves to Parker, Madison stays right with him.
	Her gun aimed at Lindenmeyer's head. Lindenmeyer carefully
	removes one of the neural connectors from Parker's skull cap.
	Before removing another, he looks for a safe place to put the
	connector.

<b>				LINDENMEYER
</b>		I need you to hold this. It can't
		get any dirt on it.

	Madison is reluctant, but doesn't know what else to do.
	Lindenmeyer slowly gives the neural connector to her free
	hand.

<b>				LINDENMEYER (CONT ' D)
</b>		All you have to do is hold the
		needle at the base. Just make sure
		not to jab yourself with the
		point...

	She clutches the needle in her left hand while aiming her gun
	with her right. Lindenmeyer removes a second neural connector
	from Parker's skull.

	Holding this second needle at the base, Lindenmeyer makes
	several adjustments on the neural management computer, then
	moves slowly back to Madison.

<b>				LINDENMEYER (CONT'D)
</b>		Hand me the connector nice and...

	He suddenly jabs his neural connector into Madison's right
	forearm. Madison has no time to react. 10,000 volts of
	electricity instantly courses through her body.

	Madison drops to the floor, unconscious. The needle she had
	been holding falls from her grasp, breaking the circuit. She
	stops being electrocuted. Which saves her life.

<b>				LINDENMEYER (CONT' D)
</b>			(as Sid 6.7 had said)
		God, some people are stupid.

	He sits back down at the simulator's main console, and starts
	to type commands. On the monitor, Parker is visible exiting
	the shopping mall.

<b>					CUT TO:
</b>
<b>	OUTSIDE THE SHOPPING MALL
</b>
	Parker races out the door. BOOM! That was left knee cap. He
	tumbles to the street. His gun flying from his hand.

	Parker crawls desperately toward his weapon. But not fast
	enough. Sid 6.7 arrives at the weapon first.

<b>				SID 6.7
</b>		So close, and yet, so far...

	He kicks the weapon down the sidewalk, then points his gun at
	Parker's head.

<b>				SID 6.7 (CONT'D)
</b>		It's really too bad you have to
		miss the Grand Finale.

<b>				PARKER
</b>		I thought you liked me being in the
		audience. Don't you want me to see
		it?

	Sid 6.7 pauses to think about it.

<b>				SID 6.7
</b>			(considering the idea)
		You know, I do want you to see it.

	He shoots Parker in his other knee cap, rendering both of his
	legs useless.

<b>				SID 6.7 (CONT'D)
</b>		I want you to have a bird's eye
		view...

<b>	OUTSIDE THE NEWLY-CONSTRUCTED HOLLYWOOD TOWER
</b>
	A 67 story monument to engineering brilliance in this land of
	earthquakes. 6:30 PM.

<b>	ON THE ROOF OF THE HOLLYWOOD TOWER
</b>
	The view is incredible. You can see from the Pacific to
	downtown. From LAX to the Hollywood Bowl. Smog must be
	getting better in the near future.

	Sid 6.7 ties Parker to a chair at the roof's very edge. He is
	facing downtown. Including the Biltmore Hotel, the location
	of Mayor Bennett's ReElection Rally.

<b>				SID 6.7
</b>		There you go  best seat in the
		house.

<b>				PARKER
</b>			(with some surprise)
		You are going after Mayor Bennett.

<b>				SID 6.7
</b>		Let's just say I'm sending a very
		clear message to his ReElection
		Rally...

	He walks toward an open stairway door behind them.

<b>				PARKER
</b>		Aren't you going to watch with me?

<b>				SID 6.7
</b>		I've got some final preparations to
		take care of Checking his watch,
		he stops suddenly.

<b>	ON HIS WATCH
</b>
	Time is moving backwards. Literally.

<b>	ON THE ROOF OF THE HOLLYWOOD TOWER
</b>
	Sid 6.7 pauses, then goes over to Parker and checks his
	watch. It is also moving backwards. A smile of realization
	spreads slowly across Sid 6.7's face as he admires the
	beautiful sky above him.

<b>				SID 6.7
</b>			(as if to God)
		Thank-you, Daryl.
			(turning to Parker)
		You had me going for quite a while
		there, sport.

<b>				PARKER
</b>		What are you talking about?

<b>				SID 6.7
</b>		I really did think I was still in
		reality. At least, until now.
			(looking upward)
		Beam me up, Scotty!

	His body DISINTEGRATES before your eyes. It's electronic
	particles form into an amorphous cloud. Which disappears from
	view.

<b>				PARKER
</b>			(yelling)
		Madison, get me out of here!
<b>		MADISON!
</b>
	Lindenmeyer watches Parker scream on the monitor. Madison
	remains unconscious on the floor behind him.

<b>				LINDENMEYER
</b>			(to the monitor)
		She's taking a nap at the moment.

	He types a set of instructions into the console and hits
<b>	ENTER.
</b>
<b>				LINDENMEYER (CONT' D)
</b>		But don't worry. You won't be alone
		for very long. Fairly soon, you'll
		be dead.

	He removes the Sid 6.7 character module from its slot and
	exits the station.

<b>	ON THE ROOF OF THE HOLLYWOOD TOWER
</b>
	One side of Parker's chair gradually starts to rise. Parker
	looks down to see the roof surrealistically swelling beneath
	his chair. This could only happen in virtual reality.

	In a matter of minutes, he is going to be thrown over the
	roof's edge. The next stop is 693 feet down.

<b>	INSIDE LETAC
</b>
	Parker's screams for help ECHO throughout the facility. But
	there is no one there to hear him.

<b>					CUT TO:
</b>
<b>	OUTSIDE LETAC
</b>
	The garbage truck is parked in a loading dock. Lindenmeyer
	climbs awkwardly onto the truck, then into the compactor.

<b>	INSIDE THE GARBAGE TRUCK COMPACTOR
</b>
	Lindenmeyer wades through trash until he comes upon Sid 6.7's
	headless body. The polymer neural net visible within its
	neck. Lindenmeyer inserts Sid 6.7's character module into its
	gelatinous base. But nothing happens.

<b>				LINDENMEYER
</b>		Come on, live. Live!

	The synthetic nervous system begins to crackle with life.
	Growing around the module. Forming the beginnings of a new
	head. Literally.

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	sitting precariously on the increasingly-uneven roof of the
	Hollywood Tower in virtual reality. Unable to break free of
	his binds, he rocks the chair onto its side.

	He and the chair fall to the roof, which will keep him from
	falling to his death for another minute, if he's lucky.

<b>				PARKER
</b><b>		MADISON!!!
</b>
<b>	INSIDE LINDENMEYER'S STATION
</b>
	Madison, still unconscious on the floor, finally stirs. Maybe
	Parker's screaming is finally reaching her. Or at least,
	starting to.

<b>					CUT TO:
</b>
<b>	INSIDE THE GARBAGE TRUCK COMPACTOR
</b>
	Lindenmeyer looks on with awe as Sid 6.7 grows a new head
	right before your eyes. You've never seen anything like it.

	Sid 6.7's resulting head is slightly off center. His skin
	tone isn't perfect, nor is his color, but at least its
	functional. Sid 6.7 admires himself in a broken mirror.

<b>				SID 6.7
</b>		I am beautiful, aren't I?

<b>				LINDENMEYER
</b>		Of course you are.

	Sid 6.7 wades through the trash toward Lindenmeyer.

<b>				SID 6.7
</b>		How can I ever thankyou for
		bringing me back to life a second
		time, Daryl?

<b>				LINDENMEYER
</b>		Help me get out of here.

<b>				SID 6.7
</b>		Glad to...

	He reaches out to give Lindenmeyer a hand, then grabs him by
	the throat. Choking him. Lindenmeyer can't believe what is
	happening.

<b>				LINDENMEYER
</b>			(gagging)
		What...are you doing?!

	Sid 6.7 takes Lindenmeyer's face gently in his hands.

<b>				SID 6.7
</b>		You made me a composite of 183 of
		the most vicious people who ever
		lived.
			(a beat)
		What do you think I'm doing?

<b>				LINDENMEYER
</b>		I'm begging you...please don't kill
		me! Please!

<b>				SID 6.7
</b>			(reassuringly)
		Don't worry. Through me, you will
		live forever...

	As Lindenmeyer begins to scream, we

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	hanging on by his fingertips to the bulbous roof of the
	Hollywood Tower. He's going to fall at any second.

<b>					CUT TO:
</b>
<b>	MADISON'S BLURRY POV
</b>
	of someone entering Lindenmeyer's station in LETAC. You can't
	tell who it is, at first. But you can see the person is male.
	And wearing Lindenmeyer's pants. You now see the person is
	Sid 6.7.

<b>	INSIDE LINDENMEYER'S STATION
</b>
	Madison forces herself into consciousness.- Or as close to it
	as she can get. Her expression is one of complete and utter
	terror.

<b>				SID 6.7
</b>		Dr. Carter  I've been hoping we'd
		get a moment together...

	Mustering her strength, she manages to crawl behind several
	of the computers which make up the simulator. Sid 6.7
	advances calmly toward her.

<b>				SID 6.7 (CONT'D)
</b>		You know so much about me, I was
		hoping to learn a little bit about
		you. You see, I'm doing research,
		too...

	He looks behind the computers where you last saw Madison.

	She is no longer there. Sid 6.7 begins searching for her.

	He passes a virtual reality monitor on which Parker can be
	seen clinging for life.

<b>				SID 6.7 (CONT'D)
</b>			(to the monitor)
		Hang in there, Parker.

	On the monitor, Parker looks all around him, trying to
	determine the voice's origin.

	Madison crawls out of Lindenmeyer's station. Sid 6.7 just
	catches sight of her, and goes after her.

<b>	INSIDE LETAC
</b>
	Madison crawls into a darkened engineer's station and hides.
	She is still very dizzy. And trying to keep the sound of her
	breathing to a minimum.

	Sid 6.7 enters quietly. A hunter on the prowl. Moving very
	slowly. Then lunging very swiftly. He continues the hunt.

	If Madison is discovered, she doesn't have a prayer. Her
	heart pounds. Her forehead perspires. Sid 6.7 is getting
	closer.

	Sid 6.7 checks inside closets. Cabinets. Anywhere large
	enough for a human being to fit. He is practically standing
	over her. Looking. Listening.

<b>				SID 6.7
</b>		How does it feel to know you're
		going to die? What are you thinking
		about?

	Lights in the building suddenly come on. Several engineers
	can be heard entering. It's 8 AM  the start of a new day.
	The facility is quickly becoming populated.

	After giving one last look around, Sid 6.7 reluctantly gives
	up the hunt, and exits. Madison does not move until she is
	certain Sid 6.7 has left the building.

<b>				PARKER (0.S.)
</b><b>		SOMEBODY HELP!
</b>
	Madison scrambles out of her hiding place.

<b>					CUT TO:
</b>
<b>	PARKER
</b>
	finally losing his grip on the roof of the Hollywood Tower in
	virtual reality. He plummets with accelerating speed.

	Madison bursts through the partition around Lindenmeyer's
	station. Sacrificing her body. Without regard for pain.

	Parker tumbles toward the sidewalk 67 stories below. The
	speed is terrifying.

	Madison leaps over a table. Diving for the simulator's RETURN
	button.

	Parker falls faster. And faster. The street just beneath him.
	The instant before he slams into the street, his body DE
<b>	MATERIALIZES.
</b>
<b>	INSIDE LINDENMEYER'S STATION
</b>
	Madison keeps pressing the return button over and over,
	making sure it worked. Parker's eyes flutter as he returns to
	consciousness. Madison rushes to him.

<b>				MADISON
</b>		You okay?

<b>				PARKER
</b>			(shaking out the cobwebs)
		...I think so...You?

<b>				MADISON
</b>			(looking over her bruises)
		More or less.

<b>				PARKER
</b>		Lindenmeyer?

<b>				MADISON
</b>		My guess is dead.

<b>				PARKER
</b>		Sid?

<b>				MADISON
</b>		I don't know.

	Several engineers peek in curiously at them.

<b>				MADISON (CONT'D)
</b>		Let's get out of here.

	She helps Parker to his feet.

<b>					CUT TO:
</b>
<b>	PARKER AND MADISON
</b>
	at a payphone outside a minimall. Could be any one of the
	10,000 in Los Angeles. It's late morning.

<b>				PARKER
</b>			(on the phone)
		Elizabeth Deane, please. Tell her
		it's Parker Barnes...

<b>					INTERCUT WITH:
</b>
<b>	INSIDE COX'S OFFICE
</b>
	Elizabeth Deane picks up the phone.

<b>				DEANE
</b>		Barnes, where the hell have you
		been?!

<b>				PARKER
</b>		Trying to find out where the bomb
		is. Where the hell have you been?

<b>				DEANE
</b>		What did you find out?

<b>				PARKER
</b>		Call off the manhunt looking for
		me. I didn't kill the transport
		guards.

<b>				DEANE
</b>		It's already been called off.
		Witnesses confirmed you weren't the
		shooter.
			(a beat)
		Did you find out where the bomb is?

<b>				PARKER
</b>		No, but I've confirmed the
		reelection rally is the target.
			(a beat)
		How much C-4 is missing?

<b>				DEANE
</b>		Enough to level an entire city
		block.

<b>				PARKER
</b>		If I were you, I'd get every
		demolition team in the city
		searching in and around the
		Biltmore Hotel.

<b>				DEANE
</b>		(with frustration) Demolition teams
		have searched everywhere in and
		around the hotel. I don't know
		where...

<b>				PARKER
</b>			(interrupting)
		Sid is smart enough to know you'd
		check everywhere in the immediate
		area. Whatever the device is, he's
		probably got it timed to move into
		position just before it detonates.
			(a beat)
		Have the demo teams check every
		subway tunnel, water pipe, gas
		pipe, and sewer pipe that goes
		under, over, or into the arena.

<b>				DEANE
</b>		You know how much man power you're
		talking about?

<b>				PARKER
</b>		You're the highest law enforcement
		official in the country. Use the
		fucking army if you need to.

	He hangs up the phone.

<b>					CUT TO:
</b>
<b>	DOZENS OF DEMOLITIONS TEAMS
</b>
	checking every subway tunnel, water pipe, gas pipe, and sewer
	pipe that goes under, over, or into Dallas Arena. The effort
	is massive. Intensive. The clock is ticking. 6:00 and
	counting.

<b>					CUT TO:
</b>
<b>	INSIDE THE BILTMORE HOTEL, MAIN LOBBY
</b>
	The area has been converted into a security checkpoint.

	Entrants are carefully scanned onebyone. WE HEAR the rally
<b>	OFF SCREEN.
</b>
<b>					CUT TO:
</b>
<b>	OUTSIDE BILTMORE HOTEL
</b>
	Security is on extreme alert. Tension is very high. It's
	7:00. Parker, Madison, and Deane look on, anxiously. They
	listen to a RADIO SCANNER monitoring the conversations
	between the demolitions teams.

<b>				DEANE
</b>			(to Parker)
		This better not be a wild goose
		chase.

<b>				PARKER
</b>		Or what, you'll authorize my death
		a second time today?

<b>				DEANE
</b>			(sharply)
		Don't forget, convict, if this
		psycho isn't stopped, you go right
		back to rotting in a prison cell.

<b>				MADISON
</b>		Give him a break, would you?

<b>				MALE VOICE
</b>			(from scanner)
		This is demo team 27 leader. I
		think we just found what we've been
		looking for...

<b>					CUT TO:
</b>
<b>	INSIDE A LARGE SEWER PIPE
</b>
	A threeman demolition team slowly, carefully disarms the
	bomb Sid 6.7 had secured to the automated sewer cleaning
	vehicle. Snip. One wire at a time. Snip.

	The work is very delicate. Snip. One wrong move and it's all
	over. Snip.

<b>				TEAM LEADER
</b>		One more and we're home free...

	Snip. The three members of the demo team look up proudly to
	each other. Breathing sighs of relief. It's 7:42.

<b>					CUT TO:
</b>
<b>	OUTSIDE THE BILTMORE HOTEL
</b>
	Parker, Madison, and Deane remain glued to their scanner.

<b>				TEAM LEADER (V. 0.)
</b>			(from scanner)
		Hey folks, it's time to crack open
		a cold one.

	Cheers are heard around the area from the other cops who'd
	been listening in.

<b>				DEANE
</b>		Thank God.

<b>				TEAM LEADER (V. 0.)
</b>		Then again, maybe we ought to hold
		off for just a second...

<b>				DEANE
</b>			(with concern, into radio)
		What's the problem?

<b>					CUT TO:
</b>
<b>	INSIDE THE SEWER PIPE
</b>
	The Team Leader carefully removes a piece of paper which had
	been taped to the timing mechanism. Written in handwriting,
	you read: HEY, PARKER, THE FUN IS ONLY STARTING!

<b>				TEAM LEADER
</b>		The good news is, we're finished
		here. The bad news is...

<b>					CUT TO:
</b>
<b>	OUTSIDE THE BILTMORE HOTEL
</b>
	Deane stares at Parker with disbelief. Deane's Aide, holding
	a cellular phone, approaches Parker.

<b>				AIDE
</b>		You've got a phone call.

	Parker grabs the phone.

<b>				PARKER
</b>			(expecting it to be Sid)
		You son-ofabitch, I'm going to
		kill you.

<b>				ALEXIEV (V. 0.)
</b>			(through phone)
		Me? What did I do?

<b>					INTERCUT WITH:
</b>
<b>	INSIDE THE CAL TECH COMPUTER LAB
</b>
	Alexiev Borgen sits with a dismantled MAESTRO keyboard in
	front of him.

<b>				PARKER
</b>			(a beat)
		I'm sorry, I thought you were
		somebody else.

<b>				ALEXIEV
</b>		I've discovered something about
		Lindenmeyer'5 Maestro teaching tool
		I thought you should know... (a
		beat) The harm done to the music
		students who used the device  it
		was not by accident. The machine
		was designed explicitly for that
		purpose. Lindenmeyer intended to
		hurt the kids using it.

<b>				PARKER
</b>		Jesus Christ.
			(turning to Madison)
		I know who the dominant personality
		is.
			(a beat)
		Lindenmeyer.

	Madison's reaction is one of panic. She bolts toward their
	squad car with all the speed she has. Parker chases after
	her.

<b>				PARKER (CONT'D)
</b>		Where the hell are you going?

<b>				MADISON
</b>		Lindenmeyer never got over wanting
		to kill kids with more musical than
		he had...

	She gets into the driver's seat. Parker the passenger's.
	Madison punches the gas.

<b>					CUT TO:
</b>
<b>	INSIDE THE HOLLYWOOD BOWL
</b>
	The members of the L. A. Philharmonic tune-up for the
	evening's payperview extravaganza. Several teenage
	musicians sit with them.

	Lights, cameras, and production trucks are all over the
	place. This really is going to be one hell of a show.

<b>				TV ANNOUNCER (V. 0.)
</b>		Joining the Los Angeles
		Philharmonic for this evening's
		first musical number will be
		several of the Los Angeles area's
		finest, high school musicians...

<b>	SID 6.7
</b>
	who is dressed in a tuxedo, knocking on the door to Guest
	Conductor's Dressing Room.

<b>				GUEST CONDUCTOR (0. 5.)
</b>			(German accent)
		It won't do any good to rush me. I
		need my time to prepare myself.

	The door is opened by the GUEST CONDUCTOR, who is dressed in
	a tuxedo, as well as large earrings. His hair is long and
	red. His complexion is pale, nearly white. And his eyes are
	piercing green. You might describe this look as punk meets
	classical.

<b>				GUEST CONDUCTOR
</b>			(annoyed beyond belief)
		Are you just going to stand there,
		or do you want something?

	Shaking with concentration, Sid 6.7 turns his hair red.
	(Nanoorganisms can do this, as well as the following.) He
	then grabs his hair and pulls it out, extending it to the
	exact length of the guest conductor's. 

	Sid 6.7 then changes his complexion to match the conductor's.
	As well as his eye color, and other facial features. The
	Guest Conductor can't believe his eyes.

	By the time Sid 6.7 is finished modifying himself, he may not
	be an exact duplicate of the guest conductor, but even his
	mother would have to look twice.

<b>				SID 6.7
</b>		It's show time.

	He shoves the Guest Conductor back into his Dressing Room.
	Sid 6.7 follows him in, revealing a suppressed .38. He SLAMS
	the door behind him.

<b>					CUT TO:
</b>
<b>	INSIDE THE SQUAD CAR
</b>
	Madison speeds recklessly through traffic toward the
	Hollywood Bowl. Parker doesn't notice. He's totally focused
	on screaming into the police radio.

<b>				PARKER
</b>		Listen to me, a bomb is planted
		somewhere in the Hollywood Bowl!
		Evacuate everybody!

<b>				FEMALE VOICE
</b>		I'm sorry, sir, I don't have the
		authorization to do that.

<b>				PARKER
</b>		Then put somebody on who does!

<b>				MALE VOICE
</b>		What's seems to be the problem?

<b>				PARKER
</b>		You've got to stop the concert! A
		bomb is going to go off!

<b>				MALE VOICE
</b>		I'm sorry, sir, the concert has
		already started.

<b>					CUT TO:
</b>
<b>	THE GUEST CONDUCTOR
</b>
	whose back is to the audience, leading the orchestra in a
	truly magnificent performance of Tchaikovsky's Fifth Symphony
	inside the Hollywood Bowl.

	The Guest Conductor waves his baton wildly. Passionately.
	Brilliantly. Getting the absolute best from the members of
	the orchestra.

	The musicians exhilarate in the challenge of being pushed to
	their musical limit.

	As the Guest Conductor turns to the next page of his sheet
	music on the podium, you notice seven small, HIGH-FREQUENCY
	SENSORS above an upcoming musical measure.

	The sensors are wired together. When the seven notes are
	played in sequence, an electrical pulse will be triggered
	down the wires which run down the side of the podium, beneath
	the stage.

<b>	BENEATH THE STAGE
</b>
	The wires connect to several crates of C4 positioned beneath
	the orchestra. These seven notes will be the last notes these
	musicians ever play.

<b>					CUT TO:
</b>
<b>	OUTSIDE THE HOLLYWOOD BOWL
</b>
	Madison SCREECHES the vehicle to a halt. She comes within
	inches of mowing down several people. Madison and Parker bolt
	to the entrance, flashing their badges to the guards.

<b>	INSIDE THE HOLLYWOOD BOWL
</b>
	The Guest Conductor's movements grow even more intense. More
	demanding. As he looks to the violin section, we now see the
	conductor's face. It is Sid 6.7.

<b>				SID 6.7
</b>			(silently)
		Don't hold back...Give it to me.
		Give it to me!

	The orchestra plays with everything they've got. They hit
	every note perfectly. Including a high C.

<b>	ON THE CONDUCTOR'S PODIUM
</b>
	The first sensor is triggered. Then the second.

<b>	PARKER AND MADISON
</b>
	appear at the back of the stage. Guns raised. Distracting the
	musicians. As Parker and Madison charge through the horn
	section toward Sid 6.7, the musicians stop playing.

<b>	ON THE CONDUCTOR'S PODIUM
</b>
	The fifth sensor is triggered. Then the sixth...But not the
	seventh.

<b>	SID 6.7
</b>
	cannot believe his eyes. Or his ears. The entire orchestra
	has stopped.

<b>				SID 6.7
</b>		Come on, play! PLAY!

	In his rage, his face contorts "past points", which can only
	be described bizarre, frightening, and not, something you
	would ever like to see when you look in the mirror.

	The musicians stare at Sid 6.7, and then at Parker and
	Madison with concerned, confused silence. Which is broken by
	Parker's gunfire.

	Ducking behind the podium, Sid 6.7 desperately tries to
	rewire the sensors to trigger manually. Without luck. He
	takes his .38 out of his jacket and starts firing.

	Pandemonium erupts throughout the Hollywood Bowl. Audience
	members run in every direction.

	The members of the orchestra bolt for their very lives, but
	keep their instruments with them. Even the oboist.

	Preventing Parker and Madison from taking any further shots
	at Sid 6.7.

	Sid 6.7 bolts down into the crowd. Madison cannot get off a
	clean shot. Neither can Parker. He aims, but does NOT fire.
	He and Madison struggle through the crowd after him.

<b>	OUTSIDE THE HOLLYWOOD BOWL
</b>
	Parker and Madison just catch a glimpse of Sid 6.7 as he
	rushes up the entrance ramp to the Hollywood Freeway. Parker
	and Madison bolt after him.

<b>	ON THE HOLLYWOOD FREEWAY
</b>
	Parker and Madison race past the cars waiting to merge into
	what is effectively a parking lot. As is normal for this
	thoroughfare, traffic is at a standstill.

	Sid 6.7 is nowhere to be seen. Parker and Madison splitup,
	wading through different lanes of traffic. Startling the
	already frustrated motorists. Who roll up their windows. Lock
	their doors. And some of whom reveal weapons of their own.

	Madison pauses, listening. She has no idea that Sid 6.7 steps
	behind her. WHAM! He cold cocks her with the butt of his gun.
	Madison crumples to the street.

	Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!
	BOOM! Two hits. Two head wounds. Sid 6.7 falls behind a
	truck, losing his weapon.

	Before Sid 6.7's wounds have finished regenerating, Parker is
	already on top of him.

<b>				PARKER
</b>			(neighborly)
		Hey, old buddy, old pal, good to
		see you again.

	He empties his clip into Sid 6.7, then discards the gun. As
	Sid 6.7's wounds heal themselves, Parker pounds him
	mercilessly.

<b>				SID 6.7
</b>			(losing it)
		You...ruined...I'M GOING TO KILL
<b>		YOU!!!
</b>
	Trading blows, he manages to get to his feet.

<b>				PARKER
</b>		Now, is that any way to talk to an
		old friend?

<b>				SID 6.7
</b>			(exploding)
<b>		BARNES, YOU'RE DEAD!
</b>
	He knocks Parker back with a good shot to the face, then
	disappears around a van.

	Parker continues the hunt. Quietly. Carefully. Tension grows
	in the silence that follows.

	He carefully makes his way around a truck. Only to see Sid
	6.7 swinging a two-by-four directly at his head. WHAM!!!

	Parker is knocked on his ass. Daze4. Blood streams down his
	cheek. He staggers to his feet, blocking another blow with
	his arm. Which SNAPS the wood in two.

	Parker grabs one of the boards. He battles with Sid 6.7.

	The fight between Parker and Sid 6.7 is intense. Exhausting.

	Parker gives it everything he has.

	Madison appears behind Parker, holding his gun. She wavers,
	having trouble keeping her balance. She has even more trouble
	aiming her weapon.

<b>				MADISON
</b>		Hey, Parker...

	She moves around, trying to get a clean shot at Sid 6.7.
	Which she does not have.

<b>				PARKER
</b>		How's your pulse?

<b>				MADISON
</b>			(totally focused)
		I couldn't tell you.

<b>				PARKER
</b>		Then shoot him already.

<b>				MADISON
</b>		Duck!

	Without hesitation, Parker hits the deck. Leaving Sid 6.7
	completely exposed. Madison steadies her sight.

<b>				SID 6.7
</b>			(to Madison)
		You couldn't hit the side of a...

	As he raises his twobyfour high over Parker's head, Madison
	pulls the trigger smoothly.

	IN SLOW MOTION, you follow the bullet as it exits the barrel
	of her gun. And penetrates Sid 6.7's skull between the eyes
	and exits out the back of his head.

	Sid 6.7 collapses on the ground next to Parker.

<b>				MADISON
</b>		What do we do now?

<b>				PARKER
</b>		You won't want to watch. Turn
		around.

	She does so. Parker reaches OUT OF FRAME to remove the Sid
	6.7 character module from within his skull. Then reveals the
	character module in hand.

<b>				MADISON
</b>		What should we do with it?

	Glancing in the flatbed of a truck, Parker gets an idea, and
	knocks on the driver's window. As the DRIVER rolls down his
	window, classic ROCK & ROLL MUSIC can be heard from inside.

<b>				PARKER
</b>		Mind if I borrow a couple of your
		tools for a second?

<b>				DRIVER
</b>		Be my guest.

	Parker removes two sledgehammers from the back of the truck.
	He offers one to Madison.

<b>				PARKER
</b>		Care to join me?

	Madison gladly accepts takes the sledgehammer. Parker drops
	the Sid 6.7 character module onto the pavement. And together,
	they start pounding the shit out of it. WHAM! WHAM! In
	perfect time with the music. Which the driver cranks even
	louder. As we ROLL CREDITS.

<b>	THE END
</b>

</pre>
</pre><br>
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	<td><h1>Virtuosity</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Eric Bernt" title="Scripts by Eric Bernt">Eric Bernt</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Action" title="Action Scripts">Action</a>&nbsp;&nbsp;<a href="/genre/Sci-Fi" title="Sci-Fi Scripts">Sci-Fi</a>&nbsp;&nbsp;<a href="/genre/Thriller" title="Thriller Scripts">Thriller</a><br><br><br>
		
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Who killed Cochrane?
Who killed Cochrane ?
Dr. Darrel Lindenmeyer
Dr. Darrel Lindenmeyer
Lindenmeyer
Lindenmeyer