by

Corey Mandell

FADE IN:

EXT. MANHATTAN - MIDDLE OF THE NIGHT

Freezing wind shutters through the shadows. Relentless

darkness. No sign of life, save for --

The SOUND of determined footsteps.

INT. HIGH RISE APARTMENT BUILDING - LOBBY - CONTINUOUS

The doorman at his post flipping through a magazine, rap

music pounding from his radio.

Glass suddenly shatters as a gloved hand punches through

the window, reaching in, unlocking the front door.

Two men in dark suits blur inside. The doorman rushes to

stop them, only --

DEX, the taller of the two men, slams the barrel of his

gun into the doorman's throat.

DEX

Life can be an illusion.

(low and deadly)

Sometimes we see what isn't there,

and sometimes we don't see what is

there.

The doorman, wide eyed with terror, nods his consent.

Dex removes the gun.

Doorman plants himself in the chair, eyes glued to his

magazine, making it clear he doesn't 'see' the men as they

stroll into --

INT. ELEVATOR - CONTINUOUS

Old fashioned steel box struggling its way up the shaft.

Fluorescent yellow light stabbing through the grating.

INT. HALLWAY - MOMENT LATER

Dex slaps a small plastic strip on an apartment door as

both men turn away, shielding their eyes.

A blinding flash of light as the door is blown apart.

INT. APARTMENT - CONTINUOUS

The men rush inside and straight into --

INT. BEDROOM

Candles flicker on the dresser. A syringe on the bedside

table, next to a sleeping figure curled up under the

sheets.

Both men starting to pull guns, but --

DEX

This one's personal.

Dex's partner shrugs, holsters his weapon and steps back

through the doorway, watching as --

Dex spins and fires.

Not the traditional booming gunfire, but rather the

strange sound of electronic hissing as laser-fire rips the

person to shreds.

Dex finally stops firing and moves to the bed to verify

the kill, only on close inspection he sees it's not a

person.

He's just blown the hell out of a MANNEQUIN.

Dex smiles, blows out the candle and heads out of the

room.

CUT TO:

INT. CHURCH - DUSK

A lone PRIEST lights the sacrament candles, the sound of

his breathing reverberating through the empty church.

He suddenly stops, snaps his head around --

A man in a wheelchair stares at him from the doorway.

The man is CHRISTOPH. Dark robes shroud his shriveled,

decaying body but his eyes still burn with life.

CHRISTOPH

(raspy voice which

labors to be heard)

May I trouble you with a confession?

Even in the flickering half-light of the candles, the

Priest can see that Christoph is dying.

PRIEST

Never a trouble.

The large statue of Jesus over the alter staring down as

the Priest leads Christoph into --

INT. CONFESSIONAL BOOTH

Christoph's voice is weak, knowing each word could be the

last.

CHRISTOPH

Forgive me Father, for I have

coveted.

PRIEST

What have you coveted?

CHRISTOPH

(anguished whisper)

Life.

A small smile of compassion escapes across the Priest's

lips.

PRIEST

God gave us all the need for life.

And when the end begins to near, we

all crave more time. No sin.

CHRISTOPH

(hesitantly)

But there's what I would do for more

time.

PRIEST

What would you do --

A sharp hissing sound --

The laser burns through the confessional wall and straight

through the priest's chest.

Face frozen in a listening pose as the body crumples to

death.

Christoph slowly lowers his weapon with a look of genuine

contrition.

EXT. MANHATTAN - HELL'S KITCHEN - CONTINUOUS

It's the near future and the neighborhood is covered with

graffiti scrawled in machine code and billboards

projecting holographs advertising malt liquor and

pleasure-dipped cigarettes.

A slick-black JET COPTER drops silently from the sky.

INT. WAREHOUSE - CONTINUOUS

Pieces of advanced computer technology lie scattered about

the large work table. A small kitchen and bedroom in the

back.

Speakers pour in one of Handel's aching melodies.

The music suddenly pierced by the shriek of a giant Bird

of Prey diving across the room.

EXT. STREET - CONTINUOUS

A tight knot of bodyguards disgorge from the copter.

Tense eyes sweeping the street, they finally give the all-

clear signal.

HALDEN, a charismatic bull of a man, emerges from the

copter. He moves with the confidence of someone who knows

he can't be touched.

INT. WAREHOUSE - CONTINUOUS

The sound of Handel's concert mixes with the sound of

claws tearing apart flesh.

TANNER sits in the middle of the room. He is early

forties, athletic build, and a face that holds too many

memories.

His insomniac-stained eyes studying the Holographic Chess

Board as the knight mounted on the Bird of Prey slaughters

a pawn.

DISEMBODIED VOICE (O.S.)

Visitors.

Tanner snaps his attention to --

INT. WALL SIZE MONITOR

Halden and his men head toward the warehouse.

INT. WAREHOUSE

Tanner's eyes harden at the sight of Halden. A long beat,

then he finally shakes his head in resigned disgust.

TANNER

Permit entry.

The sound of dead bolts automatically sliding open.

MOMENTS LATER

The bodyguards stand motionless in the corner, doing their

best to look like furniture.

Halden moves through the holographic chess board, his eyes

on Tanner.

HALDEN

A legend fell tonight.

His stare now ripping into Tanner.

HALDEN

The unrunnable maze. Impossible to

get through.

(thick smile)

Well, some kid just danced it like

it was some six bit video game.

Tanner doesn't blink. His voice matter-of-fact.

TANNER

He had keys.

HALDEN

Of course the legend would like to

think that. But no one has keys.

(fierce)

Your maze was run.

EXT. WAREHOUSE - MOMENT LATER

Halden and his men escort Tanner to the waiting copter.

CUT TO:

INT. VACANT CITY STREET - THAT NIGHT

Christoph stands naked in the middle of the vacant street,

staring down at himself in reverent awe.

It is as if he's been reborn. His body no longer

decrepit, but rather pulsing with an almost inhuman

vitality.

He heads down the street, the walk becoming a run, then a

sprint, his head back, mouth open, tasting the wind.

CUT TO:

EXT. MANHATTAN SKY-LINE - CONTINUOUS

A jet-copter screams across the night sky, while inside --

INT. JET-COPTER - CONTINUOUS

Tanner studies the holographic image of the maze projected

in front of him:

A constantly shifting sea of lines swirling furiously in

random directions.

A small BLUE SQUARE rockets into the maze. Sound of

laughter as the square dodges, feints, spinning it's way

down into --

The center of the maze. A pattern so intricate it seems

to be a solid wall of light with no way through --

Only the square suddenly shoots up, twisting, somehow

finding the smallest of fissures and blurring through.

The square is gone. Only the laughter remains.

HALDEN

He had fun ripping your maze, that's

good.

(tight smile)

Now that it's obsolete for security

purposes, maybe we can turn it into

an amusement ride.

Tanner silently snaps off the hologram as the jet-copter

banks sharply for a landing onto --

CUT TO:

EXT. VSI CORPORATE HEADQUARTERS - ROOF

A towering black monolith which seems to burst straight up

through the heavens.

INT. VSI CORPORATE BUILDINGS - CONTINUOUS

Halden leads Tanner down the long hall.

Dex, who has traded his dark "assassin's" suit for a VSI

standard issue gray pin-stripe, stands waiting for them.

He keeps his eyes on Halden, as if Tanner wasn't even

there.

DEX

We just tracked the runner to the

hotel district.

Halden nods as all three of them head into --

INT. CONTROL ROOM

Long rows of programming consoles manned by engineers

wearing wireless 'tele-com' headsets.

Dex directs Halden's attention to one of the high-def

monitors lining the walls. The monitor showing --

INT. SAVOY HOTEL ROOM

Rock music pounds the room as silver confetti drops from

the ceiling.

A KID, sixteen at most, watches excitedly from the bed as

the two Playmates, Barbie-Doll bodies, slow-dance a

striptease.

INT. CONTROL ROOM

Dex finally acknowledges Tanner's presence.

DEX

Still going through puberty and he

shreds your maze.

(hard)

That's gotta hurt.

Tanner remains silent. Eyes locked on the monitor as

Halden turns to EMMA, VSI's senior security engineer.

HALDEN

Get some internal police there.

Tell them to run a perimeter.

TANNER

But have them wait for me 'till they

move in on him.

Halden turns, shooting him a surprised look. But Tanner

ignores it as he heads for the door.

Dex goes to stop him, but something in Tanner's eyes makes

him think twice about it.

A frozen beat, then Halden snaps a silent command to Dex

to let Tanner go.

CUT TO:

INT. INTERFACE ROOM - MOMENTS LATER

Rows and rows of unconscious bodies strapped to interface

seats, the room looks like a warehouse full of people in

comas.

Tanner climbs into an interface seat as a TECHNICIAN

wheels up his medi-cart and starts preparing an IV.

TANNER

Shouldn't be in that long.

The technician shrugs, returns the IV to his cart and

starts hooking Tanner to a bio-monitor.

Dex strides into the room, staring down at Tanner.

DEX

Been a while since you've been

inside.

(off Tanner's

silence)

Going to look up old friends?

Tanner meets Dex's stare. A deadly exchange.

DEX

(grins)

You know she asks about you all the

time --

Tanner plunges his finger into the CONNECT BOX, his eyes

thrusting back in his head, body going slack.

INT. THE NET - CONTINUOUS

Cool silent blackness of the void.

Eternal stretch of nothingness.

Then the blink of a light racing toward us.

Colors so intense you can feel their heat.

DISEMBODIED VOICE (O.S.)

Destination?

TANNER'S DISEMBODIED VOICE (O.S.)

Hotel district.

The faintest sounds can be heard. Almost sounds like

music.

DISEMBODIED VOICE (O.S.)

Security clearance approved.

Welcome Tanner. Enjoy your stay.

Dropping down. Into the lights. Embraced by the colors.

CUT TO:

EXT. NIGHT CITY

It's as if someone took the best parts of the world's

night spots and put them together in one neon-drenched

city.

Only this is the digital world.

Picture-perfect architecture. No pollution or decay. And

colors that are just a little bit more vibrant than the

real world.

Music pounds the air as crowds of people roam the streets,

exploring the countless pubs, casinos and night clubs.

EXT. NIGHT CITY - HOTEL DISTRICT - CONTINUOUS

Tanner heads down a street lined with some of the world's

most famous hotels.

Unlike the partying people all around him, Tanner is all

business, staring straight ahead with laser-like

intensity.

EXT. THE SAVOY

A group of INTERNAL COPS wearing tele-com's and Night City

Police uniforms, stand huddled in the shadows across from

The Savoy.

The SERGEANT greets Tanner with a curt nod.

SERGEANT

Corp must really want this guy to

have sent the legend himself.

TANNER

Just didn't want you boys having all

the fun.

The sergeant gives the signal. The cops fan out.

INT. NIGHT CITY - VIRTUAL HOTEL ROOM

The kid's still on the bed, sucking down a beer. One of

the Playmates leans over, lets him unhook her bra.

He smiles at her overly perfect body.

She bites her lip in staged ecstasy, tracing her fingers

down his chest, pulling at his belt as --

The door burst open. The cops and Tanner rush inside.

The kid flies off the bed.

A cop tries to grab him, only the kid grabs a chair and

SMASHES it hard into the cop's face, dropping him hard to

the floor --

INT. VSI CORPORATE BUILDING - INTERFACE ROOM

The cop's real body lies strapped to an interface seat,

twitching as the pain sears through his consciousness --

INT. NIGHT CITY - HOTEL ROOM - CONTINUOUS

The other cops ready to charge, but Tanner gets in front

of them, freezing the kid with a look.

TANNER

Look, we're going to trace you.

The confetti still swirling through the room.

TANNER

So be smart about this --

KID

-- You're the big man. Big fucking

cop.

He laughs as he makes an imaginary 'gun' with his fingers

and points it at Tanner --

KID

No guns on the system. That's how

it's programmed, right?

(pulls the 'trigger')

So what are you going to do, huh big

cop? Can't shoot me.

TANNER

Look, I know you didn't run it. You

had keys.

Kid shakes his head, full of bravado.

KID

That maze's nothing. I could run it

blind on a sixty-meg board.

SERGEANT (INTO TELE-COM)

(whispers)

This is a waste of time. How about

a little encouragement?

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

Everyone in the room watching the scene playing out in the

hotel.

EMMA (INTO TELE-COM)

Here's something which ought to help

him talk --

Her fingers race over the console.

INT. NIGHT CITY - HOTEL ROOM

Tanner still has the kid pinned with his stare.

TANNER

Fine, you ran it. That's felony

system fraud. Gets you thirty

years.

(lets that sink-in)

Or you tell us where you got the

keys and we start talking a deal.

Kid's eyes reveal he's thinking this one through, only --

A huge DOBERMAN explodes through the window.

Insane growl, deadly stare, rocketing for the Kid, who

freaks, throwing one of the Virtual Playmates into its

path --

Powerful claws rips through her, flinging her against the

wall. She lies there shredded, but for some reason, not

bleeding.

Kid throws himself out the window. Doberman flies after

him, with Tanner just a heartbeat behind.

EXT. THE SAVOY

The kid races down the crowded street with the Doberman

chasing after him.

TANNER (INTO TELE-COM)

(yells)

Lose the God-Damn dog!

A couple crosses the street, getting between the kid and

the dog --

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

Emma slams in the commands --

EXT. NIGHT CITY - STREET

The Doberman about to tear through the couple, but

flickers, then disappears.

INT. NIGHT CITY - CASINO - CONTINUOUS

Slightly featureless waiters and waitresses deliver

drinks. On stage, a young Billy Holiday belts out a

soulful blues tune.

The kid tears through the room.

EXT. CASINO - CONTINUOUS

The cops rush into the casino. But Tanner stays on the

street, racing around the side of the building.

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

The casino is now up on the monitor. Emma's eyes

following the kid.

EMMA (INTO TELE-COM)

Grid eighteen. Heading for exit

six.

INT. NIGHT CITY - CASINO

The cops charge across the casino, but unable to get to

the kid before he bolts out the exit --

EXT. CASINO - ALLEY - CONTINUOUS

The kid comes flying out into the alley. There's Tanner,

bearing down on him.

Kid takes off, running as fast as he can, turning the

corner to --

EXT. THE GATES

The sprawling structure where people enter and exit Night

City.

A crush of excited customers pushing past the HOSTESS who

welcomes them with programmed cheerfulness.

HOSTESS

And don't miss The Tivoli, with

fireworks every hour on the hour.

(smiles)

And please remember to follow all

safety rules while --

The kid racing through the crowd with Tanner in hot

pursuit.

INT. NIGHT CITY - STREET

Sound of rock music bouncing off the buildings.

The kid sprints out of the crowd and up and over a hill.

Tanner follows, finding himself in the midst of --

EXT. NIGHT CITY - CONCERT

A colored light show screaming down from the heavens.

The huge crowd of people gyrating to the music pounding

from the band on the river-front stage.

Tanner pushes into the frenzy as an USHER quickly steps up

to him.

USHER

(very politely)

I'm sorry sir, but there is a

premium charge for this event --

Tanner pulls his ACCESS CARD from his pocket and runs it

through the thin slot in the usher's torso. A beat,

before...

USHER

Access approved. Enjoy the concert,

Tanner.

The usher steps away as Tanner slices through the crowd,

eyes probing for the kid.

TANNER (INTO TELE-COM)

Where the hell is he?

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

Emma is studying the monitor, trying to find the kid in

the churning sea of humanity --

EMMA (INTO TELE-COM)

I'm working on it.

EXT. NIGHT CITY - CONCERT

The band finishes the song. The audience yelling for more

as the light show suddenly snaps off --

Pitch blackness.

A new song. Even louder. Audience screaming along as

strobe lights rip through the night.

Tanner trying to focus in the quick bursts of

illumination.

EMMA'S VOICE (FROM TELE-COM)

He's north-east of you. Heading to

Crimson street --

Tanner spins, cutting a path through the throng. Picking

up speed. But suddenly freezes --

A face. KATIE. Effortlessly attractive. The warmest of

smiles not quite able to hide the sadness.

Her expensively dressed male companion's arm wrapped

tightly around her waist as they watch the concert.

Tanner stares at her. Doing everything he can to hold it

in.

The lights strobing her face. Tanner struggles to pull

his eyes away. Only now she looks over. Sees him.

They stare at each other for a long tortured beat.

Katie turns to her companion, whispers something, then

hurries over to Tanner. Only he's no longer there.

Her eyes spinning through the crowd. Catches a glimpse of

Tanner as he disappears into the darkness.

EXT. NIGHT CITY - STREET - CONTINUOUS

The kid breaks out of the concert crowd. Races up the

street and over a bridge to --

EXT. NIGHT CITY - RED LIGHT DISTRICT

Modeled after Amsterdam. Canal-lined streets brimming

with businesses catering to every and any erotic desire.

Kid comes running off the bridge and suddenly stops. A

pair of cops charging him. The kid turns, rushing into --

INT. DEVIL'S LAIR

Customers browse the ten stories worth of Virtual

Playmates enclosed in small glass cubicles.

The cops push through the crowd, racing after the kid.

EXT. STREET

Tanner sprints for the fire escape on the side of the

building.

INT. DEVIL'S LAIR

The kid racing for an exit, but can't find one. The cops

almost to him, so he bolts straight for a cubicle --

Covering his face, he throws himself through the glass,

flying past the stunned Playmate and out the cubicle's

back door --

INT. STAIRWAY

The kid charges up the stairs to the top floor and out

onto --

EXT. ROOF

The kid throws the door shut behind him as --

TANNER'S VOICE (O.S.)

Time to be smart.

Kid spins. Tanner is right there.

TANNER

Not too late to cut a deal.

(coaxing)

All you've got to do is tell me

where you got --

The kid backs away from Tanner, but quickly runs out of

roof, teetering on the edge of a ten story drop.

A frozen beat, then the kid looks up at Tanner with a

twisted grin.

TANNER

(realizing)

DON'T --

But the kid's already laughing as he lets himself fall

backward into the air.

Tanner dives after him, smashing face-first into the roof,

grabbing the kid's foot before it disappears over the

edge.

He reels the kid back onto the roof, slamming his stare

into him --

TANNER

This isn't one of those virtual

reality systems you're used to

playing on!

The kid shrugs, unfazed.

TANNER

This is hyper-reality. Full

Immersion.

KID

Big deal --

TANNER

-- If you had come in through the

gates like you were supposed to,

you'd know.

(intense)

Full Immersion. You die on this

system, your consciousness dies.

The kid stares at Tanner as this sinks in. But he still

keeps up his tough guy look.

KID

Why the hell do you care?

Tanner wipes the blood from his chin as he rips all traces

of compassion from his face, matching the kid's stare.

TANNER

I don't. I just need you alive so

you can tell me where you got the

keys.

Tanner hurls the kid back into the arms of the waiting

cops.

TANNER

Trace him.

COP

Be my pleasure.

They drag the kid down the stairs, leaving Tanner alone on

the roof, sound of music swirling through the darkness.

CUT TO:

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

An engineer studying his screen as location grids flash

by.

One of the grids suddenly freezes.

The engineer punches a command into his console, enlarging

the grid to show a cross-section of city streets.

CUT TO:

EXT. NIGHT CITY - STREET - CONTINUOUS

Tanner heads down the crowded street toward the flashing

lights of the --

EXT. CONCERT

Tanner stands on the outskirts of the concert, staring

into the area where he had seen Katie.

The strobe lights flashing across his face.

He finally forces himself to turn away from it, heading

alone down the street,

WOMAN'S VOICE (O.S.)

(calls out)

Tanner.

Frozen beat. Katie steps from the shadows.

A long, tortured silence.

KATIE

Least you could do is say hello.

He slowly looks at her. Working hard to keep it under

control.

TANNER

Hello.

This isn't easy for either of them.

KATIE

What brings you inside?

TANNER

Cleaning up a mess.

KATIE

(small smile)

Some things never change, do they?

Sees the dried blood on his chin. Old reflexes taking

over, she puts a soothing hand on his face.

He stands rigid. Barely breathing. Forces himself to

turn away.

TANNER

I've got to get back.

KATIE

Tanner.

Her eyes plead into his. Takes everything he's got to

remain firm.

TANNER

Sorry.

He heads down the street. She calls after him --

KATIE

You know I wanted to tell you, but

they wouldn't let me --

But he's already disappeared into the darkness.

CUT TO:

INT. NIGHT CITY - BLUES BAR - A LITTLE LATER

The crowded joint watching as the late blues legend

'Howling Wolf', lets lose on stage.

Tanner finds a spot at the bar and orders a drink, his

eyes still dark with memories.

The drink arrives. As Tanner picks it up, a drop of blood

falls from his chin, crimson spot smearing through the

amber liquid.

WOMAN'S VOICE (O.S.)

It's good luck. Means your real.

Tanner looks next to him at --

GENA, sexy, chatty, sense of longing. She motions to the

employees.

GENA

The programs don't bleed.

Tanner nods, waits a polite beat, then turns back around,

taking a hit of his drink, but she's still talking to him.

GENA

Where you plugged-in from?

TANNER

(beat)

New York.

GENA

I'm South Dakota.

She sips from her drink, eyes still on Tanner.

GENA

That's what you gotta love about

this place. Drink whatever you

want, your real body doesn't gain an

once.

(beat)

But you wanna know what's a drag?

He drains his drink and motions for a refill.

TANNER

What?

GENA

The weather.

EXT. THE BAR - CONTINUOUS

Christoph stands outside, watching them through the

window.

INT. BAR

Gena leans in toward Tanner.

GENA

Always a warm summer night. Which

is a shame, because there's nothing

like making love in the rain.

(flirty)

Don't you agree?

He looks at her, not sure how to respond. She reads the

silence.

GENA

(disappointed)

What's her name?

TANNER

Who?

GENA

The woman you're stuck on.

TANNER

(quiet)

There is no --

His tele-com buzzing, then Emma's voice in his ear.

EMMA'S VOICE (FROM TELE-COM)

Nailed the trace. Kid's in Memphis.

Tanner talks into the tele-com.

TANNER (INTO TELE-COM)

Good, kick him out.

EMMA'S VOICE (FROM TELE-COM)

You sure? We can handle collection.

CUT TO:

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

Emma is watching Tanner and Gena on a monitor.

EMMA (INTO TELE-COM)

I mean, I don't want to interrupt

anything --

TANNER'S VOICE (FROM TELE-COM)

-- You're not. Kick me out.

Emma shrugs, turns to the console.

CUT TO:

INT. NIGHT CITY - BAR

Tanner motions the bartender to refill Gena's drink,

tossing down credit to cover it.

TANNER

Take care.

GENA

Take care? Where the hell are you

going --

He flickers, then disappears into --

INT. THE NET - DARKNESS

The last thing Tanner sees is Gena's insulted face

blurring into the swerve of lights bending into each other

as --

Tanner is pulled out into the blackness of the net.

Eternal silence. Finally --

A shaft of light slices the darkness.

Eerie green glow, the echoing sound of an electronic

heartbeat.

Struggling to make out images. A line smearing up and

down.

INT. VSI CORPORATE HEADQUARTERS - INTERFACE ROOM

Tanner blinking back to consciousness. The weaving line

is on the bio-monitor tracking his vitals.

A bored technician unplugs him from the monitor.

MEDICAL TECHNICIAN

Just lay there a few minutes.

But Tanner forces himself to get up. His chin shows no

sign of the wound received in the digital world.

He looks around groggily at the sea of motionless people

plugged into the system. Place feels like a morgue.

CUT TO:

EXT. NIGHT CITY - BAR - CONTINUOUS

Christoph moves straight for the now-empty seat next to

Gena.

CUT TO:

INT. HOUSE - DAWN

First light streaks peacefully through the windows.

The place is sparsely furnished. Empty beer kegs are used

as chairs and textbooks lie scattered about.

The stillness is shattered as --

The front door explodes open --

Heavily armored MEMPHIS SWAT TEAM rushing in, along with

Dex and a couple of VSI security guys --

Weapons drawn, everybody's dead serious.

Tanner follows them in, watching as they rip through the

place, kicking in doors, searching everything, until

finally --

SWAT TEAM AGENT'S VOICE (O.S.)

(from basement)

Down here!

Everyone rushes down into --

INT. BASEMENT

The kid lies unconscious on a cot, his fingers stuck in a

connect-box wired to an old laptop computer.

Swat team leader starts to pull the kid up off the cot,

but Dex's hand shoots out, stopping him --

DEX

Bad idea.

Dex whips a mini-cell phone from his pocket. Swat leader

turns a confused eye to Tanner.

TANNER

Pull him off the system before he's

ejected and he goes brain dead.

DEX (INTO MOBILE PHONE)

We got him. Kick him lose.

CUT TO:

INT. NIGHT CITY - HOLDING CELL - CONTINUOUS

The kid is sitting in the middle of a black cube. He

suddenly flickers, then disappears --

CUT TO:

INT. MEMPHIS HOUSE - BASEMENT

The kid's body twitches. Eyes fluttering open. First

impulse is to run, but as his focus sharpens --

A wall of laser guns trained on his face.

CUT TO:

INT. NIGHT CITY - BAR

Christoph settles into the seat next to Gena. He orders a

drink, then turns his attention to her.

CHRISTOPH

Might I interest you in a question?

She turns, gives him the once over, then flashes him a

playful smile.

GENA

As long as it's not 'what's your

sign?'

CHRISTOPH

If you could meet God, what would

you say to him?

She stares at him. He's serious.

GENA

That's a strange question. You a

strange man?

CHRISTOPH

There you are, sitting next to the

creator, what do you say?

GENA

(amazed laugh)

This is how you pick up women --

CHRISTOPH

-- No.

The intensity in his stare unsettles her. But something

about it keeps her from moving away. She looks at him,

shrugging.

GENA

I'd probably say something like

why'd you let the world get so

fucked-up?

He nods, eyes aching with compassion.

CHRISTOPH

Your life that bad?

GENA

No, not me, I've been lucky. But

I've seen what happens to other

people --

CHRISTOPH

-- If your life's so good up there

Gena, what are you doing down here?

She stares at him.

GENA

How'd you know my name?

His drink arrives as he calmly meets her stare.

CHRISTOPH

Do you believe in miracles?

GENA

I'm serious, how did you know my

name?

He smiles, dangerous charm.

CHRISTOPH

(toasting)

To miracles.

She's still staring at him, not exactly sure what to make

of this guy, but intrigued enough to join him in the

toast.

CUT TO:

EXT. MANHATTAN SKY - A LITTLE LATER

The storm has finally arrived. The jet-copter slashing

through the dark rain.

INT. JET-COPTER

Tanner is holed up in the back with the kid's laptop

computer. Programs racing down the screen.

He stops on a program, eyes blazing in vindication.

CUT TO:

EXT. NIGHT CITY - THE TERRACE - CONTINUOUS

Flawless gothic architecture complete with Gargoyles

growing down from the roof.

The building is dark and seemingly empty save for the

outdoor glass elevator climbing up its side.

INT. OUTDOOR GLASS ELEVATOR - CONTINUOUS

Gena and Christoph stand next to each other in the

elevator, staring down through the window at the fireworks

raining over --

EXT. THE TIVOLI

Night City's digital carnival.

A roller coaster with no track, cars rocketing through

thin air over a merry-go-around with real horses.

The carnival is surrounded by The Track, where people race

Ferrari's at full speed.

One of the cars loses control, hurtling toward the wall,

but freezes at the last second to allow the driver to

climb out

unhurt --

INT. OUTDOOR GLASS ELEVATOR - CONTINUOUS

Gena turns, catching the flicker of almost child-like awe

in Christoph's eyes as he looks out over Night City.

She smiles, moving a little closer to him. The elevator

glides to a stop. He looks at her.

CHRISTOPH

You were right.

GENA

(beat)

About what?

The doors open and he leads her out onto --

EXT. THE TERRACE - ROOF

A brass bed surrounded by unlit candles sits in the midst

of the elegantly designed roof garden.

CHRISTOPH

Making love in the rain.

She looks from the bed to him, confused.

GENA

But it doesn't rain here --

The first raindrops beginning to fall as --

Sultry jazz music envelopes them. The candle wicks

crackle to life, flames dancing in the night.

Gena's stunned, shaking her head, insisting.

GENA

It can't rain here. Not the way

it's programmed.

Her eyes dart out over the roof. It's not raining

anywhere else. Just here on the roof. Just on them.

She stares at him, fascination mixed with fear.

GENA

Who are you?!

CHRISTOPH

(quietly)

Someone who believes in miracles.

He pulls her to him, warm rain caressing their bodies.

CUT TO:

EXT. VSI CORPORATE HEADQUARTERS - CONTINUOUS

The jet-copter twists down through the rain for a landing.

INT. HALDEN'S OFFICE - MOMENTS LATER

Halden's office is on the top floor of the building,

windows offering up God's eye view of the storm battered

Manhattan.

Tanner marches in and before Halden can react, slams a

mini-disk into the wall player.

A matrix of data swirls down the wall monitor.

TANNER

Recognize it?

Halden's silent. Tanner's stare digging into him.

TANNER

Kid had keys.

(matter-of-fact)

The maze is unrunnable.

Halden is still silent, a sour eye on the monitor.

HALDEN

Doesn't make sense. How the hell

does some fucking teenager get to

the keys?

TANNER

Sorry, I just design the maze.

(tight smile)

Keeping the keys secure is your job.

He turns for the door as the monitor buzzes, now

showing --

INT. INTERROGATION ROOM - CONTINUOUS

The kid sits like a statue in his chair. He doesn't look

up as the VSI LAWYER enters and takes a seat across from

him.

The lawyer stares at the kid as if this could somehow make

him break down and confess. Finally...

LAWYER

Care to tell us how you came into

possession of an illegal access

program?

KID

Look, I'm doing mute 'till I have a

mouthpiece here who's on my side.

LAWYER

You don't need a lawyer.

(holds up the disk)

We found the program on your laptop.

INT. HALDEN'S OFFICE - CONTINUOUS

Tanner has stopped in the doorway, his eyes on the

monitor --

INT. INTERROGATION ROOM

The kid stares impassively at the lawyer.

KID

Don't know what you're talking

about.

LAWYER

Of course you do.

(dead serious)

And the only shot you've got of

keeping your ass from sinking in a

sea of shit is to tell me where you

got this program.

The kid shakes his head, laughing.

LAWYER

What's so funny?

KID

This. No point to it.

LAWYER

Why not?

KID

Because you'll never believe me.

LAWYER

Try me.

The kid slowly stops laughing, his voice seemingly

genuine.

KID

It was just there.

LAWYER

There?

KID

My uni-net account. I log on. The

program's there.

LAWYER

Just like that?

KID

Just like that --

INT. HALDEN'S OFFICE - CONTINUOUS

Halden is still watching at the monitor, not noticing as

Tanner turns and silently slips out into --

INT. HALLWAY

The voices playing from the monitor are just barely

audible as Tanner heads down the long hallway.

LAWYER'S VOICE (O.S.)

Any idea how the program got there?

KID'S VOICE (O.S.)

How the hell do I know? Maybe it

was a gift from God?

CUT TO:

EXT. NIGHT CITY - THE TERRACE - ROOF

Rain streaming down on Christoph and Gena as they have

sex.

She studies him. His eyes are burning with intensity,

savoring each and every sensation.

GENA

You don't have much sex up there in

the real world, do you?

CHRISTOPH

(barely audible)

No...

Hard to tell if it's rain or tears which streak down his

face.

EXT. VSI BUILDING - ROOF - CONTINUOUS

Tanner moves through the dark rain and into the waiting --

INT. JET-COPTER

Tanner climbs in, practically having to yell to be heard

over the storm.

TANNER

Ninth and Hudson.

The PILOT punches it up on the nav-board. The location

popping-up on the grid.

PILOT

Hell's Kitchen. Talk about your

shit holes. What's there?

TANNER

My home.

Takes the pilot a full beat to realize Tanner isn't

joking.

PILOT

(trying to cover)

Cheap rents. Close to the

waterfront. I hear the area's

making a comeback.

He quickly turns his attention to engaging the thrusters.

Tanner stares straight ahead, watching the rain slam into

the windshield.

CUT TO:

EXT. NIGHT CITY - THE TERRACE - ROOF

It has stopped raining. Gena lies asleep on the bed. She

is alone.

CUT TO:

INT. JET-COPTER

Thrusters groaning to life. High-pitched whine, almost

sounding like laughter.

Tanner is watching the blasts of rain battering the

windows.

The jet-copter twisting up into the sky.

A rain drop zig-zags across the windshield, running into

another droplet, making one single, bigger drop racing

down the glass.

Tanner staring at the windshield. Suddenly realizing --

TANNER

Land it.

PILOT

Sir?

TANNER

Take me back down.

Pilot shrugs, floats the copter back down to the roof.

CUT TO:

INT. VSI CORPORATE HEADQUARTERS - CONTROL ROOM

Tanner rushes through the control room to Emma.

TANNER

I need playback on the kid's run.

She reads the urgency in his voice and pulls it up --

INT. ON THE HIGH-DEF MONITOR

A holographic image of the maze. The glowing blue square

racing through it, accompanied by the unmistakable sound

of laughter.

TANNER'S VOICE (O.S.)

Freeze it.

(she does)

Now pull-up play-back of the kid's

interrogation.

A beat. The maze replaced by VSI'S interrogation room.

KID (ON MONITOR)

Don't know what you're talking

about.

LAWYER (ON MONITOR)

Of course you do. And the only shot

you've got of keeping your ass from

sinking in a sea of shit is to tell

me where you got this program.

The kid starts laughing.

TANNER'S VOICE (O.S.)

Freeze it --

The lawyer and the kid suddenly motionless.