CITY OF DUST by Peter Fedorenko

OVER A BLACK SCREEN MAN (V.O.) More than two centuries ago, a man named Albert Einstein declared that imagination was more important than knowledge; that mankinds future would be trumpeted by a great new age, one of creative thought and innovative spirit. A SERIES OF VIEWS - DAY Of an unnamed CITY, maybe seventy years from now- A massive, sprawling megalopolis. Great towering spirals reach into the sky, flanked by a myriad of sleek, futuristic buildings, vehicle transport systems and infrastructure. Its a Popular Science vision of tomorrow. MAN (V.O.) (CONTD) The trumpet sounded, loud and clear. MORE VIEWS OF THE CITY - DAY Throngs of PEOPLE, on foot, conveyors, street and airborne vehicles- All moving purposefully through vast, crowded corridors and canyons of concrete and steel. MAN (V.O.) (CONTD) It lasted for generations, but gradually, the music faded. The future became clouded by war, greed, vanity, drugs... The views of the city continue, but now its deserted. MAN (V.O.) (CONTD) But the greatest conflict of all arose much earlier, created in the mind of man. MORE QUICK SHOTS - DAY Hordes of angry Muslims, demonstrating against the westCatholics, Christians, Jews, New Age Reformists, minor sects, all over the world- shouting, burning, fists clenched, carrying signsMAN (V.O.) (CONTD) He called it Religion and it was built on the concepts of faith...and fear. Faith in his Gods, fear of the unknown. The two were mixed together, along with a third ingredient; nuclear fission...

2. ANIMATION of an induced nuclear fission event- A slowmoving neutron is absorbed by the nucleus of a Uranium 235 atom, which in turn splits again into fast-moving lighter elements and free neutrons... BACK ON THE CITY MAN (V.O.) (CONTD) This new power trio produced a by-product that undid a thousand years of progress in a few seconds. The trumpet sounded again, for the last time. AN AIR-RAID SIREN SOUNDS, seeming to come straight from the citys heart- An ear shattering shriek of warning, untilIt stops. Then, seconds later- Above the tops of the tallest buildings, something comes into view- A PROJECTILE, the size of a 747. It arcs across the sky until it reaches dead center of the city. It stops in midair, hovering for a beat, and thenIt explodes, blowing away its casing, but its only a dispersion blast. The air above the city is immediately blanketed in a huge, expanding cloud; a fine silver colored mist. Its an awesome sight, strangely beautiful. MAN (V.O.) (CONTD) So much for imagination... THE CLOUD DETONATES- Stage 2 of the Thermobaric bomb, also known as a VACUUM BOMB. The name is stunningly appropriate as the device does its intended work. The entire city is ripped from its underpinnings and drawn up thousands of feet, into the largest, most cataclysmic fire storm ever witnessed. A QUICK VIEW From the stratosphere, as millions of tons of debris rotate within the maelstrom- a Hurricane of twisted, burning wreckage. BACK TO GROUND LEVEL The disintegrated remains of the city rain back down onto the earth, forming immense piles of twisted, smoking rubble- Its 9/11 on a Biblical scale. Then, out from the smoke and ruin, three words appear on the screen: -CITY OF DUSTMONTAGE- A WIDE VIEW As the city is reconstructed from the ground up in TIME-LAPSE STILL PHOTOGRAPHS.

3. MAN (V.O.) (CONTD) More than a century passed. Much of the technology survived, and The great cities were rebuilt from scrap; salvaged and recycled remnants of the old world. New places, dark places, but no trumpets this time, no Gods, and for most, no way out. YEAR 2166 - The reconstruction montage concludes. LIVE ACTION - PANNING INTO THE CITY Through the POV OF SOMEONE UNSEEN- Its a Millennium Falcon version of the former- A 22nd century Boom Town, and if given a choice, a place nobody would want to live. The once gleaming skyscrapers have been replaced by ominous, impossibly high structures of all shapes and sizes, a crazy quilt of architectural triumphs and blunders- Gotham City on steroids. MOVING IN AT GROUND LEVEL Grim, monolithic INDUSTRIAL PLANTS; throwbacks to the old world, churn out a layer of thick, choking SMOG that blankets the city, just above ground level; a Ring Of Night, obscuring the skyline and creating perpetual duskA living Twilight Zone. The only thing distinguishing day from night is an occasional orange shaft of sunlight that pierces the perpetual gloom, splitting it into prisms of diffused light. The lower levels of the retrofitted city are laid out in quadrants- municipal flat-blocks, vaguely resembling Stalins Moscow of the 1940s. HOUSING SECTORS, flanked by MARKETS, WAREHOUSES, EATERIES- Government controlled, generically labeled- All monitored relentlessly by mobile SURVEILLANCE BOTS. Its Dystopian bleakness is equaled only by its paranoia. Again, PEDESTRIANS move through the streets, mostly on foot, a few on makeshift WHEELED VEHICLES- A patchwork blend of multi-racial, ragged, impoverished nightcrawlers and functionally (if bizarrely) clad fringedwellers- Charles Dickens meets the Road Warrior. Some of them wear breathing masks and filters. Others are too far gone to care. MAN (V.O.) (CONTD) Religion was outlawed by the new leaders and never spoken of again, as well as all works of fiction and other poisons that sprang from the imagination. Once bitten, twice shy.

4. The POV continues at STREET LEVEL- Gaining speed, restless eyes, exploring the belly of the city, untilThey reach a BLOCK LONG SECTION of a flat WALL- One in a system of enormous SOLAR PANELS that jut miles above the smog cloud to collect power for the city. As the eyes follow it upward, slowly at firstMAN (V.O.) (CONTD) Life is simple here. The rich above, the poor below. Nothing in-between. They continue to ascend, gaining speedMAN (V.O.) (CONTD) This is the real world and the powers that be intend to keep it that way. Higher and higher, now inside the noxious cloudMAN (V.O.) (CONTD) My name is Philip Khrome. I work for the state. And then, finally, thousands of feet above- We BURST through the darkness and into the UPPER LEVELS of the city. WIDE ANGLE- A TINY SHAPE- HUMAN, as it streaks across the sky in the distance, powered by JET PACK- The running lights alternating blue to red- It leaves a vapor trail as it disappears into the maze. EXT. UPPER CITY LEVEL - DUSK Still moving- soaring above the darkness. The contrast is striking, to say the least- A gleaming Futurama of brilliantly lit, recycled towers- Homes and offices in the sky to the rich and privileged. Above them, Herculean, robotic cranes, suspended from floating platforms, add even more sections to the already lofty solar panels. The setting sun dips into the horizon as we move past a chain of enormous Geothermal Mushroom Structures, used to extract heat and water from deep within the earth. Also visible are the METRO TOWERS- A striking assemblage of expansive, connected BUILDINGS, centered around huge, block letters that proclaim: BROADBASE CENTRAL Beneath it is a symbol/logo- Sort of a 22nd century cross between Microsoft and the Pentagon.

5. WE HOLD on the image until A SOUND fades up from belowSIRENS. ANGLE ON - A floating RADIO TRANSMISSION BALLOON, emits STATIC, FOLLOWED BY an APB callRADIO VOICE (FEMALE V.O) All units in lower-red-sector thirty...Suspect Aaron Boone identified between grid coordinates Red sixty-five Delta and Red ninety-three Echo. All units respond... Say again, all units respond... The SIRENS graduate in volume, and thenEXT. CITY STREET - CONTINUOUS Were in the middle of a POLICE CHASE in progressSeveral GROUND-UNIT HOVER VEHICLES rocket up the road (or several feet above it) lights flashing, sirens blaring, WHIP PANNING as they clear a corner, and as they doThe same set of ROTATING RUNNING LIGHTS that we saw earlier, blue and red, a shoulders width apart, pierces the darkness- speeding dead ahead, straight for our faces, untilDETECTIVE PHILIP KHROME takes a steep bank and blasts right by us as he takes his own route, apart from the pursuing cops- His JET PACK running full throttle(This is not the typical Rocket Man gear- Its a sleek, dual cylinder, hydrogen cell propelled Police issue transport system with pistol-grip controls, form fitted to the pilots torso with telescoping and retractable jets- More of an extension of his body than an extraneous device- a birds wings, enabling a full range of quick and nimble movement) CLOSE ON KHROME- We get our first good look at him as he slows to a hover in the air, interacting with a compact computer/radio console, built into the arm of his formfitting, para-military uniform. Hes young and sleek. His leather gloves, helmet and goggles give him the look of a space-age fighter jet jockey. KHROME (into radio) This is air mobile unit thirteen, initiating pursuit.

6. We stay with him as he accelerates his thrusters. He soars up through the haze and takes off flying through the narrow city canyons. KHROME (V.O) (CONTD) Im not officially attached to the Mind Crimes Unit, but I will respond when Im called. The law is the law. We now know that it was Khrome narrating the prologue. Khrome reduces speed and takes cover in the shadows. He watches the SUSPECT; AARON BOONE speed past him, powered by an obsolete, barely functional jet pack. Its rusty and leaking as it pushes him through the airHot on his tail are three other JET-PACKED POLICE OFFICERS- Their own midnight sun pursuit lights scanning, slicing the smog layer, illuminating the thick dust particles that blanket the lower level of the cityKhrome expertly flanks Boone, staying above the other pursuers, just out of the suspects viewKHROME (V.O.) (CONTD) I deal mostly in lower level street crime. Most of those who live above can afford private security. KHROME (CONTD) (into radio) Air mobile unit thirteen. I have a visual on the suspect. Permission to apprehend. Khrome waits as he hovers. KHROME (V.O.) (CONTD) Some call me a bottom feeder, but I dont mind the lower level. Thats where I was born. Thats where I became a cop. A trace of a smile comes over him as he receives the response he was waiting for. RADIO (V.O.) Permission granted. KHROME (V.O.) Thats where I make my living. Khrome cranks his pistol-grips full throttle and speeds after the suspect and his pursuers- Boone banks around a corner of a building-

7. He hides, hovering in-between a cluster of DRAINAGE PIPES that stretch from ground to sky, holding tight as several POLICE HOVER CARS and more JET-PACKED OFFICERS speed by without seeing himBoone sighs heavily, relieved. He maneuvers out from between the tangle of pipes, only to discoverKhrome, hovering right next to him- Boones eyes widen as Khrome presses a 10 MM. PULSER AUTOMATIC; attached to his wrist by a metal cuff, to Boones temple. KHROME (CONTD) Aaron Boone, you have the right to remain silent. Anything you say can and will... His Miranda speech is cut off in mid-sentence as Boone surprises him with a hard sucker-punch, flush on the jawstunning him, knocking him back- Khromes weapon FIRES into the air above himThe ROUND strikes a large, pressurized GAS LIGHT FIXTURE, jutting from a building- It EXPLODES- A barrage of SPARKS shoots out in all directions- Giving Boone just enough time to throttle his jet pack into a steep, descending dive, like a barnstorming pilotKhrome shakes off the punch quickly and follows him, rightly pissed-off- He spots Boone, below and slightly in front of him- Boone cranes his neck back to see Khromegaining on him by the secondBOONE Leave me alone!! They both fly at breakneck speed towards the groundKhrome overtakes him from behind- He grabs Boone around the neck in a choke hold with his forearm- Boone tries to wrestle out of his grasp- Khrome tightens his gripKHROME Cut your thrust or Ill drop you! But Boone wont stop struggling- They ground is coming up too fast- Neither man will yield- They both CRASH to the street below- the impact separating them- They tumble like rag dollsKhrome recovers and gets to his feet. Boone is slower as he gets up onto his knees. BEHIND THEM BOTH- FOR THE ENTIRE SCENE is the bottom half of a LARGE BRONZE STATUE OF A MAN, STANDING ON A PEDESTAL.

8. Khrome slides up his visor as he approaches Boone, weapon drawn. Boone stays on his knees, head down, hands limps, breathing hard, defeated. KHROME (CONTD) Drop your pack! Now! Boone obeys. KHROME (CONTD) Put your hands behind your head! Lock your fingers! Boone obeys again. Khrome reaches him and takes a small, palm pilot-like device from his pocket. He stands over Boone as he reads from it. KHROME (CONTD) Youre under arrest. Are you injured? BOONE (weary) Why are you persecuting me. Why wont you leave me alone. KHROME Youre an escaped felon. It says here you were accused of assault; chanting curses at minors. BOONE Not curses, prayers. I told my children a bedtime prayer. CU. - over Khromes shoulder. The screen displays a mugshot of BOONE with his personal history as Khrome checks the ARREST box. KHROME You were a teacher? Boone looks up at him with great, sad eyes. Yes. BOONE

KHROME You worked for the state. You should know that prayer is illegal...Who were you praying to? BOONE The God of my ancestors.

9. Khrome is silent for a beat. BOONE (CONTD) Im sorry I struck you. Khrome stares down at him. Its not profound, but for an instant he seems to soften, oddly affected by Boones gentle demeanor. Khromes screen beeps. He looks at it. INSERT, SCREEN - TRIAL IN PROGRESS. KHROME (into radio) This is Air Mobile Thirteen. I have the suspect in custody. Location... (He checks his computer) Red seventy, Echo. Requesting transport. RADIO (V.O.) Affirmative, thirteen. Transport alerted. Khromes screen beeps again. Dont move. KHROME

He takes his eyes off of Boone to check the screen. INSERT, SCREEN - VERDICT REACHED-UPLOAD IN PROGRESS The PROGRESS BAR on the screen moves steadily toward completion. BOONE What will happen to me? Khrome doesnt answer. He stares at the progress bar which is just about to complete, when Boone starts to lower his right handBOONE (CONTD) Have you ever seen a Rosary? EXTREME CU. - on KHROMEs FACE, as his eyes widen. Reflected in them, we see what he sees- Boone is reaching inside his coatStop! KHROME

But Boone doesnt stop. He pulls an object from his coat, something metallic- He starts to stand-

10. Khrome OPENS FIRE, blasting Boone point-blank in the chest- The energy bolt EXPLODES into his chest and exits out his back, lifting him off of his feet and sending him flying backward- He lands directly at the BASE OF THE STATUE. Khrome stares down at him as he retracts the metal cuff and holsters his weapon. He removes his helmet. We can see that something is in Boones hand but we cant tell what it is yet. Khrome kneels down over him and opens his hand. CU. - On Boones hand- It holds a small, silver and black CRUCIFIX with a ROSARY around it. ANGLE - KHROMES FACE- Registering surprise and remorse, quickly turning to anger. KHROME (CONTD) I told you to stop... I told you! Khrome rises. He throws down his palm-pilot in disgust. He stands there, rubbing his eyes, pushing back his hair, and as he doesANGLE - STATUE - A large engraved plague reads: DOCTOR HENRY AJAX - FATHER OF MODERN SOCIETY. BELOW IT, is his famous quote: ABOVE ALL, MAN Ajax looks like a middle-aged Moses. He wears a lab coat and holds a CHROME SKULL up to the sky. HOLD TIGHT ON THE IMAGE, AS WE FADE TO: EXT. STREET - MOMENTS LATER As MORE COPS arrive on the scene by various hover vehicles, flying cars and jet packs, splashing the gloom with flashing, multi-colored lights. A group of SPECTATORS watch from behind a POLICE BARRICADE. Khrome stands alone, watching silently asIN THE BACKGROUND- A DISPOSAL BOT hovers above Boones body. Its a large, oblong box with smooth edges, sort of a floating coffin. QUICK ANGLE, in the corner of the frame- ON A YOUNG, FEMALE COP; SONJA ANDO- Shes athletic, kind of tough looking, but sexy as hell.

11. She kneels down to pick something up off the street. We cant see what it is. She then steps in closer to the scene and watches asA LARGE MAN, early sixties, permanently irritated, strides up to Khrome. His name is DAVID BLAKE and hes the division Captain. Khrome and him look at each other for a beat. BLAKE Start anytime. KHROME Good to see you too, Captain Blake. BLAKE Im tired, Khrome. KHROME Well, I had the suspect contained, sir. BLAKE I see, and your method of containment includes blowing the suspects lungs out. Is that it? KHROME It appeared that he was brandishing a weapon. BLAKE So you shot first. KHROME Thats how I was trained. Blake glances around the scene. BLAKE Ill need a full report. KHROME Youll have it. Blake turns and strides away from him, toward Boones body. ON SONJA - as she steps up to Khrome. Its obvious theyre well acquainted. SONJA That was easy. You caught him on a good day.

12. KHROME Yeah, he acted downright human. SONJA Maybe this is why. She hands him the object she picked up. Its Khromes palm-pilot type device. Khrome looks at the screen. INSERT - SCREEN - It now reads: VERDICT-GUILTY. SENTENCEDEATH. SONJA (CONTD) The perp was condemned anyway. Youll probably get cited for valor. Khrome looks at her, hard. KHROME I killed an unarmed man, Sonja. I dont want a medal for it. ON BLAKE- As he pulls on a rubber glove and lifts the BLOODY ROSARY from Boones hand. He turns and drops it into an evidence bag, held open by another OFFICER as Khrome and Sonja watch. BLAKE Have this packaged and sent to Broadbase. Yes, sir. COP

BACK ON KHROME AND SONJA SONJA What is that thing anyway? KHROME He called it a Rosary. All I know is that it isnt a weapon. Sonja takes Khrome by the arm and pulls him away from the crowd of cops. SONJA Cut that bullshit right now, you hear me, Phil? You did your job. KHROME Yeah, Im sure his family will understand. SONJA Look, you cant...

13. He stops her in mid-sentence. KHROME Hey...Im okay. She nods alright, then leans against the wall as they both watch the BOT work from a distance. Its now just a few feet above the body as its bottom opens. Two metal retractors extend and lift the body without any respect. It disappears into the box and the bottom closes again. The box rises and hovers twenty feet in the air. ON BLAKE- He shouts at the spectators: BLAKE Alright, everybody get back! Cremation in progress! The box emits a steady hum as it starts to heat up. ON KHROME AND SONJA SONJA Me and a couple of the grunts were thinking about heading into the Black Slough this weekend to look for contraband. Why dont you come with us. Get your mind off things. KHROME The Black Slough? Whos idea was that? Mine. SONJA

KHROME Figures. Have you ever been there? SONJA Sure...Not Really. KHROME That whole sector was a fossil fuel storage area in the old days. Its condemned, nowhere you need to be. SONJA How do you know so much about it? KHROME I pulled duty down there on my rookie watch. Never again. SONJA Come on. Wheres your sense of adventure?

14. Khrome glances over at the cremation Bot. KHROME I lost it, about an hour ago. Khrome walks away from her. She stands there, rejected. Blake yells at the spectators again: BLAKE Thats it! Theres nothing more to see! Clear the area! He points at Khrome. BLAKE (CONTD) Tomorrow morning! Blake strides toward his waiting vehicle and gets in. It lifts off and starts away. The crowd starts to disperse as the Police Personnel depart the scene. Khrome stands alone, watching the BOT, now glowing red hot as it cremates the body. EXT. LOWER LEVEL STREET - NIGHT A light but steady rain falls as we pick up Khrome, still in uniform, sans jet-pack as he walks out of a generically labeled store: NUTRITION DISPENSARY. He carries a small package as he strides up the gloomy, pedestrian walkway, which is lined with other STORES. Their signs economically state exactly what they are: CLOTHING OUTLET, MEDICINAL PRODUCTS, ETC... There are a few other people on the street, but mostly its barren. Of course, the ever present, floating surveillance Bots are present- A grim reminder that someone is always watching. Khrome reaches the end of the block. He stops in front of a NONDESCRIPT BUILDING. Its addressed HOUSING UNIT 44-K. Hes about to enter the building when one of the surveillance Bots cruises by, above him. As he looks up at it, dirty raindrops run down his cheeks like black tears. He uses an electronic pad to key himself into the building.

15. INT. BUILDING CORRIDOR - NIGHT Khrome moves up a dark, featureless hallway with numbered doors lining both sides. He reaches UNIT 65 and again keys himself inside. INT. KHROMES APARTMENT - NIGHT A lonely, meagerly furnished room, devoid of color or any individual flair, except for a small, framed PHOTOGRAPH on the table. Its of himself at six years old, seated between his mother and father, all smiling. Next to it is his badge, weapon and key pad. He sits there, shirtless and shoeless as he finishes eating his dinner of meat, noodles, vegetable paste and coffee. IN THE BACKGROUND- a small TELEVISION, recessed into a wall. No volume as it shows a FEMALE REPORTER, broadcasting LOCAL NEWS- An image of the METRO TOWERSBROADBASE CENTRAL HEADQUARTERS is displayed. Khrome glances over at it. He picks up his remote control and hits a button on it- CLICK - THE IMAGE is now displayed in BINOCULAR PARALLAX- 360 DEGREE 3-D VIRTUAL REALITY- Its now in the room with him as the reporter continues the now audible commentary: REPORTER (O.S.) ...City residents have offered conflicting opinions on the recent appointment of Edgar Wyle as Chairman of Broadbase Central Operations. The image switches TO A MAN: Middle-aged, taciturn, striding purposefully up the pedestrian way outside of the Metro Towers. Hes surrounded by an entourage of OTHER MEN, all of similar demeanor. REPORTER (O.S.) (CONTD) Wyle, the former Contelligence Corporation Director, assumed the top government office based on his history as a no-nonsense legislator and moral leader. Some welcome him as a pathfinder on an uncertain road to the future. Others regard him as another brick in an already heavily fortified wall around the city. City News caught up with him outside Broadbase Headquarters where he offered comment. Wyle speaks into the Reporters microphone.

16. WYLE The past is a bucket of ashes. If history has taught us anything, its that what happened once, can happen again. Broadbase resolves to never repeat the mistakes which led to the destruction of the old world. Our primary mandate, now and always, is to remain eternally vigil. Thank You. Wyle walks away. His entourage follows. REPORTER For city news, this is Patricia Hale. Khrome hits the remote again and the image dissipates. He shuts off the TV, downs his coffee, sits the cup down and steps over to a sink and mirror. He runs the water and splashes his face and hair. He stands there, staring at his dripping face for a beat, brooding, peering into the abyss of his own fragmented soul. He closes his eyes. IN HIS MIND: A QUICK REPLAY of the scene that occurred earlier. Boone looking up at himreaching into his coat- Khrome shooting him- His eyes snap open again. He sighs wearily as he rubs them. KHROME (to his reflection) Just like that, huh. He steps from the mirror. He takes a small cigar from a package on the table and a lighter. He lights the cigar, drags deeply and exhales. He steps to the window and stares out at the rain as streaks of lightning illuminate his dispirited face. After another beat, hes had enough. He moves to his closet and quickly dresses in street clothes- Tee-shirt, black cargo pants, leather jacket, boots and cap. He grabs his key pad off the table, leaves his badge and weapon. He strides to the door as though he cant get out of there fast enough. He kills the lights, walks out and slams the door behind him. EXT. LOWER LEVEL STREET - NIGHT A particularly active and sordid section of the Red Zone. The people walking around look tough, beaten and wary.

17. Several hollow-eyed OLD MEN stand huddled along the walls, smoking thin pipes. Khrome moves up the sidewalk and enters a crowded RESTAURANT. INT. RESTAURANT - NIGHT Khrome stands at the end of a long, dark, extremely narrow hallway, tapping his knuckles on a door marked only with a star. After a beat, the door opens to reveal KYLIE. SheS dark featured, possibly Asian or Asian American mix and absolutely drop-dead gorgeous. Shes poured into a red vinyl jumpsuit and knee length, black, spike heeled boots. Her eyes are large and intelligent and as she poses in her doorway and smiles. KYLIE Well well, my favorite protector of the realm. Its been a while. KHROME Ive been busy. Get in here. KYLIE

He steps in and shuts the door behind them. INT. KYLIES ROOM - CONTINUOUS She immediately grabs him and kisses him, twining around him. Then she pushes him back, unzips his jacket and pulls it off. KYLIE So, how do you want it? Or should I use my imagination. KHROME That would be illegal. She kisses him again, even hotter. KYLIE Guess youll have to arrest me. She smiles as she kisses him again and starts to remove his shirt. FADE TO

18. INT. KYLIES ROOM - LATER Twin light towers bathe the room in a soft glow. On the floor, next to the bed we see her jumpsuit and boots. Khromes clothes are on the floor as they make love on the bed. Her body is miraculous as they writhe and entwine under the sheets. When they climax together, its as though both their souls were pouring out. TIME CUT TO Khrome and Kylie are lying naked beneath the tangled sheets, sharing a smoke. KHROME You have to start charging me, Kylie. KYLIE Why? You afraid if you dont pay for it Ill want to be your girlfriend or something? KHROME I dont need a girlfriend, just a whore. He blows a smoke ring as he stares at the ceiling. Kylie looks at him, sensing something is wrong. KYLIE You want to talk about it? About what? KHROME

KYLIE Whatevers making you act like such a hard ass. KHROME I am a hard ass. KYLIE Suit yourself. After a beat. KHROME I killed a guy today. She sits up, instantly attentive. Why? KYLIE

19. KHROME For teaching his children to pray. KYLIE Pray...You mean like talking to a God in the sky? KHROME What do you know about it? KYLIE In my business, I hear a lot of confessions... And you killed him for it? KHROME There was more to it. He had a prayer necklace. I thought it was a weapon. I shot him. KYLIE How do you feel about it? KHROME He was condemned. He would have died anyway. KYLIE Thats not what I asked you. KHROME Religion is fiction and its a crime. It corrupts the individual and agitates the masses. KYLIE And thats really what you believe? KHROME Thats the law. It doesnt matter what I believe. KYLIE Its the only thing that DOES matter... KHROME Not in my world. KYLIE The world is only what we make it. We all have a mirror, Phil, a deep, dark, truthful mirror that sooner or later we have to look into, to show us who we are.

20. KHROME I have looked. All I saw was a man with a badge attached to him. KYLIE Then you need to look deeper. Theres more in there, a lot more. Kylie snuggles against him. KYLIE (CONTD) My grandmother used to tell me stories from the old world. KHROME Keep em to yourself, Kylie. I dont want to know. KYLIE Why not? Were alone here. KHROME Were never alone. KYLIE Come on, didnt you ever hear any stories when you were a little boy? Khrome is hesitant. KYLIE (CONTD) There must have been something. KHROME My father had a few. Tell me. KYLIE

KHROME There was one, about a race between two animals. A tortoise and a rabbit I think they were. KYLIE Thats silly. Of course the rabbit would win. KHROME Not the way he told it. KYLIE Anything else?

21. KHROME There was another one, about a wooden puppet turning into a living boy. How? KYLIE

KHROME I dont know. I never really understood it. KYLIE Your father, where is he now? KHROME Hes gone... So am I. He rises from the bed and silently begins to dress. KYLIE Did I do something wrong? KHROME No, its time to get back to work. Khrome... He turns to her. KYLIE (CONTD) There are other things you could do besides being a cop. KHROME (laughs) Like what? KYLIE I have a friend...An officer at Broadbase. I could talk to him. Maybe he could help you. KHROME No, thanks. I dont need any help. KYLIE When will I see you again? Who knows. KHROME KYLIE

She turns away from him as he finishes dressing.

22. KHROME (CONTD)

Hey... She turns back to him.

KHROME (CONTD) Im sorry I called you a whore. KYLIE (sadly) Dont be. I know what I am. He looks at her. KHROME Maybe you should look deeper into that mirror, too. Khrome opens the door and walks out, shutting it behind him. Kylie lays in bed, a sad smile on her face, a trace of moisture in her eyes. EXT. METRO TOWERS - BROADBASE CENTRAL - MORNING The twin obelisks spiral above the Ring Of Night. INT. BROADBASE CENTRAL - CONTINUOUS Inside a RESEARCH/DEVELOPMENT BETA SITE. CHAIRMAN EDGAR WYLE, along with another man; TOLIVER, looks into a large, Plexiglas booth as SEVERAL ENGINEERS work on a SYNTHETIC HUMAN MALE. It doesnt have its face on yet, just an alloy endoskeleton with muscle, tendons, tissue and the EYES inserted into the skull. The Synth is seated, naked, motionless, eyes shut, with various sensors, connectors and monitors attached to it. A COMPUTER CABLE is feeding data into a port in the back of its head. Everything is being recorded and documented by cameras and monitors. Engineer #1 gives commands as Wyle and Toliver watch. ENGINEER Eyes open, please. The Synths eyes snap open. Theyre large, pale blue, riveting, but theres something elseEXTREME CU. - THE EYES

23. Theres MOTION within the Iris- Thousands of particles that resemble MINISCULE ANVILS, constantly dividing and recombining. PULLING BACK ENGINEER (CONTD) Look left...Look right...Up...Down... Straight ahead....Blink twice, please. The Synth obeys each command as its issued. ENGINEER (CONTD) Now, repeat after me... He, who is to be a wise ruler, must have first been ruled. The Synth looks straight ahead and repeats it perfectly. ENGINEER (CONTD) The state is me, I am the state. The Synth turns his head and looks him in the eyes. Again, he repeats it perfectly, then turns his eyes front again. OUTSIDE THE BOOTH TOLIVER Its finally complete, sir. The first of the Jupiter Brain series. With the Infomorph processor, it can assume any identity, with total self-awareness and memory lock. WYLE What about residual risk? TOLIVER None. The last of Doctor Ajaxs Primus command codes have been eliminated from its storage banks. All his input is completely removed from the reference chain. WYLE All design and engineering data has been secured? TOLIVER Yes, sir. All the procedural documentation has been filed and stored. The Jupiters can be manufactured and activated at your discretion.

24. They continue to watch as the engineers tests the Synths head rotation and limb movement. WYLE Complete control over production and placement of assets. No more going hat in hand to Ajax with any engineering problems. Elimination of nearly all Mind Crimes Division Personnel and equipment. This is a giant step for us, Mister Toliver. TOLIVER Yes, sir. Its all very exciting. WYLE Contact Morgan. I want the Father of Modern Society to be a memory by midnight. Yes, sir. Toliver starts away. WYLE Oh, and Toliver... Sir...? TOLIVER TOLIVER

WYLE Have his statue removed. TOLIVER (smiles) Yes, sir. INT. A HALLWAY - NIGHT Three sets of MARCHING FEET pound up the corridor, until they reach a door. A gloved hand reaches out with an electronic key and inserts it. The door opens. INT. APARTMENT - SAME The apartment is empty as two very large DRONES enter. Theyre human, but bred for specific purposes. Theyre both bald and they wear black suits, long black coats, white shirts, bow ties and goggles. Behind the translucent glass of their goggles, their freakishly wide eyes are unblinking- As though theyve have had their eyelids removed.

25. They stand there silently for a beat, until CMI DEPUTY CHIEF MORGAN steps in between them. His eyes are normal, but he wears the same outfit as the two drones and also a black, Fedora hat. He resembles a 22nd century Gestapo Agent. Ajax... No reply. MORGAN (CONTD) DOCTOR HENRY AJAX!... Silence again. Morgan motions to the Drones. They obey and separate to search the apartments rooms. Morgan looks around at the deserted flat until the Drones return. They both stare straight ahead. Morgan takes a small, Personal Digital Assistant from his pocket, punches in a command and speaks into it. MORGAN (CONTD) (into PDA) Hes gone. EXT. CITY OUTSKIRTS - DAY The Lower Level Black Slough district- Several square miles of massive, decaying structures- Beyond abysmal. Compared to this suburb of Hell, the Red Zone looks like a serene suburb. Its ringed by huge, intimidating structures, reminiscent of twentieth century fuel refineries and processing plants. A section of dilapidated and abandoned WAREHOUSES line an immense flat block. INT. WAREHOUSE - CONTINUOUS A cavernous space, barely illuminated by overhead light fixtures- Tables filled with a myriad of laboratory equipment and apparatus, along with biomechanical tubing, unusual looking metals and machinery. Some of it appears ancient, some hypermodern- Things familiar, things unknown. HENRY AJAX sits behind a desk thats piled high with the same type of gear that fills the room. Hes pale, frail looking. Time has not been kind to him. Hes staring at a computer screen which displays a document. INSERT - AJAXS POV OF DOCUMENT: MORGAN

26. Its entitled: BROADBASE DEPARTMENTAL EXAMINATION REPORT - PREPARED BY JOHN ALLARD, MD. - APPROVED BY COMMITTEE - SECURITY LEVEL - PRIME It contains a HEAD-SHOT I.D. PHOTO of Ajax as a younger man. Next to his I.D.- It reads: BIOENGINEERING AND ROBOTICS TEAM LEADER- RESEARCH AND DEVELOPMENT DIVISION Ajax skims down the page full of data and fixes on the final paragraph, which reads: CONCLUSION - "Inconsistent behavioral patterns suggest escalating psychological impairment" MAXIMUM SECURITY RISK *RECOMMENDATION-RETIREMENT, RELOCATION TO OFF-WORLD TERMINUS* Ajax rubs his eyes, obviously deeply disturbed by the document. He stands and walks slowly across the floor. In a corner of the room, A CREATURE stands in the shadows. Its a human form, but only barely discernible in the darkness. It draws and exhales heavy, rumbling breaths as Ajax speaks to it. AJAX The others... Theyve all left? CREATURE (a deep growl) Yes, theyve gone to the city, to begin their work. A quick glimpse of the deep set, inhuman eyes suggests that theyre set at least a foot above those of an average sized man- Whatever it is, its gigantic. AJAX I should be with them. Theyll need me to guide them. CREATURE No... All beings, even those created by Gods hands, must find their own way through the darkness. Ajax peers up at the creature through the shadows. AJAX Then why do you remain? CREATURE Because you are more to me than just my creator...

27. Enormous pale hands, covered with sutures and scars, reach down from behind Ajax to rest on the old mans shoulders, engulfing them. CREATURE (CONTD) You are my father. EXT. DIVISION 6 POLICE BUILDING - DAY Somewhere in the lower level. INT. POLICE BUILDING - CONTINUOUS As chaotic as a 20th century police station- Rows of WORK STATIONS for the Officers- Each with a stool, computer and table. Theres constant activity. Small metal alloy balls with robotic arms; COURIER BOTS, zip around the room, carrying various items. Also present, in various spots around the vicinity, are more of the BUG-EYED DRONES. They dont speak and stay in the background and out of the way, but theyre still unnerving. On one wall, instead of cells, there are convenient Guilty/Death INCINERATION BOOTHS and Convict Containers for shipping to off-world prisons. We can also see racks of jet packs, waiting to be used. One of the seated Officers; JACKSON, shoots a large PAPER CLIP from a rubber band and nails one of the Bots in midair. He holds his palm up and another COP; McKIEL slaps it. The Bot stops and turns to him. COURIER BOT (computer voice) Ass-hole... The Bot zips away. Jackson land McKiel shoots at another Bot, but misses this of the DRONES in the back of the neck. and stares at him in silence. He stops JACKSON Sorry about that, pal. The Drone turns away from him. TRACKING THROUGH Khrome is working on something on his DESK CPU as Sonja struts in and stands over him, maybe a little too close. laugh. Jackson time and nails one The Drone turns laughing.

28. SONJA So, how you doing today, Khrome? KHROME Im good, thanks. Just getting ready to go on patrol. SONJA Me too. You want to ride together? I can ask Blake to double us up. Khrome stands and starts checking his weapon as Sonja awaits an answer. After a beat, he holsters his weapon. KHROME I work alone. He steps over to the jet pack rack, removes his, and starts to strap it on. Sonja follows him over, pissed. SONJA You know, this is getting a little boring. Hows that? KHROME

SONJA Dont play dumb with me, Detective. I keep pitching and all you do is stand around with your hands in your pockets. She notices that Jackson and his pal are watching. KHROME Maybe you shouldnt throw so hard. With that, he walks away and out the door. She stands there for a beat, shut down and steaming. JACKSON Hey, Sonja... She turns to him. He makes a sexual gesture toward her and winks. SONJA Fuck off, Jackson. She storms out through the door.

29. EXT. POLICE BUILDING - DAY Khrome powers up his jet pack, lowers his visor and takes off. He rises vertically like a Harrier Jet, up into the smog layer until he reaches altitude, then guns it, headed straight for the heart of the lower level. EXT. OFFICE COMPLEX - NIGHT A cluster of buildings, adjacent to the METRO TOWERS. INT. OFFICE BUILDING - SAME A CLEANING WOMAN, pushing a cart, moves up a long, dimly lit corridor of OFFICES. She stops when she hears a loud BANGING, coming from the other side of the METAL SECURITY DOOR at the end of the hallwaySeconds later, the door is KNOCKED DOWN- She sees SOMETHING step through the opening and enter the corridorWhatever it is terrifies her- She leaves her cart next to an overhead WINDOW and quickly steps back into the shadows, out of its sight line. She watches as a SHAPE moves up the corridor, holding her breath as it moves past her in the dark. POV- Of the SHAPE. Its breathing is heavy, rasping, as it looks at the NUMBERS on the doors. The ANGLE suggests that whatever it is, its the height of a ten year oldAfter it passes her, she quickly runs down the corridor in the opposite directionEXT. CITY SKY - NIGHT FOLLOWING KHROME as his forearm CPU/radio flashes and sounds. He slows to a hover to check it. He hits a key on the pad. DISPATCH VOICE (filtered) Air Mobile thirteen, I have a report of a break in, possible burglary attempt. Stand by for location. KHROME Dispatch, This is air Mobile thirteen, standing by. After a beat the screen displays coordinates.

30. KHROME (CONTD) Thirteen, coordinates acknowledged. Will advise upon arrival. Khrome throttles, blasting back down through the smogINT. OFFICE BLDG.- SAME ANGLE- AN OFFICE DOOR- Partially open. The LOCK has been torn off. INT. OFFICE - SAME The SHAPE is inside, ransacking the room like a madmanWe dont get a full view of it, just a QUICK GLIMPSE of the large, misshapen handsEXT. OFFICE BLDG. ROOF - SAME Khrome lands on the roof, next to an ACCESS HATCH. He switches off his running lights and checks the readings on his CPU. KHROME Dispatch, this is Thirteen. Im on the building, requesting status. DISPATCH VOICE The break in is at security door, level six-seven north. Use extreme caution. KHROME Acknowledged. Im entering the building. He opens the hatch and peers down into the dark, silent space. He then contracts the arms and propulsion tubes on his pack and draws his weapon. He engages its light and shines it down inside, revealing a SERVICE LADDER. He starts down the ladder, hyper-alert. His light illuminating the tight spaceINT. OFFICE BLDG. - SAME As an officious looking middle-aged MAN steps out of an ELEVATOR and starts up the long CORRIDOR.

31. INT. OFFICE - SAME The SHAPE continue its search, until- With amazing strength, it RIPS open a file cabinet drawer and dumps the contents onto the floor. It kneels down and digs through the pile of folders and documents until it finds what its searching for- A BOOK- The size of a comic/graphic novel. Its cover is unseen as the intruder picks it up- and as it doesEXT. CORRIDOR - SAME The man from the elevator reaches the office. He sees the door is ajar- Something is wrong. He cautiously opens the door and steps insideINT. OFFICE - SAME Hello...? MAN

CU. - His eyes widen in terrorINT. OFFICE BLDG. CORRIDOR - SAME Khrome moves cautiously up the dark, lengthy corridor, his weapon leading the wayPOV- He sees the SECURITY DOOR laying on the floor at the end of the corridor. He shines his light through it and begins toward it, whenHes alerted by a SCREAM, coming from the opposite direction- he turns and starts up the other way- Cocked and readyHe continues down the corridor- Near the end of it, he spots the PARTIALLY OPENED DOORHe edges toward the door until he reaches it- He positions against the wall, all his senses amplifiedHe pivots and drops to a combat crouch, pointing his weapon insidePOLICE! KHROME

Hes suddenly looking at the back of the SHAPE-

32. QUICK FLASH of the bloody BODY that its kneeling over, before the shape spins and CHARGES toward Khrome like lightningKhrome never gets a good look at it as he FIRES his weapon- He only gets one SHOT off, missing, as the shape LEAPS over him, knocking him downINT. CORRIDOR The shape bolts down the hallwayKhrome gets to his feet and trains his weapon down the hallwayHe FIRES and again MISSES as the shape LEAPS up onto the CLEANING CART and SMASHES head first through the windowKhrome runs toward the windowEXT. APARTMENT BUILDING - CONTINUOUS The creature free falls, until it lands on ANOTHER ROOF TOP- Several stories belowIts stunned for a beat, motionless, but then it rises to its feetINSIDE Khrome reaches the window asEXT. BELOW The shape, limping badly, drags itself out of Khromes view, to a FIRE ESCAPE LADDER. It mounts the ladder and as it does- We get the BRIEFEST GLIMPSE OF IT- A HIDEOUSLY DEFORMED HUMANOID CREATURE. We only see half of its face- The side with the protruding eye and scarred mangled lip. INSIDE Khrome tries to get through the window, but the opening is too small to fit through with his jet packEXT. BELOW The creature quickly descends the fire escape and disappears into the gloom.

33. Khrome rushes back to the OFFICE. INT. OFFICE - CONTINUOUS He steps inside, shining his light down at the floor- He recoils from the gruesome sceneWhats left of the HEAD of the body is closest to himMale, most of it gone, torn away- Blood, brain tissue, eyeballs and bone fragments, spattered all over the floor and wallsHe sweeps the ransacked room with his weapon, making sure hes alone- He fixes on the BODY. Its on its back, twisted and broken like a rag dollKhrome finds a light switch on the wall and flips it. A low wattage bulb now illuminates the horrific scene with a sickly glow. Khrome removes his helmet, holsters his weapon and speaks into his CPU. KHROME This is Mobile Unit Thirteen. Im at the scene of the reported break-in... He steps back to the door and checks the number on the outside. KHROME (CONTD) Office number six, seven, one, seven. Updating status to a homicide. One victim, male, dead on arrival. Perpetrator is at large in the sector, possibly injured. DISPATCH VOICE Are you initiating pursuit? KHROME Negative, pursuit is not possible. Alert all units in the area. Im going to perform a pre-ex on the victim, will advise within the hour. DISPATCH VOICE Affirmative, thirteen, out. From his UTILITY BELT, Khrome removes a small, PRELIMINARY FIELD ANALYSIS SCANNER that looks like a halogen light bulb and activates it. It emits a light and a pulse as he sweeps the area with it. When hes finished, he reads its display.

34. CU. SCANNER- DNA-NEGATIVE He glances around the area for a beat, somewhat perplexed. Khrome removes his jet pack and extracts a METAL CASE thats attached to it, the size of a laptop PC. He hits a release on it and four legs telescope out. Now he has a work table. He places it a short distance from the body. CU. - The case, as Khromes fingers hit the locks and they snap open. Inside are five silver alloy, golf ball shaped ROBOT/SCANNERS of various sizes. They have small, delicate antennas attached to them, like cats whiskers. The rest of the case is filled with PROCESSORS and two kinds of GOGGLES. The inside of the lid is filled with various devices and attachments for the BOTS. Khrome removes a single-lensed set of goggles and puts them on over his forehead, then pushes a button inside of the caseKHROME Okay, boys. Do your stuff. The BOTS rise from the case and position above the corpse. He hits another switch in the case and activates a recorder. KHROME (CONTD) The time is zero nine forty-five.. This is Detective Philip Khrome, initiating preliminary examination of victim. He pulls the goggles down over his eyes. KHROMES POV- Through the goggles- Everything is illuminated in infra-green light. He hits another switch inside the case- The Bots go to work. Dozens of tiny spotlights move over the corpse, scanning it as Khrome works the case controls. THE SCENE IS INTERCUT BETWEEN KHROMES POV AND THE BOTS. Bot 1 uses its whiskers to scan the fragments of the head as the others scan the rest of the remains. IN THE GOGGLES- The margins of the FRAME fill with digitised columns of CRT-type numbers and data:

35. -Victim DNA scan-complete -Allard, John Jr. DOB- 02-15-2108 -Employed- Broadbase Psychiatric Review Board -Family-negative -Prior arrests-negative KHROME (CONTD) Victims name is Allard, John Junior, age fifty-eight, Doctor, employed by Broadbase. No living relations, no arrest history. Initiating evidence scans. After a beat, more data is displayed in the frame: -Second party Nuclear DNA scan-negative -Second party Mitochondrial DNA scan-negative -Gunpowder residue-negative -electromagnetic radiation residue-negative -Airborne particle traces-negative -Conclusion-HOMICIDE Khrome lifts his goggles- A quizzical look comes over him. Something doesnt figure. KHROME (CONTD) Come on, Bots, its a murder. There has to be SOMETHING. Lets wrap this up and get outta here. He checks the case screen- The same data is displayed, unchanged. He shuts off the recorder and presses a key inside the case. After a beat, a COMPUTER VOICE responds. COMPUTER VOICE Division Six reference...Go ahead. KHROME This is A.M. Unit thirteen, requesting diagnostic tech assistance. COMPUTER VOICE Ill connect you. Khrome waits a beat, until a TECHNICIAN appears on the screen. TECH Diagnostics... This is Eilers. KHROME Eilers, its Phil Khrome. Can you check the hub and make sure my scan Bots are online?

36. TECH/EILERS Hang on, Ill take a look. Khrome leans over the body as the bots continue to buzz around. After a beat, Eilers comes back. EILERS No problem on this end. Remote readings are clear and precise. KHROME Theres a problem. I have a homicide, here. The Bots arent reading any second party data. EILERS Im getting the same thing here. KHROME Check again. Maybe the uplink is stalled. EILERS The uplink is fine. The whole system is monitored twenty-four, seven. KHROME There has to be something...Are you seeing this? EILERS I wish I wasnt. Its pretty fucking nasty. Did you try your PFA scanner? KHROME Affirmative, nothing there either. I want my equipment checked out when I get back. EILERS Okay by me, but theres nothing wrong with the Bots. KHROME No, except theyre telling me that the victim decorated his office with his own head...Out. Khrome hits the button and Eilers is gone. The Bots are finished and floating back into the case when Khrome hears a NOISE outside the door. He draws his weapon as he spins around to see-

37. A REMOVAL BOT has arrived. He gives a small sigh of relief as he steps aside and the Bot floats in. It hovers a foot over the body as Khrome shuts his case. The bottom of the Removal Bot opens and extracts the body and the remains. In a few seconds its gone. The Bot rises and floats back out through the doorKhrome retracts the legs on his case, preparing to leave, when he glances down at the spot on the floor where the body was- He sees SOMETHING that we dont- His face registers surprise, bordering on shock. He steps over to whatever it is. Its till unseen by us as he kneels down and reaches for it- He picks it upCue A BOOK- A COMIC/GRAPHIC NOVEL from the 21st Century. The cover is worn and faded, but the bold print is still legible: MYTHS AND MONSTERS -Creatures And Legends From The Dark Corners Of Human NatureKhrome stares at his find for a beat, transfixed by it. Finally, he lift his wrist and speaks into his radio: KHROME (CONTD) This is Detective Philip Khrome, ID number 333-48-6586. Connect me to CMI (Crimes Of The Mind and Imagination) Command. Im making a direct report. RADIO VOICE Affirmative. Stand by for connection. Khrome waits nervously for a beat. RADIO VOICE (CONTD) This is CMI Command One. Go ahead. KHROME Im at a homicide scene. I found something. Coordinates are as follows... RADIO VOICE We know where you are. What is it youd like to report, Detective? KHROME A book, I found a book. RADIO VOICE Identify content, instructional or reference. KHROME Neither...Its a work of fiction.

38. Silence for a beat, and thenRADIO VOICE Acknowledged. Stand by for briefing. He waits, staring at the book, growing more apprehensive by the second, untilRADIO VOICE (CONTD) You are to remain on scene. Do not touch the object. Do not inform anyone else of its existence. Division Personnel are en route. Over. Khrome sits on the floor, cross-legged like a child. The book in his lap. He gently, carefully opens it. Its an collection of fabled creatures of centuries past. As he leafs through it, the ILLUSTRATED INSERTS are seen quickly in CLOSE UPS- Among Them: BASILISK- The head and legs of a human, a snake-like tail and the body of a huge bird. BIGFOOT- A huge, apelike being. CENTAUR- Human head, arms and chest. Legs, hindquarters and tail of a horse. CERBERUS- Three headsThe center a lion, the other two a dog and wolf. A Dragons tail, with a thick mane of writhing snakes. CYCLOPS- A giant with one eye in the middle of his head. FRANKENSTEINS MONSTER- A hulking, hideously scarred man, stitched together from human cadaver remains. MANTICOREThe body of a Lion, Face and ears of a human, tail of a Scorpion. VAMPIRE - An living, human corpse with long, Canine-like fangs. WEREWOLF- A Lycanthrope- A human with the ability to shape shift into a wolf. Khrome cant help but be fascinated as he looks through it, but his study is short lived- His expression turns to dread as he looks up at the shadow that just covered him. VOICE (O.C.) Detective Khrome... Khrome looks up to see CAPTAIN BLAKE; standing in the doorway with two very large DRONES. They glower down at Khrome, until MORGAN steps in from behind them. He gives Khrome a look that could pierce concrete. MORGAN You were told NOT to touch the book.

39. EXT. CITY - LOWER LEVEL - NIGHT Somewhere in an ALLEY- The dim, overhead lighting barely cuts through the shadows and fog- THE SOUND OF labored BREATHING, accompanied by heavy, but irregular FOOTSTEPSIn a few seconds- A figure comes into view- The CREATURE that killed John Allard, running as fast as its crippled body can carry it up the narrow corridor. Its muttering to himself and slobbering, scared senseless as its pursued by someone or something UNSEENIt reaches the dead-end of the alley-Theres no way out. It waits, shaking with fear as its pursuer reaches it- A SHAPE that looms threateningly over it. It could be man or monster, we really cant tell, as a deep, rumbling VOICE blankets it in terror. SHAPE Weve been looking for you, little one. We were worried for you. The creature cowers in fear as more SHAPES emerge from the dark and surround itQUICK GLIMPSES OF THEM, but nothing we can actually discern- Nightmarish silhouettes, suggesting unnameable, surreal horrors. SHAPE (CONTD) The book. Where is it? CREATURE I left it behind...Forgive me. A long, sharp, yellowed fingernail emerges from the shadows and points at him. SHAPE You have betrayed us...and your maker. The creature looks up at them in terror for an agonizing beat, untilThe predators attack- Agonized SCREAMS reverberate through the night, along with the horrific sounds of the creature being ripped apart. EXT. OFFICE BUILDING - NIGHT The building where Khrome found the book. A curious CROWD has gathered behind POLICE BARRICADES.

40. Inside the barricade, COPS, dressed in riot gear, roughly keep the public and media at bay. COPS Everybody back! Keep the area clear! PARKED A SHORT DISTANCE AWAY, is a LARGE, BLACK, WINDOWLESS, VAN. ANGLE - Blake and Sonja, standing a short distance back from the van. SONJA Since when does CMI interrogate Division Personnel? It isnt right, Captain. You know that we... BLAKE (cuts her off) Spare me the speech, Ando. INT. BLACK VAN - CONTINUOUS Inside is a MOBILE INTERROGATION ROOM- A small, techheavy space with a table and a chair on either side in the center. On one side of the table, Khrome sits silently and waits. After a beat, the rear double doors open and MORGAN strides in, followed by two of his DRONES. The Drones shut the doors and immediately take up guard positions on either side of them, again assuming their unsettling, motionless stance, like agents of impending doom. MORGAN Detective Khrome...Alone at last. KHROME (Looking at the Drones) Not quite. Morgan sits at the table and removes his hat. He then seats opposite of Khrome and opens a metal attach case. MORGAN I just need to set a few scanners, if you dont mind? KHROME That depends on what youre scanning for. MORGAN Just the truth.

41. Morgan smiles at him, like Dr. Mengele before surgery, then he opens his case. MORGAN (CONTD) Id like to start with some background information, if youre ready. Khrome, though uneasy, tries to keep a brave face. KHROME Lets get on with it. The two Drones stare at Khrome from behind their goggles as the questioning begins. Morgan activates a SCANNER from inside his case. From the exterior of its lid, A WIDE BEAM of SOFT, PULSATING LIGHT emanates and floods Khromes face and upper torso. MORGAN Tell me what you found and how you found it. KHROME As Ive already explained to Captain Blake, I responded to a homicide call. Upon arrival at the scene, I discovered a body. MORGAN And how did you proceed? Khrome sighs wearily. Hes already been through this. KHROME I reported my finding to Sixth Division Headquarters. And then? MORGAN

KHROME I performed a preliminary examination on the victim. Underneath the body, I found an illegal work of fiction, undetected by my scanning equipment. MORGAN You reported the body, NOT the book. KHROME I didnt find it until a removal unit cleared the remains of the victim. I believed the scan Robots were malfunctioning and reported my opinion.

42. Morgan eyes the various flashing monitors on the inside of his case. MORGAN I see that you were...Nine years old when your father was imprisoned. Khrome is instantly defensive. KHROME What does that have to do with anything? MORGAN Answer, please. KHROME Thats right. I was nine. MORGAN And even at that...tender age, you understood that the stories he subjected you to... KHROME (interrupting) He didnt SUBJECT me to anything... MORGAN The stories represented and embodied crimes of the imagination. Yes. KHROME

MORGAN And so you informed on him, which led to his arrest, conviction and imprisonment. Khromes eyes flash anger, accented by the light in his face. He glares at Morgan. KHROME Thats not the way it happened. MORGAN Then our information is incorrect. Would you care to clarify our records? KHROME He told me a story. I repeated it in school. I was overheard by my teacher. She reported him to the state.

43. MORGAN Your father was a known subversive, a very dangerous man. How did you feel about him being imprisoned? KHROME How would you feel if you lost your father? Morgan doesnt reply. He just looks at his screen. MORGAN And your mother is deceased. You were raised as a ward of the state? Yes. KHROME

MORGAN Do you communicate with your father? KHROME No. For a long time he attempted to contact me from prison, but I never responded. About five years ago, he stopped trying. MORGAN Lets talk more about this work of fiction that you found. Khrome looks at him, incredulously, agitated now. KHROME You saw it. What is there to talk about? MORGAN How would you describe it? Khrome considers for a beat, and then: KHROME As an attempt to provoke the imagination and instill fear through the particularizing of fictitious writings and illustrations. Morgan is surprised, as are we, by Khromes uncharacteristic display of intellect and clarity. MORGAN Detective Khrome, why did you examine the book after you were ordered not to?

44. KHROME

Curiosity.

MORGAN And how did you feel about the content? KHROME I thought it was interesting...as an antiquity. MORGAN The book is an abomination, the product of corrupt and immoral minds. KHROME I just found it, I didnt write it. MORGAN Crimes of the imagination lead to disobedience, anarchy, revolution...The downfall of civilization. They must be dealt with swiftly and severely. You do understand that, Detective Khrome? KHROME I think so. Yesterday I killed a man over one. Morgan stares at him for a beat. MORGAN Just one last thing. Are you familiar with the name Henry Ajax? Who isnt? KHROME

MORGAN What do you know about him? KHROME Hes a Broadbase founding father. A scientist and a great man. MORGAN And thats all? KHROME Thats all. Weve never met. MORGAN Were finished here. Youre free to leave.

45. Morgan shuts off the scanners and closes his case. He stands. The Drones open the back door. Khrome stands and picks up his jet pack. EXT. STREET - NIGHT Khrome steps out of the van. Morgan follows him out. Blake is standing nearby. Khrome straps on his jet pack, expands its propulsion tubes and powers it up. He quickly puts on his helmet, face shield and gloves. MORGAN Well talk again, soon. KHROME Ill be counting the minutes. With that, Khrome lifts off. Blake moves over to Morgan. BLAKE I dont like my Cops being put under the lights, Morgan. MORGAN He disobeyed a direct order...You are aware of who his father was? BLAKE Im aware of the background of every officer in my command. Im telling you Khrome is the best Detective in the Division, above reproach. MORGAN No one is above reproach, Captain. Have someone stay with him. I want to know everything he does. He strides back to the van, stops and calls to Sonja. MORGAN (CONTD) Officer Ando... She turns to him. He motions her toward the van. SONJA What does he want with me? I dont have anything to say to him. MORGAN Just answer his questions. Report back to me when youre finished.

46. She looks at Blake, uncertain. Go. BLAKE

She tentatively walks to the van and steps inside, followed by Morgan. The Drones shut the door behind them. EXT. - SKY - NIGHT As Khrome maneuvers through the gloomy obscurity of the Lower Level. He grips his throttle and rockets straight up, continuing until he breaks through the Ring Of Night and into the UPPER LEVEL. EXT. UPPER LEVEL SKY - CONTINUOUS Khrome soars gracefully among the now spectacularly lit towers, untilHe glances over his shoulder to see a vapor trail, not far behind him- He touches a spot on his VISOR and a REAR VIEW is displayed at the top of the frame. In it, he sees another pair of JET PACK RUNNING LIGHTS. He takes evasive action, flying in a serpentine pattern to see if the lights follow him. They do, keeping a steady distance. Now hes sure- Someone is following him. He streaks around the side of a BUILDING, then suddenly backs off to a hover and hides from view, just below a large rampart. He draws his weapon and waitsIn a few seconds his PURSUER turns the corner and comes face-to-face with Khrome and the barrel of his gun- Its SONJAKhrome! No! SONJA

Hovering in the air, Sonja holds out her hands as Khrome recognizes her. KHROME Sonja! What are you doing!? I almost blew your head off! SONJA Sorry, I didnt mean to scare you. He glances around.

47. KHROME Are you alone? SONJA Yeah. I just want to talk to you. Khrome lowers his weapon and holsters it. He motions her to follow him and she does. They descend onto a ROOFTOP below them and kill their engines. EXT. ROOFTOP - NIGHT - CONTINUOUS They both lift their visors to talk. KHROME What do you want, Sonja? SONJA You took off so fast back there...I just wanted to make sure youre okay. Why? KHROME

SONJA Because Im your friend? KHROME (softens) Im fine. Morgan just wanted to ask me some questions. Sonja seems genuinely concerned for him. SONJA Yeah, Morgan questioned me too. KHROME About the book? SONJA No, he asked me if I knew anything about Henry Ajax. I dont know why. KHROME That was all? SONJA He asked me about your father. KHROME What about him?

48. SONJA If I knew anything about him, if you ever talked about him. KHROME What did you say to him? SONJA That you never mentioned him to me. Khrome sits down on the edge of the building, a thousand stories up. Sonja sits down next to him. She takes a flask out of her jacket opens it, and takes a hit. want some? SONJA (CONTD)

He takes the flask from her, takes a drink and hands it back to her. Khrome... He looks at her. SONJA (CONTD) You dont have to hide it anymore. Morgan told me... He explodes, taking his anger out on her, full tilt. KHROME He told you what!? That I turned my own father into the state! That I had him arrested and locked up for life in a fucking dungeon!? Is that what he told you!? Shes fearful, stunned by his sudden rage. SONJA Its okay, I understand... He grabs her by her shoulders and stands, pulling her up with him. He knocks the flask out of her hand. KHROME You understand!? How could you!? You dont know me! You dont know anything! SONJA Phil, dont, please. I just want to help. SONJA (CONTD)

49. Her tough shell gives way to a soft, wounded heart as Khrome glares at her. Her eyes tear up and her chin quivers. He releases her. KHROME Look, I dont need any help, from you or anyone else. You wanna do something for me? Leave me alone, you and Morgan both. Just stay away from me! Before she can reply, He fires his engine, leaps off the edge of the building and speeds away. She calls after him. Khrome! SONJA

But its too late. All she can do is watch as he disappears into the night. She lifts her arm and speaks into her PDA. CU. - THE SCREEN. BLAKE is on the other end. SONJA (CONTD) (into PDA) I tried to talk to him, it didnt do any good. BLAKE (ON THE SCREEN) Alright, well try it another way. She starts her jet pack, throttles it and takes off. EXT. KHROME, ALONE - NIGHT

Standing on a TOWERING BUILDING, just above the ring of night. He gazes down at the dismal city where hes spent his life. His brashness has faded to a living portrait of uncertainty. KHROME (V.O.) I spent the night trying to shake it off, this thing upon me, this feeling that had been shadowing me since I killed Aaron Boone. I was starting to feel that I was just hanging on by a thread, and if I pulled it, the whole world would unravel. He hits his thrusters, lowers his visor and takes off into the night.

50. EXT. STATE GULAG - DAWN An IMMENSE BUILDING, somewhere in the Lower Level, even more forbidding than the surrounding structures. SEARCHLIGHT BEACONS sweep steadily from its turretsGreat daggers of light, piercing the perpetually obscured region. INT. STATE GULAG - CONTINUOUS TRACKING THROUGH - Its lined with seemingly endless rows of TIERS, containing literally thousands of inhumanly small PRISON CELLS. ON THE BOTTOM TIER Theres complete silence as Khrome, accompanied by a brutal looking, emotionless GUARD, walk past the heavily barred cellsPRISONERS stare out at them- Gaunt, hollow eyed, beyond despair. Death would be preferable to this Hellish existence. Khrome button opens. Khrome and the guard reach an OFFICE. The guard presses a on a control panel and the heavy, metal door The guard motions silently to Khrome to go inside. and the guard step through the threshold.

INT. OFFICE - CONTINUOUS The guard stands at the door as Khrome glances around at the stark, clinical room. After a beat, A MAN enters from an adjacent room. Hes a severe looking Bureaucrat, in late middle age. SAVARIN Detective Philip Khrome? Yes, sir. KHROME

SAVARIN Im Chief Administrator Savarin. Identification, please. Khrome takes out his shield and hands it to him. Savarin looks at it quickly and hands it back to him. SAVARIN (CONTD) Hes been here for a very long time.

51. KHROME Im aware of that. SAVARIN Hes been trouble since the day he arrived. About a year ago, he began raving to the other prisoners. Some nonsense about people being replaced by machines. He nearly caused a riot, until I had him silenced. I petitioned the state for his disposal. The Central Committee decided against it. Martyring him could make his...ideas, even more dangerous. KHROME Can I see him? Savarin stares at him for a beat. Then motions to a metal table across the room. SAVARIN Leave your weapon and equipment there. Khrome steps over to the table. He unholsters his weapon and sets it down, then starts to remove his pack. INT. PRISON INFIRMARY WING - DAY The guard leads Khrome through an EXPANSIVE ROOM. There are dozens of PRISONERS present, some in beds, on life support, others ambulatory but extremely ill. Theres no question- This is the final stop before death. The guard leads Khrome to ANOTHER ROOM, also set with a heavy, metal door. He keys the door open. GUARD Youre wasting your time. He hasnt spoken a word in years. Khrome hesitates, reluctant to enter. GUARD (CONTD) Youve only got fifteen minutes. Finally, Khrome enters. The guard shuts the door behind him. INT. ROOM - CONTINUOUS Khrome sees A MAN; dressed in state issue clothing, with long, flowing, silver hair.

52. Hes seated in a wheelchair, his back to Khrome as he stares vacantly out a heavily barred window. Khrome slowly walks over to the man. He reaches him and speaks softly, so as not to startle him. Father... KHROME

Theres no response. Khrome steps around to face ALEXANDER KHROME for the first time in a quarter of a century. Hes aged beyond his years, haggard, the bearded face blank, the eyes glassy. Father... KHROME (CONTD)

Still nothing. Khrome waves his hand in front of his face, but the old man only continues to stare straight ahead. Khrome realizes that the lights are on, but nobodys home. Hes crestfallen, not prepared for his fathers condition. He searches for words, trying not to break down. KHROME (CONTD) I... I dont know if you can hear me, but Im your son. I wanted...I needed to talk to you. Things have gotten so...out of control...They dont make sense to me anymore. Theres so many questions, so much that I dont understand... The old man remains still. Khrome stands there, torn with emotion, wanting desperately to communicate with his father, but its no use. KHROME (CONTD) I remember everything, like it all happened yesterday. You, me...mom. I still hear your voices. A day doesnt pass that I dont wish I could undo what happened, but I cant. They made me believe that you were a criminal, an evil man. He softly touches his fathers hair. KHROME (CONTD) Maybe you were right...About everything. Life without dreams, without imagination...It isnt life at all, just an imitation of it, just an existence...I dont know, but I guess it doesnt matter anymore. I swear I never meant to hurt you, father. Please, forgive me.

53. He leans over, puts his hand on the old mans shoulder and kisses his head. Goodbye. KHROME (CONTD)

But as he lifts his hand- His father GRABS IT and holds it tightly- Khrome looks again into the old mans eyes, and they suddenly come alive. His father grips his collar. He pulls his face down to his own and whispers to him: ALEXANDER KHROME Youre awake now, son. Stay awake...stay awake. Khrome is thunderstruck, nearly overwhelmed. He opens his mouth to speak again, but his father looks up at him and puts his fingers over his mouth. Shhhhhh.... ALEXANDER KHROME (CONTD)

He lowers his hand just as the guard enters again. GUARD Times up. Lets go. Khrome steps to the door. He looks back at his father one last time. The old man is staring vacantly through the bars again. EXT. GULAG - DAY Khrome, wearing his jet pack and weapon again, strides down the immense staircase. His expression is one of great sorrow, until he stops and looks back at the implacable building. Then, his look begins to turn to something else. EXT. LOWER LEVEL - NIGHT A PALV (Personal Air And Land Vehicle) slows to a stop on a deserted street. INT. PALV - CONTINUOUS A MAN is driving- Forties, expensively dressed. His passenger is KYLIE. KYLIE Why are you stopping?

54. MAN I want you to get out here. I cant risk being seen with you. KYLIE Were three blocks from my place. He goes into his pocket, takes out a bill and holds it out to her. MAN Heres an extra thousand. Keep it. KYLIE

MAN Suit yourself... He starts to put the bill back into his pocket, whenA HUGE, CLAWED HAND SMASHES THROUGH HIS WINDOWA COLLISION ALERT KLAXON begins sounding, accompanied by a STROBE LIGHTFLASHES OF MOVEMENT THROUGHOUT THE SCENE- As the hand GRABS his head and YANKS him through the jagged glass- In a split second hes gone, his screams sliced by the Klaxon Kylie is instantly bewildered, terrifiedKYLIE Jay?!...JAY!! No answer, only silence for a beat. She sits there, her heart pounding, her eyes darting around frantically- She throws her door open and jumps out of the vehicleEXT. PALV - CONTINUOUS Shes on the sidewalk, next to a high, brick wall. Whatever it is, its right above her in the darkness- It lets out a deep, inhuman growl that engulfs herShe tries to run, but only manages a few stepsJays LOWER HALF lands at her feet, splashing blood all over her- She SCREAMS again in naked terror, out of her mind with fear, frozen where she stands, untilThe attacker LEAPS down from the wall above her- It stands in the shadows.

55. Between the strobes, we glimpse a massive, blood-soaked SHAPE as it steps toward her- We cant tell what it is in the split-second flashes between the strobesShe takes off running for her life- SCREAMING for help: KYLIE HELP ME! PLEASE! SOMEBODY HELP ME! But there is no help. She keeps running, breaking a heel on her boot- Badly twisting her ankle- She screams in pain as she run/limps up the dark street- Craning her neck to see that her pursuer is right behind her, and gainingShe keeps running, scared nearly out of her mind, but her survival instinct is strong- The Klaxon fades as she reaches the end of the street- She looks back again and suddenly, the creature is goneShe takes off again, but she doesnt get far-- All she can manage is a guttural cry as the clawed hand reaches out from the darkness and grabs her by the throat, lifting her off her feetANGLE- Her legs convulsing wildly for a beat, until shes tossed like a rag doll. CLOSE ON HER FACE- Laying on the street, eyes wide open as a pool of blood spreads around her. A HOWL reverberates into the night. INT. POLICE BUILDING - DAY Khrome strides purposefully toward CAPTAIN BLAKES OFFICE. He reaches the door and knocks. BLAKE (from inside) Come in. INT. BLAKES OFFICE - CONTINUOUS Khrome enters. Blake is behind his desk. KHROME You wanted to see me, Captain? BLAKE Shut the door. Khrome obliges, then steps up to Blake.

56. KHROME Captain, if this is about the book, I already... BLAKE (interrupts) It isnt. Sit down. Khrome seats opposite him. BLAKE (CONTD) Last night, what was left of a body was found in the Red Zone. A Broadbase exec named Jaystone Kerchal. KHROME Another Broadbase employee? BLAKE Not just an employee, a Central Committeeman, Inner circle. KHROME What was he doing in No Mans Land? BLAKE It looks like he was slumming and got ambushed. A real mess. KHROME The Red Zones my sector. I never got the call. BLAKE We received a directive, straight from Broadbase H.Q. Total black-out. The murders never happened. KHROME Murders? There was more than one? BLAKE Kerchal had a woman with him...A prostitute. Khromes intensity deepens. KHROME What was her name? BLAKE What difference does it make? KHROME I want to know.

57. BLAKE I believe it was LaCroix. Im not sure of her first name. Khrome sighs deeply. He closes and rubs his eyes, visibly affected. KHROME Kylie, her name was Kylie. BLAKE You knew her? KHROME Yeah, She was a friend, just a sweet kid from nowhere...Damn, why would anyone want to hurt her. BLAKE I dont know, probably just in the wrong place at the wrong time. KHROME Can I see her? BLAKE Theres nothing to see. Broadbase sent their own removals team down to clean up every trace. KHROME Since when does Broadbase get involved in Police Operations? BLAKE Since they took control of state funding and started paying our salaries. KHROME Why tell me this now? BLAKE An hour ago, Mobile Units recovered something else down there. Some type of body, something unusual. KHROME As far as I know, theres only one kind, dead. BLAKE They said its a massacre, sounds a lot like what happened to John Allard. Thats all I know.

58. Khrome hesitates, silent. BLAKE (CONTD) Look, Im sorry about your friend. If you want to sit this one out... KHROME Ill do my job, Captain. What about a Forensics team? BLAKE No, I dont a big production down there, especially if theres a pattern developing. Itll just be you and your partner. KHROME I work alone. BLAKE Not any more. Blake speaks into an intercom. BLAKE (CONTD) Come in here, please. Khrome waits a beat until the door opens and SONJA enters. Khrome is immediately pissed. KHROME Wait, dont tell me ... BLAKE I AM telling you. Officer Ando will assist in your investigation. KHROME Captain, I dont need any assistance and especially Officer Andos. BLAKE Youll proceed with her, and you WILL show her every courtesy and respect. Is that clear? Yes, sir. KHROME

BLAKE I want you on the scene within the hour. Youll collect evidence and report back directly to me. I want this calm, quiet, by the book. Thats all.

59. Blake starts looking through some documents. Khrome hesitates for a beat. KHROME Captain, I really dont... BLAKE Youre burning daylight, Detective. Khrome turns and storms through the door. Sonja follows him out. INT. PERSONNEL AREA - CONTINUOUS Khrome strides through the room, to the row of Jet Packs on the wall. Sonja follows. He takes his pack down and starts to strap it on. SONJA This wasnt my idea, Khrome. KHROME Put your gear on, lets go. Sonja doesnt say anything more. She takes her pack down and starts to strap it on. EXT. CITY - DAY Khrome and Sonja fly together, descending into the Ring Of Night. EXT. LOWER LEVEL CRIME SCENE- DAY TWO HOVER-UNIT OFFICERS; JACKSON and MCKIEL have the area staked off with a PULSE-BARRICADE TOWER on either side of it. Other than their presence, its deserted. Their vehicle is in the background. Khrome and Sonja, visors flipped up, step up to Jackson. Hes kind of shaken up, not such a wise-ass now. KHROME What do you have, Jackson. Jackson speaks as he walks them toward the barricade. JACKSON We were on patrol this morning. Our scanners picked up a hot spot from an unknown source. (MORE)

60. JACKSON (CONT'D) We thought it could be a leak from one of the solar panels. We came down to check it out. As they arrive at the barricadeJACKSON (CONTD) We found this... BEHIND THE BARRICADE- Strung up by its neck on a cable, suspended from a street light, is the CREATURE that killed Allard. Most of the flesh has been ripped from its face and body. The heart has been torn from the chest and smashed on the ground. Blood is everywhere. Theres so little left of it, that its impossible to tell who or what it is. Khrome stares up at it for a long beat. Sonja tries her best to deal with it, but its obvious that shes upset by the grisly slaughter. She steps away from the scene and bends over with her hand over her mouth. Khrome sees her and moves over close to her. KHROME (easy) Hey, you alright? SONJA Yeah, I just...I never... KHROME Yeah, me either. You just stay here for a minute, get your wind back. She nods yes. Khrome steps back over to Jackson.

JACKSON You want me to take her out of here? KHROME No, shell be okay. Khrome steps into the crime scene. From his utility belt, he withdraws his PFA SCANNER and sweeps the area with it. When hes finished, he reads its display. CU. SCANNER- DNA-NEGATIVE He replaces it as Jackson steps back up to him.

61. JACKSON What do you want us to do? KHROME Nothing. Ill take care of this. You guys can go back on patrol. Fine by me. JACKSON

Jackson motions to McKiel and they both start toward their vehicle. Khrome calls to them. Hey, boys. They turn to him. KHROME (CONTD) Keep this to yourselves, Blakes orders. Jackson and McKiel acknowledge. They get into their vehicle and take off. Khrome puts the scanner pack into his pack as Sonja, now recovered, steps back into the scene. You good? KHROME (CONTD) KHROME

SONJA Yeah, thanks. What is that thing? KHROME I dont know, but Im not reading any DNA traces, victim or second party. SONJA What about the Bots? KHROME Leave em in the case. I dont think they can help with this. Khrome kneels down and looks at a large chunk of bloody flesh, laying on the ground. SONJA No biological tracks from the victim OR the killer. It doesnt make any sense. From his utility belt, he now removes a HAND-HELD SPECTRAL ANALYZER LIGHT and shines it on the shredded flesh. As Sonja looks on, he notices something very unusual.

62. CU. - Under the light- THE DRIED BLOOD/PLASMA PATCHES have a METALLIC TINGE to them, and also a strange consistency- theyre CONGEALED into TIGHT, RAISED, ANVIL SHAPED CLUSTERS, as though they were trying to recombine into a singular unit, reminiscent of MERCURY. KHROME Do you see it? SONJA Yes, Ive never seen anything like it. Me, either. KHROME

KHROME (CONTD) Jackson said they picked up a hot spot down here. Dead tissue doesnt emit energy. SONJA That thing cant still be alive. Its heart is gone. Khrome turns away from her, suddenly quiet as he looks up at the dangling body. What is it? SONJA (CONTD)

KHROME Whatever killed Allard, I didnt get a good look at it, but it didnt act human. SONJA What do you mean? KHROME It moved too fast...It took a forty foot jump out a window and kept going. An animal? SONJA

KHROME No, not an animal, but not human. SONJA Why didnt you report it? KHROME Because I let a homicide suspect escape. The Bots couldnt pick up any DNA traces from that scene, either. (MORE)

63. KHROME (CONT'D) (He motions to the body) I think it was that thing. Sonja steps over and looks at the dangling body. SONJA Then what could have done this? KHROME Something we havent seen yet. Khrome replaces the light and takes out another SMALL INSTRUMENT from his case, like a biopsy punch. He takes a bloody tissue sample from the flesh and places it into a small piece of cloth from the creatures clothing. He folds it up and tucks it into his jacket. KHROME (CONTD) Thats all we can do. Ill call in the removals and well get this sample back to Blake. He shuts his case Theyre preparing to leave, whenTHE BLACK CMI VAN comes speeding up to the scene and stops. KHROME (CONTD) Outstanding, just what we needed. The rear doors open and MORGAN steps out, accompanied by TWO of his DRONES. SONJA Dont screw with him, Khrome. Just see what he wants. KHROME I know what he wants. Morgan strides up to Khrome and Sonja, with a smirk on his face that makes Khrome want to smack the shit out of him. His Drones flank him as always, huge and menacing. MORGAN Well, Detective Khrome. We meet even sooner than Id hoped. KHROME Hello, Morgan. Read any good books lately? MORGAN Thats funny, Detective, very clever.

64. KHROME They say I have a gift. Khrome winks at the bigger and uglier (if thats possible) of the two Drones. KHROME (CONTD) Hiya, handsome. Hows the wife and kids? The Drone stares at him, unblinking. MORGAN Dont push your luck, Khrome. One word from me and theyll remove your tongue. KHROME Youre interfering with a crime scene investigation. Im running the show here. MORGAN Not anymore. Ill take over now. KHROME Thats not gonna happen. This is Police business, so why dont you and your girlfriends just take off. MORGAN Ill say it once more, Detective. You are relieved. Now I suggest that you and your double X partner here fly away, before I have you jailed as a traitor. (He smiles) Just like dear old dad. Khrome loses it- He rushes at Morgan and grabs him by his coatKHROME You miserable son of a bitch! Khrome gets off one punch to Morgans jaw before the Drones pounce on him and take him to the ground- The bigger one puts his foot on Khromes neck, pinning him down. Sonja instantly pulls her weapon and points it at himSONJA (To the Drones) Get off of him, you fucking mutant! The Drones dont react. They just stare at her.

65. SONJA (CONTD) (To Morgan) Tell your Drone to back off, or Ill blow his balls off! MORGAN He doesnt have any. She points her weapon at Morgans groin. SONJA What about you? MORGAN You wont shoot a Federal Agent. SONJA (cocks her weapon) Try me. (To the Drone) Let him up...DO IT! Morgan sees shes serious. He motions to the Drone and he releases Khrome. He gets to his feet. MORGAN Enjoy your last day working for the state. Both of you. Morgan storms back into the van. The Drones follow. The van starts and they take off. Sonja waits for Khrome to thank her, but insteadKHROME Pulling on a CMI Deputy Chief? Are you out of your mind!? SONJA Are you kidding me? I just saved your ass, partner! KHROME No, you put BOTH of our asses in a sling! SONJA Fine, next time Ill let em take your tongue, then I wont have to listen to your bullshit! Khrome walks away from her. SONJA (CONTD) Where are you going!?

66. KHROME I dont know...Probably to jail! She rushes to catch up to him. SONJA Seriously, what are we gonna do? He stops and turns to her. He calms down as he considers for a beat, thenKHROME Morgans not gonna waste any time filing charges on us, you can be sure of that. IN THE BACKGROUND As they talk, the CREMATION BOT arrives on the scene and begins its work. SONJA Well go to Blake. Hell cover us. KHROME No, we started a shit storm here. We cant ask for his help without real evidence to connect this to Allard. SONJA What about the sample you took? Well have it analyzed, maybe well find something. KHROME Even if we do, it wont do any good, not without something to compare it to. SONJA So, what now? KHROME I need some time, Sonja. Time to try and come up with something solid to bring to Blake. I need you to stay on the Q-T, just for a while. Sonja steps away from him, hesitant. KHROME (CONTD) What, you have a problem with that? SONJA Yeah, I do. You took a specimen from a murder victim, whatever it is. (MORE)

67. SONJA (CONT'D) Blake ordered us to report back to him with any evidence. KHROME I know what he said. Im asking you to help me buy some time. SONJA Look, Khrome. Im already in trouble. I might be able to square it with an apology. Withholding evidence from a homicide could mean my badge. KHROME So its that way? SONJA This job is all Ive got. KHROME Okay partner, you do what you have to do, and so will I. Khrome walks away from her and fires up his jet pack. He flips his visor down and is about to take off, whenSONJA Khrome, wait... He kills his engines and flips his visor back up, waiting as she walks up to him. SONJA (CONTD) Say please. He looks at her. Just say it. Please. SONJA (CONTD) KHROME

SONJA Okay, well do it your way, but I want to talk about it. Tonight, my place. He looks at her for a beat. KHROME Ill be there. He starts his engine again, flips his visor down and takes off. Sonja watches him ascend and smiles.

68. SONJA Damn right you will. EXT. BLACK SLOUGH/AJAXS LABORATORY - DAY Ajax sits alone in the barely-lit room, his head buried in his hands, when his son enters and moves to him. The creature is still only glimpsed in shadow and silhouette. Father... CREATURE

Ajax looks up at him with liquid eyes. Yes, my son. AJAX

CREATURE There is something troubling you. I can feel your sadness. AJAX Long ago, I made a mistake, a terrible one. What was it? CREATURE

AJAX I carried out the work of evil men, even though I knew it was wrong. Why, father? CREATURE

AJAX Because I was young, full of ambition and pride, eager to distinguish myself in their eyes. I sought to build a better world by protecting man from himself, but I helped only to bring more darkness. Now again Ive brought great harm upon them all. CREATURE How do you know this? AJAX I can feel their sadness, as you can feel mine. CREATURE Can you change this?

69. AJAX No, my son. Im afraid its too late. The creature looks down at him, affected by the sorrow in the old mans eyes. INT. SONJAS APARTMENT - NIGHT Its another cubicle, furnished a bit more comfortable than Khromes, but not much. Khrome and Sonja are in bed, both asleep under the sheets, when his CPU/Radio sounds from the night stand. He stirs awake and grabs it. He flips it on to see BLAKES FACE on the screenKhrome sits up, his feet on the floor. KHROME (Into PDA) Yeah... BLAKE (On the screen) Where are you, Khrome? KHROME In bed and off duty. BLAKE That may be your permanent status. Morgan wants your shield. KHROME He can have it, after I get some sleep. BLAKE This is serious, Phil. He registered a formal complaint. Khrome gets up, wrapped in a sheet, and steps to the window. ANGLE ON SONJA- She opens her eyes and listens, but she doesnt move. KHROME (Rubs his eyes and sighs) What should I do? BLAKE Take the rest of the night to figure out a reason why CMI shouldnt nail your ass right to the wall...You and Ando both.

70. KHROME It wasnt her fault, Captain. BLAKE That doesnt matter and you know it. Ill do what I can to run interference for now. You be in my office in the morning. Until then, you dont talk to ANYONE. Blakes image dissipates. Khrome steps back over to his clothes and starts to dress. Sonja sits up. SONJA Whats going on? KHROME Nothing, go back to sleep. SONJA Was that Blake? KHROME No, my grandmother. She had a recipe. SONJA Were in deep shit, arent we. I am. KHROME

She gets up and puts on a robe. SONJA I heard you stand up for me, Khrome. Thanks. KHROME Dont thank me yet. He finishes dressing. SONJA I dont want you to go. KHROME Look, you got what you wanted. SONJA How can you say that? Didnt it mean anything to you?

71. KHROME It was what it was. Whaddaya you want from me? A marriage proposal? I have things to do. SONJA (flashes anger) Like what? Checking on your whore? Its too late for that. Khrome turns to her, livid. She instantly knows that she said the wrong thing. KHROME What are you talking about? SONJA Nothing, I...Im sorry. Just forget I said it. KHROME No, its too late for that. How did you know about her? No one is supposed to know. Sonja is silent as Khrome realizes. KHROME (CONTD) Blake told you. I knew there was a reason he teamed us. He sent you to watch me. Didnt he? She doesnt reply. He glares at her. DIDNT HE!? KHROME (CONTD)

SONJA Thats right! He did! We watch each other! Thats what we do! I watch you, Blake watches me, someone else watches him. Thats the way it is, the way its always been! KHROME No, not for me, not before I found that damned book. SONJA This isnt about a book, or me, or Blake, or anyone else. Its about you. Youre the one with the problem. KHROME Dont try to analyze me, Sonja.

72. SONJA Someone needs to. Ever since you killed that guy...Its like you died, too. I dont know what youre holding on to, but its pulling you under. You need to let it go, before it buries you...You have friends, people who care about you. KHROME Like who...You? She looks at him for a beat. SONJA Youre cruel, Phil. You know that? KHROME So Ive been told. He picks up his jet pack and steps to the door. Khrome... He turns to her. SONJA (CONTD) We should stick together. KHROME There is no WE. See you at work, partner. He walks out and slams the door behind him. EXT. CITY - NIGHT Parked in an alcove in a deserted area is MORGANS VAN. ALL FOUR OF HIS DRONES stand guard around it. INT. VAN - CONTINUOUS Morgan is seated at the metal table, studying his scanner screen, whenOUTSIDE- The Drones are suddenly alerted to SOMETHING IN THE DARK- closing in on them fast, seeming to surround them out of nowhere- What occurs next happens so fast, that there is absolutely no time to reactDrone #1 screams as hes dragged straight up the wall in back of himSONJA

73. The other armed Drones pull their weapons and look around frantically, but before they can do anythingThud! Drone#1 hits the ground at their feet- His head is missing from the nose up- Blood fountains from the throatThe remaining three Drones stare down at the body, recoiling in terror- In a split second, theyre surrounded by half a dozen SHAPES, who throw down on them like blood-crazed Comanches on a wagon train full of SettlersWe see a just a little more of the creatures nowInsanely bizarre creations, reminiscent of the same beasts depicted in the MYTHS AND MONSTERS BOOKLIGHTNING QUICK GLIMPSES OF FURIOUS MOTION- HANDS, CLAWS, HOOVES, WINGS, A PREHISTORIC SPIKED TAIL, HUGE, GLEAMING FANGSDrone #2 is standing- Looking at his belly that has been RIPPED open- Most of his guts have fallen out onto his boots- Drone #3 SHRIEKS with a bloody, skull-face as his flesh is slawed from the bone- Drone #4 is picked up by his feet and hands by four CREATURES- They draw and quarter himINSIDE THE VANMorgan is instantly alert when the Creatures start POUNDING on the van from all sidesHe pulls his weapon as the van continues to be hammered and rocked from outside- Huge dents buckle the metal inward- Hes riveted with fear, untilThe van is UPENDED and FLIPPED OVER drops his weapon and falls onto the interior)- The metal table falls on him down- He struggles to reach his retrieves itUPSIDE DOWN- Morgan floor (now the roof top of him, pinning gun and finally

No sound or movement from outside for an agonizing beatHe waits, his heart pounding-untilThe back doors are RIPPED from their hinges like tin foilMorgan FIRES his weapon- a dozen rounds, until it clicks empty- And thenA SINGLE, MASSIVE, CLAWED HAND reaches him- He screams as it yanks him out of was a toy- The nails clogged with skin same hand belonging to whatever killed OUTSIDEinside and grabs the van like he and blood- The Kerchal and Kylie.

74. The CREATURE stands among the fallen Drone bodies and pieces as it dangles Morgan in the air- Its still not fully perceptible in the darkness, but we see a bit more of it now- It suggests an insane hybrid of a prehistoric LIZARD and a WEREWOLF. The other EIGHT CREATURES remain in the BACKGROUND. Likewise, their forms are still only hinted at in the blackness of the night. A panic stricken Morgan stares wide-eyed at the horrors that surround him when the LEADER of the monstrosities steps in, its spectral silhouette, although barely visible, suggests a TALL, NOSFERATU-TYPE VAMPIRE as it steps in closer to Morgan. NOSFERATU The book...Give it to me. MORGAN I dont have it. Where is it? Morgan doesnt reply. Nosferatu gives a slight nod to Lizard/Werewolf- Who responds by plunging a claw into Morgans belly. Morgan SCREAMS. It drops Morgan to the ground- He raises up, surrounded by the creatures, his insides leaking outNOSFERATU (CONTD) Where is the book? MORGAN (straining) Police headquarters... Nosferatu turns and starts away- Morgans SCREAMS are wrenching as the creatures pounce on him en masse. INT. BLAKES OFFICE - MORNING Khrome is standing with his heels locked in front of his thoroughly pissed-off Captain. Sonja is also there. Theyre in the middle of a three-way discussion. BLAKE ...Tell me what you were thinking, Khrome. Make me believe that you havent completely lost touch with reality. NOSFERATU

75. KHROME Weve already been through this, Captain. You ordered me to investigate a crime scene. I was following orders... BLAKE Your orders did NOT include attacking a Federal Agent!. SONJA Sir, it wasnt his fault. Morgan instigated the dispute... KHROME Shut up. I dont need your help. BLAKE The dispute!? Is that what you call drawing your weapon on a CMI Officer? I assigned you to the case to aid and assist... KHROME No you didnt. You sent her to watch me. What gives you the right? BLAKE Im your superior Officer. I act in whatever capacity I deem necessary. Khrome finally explodes. KHROME Enough! Superior Officer!? Youre nothing but a fucking Lackey! A company yesman, trying to hold on to your job long enough to collect a pension! You want my shield!? He pulls his gold Detectives badge out of his pocket and tosses it on Blakes desk. KHROME (CONTD) There it is! Id rather spend the next twenty years on foot patrol in the Black Slough then one more day being spied on and listening to this bullshit! Blake looks at him. BLAKE (Calmer) Explain to me why you withheld evidence from a homicide.

76. Khrome shoots Sonja a look that does everything but murder her. She cant even bear to look back. BLAKE (CONTD) Make it good, because if Morgans complaint sticks, the Black Slough will seem like an Upper Level Penthouse compared to where youll be going. Taut silence for a beat, untilBlake gets a CALL on his cellular phone- He answers it. BLAKE (CONTD) (Into Phone) This is Blake...(beat)... Secure the scene, Im on my way. He hangs up and turns back to Khrome, his expression deadly serious. BLAKE (CONTD) Its time to go to work. Are you coming? Khrome doesnt reply. He doesnt need to. Blake picks up Khromes Detective shield and tosses it to him. Khrome catches it. EXT. STREET - DAY Crowded with POLICE VEHICLES. Crime Scene EVIDENCE BOTS of all shapes and sizes are buzzing around. A DOZEN COPS are in the BACKGROUND as Khrome, Blake and Sonja all stare down at the horrific sight of the four mutilated Drones, who are strewn about in parts and pieces, next to the OVERTURNED VAN. Sonja is nearly overwhelmed by the carnage. Khrome isnt easy on her this time. KHROME (to Sonja) Hey, dont fold on me. You wanted to be here. Sonja tightens up and focuses on the appalling scene. Just then, another COP steps up to them. COP (To Blake) Captain... Blake turns to him.

77. COP (CONTD) Theres more. This way... Blake, Khrome and Sonja follow him a short distance. They stop at MORGANS HEAD, stuck on the end of a waist-high pike, his eyes and mouth wide open, frozen in a grimace of terror. The pike appears to be made from the stripped bones of the Drones. KHROME We need to talk...alone. Blake takes him aside, out of earshot of the others. BLAKE Im listening. KHROME Tell me whats going on here, Dave. BLAKE What are you talking about? KHROME Two Broadbase personnel are massacred a day apart. One of them is a high-level exec and they wont even acknowledge the crime. A CMI Officer steps in to investigate and has his head torn off. Whatever you know, you need to tell me...Right now. BLAKE What makes you think I know anything that you dont? KHROME Youre a Division Captain. Its your JOB to know! BLAKE You give me too much credit, Phil. You said it yourself. Im just a company man, trying to hang in long enough to retire. Khrome looks into Blakes sad, tired eyes for a beat, until A FORENSICS TECH steps up to Blake. FORENSICS TECH Captain, we havent been able to detect any DNA traces other than that of the Drones. BLAKE Stay with it.

78. FORENSICS TECH

Yes, sir. He walks off.

KHROME They can stop the acid scans, they wont find anything. BLAKE What makes you so sure? KHROME Because whatever is committing these murders, it isnt human. Blake looks at him for a beat. BLAKE I dont understand any of this, Khrome, but I have to do something, fast, before the media gets hold of it. Youll run the investigation. KHROME What investigation? I dont even know what Im looking for. This is beyond my experience. BLAKE Someone has to take the helm, here. Youre the best Ive got, and no matter what you think of me, I still make the decisions. Youll work this case, WITH Officer Ando. Blake looks at him, a plaintive look in his eyes. BLAKE (CONTD) Youll do it because I trust you. Youll do it because Im asking you to. KHROME (After a beat) It has to be my way, and with no interference from the CMI, Broadbase, or anyone else. BLAKE Ill do what I can. You go back to work. Khrome turns from him and steps back to Morgans head. He kneels down to get a closer look at it as Blake and Sonja look on.

79. The Bots are bugging the hell out of him. KHROME Will somebody please get these Bots out of my face, before I grind them into razor blades? Blake still has his role to play, and he does. BLAKE Hold on, Khrome. Those are Department issued scanners, standard procedural equipment. KHROME I dont need them. Blake and Khrome look at each other for a beat, until Blake yields. He motions over to the TECH. The TECH steps in with a large CASE. He opens it and presses a control- The Bots zoom into the case and he shuts it. Khrome moves around the scene. He steps to the VAN and sees DRIED BLOOD SMEARS on the exterior frame of the missing rear doorBlake and Sonja move in closer as Khrome takes out his HAND-HELD LIGHT and shines it on the blood smearsCU. Under the light, the blood smears are drawn into TIGHT, RAISED CLUSTERS, GLISTENING with the same METALLIC TINGE as that of the mutilated CREATURE. Khrome and Sonja look at one another, knowingly. He reaches into his utility belt and removes a small, evidence bag and a utility knife. He scrapes a sample of the dried blood into the bag. Blake looks at him, incredulously. BLAKE Were not in the Dark Ages here, Khrome. KHROME Captain, whoever or whatever is committing these murders, their cellular composition isnt being recognized. If you have a better idea, Im listening. Blake watches as Khrome closes his knife, seals the bag and puts them into his pocket.

80. BLAKE Alright, you have your evidence. What are you going to do with it? KHROME (After a thoughtful pause) Well...I think Ill use it to find the killer. A couple of the Cops cant help but chuckle. Blake glares at them. Khrome almost feels sorry for him. Blake turns back to Khrome and gets right in his face. BLAKE I want some information within fortyeight hours. Dont disappoint me. Blake turns from him and takes his anger out on the TECHS and COPS. BLAKE (CONTD) Alright! Get this mess cleaned up and the area squared away! Tag and bag Agent Morgans remains. Shit-can the rest! Blake storms over to his hover vehicle with his Driver. They get in and take off. The Cops, Techs and Clean-Up crews move in and start their work. SONJA That was powerful, Khrome, really dramatic. Now what? KHROME Beats the crap outta me. Got any suggestions...Partner? SONJA I might, but only if you pull your head out of your ass... Or do you like the view up there? EXT. CRIME SCENE - A LITTLE LATER The scene has now been evacuated by cops. CLEANING AND REMOVAL BOTS have arrived and are picking up the scattered body parts as others wash away the blood with robotic hoses and sandblasters.

81. EXT. POLICE BUILDING - NIGHT Cops are coming and going as Sonja and Khrome walk up the stairs to the entrance. KHROME Where are we going? SONJA I told you, to see a friend of mine. INT. POLICE BUILDING - NIGHT As Khrome and Sonja descend a dark stairwell. SONJA This is the old evidence storage track. KHROME I thought this was all replaced by the incinerators. SONJA This is the only section left. Division hasnt gotten around to demolishing it. At the bottom of the stairs, they reach a CAGED-OFF AREA where an AGING VETERAN COP tends the desk. COP Well, well, Officer Ando. My favorite lady cop. SONJA Hiya, Eddie. Hows things in the land down under? Eddie motions around at his dreary surroundings. EDDIE Every days a holiday...If there still were any holidays. SONJA Eddie, this is a friend of mine, Detective Phil Khrome. Phil, meet Sergeant Eddie Lewis. KHROME Eddie Lewis...Laser Lewis? EDDIE The one and only.

82. KHROME Ive heard of you. You killed more guys than the Sarigan Plague. I thought you were dead. EDDIE Not quite, but this is the next best thing. They shake hands. KHROME Good to meet you. EDDIE Same here. Any friend of Sonjas... What what brings you down here? SONJA I need a favor, Eddie, a big one. EDDIE I didnt figure it was a social call. Lets talk. SONJA

She winks at Khrome as she takes Eddie aside. ANGLE - Sonja talking to Eddie. Shes smiling, flirting a little. INT. EVIDENCE STORAGE TRACK - MINUTES LATER Khrome and Sonja are walking through a massive room, filled with shelves of boxes and containers. KHROME What did you tell Lewis to get us down here? SONJA Just that we needed his help. A lot of the old-timers still believe that Cops should watch each others backs. They continue through the storage area. Sonja is looking around at the numbered shelves, full of various containers. She stops when she spots a SHELF-M 119 and starts searching through some containers as Khrome looks on.

83. KHROME You mind telling me what youre digging for? She finds an old CRATE and checks its label. This. SONJA

She starts to remove it from the shelf. Its heavy. SONJA (CONTD) A little help? Khrome helps her lift the crate and set it on the floor. She opens it and starts rummaging through it. She pulls out a few 20th century LABORATORY INSTRUMENTS- Some test tubes, flasks, a hydrometer- Finally she comes out with a foot-high ANVIL-TYPE CASE. She unlatches it and pulls out a COMPOUND MICROSCOPE. She holds it up. SONJA (CONTD) Ever see one of these? He takes it from her and examines it with curiosity. KHROME Twentieth century magnification device...Research grade. (He looks up at her) Outstanding. INT. STORAGE ROOM - MOMENTS LATER Khrome is examining a TISSUE SAMPLE on a glass SLIDE under the microscope as Sonja looks on. KHROME This is what I took from the Red Zone body. Take a look. Sonja trades places with him and looks under the scope. CU. - UNDER THE MICROSCOPE LENS- A cluster of unusual looking CELLS that are STILL DIVIDING AND RECOMBINING, resembling MINISCULE ANVILS. SONJA How could the cells still be moving? They came from dead tissue. KHROME No, its alive.

84. Khrome removes the slide and takes a SECOND SLIDE. KHROME (CONTD) This is what came from Morgans van. He puts it under the scope and adjusts the magnification as he views it. Then raises his head for Sonja to look. She does. INSERT - UNDER MICROSCOPE LENS - The CELLS are identical to the first cluster. KHROME (CONTD) Theyre the same composition. What is it? SONJA

KHROME Some type of synthetic organism. Im not trained in tech Apps. SONJA Hybrid bioengineering was outlawed by the state before I was born. KHROME The technology is supposed to be extinct. The scan Bots dont have synthetic cell structures in their databases. Thats why they couldnt read the compositions. SONJA So wheres it coming from? KHROME Not where, who. Someone very smart...and very pissed-off. He looks at the cells under the microscope again. KHROME (CONTD) We need to look at this stuff closer, a lot closer. INT. POLICE FORENSICS LAB - NIGHT Hypermodern in design and equipment, illuminated by soft light panel frames. JANA BYERS; a YOUNG, BLACK, FEMALE TECHNICIAN is seated as she examines the blood and tissue samples through a COMPUTERIZED, DIGITAL, ATOMIC FORCE MICROSCOPE.

85. Khrome and Sonja look on with intense interest. The shelf-style instrument utilizes a large, digital screen for high speed, mega resolution imaging. Byers completes several commands on the touch screen computer. The samples are now displayed in the same 3-D IMAGING that came from Khromes television. At this extreme three dimensional magnification, they vaguely resemble tiny engines; separating and recombining in distinct patterns. AFTER A BEAT- The trio watches as the rapid scanner displays the following, a few seconds apart: PREANALYTICAL PHASE- ANALYTICAL PHASE- POSTANALYTICAL PHASEEach Phase displays a myriad of intricate molecular breakdowns and alpha-numeric data. Byers is fixed on the screen, riveted by what she sees. BYERS Well, you were right, Detective. The primary structures are definitely not human, nor veterinary. KHROME Then what are they? BYERS Youre looking at molecular machines; subatomic particles, linked into nanometric chains. Perfect biological mimics, produced by someone with cybernetic modeling knowledge...extremely advanced. KHROME Any idea who? BYERS As far as I know, theres only one person alive with the skill to engineer this type of synthesis. The same man who designed and built your field issue scanning Robots...Henry Ajax. Khrome and Sonja look to one another without saying a word- They dont need to.

86. KHROME (To Byers) Is it possible to download the analysis into one of the Bots? Teach it to identify the compound? BYERS Id have to delete some of the existing database to make room for it, but yes, its possible. KHROME When can we start? INT. FORENSICS LAB - NIGHT One of Khromes BOTS, the size of a baseball, is positioned on a table, next to the Atomic Force Microscope. A CABLE links the Microscopes computer station to the Bots data port. Khrome and Sonja watch as Byers uploads the blood and tissue analysis breakdown into the Bot. Blocks of formulaic data speed by on the screen until the computers progress bar reads UPLOAD COMPLETE Done deal. BYERS

KHROME Thanks, Jana. I owe you one. BYERS More than one, Khrome. Byers disconnects the upload cable. Khrome hits a disengage switch on the Bot and places it into his metal evidence case. Khrome takes his jet pack down from the wall rack. Lets go. KHROME

Sonja grabs her own pack and follows him out of the lab. EXT. LOWER LEVEL CITY ROOFTOP - NIGHT A ten story building. Sonja is holding the Bot as Khrome calibrates its location tracker with a hand-held computer.

87. The two devices are both flashing signals and sending out tones- In contrasting patterns at first, but as Khrome presses controls on the computer, the patterns converge until theyre flashing and sounding in unison. The computer reads:-SYNCHRONIZATION COMPLETEKHROME Alright, let it fly. Sonja opens her hand and the Bot rises. It hovers for a beat above them, before it quickly accelerates and disappears into the night sky. KHROME (CONTD) Thats it. All we can do now is wait for a signal. EXT. DIVISION 6 POLICE BUILDING - NIGHT IN THE SQUAD ROOM- A DOZEN COPS are at their stations, including Jackson and McKiel. Some are working, other are talking and relaxing. The ever-present DRONES are also positioned around the area. INT. BLAKES OFFICE - SAME Blake is at his desk, going over paperwork when theres a knock on his door. Yeah... BLAKE

A COP enters, carrying a clipboard. COP Tomorrows duty roster, sir. Thanks. BLAKE

The Cop nods and walks out, shuts the door behind him. Blake stands, looking over the roster as he steps to the opened window. He stops when he hears something in the distance; faint but unmistakable- A HOWL. He looks out the window, at the night.

88. EXT. LOWER LEVEL ROOFTOP - NIGHT Khrome is gazing out at the night sky as Sonja monitors the Bots scanning results and location on the computer. The SCREEN displays an animated, slow moving, THREE DIMENSIONAL GRID MAP; similar to a Google Earth search. After a beat, the SCREEN STALLS and goes blank. SONJA Khrome, somethings wrong here. The screen blacked out. KHROME Its probably interference from the solar panels. Hit the escape button and reboot it. Sonja does as he says- Still nothing for a beat, untilThe screen lights up again- It reads INPUT COMPOSITE IDENTIFIED There are so many location signals that they occlude the entire screen. Khrome... Yeah? SONJA KHROME

SONJA Weve got something, now. Take a look. POV- Khrome steps over to look at the computer screen. SONJA (CONTD) I dont understand. KHROME Maybe the Bot is misreading the data. Try pulling back. She uses the touch pad to reverse zoom and pulls back to a WIDE VIEW OF THE CITY. CLOSE ON THE SCREEN- The location blips span across the ENTIRE CITY GRID, AND BEYOND. Khrome takes the computer from her and stares at it. KHROME (CONTD) I set the tracking signal for long range. This is no misread...Theyre everywhere.

89. SONJA (Indicating on the screen) Theyre all separate signals, except for this group. ON THE SCREEN- AT ONE POSITION- THERES A CLUSTER OF A DOZEN BLIPS. After a beat, it flashes and slightly changes position. Its moving. SONJA (CONTD)

Khrome zeroes in on the cluster, then punches in the coordinates. After a beat, it displays the location crossreference. He looks at Sonja, realizing. KHROME The Police Building. Theyre heading toward it. SONJA We have to go, now. They both fire up their jet packs. They look at each other for a beat before they take off together. QUICK SHOT POV- THE TRACKING BOT glides above the POLICE BUILDING. INT. POLICE BUILDING RECEPTION DESK - NIGHT The DESK SERGEANT is seated, sipping coffee, watching a small television, when hes ALERTED by a SOUND outside the buildings entry doors. It sounds like SCRATCHING. It stops after a beat and he goes back to his program, untilMore SOUNDS now- Fast footsteps on the roof, noises outside the windows-all around, untilTHE METAL DOORS EXPLODE INWARD OFF THEIR FRAMEHis eyes widen as LIZARD/WEREWOLF fills the thresholdAnd now, we see it in all its horrendous glory- Covered in bloody, patchy fur and black-orange scales, expanding and contracting air pouches beneath the jaws, like a Tegu lizard, a long, angular snout, blood red eyesThe Sergeant pulls his sidearm and gets off TWO SHOTS before it LEAPS across the room and starts mauling him to shredsINTERCUT THROUGHOUT

90. INT. SQUAD ROOM The COPS are alerted by the shotsINT. RECEPTION AREA A split second later- CREATURES- SMASHING THROUGH THE ROOF- RIPPING OUT THE WINDOWS- POURING INTO THE ROOMQUICK, STROBE-LIKE GLIMPSES of an ungodly assemblage- The most horrendous, freaked-out genetic aberrations ever committed to nightmareThey rampage through the corridor- Lizard/Werewolf in the leadCOPS and DRONES stream in and are met by the maniacal monsters- No time to react- No time for anything, except violent death by fangs and clawsMORE COPS AND DRONES- Flung everywhere- Screams-Gouts of blood- Limbs being ripped off- Teeth and Claws flashing, maiming and killing- Creatures savaging everyone and everything in their wayTRACKING WITH LIZARD/WEREWOLF as it moves down the hallComes to a door- Tries it- Locked. It smashes through itBEHIND THE DOOR An electrical box- Lizard/ Werewolf RIPS it out of the wall- Arcs SPUTTER and FLARE- SMOKE pours into the corridor, obscuring everythingINT. CORRIDOR TWO COPS run in- automatic fire, missing- The BIPED and EVIL DEAD CREATURES attack without mercy, clearing a pathNOSFERATU steps over the bodies of the two cops without breaking stride. Through the smoke, gunfire and confusion, the creatures move forward, relentlesslyTHE SQUAD ROOM CONNECTING DOOR EDGES OPEN- JACKSON fires half a clip into Lizard/Werewolfs back- His eyes bulge as the intruder turns and starts toward him- He fires again- empty- The creature turns to him. Jackson kicks the door shut, locks itIN THE SQUAD ROOM

91. Jackson, backing up, reloading, Behind him, MCKIEL with an automatic rifle- Looking around frantically for a way out- Nowhere to run to- They wait for a beat, pulses pounding, until- LIZARD/WEREWOLFS HUGE FIST SMASHES THROUGH and LITERALLY RIPS THE DOOR OFF BACKWARDThe two cops fire wildly, emptying their weapons- A BLUR OF MOTION as Lizard/Werewolf charges in- It pounces on Jackson, tearing him apartMCKIEL Jackson... JACKSON! Mckiel blanches as a six-foot BAT/RAT enters and opens its WINGS- McKiel rushes it, swinging his rifle- Bat/Rat rips it from his hand- McKiel bolts desperately for the barred window above him- He jumps up and grabs the barsBat/Rat is on him instantly- McKiel SCREAMS as the creature grabs him and yanks him down, folding his wings over him, shaking him violently as he mauls himWhen the wings open again- McKiel is a bloody pulpIN THE CORRIDOR BLAKES OFFICE DOOR flies open- Blake charges out, yelling, two pistols blazing like Jesse JamesHe empties his guns- SHRIEKS and WAILS as he backs the creatures up, but only for a few secondThey charge Blake again, converging on him from every direction- Blake bolts back through the smoke filled corridor and into his OFFICE- He slams the door shut and locks itIN BLAKES OFFICE He runs back behind his desk and pulls a key from his pocket- He struggles to open the top drawer as the creatures batter the door from the other sideIn another beat, the door is smashed in- Blake unlocks the drawer, yanks it open and pulls out ANOTHER GUNHe FIRES again in the darkness, but its no good- The creatures are on himLizard/ Werewolf grabs the gun from Blake and bends his hand backhands until his wrist snaps- Blake SCREAMS in pain- LIZARD/WEREWOLF backhands him to the floor. The creatures loom over him, growling and hissing at him, until-

92. Nosferatu steps in between them. As it pulls Blake up by his jacket, we get a quick, semi-obscured glimpse at its FACE- The head freakishly elongated, the paper-thin, jaundiced skin stretched tightly over the bones in a morbid grimace- The revolting, jagged teeth promising legendary agony. NOSFERATU The book, give it to me. BLAKE (straining) Fuck you. Nosferatu lifts its other hand, and with a long, razor sharp nail, SLASHES Blakes face open- Another SCREAM. NOSFERATU Where is it? Tell me or youll beg for death. BLAKE (indicating) Across the corridor...The impound locker. Nosferatu releases him. Blake stands there for an agonizing beat, surrounded, until the Vampire finally motions to the creatures- They descend upon him, obscuring him. His final SCREAMS are blood-curdling. EXT. CMI OFFICE ON THE OTHER SIDE OF THE CORRIDOR Lizard/Werewolf leads the creatures inside- TWO LARGE DRONES are quickly mangled- The creatures spread out, ransacking, demolishing, searching, until Lizard/Werewolf spots it- A FLOOR TO CEILING METAL LOCKERIt pulls and shakes it until the door breaks off. It peers inside the locker as NOSFERATU entersLizard/Werewolf shoves an arm into the locker and knocks the contents onto the floorANGLE on the object of their search- The MYTHS AND MONSTERS BOOK. Werewolf growls as Nosferatu steps in and picks it up. He holds the book up for the creatures to see- He speaks in a voice that could only be heard in a nightmare: NOSFERATU The book of creation is finally ours...Our legend will live for eternity. (MORE)

93. NOSFERATU (CONT'D) Now our work must be completed before we return home. They respond with ungodly shrieks, howls and wailsEXT. CITY SKY - NIGHT As Khrome and Sonja throttle toward the POLICE BUILDING, ahead in the distance. EXT. POLICE BUILDING - NIGHT As the creatures bolt from the building and head into the guts of the city. In seconds, theyre gone. ON KHROME AND SONJA Still in the air as they approach the building from above. They see the smoke billowing out from the entryway and through the windows. EXT. POLICE BUILDING - CONTINUOUS As land in front. Its dark and deserted, no movement anywhere. They shut down their jet packs, draw their weapons and slowly approach the entrance. They see the wreckage of the large, heavy doors. SONJA What could have done this? KHROME I dont know. He takes out and checks his locator computer. ON THE SCREEN The cluster of blips is moving away from them. KHROME (CONTD) Whatever they are, they left, heading north, into the city. He chambers a round in his weapon. KHROME (CONTD) Im going in.

94. SONJA What about me? KHROME Stay here, watch my six. Take this. He hands her the locator and starts inside. INT. BUILDING - CONTINUOUS As Khrome enters. He makes his way through the smoke and wreckage and is met by grisly slaughter all around him. He spots the METALLIC BLOOD/PLASMA, splattered and smeared om the floor and walls. He keeps moving, until he comes to BLAKES OFFICE. INT. BLAKES OFFICE - SAME Khrome enters to find Blakes body, laying in a bloody heap, savaged nearly beyond recognition, his eyes still open. He kneels down to his dead Captain. KHROME (softly) Im sorry, Dave. Khrome uses his fingertips to close Blakes eyes. He stands and moves across the corridor, to the CMI OFFICE. INT. CMI OFFICE - SAME Khrome steps inside and sees more of the same savagery. He notices the wrecked IMPOUND LOCKER and its contents on the floor. After a beat, he starts back out. EXT. BUILDING - SAME As Khrome comes out, silent. Sonja is waiting for him. All dead. KHROME

Sonja starts to lose it, tears welling in her eyes.

95. SONJA Oh, no... Jackson,? McKiel? Captain Blake...? All. KHROME

SONJA I want to go in. No. KHROME

SONJA Those were my friend in there, Khrome. I want to see them. She starts toward the door. He restrains her. KHROME I said no, Sonja... She pulls away from him. SONJA Let go of me! He grabs her again, hard. KHROME It couldnt do you any good. She stops fighting and steps away from him, trying her damndest not to fold. Khrome fires up his pack. She turns back to him. SONJA What are you doing? KHROME Going after them. SONJA By yourself? Are you out of your mind? You cant stop them alone. You dont even know what they are. KHROME They were looking for something. The book I found was in the CMI impound locker. Its gone now. I started this thing. A dozen cops are dead because of it.

96. SONJA It wasnt your fault. You couldnt have known... KHROME I dont care. SONJA Im going with you. Sonja... KHROME

SONJA I said Im going! He looks at her for a beat. KHROME Give me the locator. She hands it to him and he looks at it. POV - The BLIPS are still moving, now a fair distance away from them. SONJA Khrome...You never told me what the book was about. Monsters. KHROME

EXT. BROADBASE H.Q. - NIGHT High above the ring of night. In the CENTER STRUCTURE, through the floor to ceiling windows, lights are visible. POV OF THE TRACKING BOT - SPEEDING TOWARD THE LIGHTS, until it reaches the windows and slows to a hover. EXT. POLICE STATION - NIGHT Khrome and Sonja are still watching the locator blips when their movement slows, then comes to a stop. KHROME Looks like they stopped moving. SONJA Can you get a coordinate fix? Khrome zooms in on the location.

97. KHROME Metro Towers... INT. BROADBASE H.Q. - NIGHT In a plushly appointed CONFERENCE ROOM, BROADBASE CHAIRMAN EDGAR WYLE is heading a committee meeting. He addresses SIX OTHER MEN in dark suits who are seated around a large table: WYLE Thank you all for coming. I realize its late and Ill keep it as brief as possible... PANNING AROUND THE ROOM- At the faces. ANGLE - ONE OF THE MEN; seated at one end of the table. Its JAY KERCHAL. QUICK EXTREME CU. - OF HIS EYES Large, steel grey, synthetic- The clusters of tiny anvils within the Iris perpetually dividing and recombining. WYLE (CONTD) ...Henry Ajax is the single greatest threat to security and order in the hemisphere. He must be located and eliminated, with extreme expediency and prejudice. Im certain were all in accord on this issue. COMMITTEEMAN #1 Has another agent been assigned to find him? WYLE Not yet. Morgan was the elite of the CMI Division, very difficult to replace, especially after what happened to him...and John Allard. A new operative is being prepared for service. INT. BROADBASE RECEPTION AREA - CONTINUOUS The room looks like a tornado raged through itSEVERAL GUARDS are laying dead on the floor, soaked with blood from hideous, savagely inflicted wounds.

98. INT. AN ELEVATOR, SOMEWHERE IN THE BUILDING - NIGHT A LONG, SHARPLY NAILED FINGER reaches out and presses the UP button. INT. CONFERENCE ROOM - CONTINUOUS COMMITTEEMAN #2 Has any evidence linking the murders been found? WYLE Not that Im aware of. Im told that a Sixth Division Police Officer is leading the investigation. A Detective Philip Khrome. COMMITTEEMAN #3 Khrome...He couldnt be any relation to Alexander Khrome...? His son. WYLE

COMMITTEEMAN #3 A Lower Level Cop? The son of a convicted renegade? He could complication the situation. WYLE Then hell be replaced. At the moment, finding Ajax is of much greater concern to me...To all of us. Have any of you considered that Ajax may be the one killing us? COMMITTEEMAN #4 Mister Chairman, with all due respect, thats a preposterous idea. WYLE With all due respect to you, Mister Martin... Shut your mouth and listen to me...all of you. Ajax is one of the smartest men on earth. If he has a mind for revenge, theres no telling what he may say or do. If the population discovers that Synthetics have been living among them for decades, it could lead to the worst insurrection since the Dark Ages. ANGLE - Kerchal. Hes unaffected by the remark.

99. Just then, there are three slow KNOCKS on the office doorThe crack of doom- The men are all alert. COMMITTEEMAN #5 Are you expecting anyone? WYLE No, it must be security. No one else could get up here. Wyle pushes a button on his intercom. WYLE (CONTD) (into Intercom) Security, this is the Penthouse... No reply. He tries again. WYLE (CONTD) Security, this is Chairman Wyle. Acknowledge... Still nothing. WYLE (CONTD) Idiots, they must all be asleep down there. Again- THREE SLOW KNOCKS at the door. Wyle is aggravated. He motions to Committeeman #6, whos closest to the door. Committeeman #6 gets up and steps to the door. He unlocks it and opens it and as he doesHe comes face to face with eternity, come to call in the form of NOSFERATU. His eyes widen in resolute fear as the creature pushes him aside, steps over the threshold and shuts the door behind him. NOSFERATU Well, well. A meeting of minds. The group is immediately silent, awestruck. Wyle stands, scared, but with bravado. WYLE Who are you!? How did you get up here!? Nosferatu walks around the table in silence. WYLE (CONTD) Are you insane!? Do you know who I am!?

100. NOSFERATU Yes, youre a frightened little man, who doesnt have long to live. Nosferatu steps over to Committeeman #5. He looks down at the seated man and smiles, displaying hideous fangs, caked with dried blood. The man smiles back up at him, weakly, untilNosferatu, in a lightning move, grabs the mans hair with one hand. With his other hand, he uses his long, sharp fingernail to slice the mans jugular. The man convulses as blood pours from his throat in a torrent. Nosferatu lets the mans head fall onto the desk. The other Committeemen are shocked speechless. Wyle, now reduced to a quivering mass, manages one final question: Why...? WYLE

NOSFERATU Why dont you ask Doctor Ajax...On your way to oblivion. Nosferatu then steps over and opens the door againSilence, no movement for an agonizing beat as Wyle and the others stare at the dark, empty threshold, untilThe wait ends as death pours into the room- SPLIT SECOND IMAGES as the creatures throw down on them like monstrous, crazed butchers on crank- Biting, ripping, gouging and crushing their victims into a gruesome, gory pulpSCREAMS of terror and agony as human projectiles and their body parts fly everywhere- Blood splashes the walls and ceilingRAT/BAT tears into SYNTHETIC KERCHAL- It claws him across the neck and face- Metallic blood/plasma spills from him, but he fights back- He grabs one of Rat/Bats WINGS and RIPS it off- Rat/Bat shrieks with pain and rage as more of the metallic blood/plasma jets from the wound, before it attacks furiously- It leaps on top of Kerchal and holds him down with its claws as it shreds him to piecesWyle is the last man standing, cowering in fear as Lizard/ Werewolf looks to Nosferatu- The Vampire nods in approvalHes yours Lizard/Werewolf slowly approaches Wyle, towering over himWyle reaches into his pocket and takes out a CELL PHONE-

101. He hits a speed dial number, but Lizard/Werewolf grabs the phone and jams it into Wyles mouth, just before he picks him up over his head and THROWS HIM THROUGH THE FLOOR TO CEILING WINDOW- The glass EXPLODES in a million shardsOUTSIDE - CONTINUOUS - Wyle screams and flails his arms as he rockets downward, thousand of feetEXT. GROUND - CONTINUOUS A STREET VENDOR, pushing a metal cart, simply labeled MEAT Wyle hits the sidewalk next to the Vendor and EXPLODES like a PinataINT. CONFERENCE ROOM - CONTINUOUS The creatures have left now, leaving a pathway of carnage and destructionTRACKING THROUGH THE OPEN DOOR Following the bloody footprints down a corridor, untilWe catch up with the Platoon of Creatures, Nosferatu in the leadThey continue on, until they reach a double set of large, steel ENTRY DOORSNosferatu tries them- Locked. He motions to Lizard/ Werewolf, who steps in and takes the handles in its powerful, clawed hands and RIPS them off their hinges, to reveal ANOTHER ROOM. INT. ROOM - CONTINUOUS Nosferatu leads them into the extremely large space- The size of an aircraft hangarIts a SMITHSONIAN TYPE MUSEUM filled with SALVAGED AND CONFISCATED ARTIFACTS- Some of them are extremely hightech devices and mostly unrecognizable, but the bulk are objects from the late 20TH and early 21st CENTURIESAmong them-

102. Computer, entertainment and pop culture itemsVideotapes, games, and DVDs, along with their playersToys, sexual aids, clothing, records, magazines, newspapers, board games, catalogues, furniture, tools, inventions, toys, models, old advertising piecesTheres an entire area filled with MILITARY WEAPONS- A tank, various infantry weapons, a hand-held rocket launcher, even a RIFLE-STYLE FLAMETHROWER, complete with sling: (A self contained model, without an external fuel tank, similar to those used for short range cave and bunker clearing in Afghanistan) Beyond that, tall shelves, stacked with thousands of BOOKS- Novels, volumes on history, science, mathematics, language and religion share space with comic books, Scifi and new-ageThe creatures glance around curiously, their appetites for destruction whetted- growing hungrier by the second, until- Nosferatu raises his arms- They chargeThe place goes up for grabs as the creatures rage through it- A demolition crew from Hell, reminiscent of crazed, rioting LOOTERS, tearing through a shopping mallQUICK SHOTS As they pillage and plunderNosferatu stops to look at a cardboard theater lobby replica of BELA LUGOSI as DRACULA. Lizard/Werewolf picks up a ROSARY. It holds it up to Nosferatu- The Vampire flashes anger and knocks it out its handThe gang continues on, destroying everything in sightANGLE ON The THREE HEADED BEAST. Hes in the MILITARY SECTION. He glances at the tank and the other weapons, then fixes on the FLAMETHROWERHe steps over to it and takes it off of the rack- He examines it for a beat, putting the barrel up to his middle head, with the one eyeHe starts pressing the controls on the weapon- He hits the BURNER BUTTON and a PILOT FLAME ignites- Scaring him a little, but he keeps messing with it, turning the fuel release petcock, untilHe SQUEEZES THE TRIGGER- The fuel shoots out and is ignited by the pilot flame- Right into his EYE-

103. He ROARS and lifts the flamethrower over his head- It sprays out a thirty-foot stream of liquid fire-Igniting everything around it before he finally drops itThe fire spreads instantly- The old, dry, combustible contents go up like a fireworks factoryThe flames hit ONE OF THE CREATURES- It screams and goes tearing ass through the place, igniting the book shelvesParty overThey all charge for the door, Nosferatu in the leadEXT. STREET - NIGHT Nosferatu leads his dirty dozen out of the building and back into the cityEXT. SKY - NIGHT With Khrome and Sonja as they break through the Ring Of Night, and as they doThey see the top floor of the Metro Towers-Broadbase H.Q. ENGULFED IN FLAMESSEVERAL HUGE, FLOATING FIRE BARGES are fighting the fireIts a truly spectacular vision as the brightly illuminated barges shoot thick streams of chemicals into the broken windows and onto the roof of the buildingA PLATOON OF AIRBORNE FIREFIGHTERS are also attacking the flames, chopping and sawing into the roofKhrome and Sonja land on the LEAD BARGE. They lift their visors an see The FIRE CHIEF, giving orders to the other FIREFIGHTERS. They hurry over to him. KHROME Detective Khrome, homicide. This is Officer Ando. Is there anyone inside? FIRE CHIEF Were not sure. We scanned for vital signs... negative. KHROME We need to go in, Chief. Now. FIRE CHIEF Forget it. Its still too hot in there.

104. KHROME I said were going in. FIRE CHIEF Ive got jurisdiction here, Detective. KHROME And Ive got a dozen dead cops, including my Captain. I tracked the suspect here. You want to interfere? The Fire Chief sees hes dead serious. FIRE CHIEF (After a beat) Youre on your own. INT. CONFERENCE ROOM - NIGHT Khrome and Sonja enter with the LIGHT BEAMS from their WEAPONS leading the way. They move cautiously, avoiding the small pockets of flame that are still burning. Water is still raining in from the ceiling. The combination of smoke and haze from the fire extinguishing chemicals limits their vision. Khrome takes a breathing filter mask out of his utility belt. KHROME Put your mask on. Stay alert. Khrome puts his mask on. Sonja takes out her own filter and also puts it on. They continue inside with flashlights, eyeing the burnt and smoking body parts and furniture strewn around the roomThey spot the mangled remains of SYNTHETIC KERCHAL, along with more of the metallic blood/plasma. Next to the mess, they see the severed Rat/Bat WING. Khrome kneels to lift it up, exposing more of the blood. He lifts his mask to speak: KHROME (CONTD) Looks familiar, doesnt it. He replaces his mask and they move back out through the door.

105. INT. CORRIDOR - CONTINUOUS They move slowly and alertly up the corridor, eyeing the blood smeared TRAILS on the floor, until they see the opened METAL DOORS. Khrome shines his light around the frame and sees that theyve been torn off of their hingesThey look at each other for a beat, before they step into the MUSEUM. INT. MUSEUM - CONTINUOUS Again, there are pockets of flames, along with more water, smoke and chemical fog. They move through the huge room, glancing around at the piles of smoldering debris. They lift their masks again. SONJA Have you ever seen anything like this? KHROME No... Stay locked, theres a lot of places to hide in here. They continue through, separating and sweeping with their weapons. ON KHROME - He spots something on the floor. Sonja doesnt see him move to it and kneel down to pick it up. He stares at it for a beat. ANGLE - Its AARON BOONES ROSARY. Khrome quickly puts it into his pocket and moves ahead, until he reaches the MILITARY WEAPONS. Theyre scorched and smoking, but still intact. Sonja joins him and they move among them, fascinated. Khrome spots the FLAMETHROWER on the floor. He moves to it and touches it with his gloved hand. Its cool enough to handle. He picks it up, examining it. What is it? SONJA

KHROME Im not sure...Some kind of antique rifle. Khrome presses the pilot button and the flame ignites. Careful... SONJA

106. Just as she gets the words out, he squeezes the trigger and the sprays a jet of fire across the room. He quickly releases the trigger. Still works. KHROME

SONJA Yeah, good enough to burn this place down. Khrome shuts off the pilot and shoulders the flamethrower. Sonja looks at him. Evidence. KHROME

They continue their sweep, moving over to the BOOK SHELVES. The tall shelves and charred remains of most of the books are laying in puddles of water. SONJA Look at all of them. Do you think anyone else knows? KHROME I doubt it. These things, all of them, salvaged from the old world. Broadbase must have been hoarding them for decades. They keep looking for a beat, until Sonja spots SEVERAL BOOKS on the floor that havent been completely destroyed. SONJA Khrome, look. She shines her light on them. Theyre singed, but the TITLES are still discernibleCLOSE ON THE BOOKS- They include, among others: Profiles In Courage by John F. Kennedy- Farewell My LovelyRaymond Chandler- Do Androids Dream Of Electric SheepPhilip K. Dick- You Cant Go Home Again- Thomas Wolfe. Khrome bends down and picks one up. He looks at the titleBrave New World - Aldous Huxley. He opens the cover, but as he doesPART OF A WALL COLLAPSES BEHIND THEMLOOK OUT!! SONJA (CONTD)

107. She pulls him out of the way. They both narrowly avoid being crushed by the wallThanks. KHROME

SONJA Whatever was here is long gone. Lets go before this whole place comes apart. Affirmative. KHROME

ANGLE - Sonja sees Khrome pocket the book. INT. BUILDING - MOMENTS LATER Khrome and Sonja step back into the CONFERENCE ROOM. Through the window opening they see MORE FIRE FIGHTING BARGES ARRIVING. Khrome checks the locator. KHROME The Bots still tracking. Where is it? SONJA

He zooms in on the coordinates. POV - The cluster of Blips is moving. KHROME Heading east...Into the Black Slough. SONJA Then I guess we are, too. She steps to the window opening and extends her jet pack tubes, but Khrome is still watching the locator. Hold up. KHROME

She retracts the tubes and steps back over to him. What is it? Take a look. She checks the screen. SONJA KHROME

108. POV- The cluster of blips is still moving, but another one remains stationary and flashing steadily. SONJA The beacons separated. The Bots reading the stronger signal. The other one isnt moving. She looks at him. SONJA (CONTD) Its still in the building. Khrome slings the flamethrower and ignites the pilot. Sonja checks and clears her weapon. Ready? Always. INT. CORRIDOR - NIGHT Khrome and Sonja make their way back past the museum entrance. Sonja leads with her weapons light beam. POV - Sonja spots a trail of metallic blood/plasma on the floorKhrome... SONJA KHROME SONJA

She motions to the floor. He sees it too. KHROME Its bleeding. They follow the blood trail up the corridor; hyper-alert, scanning with every step, until, a short distance ahead, the trail stops at another SET OF DOORS that have been broken openThey ready themselves, then step through the thresholdINT. ROOM - CONTINUOUS They move in slowly, sweeping, until they see the PLEXIGLAS BOOTH- Sonja shines her light inside to reveal ANOTHER PARTIALLY ASSEMBLED SYNTHETIC HUMAN- Its seated, faceless- Skin has only been applied to its lower half, up to the waist. The top half is naked endoskeleton.

109. SONJA

Is it alive?

KHROME No...Not yet. Khrome starts to move toward it when they HEAR SOMETHINGRustling, then flapping- very close byThey instantly position back to back- Sweeping with their weapons- Again the noise, and thenSomething drips from overhead and lands next to them- A glob of the metallic blood/plasmaNo time to even raise their weapons before Rat/Bat descends upon them- It knocks Khrome to the floor- He drops the flamethrower- The now single-winged creature starts for him- About to pounce on himSonja FIRES- Emptying her weapon into its back- It howls, then turns to herSonja SCREAMS as the vicious creature leaps at her, engulfing her- It rakes her with a claw- Slashes deep gouges down her shoulder and armIt raises its head, exposing razor fangs, about to bite into her neckKhrome rolls and grabs the flamethrower- Fires a point blank burst- Direct hit- Bat/Rat howls and shrieks as it stands and faces Khrome- Its remaining wing on fireKhrome fires another burst- The creature ignites, squealing and thrashing in a hideous dance of deathThe final burst of liquid fire puts it down for good. Khrome puts the flamethrower down and rushes to SonjaShes bleeding badly. She looks up at him, sobbing, scared. KHROME (CONTD) Shhhh...Easy. SONJA Help me, Phil...Help me. He raises her up, unfastens her pack and pulls it off. He then quickly reaches down and takes off his belt. He ties it around the top of her arm and tightens it. She cries out in pain.

110. KHROME Im sorry. Hang on. Were gonna get you out of here. He steps to a large window, pulls his handgun and fires three shots, blowing the window outHe picks up and shoulders the flamethrower, then quickly extends his jet pack tubes and powers upHe moves back to Sonja and picks her up in his arms- He puts her arms around his neck. She screams in pain. KHROME (CONTD) Easy, easy. Hold on to me, tight as you can. She grips him with as much strength as she has. He throttles and leaps out the windowEXT. SKY - SAME As they descend. Khrome holds onto her with one arm and fights the throttle to control their descent with the other- Down they go, until they finally reach the street. EXT. STREET - NIGHT He shuts down his jet pack, retracts the tubes and gently lays her down on the walkway, her eyes full of fear. SONJA Am I gonna die? KHROME No baby, not you. He stands, glancing around, desperate- A HOVER CAR approaches- He rushes in front of it- It stops just short of hitting him- He runs to the driver side- The hatch opens- The DRIVER is angry. DRIVER Whats wrong with you!? I almost killed you... KHROME Shut up. Listen to me. Im a cop. My partner is hurt bad. Youre taking her to the hospital, now. DRIVER Yes, Officer.

111. KHROME Open the door. The Driver opens the Gull-wing passenger door. Khrome rushes over to Sonja and picks her up. He carries her to the vehicle and puts her into the passenger seat. She looks up at him. Khrome... SONJA

KHROME I know. You hang in there. He shuts the door and runs around to the driver. KHROME (CONTD) Go. Dont stop for anything. DRIVER Ill get her there. The car takes off. Khrome watches it until it disappears from view. He stands there for a beat, absolute resolution in his eyes. He takes the locator from his pocket, looks at it and sees the CLUSTER OF BLIPS-still moving. He extends his jet pack tubes, powers up and lifts off into the night. EXT. BLACK SLOUGH - NIGHT The TRACKING BOT streaks by overhead. BELOW Khrome sets down on the ground. He kills his engine and retracts the tubes. He checks the locator- The BLIPS are very close by. He looks around at the threatening, shadowy area, lined on either side with immense, decaying, interconnected buildings- A gigantic octopus of rusting, rotting metal. After a beat, he starts in on foot. As he walks, he hears a SLOSHING SOUND. He stops and looks down to see OIL on his boots- The ground is saturated with it. He removes his pack and takes out his SCANNING EQUIPMENT CASE. He sets it on the ground, opens it and removes a PAIR OF GOGGLES. He puts them on, stands, and scans the area.

112. POV- THROUGH THE GOGGLES A short distance ahead, in the center of a cluster of buildings, he sees a HOT SPOT- Heat radiated light, emanating from a single-story structure. He picks up his case, but its covered with oil. He leaves it on the ground and continues ahead. He continues on until he reaches the STRUCTURE - A huge, particularly dilapidated WAREHOUSE. He removes the goggles. POV- He sees a crude PATHWAY, leading to a SIDE ENTRANCEHe slings the flamethrower, ignites the pilot and steps to the entranceEXT. WAREHOUSE ENTRANCE - NIGHT Khrome tries the thick, metal handle- Its so corroded that it breaks off. He pushes on the door and it opens wide enough for him to enterINT. WAREHOUSE - CONTINUOUS Khrome sweeps with the flamethrower as he moves along a dank, dimly lit CORRIDOR. Hes surrounded by a maze of industrial pipes, rotted and discolored by rust and age. He continues on, up the dismal passageway, untilHes spotted by something FLOATING above him- Its a small, robotic SENTRY- Some kind of Hellish creature that resembles a winged SHREW- It shrieks when it sees him and ATTACKS HIM, knocking the flamethrower off of his shoulderKhrome covers up and fights it off as it bites and claws at his face- He finally gets a hold of it and hurls it at the wall- It falls, still screaming, but recovers and starts at Khrome again- Khrome pulls his hand weapon and blasts the head off the thing- It drops to the groundKhrome recovers and turns around to continue, but as he does- A massive HAND grabs him by the throat and lifts him off the ground- He struggles against a MONSTROUS, HUMAN FORM- He tries to raise his weapon, but the creature knocks it out of his handNow we see exactly what it is- An enormous aberration of a man, the thick neck, angular face and bald head fused together with irregular metal alloy patches, the opaque, deep-set eyes burning with some type of strange, fiery, incandescent light- The torso and legs draped in a drab, mottled combination of leather and fabric- Frankensteins monster, given life by someone on a bad acid trip.

113. INT. WAREHOUSE LABORATORY - CONTINUOUS The creature carries Khrome inside and deposits him face down onto the floor, before it lumbers slowly away into the shadows of the huge roomKhrome lays there for a beat, clutching his throat, then stirs and slowly recovers. He gets to his knees, shaking it off, and as he lifts his headPULL BACK TO REVEAL - THE SANCTUARY OF HENRY AJAX At once, in all its inglorious spectacle- A deranged, hybrid of a medical laboratory and a mega-tech bionics factory- with a surreal touch of Dr. Caligaris cabinet thrown in. In tubes, and hanging by chains are the endoskeletons of OTHER CREATURES- incomplete experiments and prototypes. As Khrome regains his senses, he sees an OLD MAN, dressed in a long coat, his back to him. Hes bent over a seated SYNTHETIC HUMAN. Its motionless, the arms outstretched and positioned on metal braces. The face is removed below the nose. The eyes are shut and the lower portion of the alloy skeletal frame is visible. The old man; HENRY AJAX, is working on it with a small, metal tool. A table full of mechanical/surgical instruments are next them, full of blood and metallic plasma. Khrome gets to his feet, adjusting to the dim light, his eyes darting around. He says the only thing he can think of. KHROME My name is Khrome. I work for the state, and youre under arrest... AJAX Just a moment, please. This Primus series...A bit unpredictable, prone to malfunctions. The state you work for recommended that they be retired and replaced with more efficient models...along with their designer. Ajax turns to peer at him. AJAX (CONTD) Allow me to introduce myself...Im Doctor Henry Ajax.

114. KHROME Yeah, I know. Ive seen the statue. AJAX A fair likeness. Of course I was much younger when it was erected, before I was judged to be obsolete, and finally, insane. Ajax continues with his work. KHROME No, not insane, inhuman. Just like the things you built and set loose to murder people. Ajax turns back to him. AJAX My new children were programmed only to destroy those who destroyed me. KHROME It didnt work out that way. AJAX Unfortunately, no. KHROME (motions to the Synthetic) Theres a thousand more of those things out there, all over the city. AJAX Yes, built by my own hands, to replace their human counterparts in every walk of life. KHROME Replace them...Why? AJAX In concept, to perform duties that conscious beings found...objectionable. To watch, to listen, to kill without question or remorse. Above all, to prevent change, the greatest enemy of all to those in control. KHROME Broadbase, the great benefactor, the hope of man. You were one of them. What turned you?

115. AJAX Nearly a year ago, quite by accident, I found a book... A most unusual one. It was discovered in my possession and confiscated. An interrogation followed, by...important men. KHROME Allard, Kerchal...How many more? Ajax ignores the question. AJAX Shortly afterward, I intercepted a departmental communique. My fate had been decided. As soon as their engineers could perfect my techniques, I was to be likewise cast into the great void. I put my trust in man and was betrayed by him, so I became more than him. KHROME Theres a word for what you became...murderer. AJAX I prefer another word. Are you familiar with the term God? KHROME Ive heard it mentioned. I know that youre not it. AJAX So you think that you understand its meaning? KHROME A supreme being, that watches over us and protects us. AJAX (smiles) I prefer the words of a great, twentieth century poet...God is a concept, by which we measure our pain Can you imagine the pain of being judged and condemned by those you spent a lifetime serving. The pain of being betrayed by your children. Khrome is silent for a beat, affected by these words. KHROME All because of a book.

116. AJAX Not the book itself, about what it represents; curiosity, the confession of ignorance, the power of imagination. Ideas that I finally came to realize were inescapable, even to those with absolute authority. I presented this argument to the Central Committee. It wasnt received well...Escalating psychological impairment was their assessment of my...awakening. It served as a perfect justification for my disposal. KHROME They took it away from you. You sent your freaks to get it back. AJAX Freaks, monsters...Are they less rational than those who seek to rob man of his spirit? More hideous than those who have tortured and imprisoned untold numbers because of their thoughts? KHROME What went wrong? Why couldnt you control them? AJAX Something occurred that I didnt foresee. They evolved, they became aware. KHROME Aware of what? AJAX Of the darkness surrounding them...Aware of themselves, aware of the world. They also wanted the book that told the story of their creation. Unfortunately, some innocent blood was shed on their quest. For that, I am regretful. KHROME So am I. Some of the people they killed were friends of mine...And I want blood for blood. Where are they? AJAX Close, very close. Their work is finished. Theyll be returning to me soon, but I dont think youll want to meet them.

117. KHROME I already have, and like I said, youre under arrest. He starts moving toward Ajax, but as he doesThe creature steps in slowly from the shadows- Khrome backs away from it- It appears that its going to attack Khrome, but surprisingly, it stops and turns to Ajax, a look of confusion on its monstrous face. AJAX You must destroy him, my son. Why? CREATURE

AJAX Because he is one of the evil men. He is our enemy. The creature looks at Khrome for a beat, then turns back to Ajax. CREATURE I see no enemy. I can feel his fear. AJAX Do as I say. I am your father. CREATURE But I heard his words. If you are God, you must not destroy life. AJAX There is no choice. If we are to live, he must die. The creature hesitates, confused. CREATURE Why do you ask me to do this thing? You said I was not like the others. KHROME Tell him the truth, that youre not God, you never were. Just a sick old man with a grudge, who built his own monsters to kill for him. Ajax steps closer to the creature, a look of resignation in his eyes. The creature dwarfs the small, emaciated man.

118. AJAX I was discarded... Cast aside by those I trusted. I sought retribution on those responsible. The others were created as my instruments of vengeance. MONSTER I do not understand. AJAX No, you couldnt. Disillusionment, rebellion, reprisal...These are concepts beyond your grasp. Ajax reaches up and touches the creatures face. AJAX (CONTD) (softly) Please believe me, my son, this man is like the others. He has come to harm us. He must not be allowed to live. The creature looks down at Ajax. MONSTER Yes, father...I believe you. The creature turns and starts toward KhromeKhrome backs away, looking for an escape route through the maze of clutter- He pushes a table full of instruments over in front of the creature- It easily shoves it aside and keeps comingKhrome looks for something- Anything to stop the creatures advance- He picks up a metal pipe and hurls itThe creature swipes it away and keeps coming, getting closerKhrome grips one of the TUBES, containing a halfcompleted SYNTHETIC MONSTER- He pushes it at the creatureThe creature SMASHES it- The contents spill out onto the floor- A mechanical and biological stewThe creature is on top of Khrome- Khrome throws a punch at it- It grabs his arm and backhands him with a huge fist, sending him sprawling across the floorKhrome struggles to his feet- The creature grabs him by the throat and ROARS as it lifts him over its head, strangling him- Khrome thrashes and kicks at the creature, to no avail- Its just about over for him, whenTHE TRACKING BOT ZOOMS INTO THE ROOM-

119. The creature is immediately enthralled by the Bots movement and flashing lights- It drops Khrome to the floorNo!! AJAX

The creature ignores him and watches the Bot curiously, as a child wouldKhrome struggles to his feet and bolts through the doorway- The Bot follows him out- Ajax shouts at the creatureAJAX (CONTD) What have you done!? Get him!! The creature lumbers to the doorway and is about to step through when Khrome steps back in front of it, brandishing the flamethrowerKhrome squeezes the trigger- The creature ROARS as its struck point-blank by the liquid fireIt turns and moves back into the room, thrashing and flailing wildly- bellowing in pain, setting fire to everything it touches- It knocks into the seated Synthetic, igniting itFATHER!!... CREATURE

AJAX No! Get back! Ajax is trapped by the clutter as the creature rushes at him for help- It picks Ajax up in its arms, igniting himAjax SCREAMS as the creature holds him- They burn together. INT. PASSAGEWAY - CONTINUOUS Khrome runs through the corridor, carrying the flamethrower- He spots his HAND WEAPON and picks it upHe starts running again as an EXPLOSION rocks the WAREHOUSEEXT. WAREHOUSE - CONTINUOUS From a short distance away- Ajaxs CREATURES, led by Nosferatu, watch as the warehouse burns. Ajax was right, they were almost home. The big Werewolf puts his head back and HOWLS in anguish-

120. EXT. WAREHOUSE SIDE ENTRANCE - CONTINUOUS As Khrome makes his way outside- A second, larger EXPLOSION nearly knocks him off his feetHe glances up and around at the tightly clustered, labyrinth of structures surrounding him- He extends his jet pack tubes and powers up, but the overhead, spiderweb walkways, rotting industrial pipes and metal gridwork have him trapped, with no way to lift off- Smoke is starting to pour in around himHe runs up the narrow, nearly pitch-black path on foot, his weapon light leading the way- Dead ahead, maybe fifty yards, he spots a CLEARINGHe bolts toward the clearing as FLAMES and SMOKE start pouring out of the building on all sides- Its quickly becoming an inferno- Hes half way to the clearing, and his escape, whenSHAPES APPEAR- Darting around him- In front, in back, above in the catwalks- Eyes, fangs, surrounding himInsanely angry predators, closing in fastA deep, inhuman growl spreads around him- He waits, for a long, unbearable beat, untilThe ATTACK comes- The Creatures are suddenly everywhereHands, hooves, claws, wings- Dark, terrifying, inevitableKhrome unleashes the flamethrower, sweeping with itHitting some of them- Illuminating the abominations all around him- And now, finally WE SEE THEM ALL- An ungodly assemblage of the most horrendous, freaked-out genetic aberrations ever committed to nightmare. Another VAMPIRE- This one a virulent beast with features of both a bat and a ratTheres also a hideous, brutish looking BIPED with the head and legs of a human, a metallic body and reptilian arms and tailAnother one has THREE HEADS, all misshapen, but suggesting a vulture and a lizard on the ends, a human in the middle with one large eyeThere is also a monster that looks like a ghoul/zombieAn EVIL DEAD thing with a taste for fleshThe others are all likewise in their freakishness, yet each one unique.

121. He pulls and fires his hand weapon- Hitting meat- Gouts of gushing BLOOD- Enraged, homicidal SCREAMS and SHRIEKS of agony as the creatures thrash and burnNosferatus face is highlighted by the fire- The long, murderous fangs extending with a promise of grisly deathThe choking smoke from both the flamethrower and the warehouse fire drops visibility to zero in secondsMore shots- Another burst of liquid fire- More SCREAMS, accompanied by RAPID, FURIOUS MOVEMENTKhrome glances around in desperation- Theres only one way to go- straight ahead- He takes off running for the clearingThe creatures charge after him- Khrome stops on a dimeKneels as he pivots- Fires again- The creature closest to him; BIPED/REPTILE, squeals like nails on a chalkboard as it catapults backward from the searing, point-blank blast of flameKhrome takes off running again- A huge, clawed HAND swipes at him from behind- catching his boot, knocking him off of his feet- He drops the flamethrower- The LIZARD/WEREWOLF LEAPS through the air at himKhrome rolls and fires a volley point-blank from his hand weapon, hitting it in mid-airLizard/Werewolf goes down face first, its sparking as they strike a BANDED STACK OF METAL PIPES- The band breaks- Pipes clang ground, barely missing Khrome as he rolls metallic claws LARGE, RUSTED out onto the out of the way-

Khrome fires his hand weapon- Click, Click- Empty- He drops the weaponLizard/Werewolf recovers and charges again- Khrome cant get to the flamethrower in time- He picks up a PIPE, just as the creature leaps at him- He shoves the pipe through Werewolfs chest, impaling him- Lizard/Werewolf ROARS and struggles for a beat, then falls limp. Khrome grabs the flamethrower again as he vaults back onto his feet and fires again- Backing the rest of the bloodthirsty attackers up, but not for long- They charge againHe fires again- The burst hits The TRIPLE HEADED CREATURE with the burned out eye in its middle head- It goes into a crazy spin, raging and howling, swatting at its outside heads as they burn-

122. Khrome fires again, until the last of the fuel trickles out and the pilot flame dies- He hurls the flamethrower at the three remaining creaturesThe three start at him again, but Triple Header finally goes down in a burning heap- And as it doesIT LANDS IN A SMALL POOL OF OIL- THE SATURATED GROUND INSTANTLY CATCHES FIRE- The flames rocket in every direction- Spreading exponentiallyThe remaining creatures rage as theyre surrounded by the Hellacious funeral pyre- In seconds it consumes themKhrome breaks for the clearing with everything hes gotBarely ahead of the now huge wall of flames- Spreading all around him with every stepHe finally reach the clearing- He extends his tubes and fires up his thrustersHe lowers his visor and is a split second from escape when A SHAPE charges at him from out of the conflagrationNOSFERATUThe Vampire leaps on him, slashing and biting at himKhrome fights, grabbing it around the throat, barely keeping the claws and fangs away- The Vampire swipes at Khromes face, tearing off his visor and helmetKhrome struggles desperately to knock the creature off of him, but it hangs on, slicing and biting, untilKhrome reaches for his throttle arm- He cranks it and rockets straight up- Nosferatu hangs on as they ascend into the sky, still fighting, whenThe MYTHS AND MONSTERS BOOK falls from inside its clothing- The Vampire hisses like a Cobra and slashes Khromes suit open- Khrome responds with a head-butt, knocking it backThey ascend at top speed, Khrome managing to keep the creature from tearing him apart, until they break through the RING OF NIGHT Nosferatus eyes widen as he looks at something beyond his experience- The RISING SUN- He hesitates for a split second, just long enough for Khrome to kick him offThe Vampire SHRIEKS as it plummets downward, into the raging flames below, until it disappearsKhrome goes into a steep bank, just as-

123. A FINAL, MEGA-EXPLOSION as the BLACK SLOUGH and all of its buildings erupt on the ground below- An incredible storm of smoke, flames and debris volcanoes thousands of feet upwardKhrome catches the outer ring of the CONCUSSION WAVEHes buffeted in the air for a beat, until it subsidesHe continues onward, into the sunEXT. CITY SKYSCRAPER - DAWN From the ROOFTOP, Khrome, battered and exhausted, watches the massive fire burn below in the near distanceFIRE BARGES are beginning to arrive. The TRACKING BOT zooms in and hovers in front of him. Khrome cant help but smile as he takes it from the air. Thanks, pal. KHROME

He shuts it off and puts it into his pocket. As he continues to watch the fireSLOW FADE TO: EXT. CITY HOSPITAL - DAY

Khrome, now cleaned up and rested, strides up the stairs to the entrance. INT. HOSPITAL ROOM - DAY Sonja is in bed, bandaged, with her eyes closed as Khrome walks in. He leans in and takes her hand. She opens her eyes and smiles up at him. SONJA (softly) Hi, youre back again. KHROME Just makin sure youre not doggin it in here. She laughs a little and coughs. KHROME (CONTD) Easy, now. I talked to the Doctor. He says youll be good to go in no time.

124. She gives him a slight nod. Khrome... Yeah. SONJA KHROME

SONJA The book you took...Whats it about? KHROME It was a warning. I guess no one read it. SONJA (serious now) What are we gonna do? KHROME Dont think about that now. Just rest. Okay. SONJA

She shuts her eyes again. He gently puts her hand down and starts out. He stops at the door and looks at her again for a beat, then walks out. EXT. HOSPITAL - DAY As Khrome descends the stairs. KHROME (V.O.) As I headed back into the city, I thought of the story my father had once told me, about the wooden puppet that became a real, live boy, and I finally understood. He reaches the sidewalk and extends his jet pack tubes. KHROME (V.O.) (CONTD) I had also learned something from Henry Ajax...That if imagination could feed yesterdays nightmares, it could also fuel tomorrows dreams. As for today, I have work to do. He fires up his pack, lowers his visor and lifts off. CUT TO CU. - A TELEVISION SCREEN, A NEWS BROADCAST IN PROGRESS. ON SCREEN- A MOVING AERIAL VIEW of the heavily damaged BROADBASE OFFICES, atop the Metro Towers.

125. A REPORTER SPEAKS OFF CAMERA. REPORTER (O.C.) ...Authorities continue to investigate the fire that swept through Metro Towers, resulting in the deaths of six high ranking members of the Broadbase Central Committee... EXT. ROOFTOP - DUSK Khrome stands alone near the roof edge, watching below as A LARGE, DEMOLITION ROBOT dismantles the STATUE OF HENRY AJAX and unceremoniously deposits the sections into a refuse bin. CU.- Around his neck, Khrome is wearing Boones Rosary. After a beat, he raises his arm and punches in a number on his PDA. ON THE TELEVISION SCREEN As the broadcast continues, A HEAD-SHOT of CHAIRMAN EDGAR WYLE is shown. REPORTER (CONTD) ...Since the tragic event, Broadbase Chairman Edgar Wyle has been not been available for comment... PULL BACK TO REVEAL A MAN-Seated behind a desk in a PLUSH OFFICE, his back is to the CAMERA, his face unseen as he watches the news broadcast. BEHIND HIM, ANOTHER MAN, STANDING. ANGLE- Its TOLIVER. His CELL PHONE RINGS. He takes it from his pocket and answers: TOLIVER (into phone) Toliver... As he listens for a beat, a deadly serious look comes over him. One moment. TOLIVER (CONTD)

He steps over to the seated man- The mans face is still unseen as Toliver hands him the phone. The seated man shuts off the television.

126. MAN (into phone)

Yes... EXT.

ROOFTOP - SAME KHROME (into his PDA) This is Philip Khrome, son of Alexander. Im awake, and Im coming. First for my father...then for you.

INT. OFFICE - SAME Yes... MAN

Now we MOVE UP SLOWLY and HOLD ON THE FACE OF EDGAR WYLEEXTREME CU. - The large, riveting EYES- The unmistakable synthetic motion within the Iris. WYLE ...And Ill be waiting. He hangs up and stares straight ahead. EXT. ROOFTOP - SAME Khrome shuts off his PDA. He takes his BADGE from his pocket and tosses it off the edge. It disappears into the black. He lowers his visor, throttles up and lifts off. EXT. NIGHT SKY - SAME He continues upward, until he breaks through the Ring Of Night. He heads into the setting sun, the spectacular lights of the city illuminating his path, until he fades from view. BLACK OUT - For a long beat, and then: EXT. LOWER LEVEL - NIGHT Somewhere in a dark alley, deep in the city- AJAXS SON sits alone, badly charred, as he turns the scorched pages of a BOOK: MYTHS AND MONSTERS He raises his head and lets out a thunderous ROAR - The sound reverberates into the night. -Fade Out-