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4210 lines
82 KiB
Plaintext
4210 lines
82 KiB
Plaintext
SEATTLE 1988
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EXT. FRONT YARD. DAY.
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Slow motion. Armed troops in black uniforms pour out of
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unmarked vans and swarm across a lawn in a middle class
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residential neighborhood. Yuppie neighbours look on in
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shock, confused. Two of the troops carry a battering ram
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to the front door of a white two-storey house. A leashed
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Rottweiler snarls and barks. In position, their comrades
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point M-16s into first-floor windows, ready to be
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ambushed. Pan into a window in the kitchen. An
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attractive woman in her thirties is making breakfast.
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Now, in regular motion, the battering ram breaks open the
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front door. The woman, startled, drops her spatula.
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INT. MURPHY RESIDENCE. DAY.
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WOMAN
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(screams)
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Oough! Ahhh!
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SECRET SERVICE AGENT
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(to others)
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Upstairs.
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Troops pour into the house.
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WOMAN
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What's going on? What's the matter?
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Who are you?
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The troops, and one or two trenchcoated agents, continue
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entering the house and heading upstairs, still with rifles
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ready.
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WOMAN
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Hey!
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Upstairs, crowded in the narrow hallway, the troops
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descend on a bedroom.
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WOMAN
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(off camera)
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Dade! Dade!
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AGENT
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Knock it down.
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The battering ram knocks down a bedroom door.
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INT. COURTROOM.
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The prosecutor, a woman of about forty, gives her closing
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argument blandly. She'd rather be somewhere else.
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PROSECUTOR
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The defendant, Dade Murphy, who calls
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himself "Zero Cool", has repeatedly
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committed criminal acts of a malicious
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nature. This defendant possesses a
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superior intelligence, which he uses to a
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destructive and antisocial end. His
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computer virus crashed one thousand five
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hundred and seven computer systems,
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including Wall Street trading systems,
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single handedly causing a seven point drop
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in the New York Stock Market.
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As she speaks, the camera pans across the court, panning
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down and stopping on the defendant: eleven year old Dade
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Murphy.
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Fast forward to the sentencing.
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JUDGE
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Dade Murphy, I hereby fine your family
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forty-five thousand dollars...
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The court gasps, Dade's father winces
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JUDGE
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...and sentence you to probation, under
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which you are forbidden to own or operate
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a computer or touch tone telephone, until
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the day of your eighteenth birthday.
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Now Dade winces, in fact we almost expect him to cry.
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Opening credits roll to a backdrop of Dade and his family
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and lawyer fighting through a gaggle of journalists and
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photographers, in slow motion, and driving away.
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SEVEN YEARS LATER.
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Aboard a jetliner, Dade Murphy is staring blankly out the
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window, wearing headphones. Exterior view from the
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aircraft of approaching New York City. The view becomes a
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direct overhead of the buildings and streets of the city,
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which then metamorphoses (through animation) into chips
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and digital signals on a stylised computer board. The
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title logo.
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INT. DADE'S ROOM.
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Segue to Dade Murphy, now 18, wearing mirrorshades indoors
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and at night, working on his new computer. His mother
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calls him.
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MRS. MURPHY
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(off camera)
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Dade?
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DADE
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Yeah, mom?
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MRS. MURPHY
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What are you doing?
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DADE
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(after a semi-pregnant pause)
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I'm taking over a TV network.
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MRS. MURPHY
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Finish up, honey, and get to sleep. And happy
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birthday.
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INT. OTV STUDIOS.
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In the OTV Studios security department, a phone rings, a
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man answers nervously.
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NORM
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Security, uh Norm, Norm speaking.
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DADE
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Norman? This is Mr. Eddie Vedder, from
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Accounting. I just had a power surge here at
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home that wiped out a file I was working on.
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Listen, I'm in big trouble, do you know
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anything about computers?
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NORM
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Uhhmmm... uh gee, uh...
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DADE
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Right, well my BLT drive on my computer just
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went AWOL, and I've got this big project due
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tomorrow for Mr. Kawasaki, and if I don't get
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it in, he's gonna ask me to commit Hari
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Kari...
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NORM
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Uhhh.. ahahaha...
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DADE
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Yeah, well, you know these Japanese management
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techniques.
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(pause)
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Could you, uh, read me the number on the
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modem?
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NORM
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Uhhhmm...
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DADE
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It's a little boxy thing, Norm, with switches
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on it... lets my computer talk to the one
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there...
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NORM
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212-555-4240.
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Dade goes to work on OTV. He closes his eyes and a flurry
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of half-second video clips from old TV shows flashes by.
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He opens his eyes. His screen says ENTERING ARPS 331 and
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then wipes to another screen. Automated Record Playback
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System. There is a graphic representation of the
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station's automatic videotape changer. Dade turns on his
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TV set and turns to OTV. It is running a Rush-Limbaugh
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type TV show.
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COMMENTATOR
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(on TV)
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...so-called American Indians, Latinos and
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Blacks come from a genetically mediocre
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stock...
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DADE
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Yak yak yak. Get a job!
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Dade presses a key on his keyboard. The Video Changer
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diagram lights up in red. At the station, a robotic arm
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selects a videotape from a huge rack of thousands of
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tapes. The "America First" tape slides out of the VTR and
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is replaced by an episode of "The Outer Limits" as Dade
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watches, drinks Coke and smiles, full of himself.
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TV
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You are about to experience the awe and
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mystery, which reaches from the inner mind,
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to... The Outer Limits.
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DADE
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Yesssss!
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Suddenly, the ARPS screen is replaced by an ominous
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message:
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U HAVE TREAD
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UPON MY DOMAIN &
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MUST NOW SUFFER
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WHO R U?
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DADE
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Hey! What?
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He starts to type ZERO...
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DADE
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No, wait.
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Dade types:
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CRASH OVERRIDE.
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WHO WANTS TO KNOW?
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Dade's screen dissolves into:
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ACID BURN
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DADE
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Unbelievable. A hacker!
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Then the screen changes again:
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ACID BURN
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SEZ LEAVE B 4
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U R EXPUNGED
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"The Outer Limits" suddenly flashes off.
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DADE
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Yeah, okay "Acid Burn", that's enough.
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Dade starts hacking. Apparently so does Acid Burn. The
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tape changer machines at OTV are swamped, sometimes
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fighting over the same tape. The program on TV keeps
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changing.
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The message comes up on Dade's computer screen:
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I WILL
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SWAT U LIKE
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THE FLY U R
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More dueling tape changers, more half second video clips.
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Another message.
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I WILL
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SNAP YOUR BACK
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LIKE A TOOTHPICK
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As the duel continues, Dade types back a taunt of his own:
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MESS WITH THE BEST
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DIE LIKE THE REST
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One last from Acid Burn:
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YOU ARE
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TERMINATED
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Then his own computer confirms for him that the connection
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is terminated.
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DADE
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Shit on me!
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Next morning. Mrs. Murphy is unpacking. Dade emerges
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from his room in a housecoat. He makes a beeline (dodging
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moving boxes) for the fridge.
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MRS. MURPHY
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Good morning. You unpack your stuff yet?
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DADE
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Mm-hmm.
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MRS. MURPHY
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Up all night again, huh?
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DADE
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Can this wait until both my eyes are open,
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please?
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Dade's mom picks up the phone, mocking a call to the
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building superintendent.
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MRS. MURPHY
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Can I cut the electricity to his room so he'll
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sleep normal hours? He's been playing with
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his computer all night for a solid week.
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(pause)
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Well yes, he could be playing with himself.
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Mmm hmm. Yes I'll ask. Dade, you like girls,
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don't you?
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DADE
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Well, yeah, I just haven't found one as
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charming as you yet.
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MRS. MURPHY
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You haven't been doing anything stupid, right,
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Dade?
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(louder)
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Right, Dade?!
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DADE
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Right, mom. And I'm still a virgin!
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Dade slams the bathroom door. Mrs. Murphy quickly checks
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his room. Dade is showering.
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MRS. MURPHY
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(angry, through the bathroom door)
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You hooked it up to the phone, didn't you?
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Dade! Turn the shower off! You screw up
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again and you won't get into college!
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She pauses and regains some of her cool.
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MRS. MURPHY
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I'm sorry we had to move in your senior year.
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I didn't want to sell the house but I had to
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take this new job, you know that. You're
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going to love New York, it's the city that
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never sleeps!
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EXT. NEW YORK CITY.
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We enjoy several views of New York, the morning sun
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shining between skyscrapers, neon signs that stay lit day
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and night. Dade emerges from the ground-floor apartment
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on rollerblades and skates down the street to school.
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INT. HIGH SCHOOL.
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At school, hundreds of teenagers converse, move around,
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head to class. Dade looks lost among them. He walks up
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to a skinny latino kid in a faux leopard-skin muscle
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shirt. The kid is on a pay-phone, speaking in Spanish.
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DADE
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Excuse me.
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KID
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Yo, chill man, I'm talking to Venezuela.
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DADE
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Yeah, I'm sorry, I was just looking for the
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principal's office.
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KID
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Sorry, I can't help you, okay?
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Now Dade really looks lost. He heads off in search of the
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office.
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INT. OFFICE.
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Dade is filling out a form.
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GIRL
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Do you have your transfer forms?
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Dade stares at her, stunned. The girl has a decidedly
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unconventional appearance, yet is a first-rate beauty.
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GIRL
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It's a relatively straightforward question.
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Dade notices her lips, and in his imagination launches
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into a flurry of half-second video clips and art bites,
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all involving lips and kissing.
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GIRL
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Do you speak English?
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DADE
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Sorry, you wanted...?
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GIRL
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I wanted transfer forms.
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He gives them to her.
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GIRL
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Thank you.
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She starts leaving. He doesn't.
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GIRL
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Are you coming?
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Dade clues in, gets up and follows her. She takes him on
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a brief tour.
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INT. HIGH SCHOOL CORRIDOR.
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GIRL
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The gym is through there, and the cafeteria is
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through there.
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DADE
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Great. Cool.
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(pause)
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What's your name?
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GIRL
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Kate. Kate Libby.
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They arrive at a classroom.
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KATE
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Here's your class.
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DADE
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My... class. You mean I'm not in your class?
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KATE
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No, you're not in my class.
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Kate starts away.
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DADE
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Give me time!
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A guy in the halls notices Dade.
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GUY
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Hey, you new?
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DADE
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Yeah.
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GUY
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Tell him about the pool, Kate.
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DADE
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Pool?
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KATE
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Yeah, there's an Olympic size swimming pool up
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on the roof. Take the stairs over there.
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DADE
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Yeah! Sure.
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Kate starts away again.
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DADE
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Thanks!
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EXT. SCHOOL ROOFTOP.
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Dade enters, and lets the door slam behind him. Across the
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roof, a dozen or so geeky looking kids are looking over
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the edge, apparently trying to get someone's attention.
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One of them notices Dade.
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GEEK
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Hey! Hold the door!
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He's too late. The geeks look pretty angry. There is no pool.
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Dade
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(realizing he's been had)
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No pool.
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Dade tries the door but it's locked. He hammers it with
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his palm, furious. Above, thunder roars and it begins
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raining.
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INT. SCHOOL CORRIDOR.
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Dade is soaking wet, and trudges among his classmates
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leaving a muddy trail. A three-second video clip rolls
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through his mind: it is a screaming woman being strangled
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in an old movie. He walks past Kate, who giggles.
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KATE
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Oh my God! He found the pool.
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INT. SCHOOL COMPUTER LAB.
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The kids are all seated at computer workstations. Dade
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is hacking, the latino kid who was on the phone to
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Venezuela is running a demo involving dirty-dancing
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skeletons.
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TEACHER
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I'm Mr. Simpson. And I'm subbing for Ms.
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Bayliss who was arrested at the anti-fur
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rally. I know some of you kids got computers
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at home. But these are school property,
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people, and I don't want to see any gum stuck
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to 'em. Chapter 1. Designing graphical
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interface...
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Meanwhile, the latino kid notices that Dade has been
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looking up Kate Libby's school records. And hacking
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himself into her advanced English class.
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EXT. SCHOOL QUAD.
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It's after school, kids are heading home, Dade too. The
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latino kid notices Dade and catches up with him.
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KID
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So, um, what's your interest in Kate Libby,
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eh? Academic? Purely sexual?
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DADE
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Homicidal?
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KID
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What's up, man? I'm the Phreak!
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The name rings no bells with Dade.
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PHREAK
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The Phantom Phreak? The king of Nynex? I
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know you play the game.
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Another kid, younger and a little geeky looking, runs up
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to Dade and The Phantom Phreak.
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JOEY
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Phreakphreakphreakphreakphreak,
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dudedudedudedudedudedude... I gotta...
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PHREAK
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(slaps Joey)
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Joey, Joey...
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JOEY
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What? whatwhatwhat?
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PHREAK
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One more "dude" out of you and I'm gonna slap
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the shit outa you, okay? Now I'm trying to
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save you from yourself but you gotta stop
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letting your mama dress you, man!
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(To Dade):
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Check it...
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Phreak starts to hand Dade a flyer.
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JOEY
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(interrupting)
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I need a handle, man. I don't have an
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identity until I have a handle.
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PHREAK
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You know, you're right about that.
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(to Dade)
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Check it, Friday.
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Phreak hands Dade a flyer for Cyberdelia.
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JOEY
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Alright. How about the Master of Disaster,
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huh?
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PHREAK
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You're hopeless, man, utterly hopeless.
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Phreak walks away.
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JOEY
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Ultra Laser.
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(desperate)
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Doctor Doom!
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EXT. NEW YORK CITY STREET VILLAGE. NIGHT.
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Dade rolls in on rollerblades. Street vendors hawk
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computer parts and bootleg software. A bootleg music
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vendor catches Dade's attention.
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CEREAL
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Check this out, each and every one of you.
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Compilation tape, of my own making. I call
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this the "Greatest Zooks Album". Featuring
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artists like, well I got some Hendrix on
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there, some Joplin, Mama Cass, Belushi... all
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great artists that asphyxiated on their own
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vomit!
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The small crowd around him finally gets the joke.
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CEREAL
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Can't get this in stores, man, I made it!
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Dade wheels into Cyberdelia, which just happens to be
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equipped with a ramp down to its main floor for the
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benefit of skaters. The place pounds with loud, bassy
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techno music and coloured light. Video monitors with
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psychedelic patterns complete the atmopshere. There is a
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video game with a huge screen. Phreak is at a pay phone.
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OPERATOR
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(on phone)
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Please deposit five dollars for the first
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minute.
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Phreak holds a small box up to the receiver, presses a
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button, and the box emits a series of tones.
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OPERATOR
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Thank you.
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PHREAK
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Nonono, thank YOU!
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Dade checks out the scene. Kate is playing the big video
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game. Dade skates up to her. She loses her last man.
|
|
She's got the high score, in fact her name dominates the
|
|
top-10 list.
|
|
|
|
DADE
|
|
That's a nice score for a girl.
|
|
|
|
KATE
|
|
(irritated by Dade's presence)
|
|
Think you can do better?
|
|
|
|
DADE
|
|
I'll give it a shot.
|
|
|
|
Kate yields the controls to Dade, who begins playing.
|
|
Kate's boyfriend looks on from a mezzanine several feet
|
|
above.
|
|
|
|
CURTIS
|
|
Is this kid bothering you, Kate?
|
|
|
|
DADE
|
|
Sorry, can I get some room here?
|
|
|
|
CURTIS
|
|
Yeah.
|
|
(to Kate)
|
|
Why don't you come up here?
|
|
|
|
Kate obliges and joins Curtis. Dade continues playing.
|
|
He plays brilliantly. The game is a flashy 3-D high-speed
|
|
chase game with lots of surprises. Dade loses, but his
|
|
high score is about to come up.
|
|
|
|
CURTIS
|
|
He's good!
|
|
|
|
Dade's score comes up. He's in the #1 position. Phreak
|
|
is amazed.
|
|
|
|
DADE
|
|
(to Kate)
|
|
Well, it looks like I'm on top.
|
|
|
|
Kate, defeated, leaves. Curtis follows.
|
|
|
|
PHREAK
|
|
Congratulations. No one's ever beat her
|
|
before. You just made an enemy for life.
|
|
(to someone else)
|
|
Boy meets world. Let's go?
|
|
|
|
EXT. OUTSIDE CYBERDELIA. NIGHT.
|
|
|
|
Kate and Curtis are sucking face, oblivious to the busy
|
|
world around them. Dade and Phreak watch, more than a
|
|
little disgusted.
|
|
|
|
DADE
|
|
Who's that?
|
|
|
|
PHREAK
|
|
Curtis.
|
|
|
|
DADE
|
|
And what's he do?
|
|
|
|
PHREAK
|
|
That's it, you're looking at it, he just looks
|
|
slick all day.
|
|
|
|
Kate and Curtis start to take off on Curtis' motorcycle.
|
|
Kate and Dade make eye contact briefly. The motorcycle
|
|
speeds off into the night.
|
|
|
|
INT. DADE'S ROOM.
|
|
|
|
The clock says it's 4:16. As the camera pans up to Dade,
|
|
it changes to 4:17. Dade is hacking again. It's the
|
|
school's administration system. Dade schedules a test of
|
|
the school sprinkler system for 9:30am.
|
|
|
|
INT. HIGH SCHOOL CORRIDIR.
|
|
|
|
Dade stands alone in the hall, watching the time closely.
|
|
Phreak rounds a corner and meets Dade.
|
|
|
|
PHREAK
|
|
What's up?
|
|
|
|
Dade doesn't answer. He watches the time a couple of more
|
|
seconds, then opens an umbrella. Immediately the fire
|
|
sprinklers turn on. Phreak starts getting drenched. He
|
|
realizes what is happening.
|
|
|
|
PHREAK
|
|
(amused and highly impressed)
|
|
Oh my God. You...
|
|
|
|
A bell rings and students pour out into the halls by the
|
|
hundreds. They're all being showered on. A tall
|
|
cheerleader bounces by Phreak, pushing her pom-pom in his
|
|
face.
|
|
|
|
PHREAK
|
|
Way cool!
|
|
(to Dade)
|
|
You saw that?
|
|
|
|
Dade nods in the affirmative.
|
|
|
|
Kate walks up to Dade, also understanding what has
|
|
happened.
|
|
|
|
KATE
|
|
What the hell is going on?
|
|
|
|
DADE
|
|
Pool on the roof must have a leak.
|
|
|
|
Kate gives Dade a look that could kill and skulks away.
|
|
|
|
Dade walks away under his umbrella, smug and dry.
|
|
|
|
PHREAK
|
|
Man, oh man, this is gonna be good.
|
|
|
|
INT. HIGH SCHOOL CLASSROOM.
|
|
|
|
Dade, Kate, and a couple of other students are writing on
|
|
the chalkboard. Kate finishes first.
|
|
|
|
KATE
|
|
If God gave men brains bigger than dogs',
|
|
they wouldn't hump womens' legs at cocktail
|
|
parties.
|
|
|
|
The class giggles.
|
|
|
|
KATE
|
|
Ruth Libby.
|
|
|
|
TEACHER
|
|
I'm not so sure your mother qualifies as a
|
|
significant author of the twentieth century.
|
|
|
|
KATE
|
|
Her last book sold two million copies.
|
|
|
|
CLASS
|
|
(almost in unison)
|
|
Woooooo!
|
|
|
|
The teacher reads Dade's quotation.
|
|
|
|
TEACHER
|
|
"Angel-headed hipsters burning for the ancient
|
|
heavenly connection to the starry dynamo in
|
|
the machinery of the night."
|
|
|
|
DADE
|
|
That's Ginsburg.
|
|
|
|
TEACHER
|
|
Nice. Very nice.
|
|
|
|
KATE
|
|
He's not in this class.
|
|
|
|
DADE
|
|
I said give me time.
|
|
|
|
KATE
|
|
He's not enrolled in this class.
|
|
|
|
TEACHER
|
|
Well, he's on my list.
|
|
|
|
Kate leaps across a desk and snatches the list from the
|
|
teacher. Dade is on it. She gives Dade another filthy
|
|
look, both Dade and the teacher just shrug. The teacher
|
|
moves on to Cereal.
|
|
|
|
TEACHER
|
|
"Of all the things I've lost, I miss my mind
|
|
the most?"
|
|
|
|
CEREAL
|
|
Ozzy Osbourne!
|
|
|
|
TEACHER
|
|
You. What is your name?
|
|
|
|
The teacher grabs the list back from Kate.
|
|
|
|
CEREAL
|
|
Uh, Emmanuel Goldstein, sir?
|
|
|
|
TEACHER
|
|
You, however, are not on my list.
|
|
|
|
CEREAL
|
|
(in mock shock)
|
|
Whoa, this isn't wood shop class?
|
|
|
|
The class cracks up. Kate and Dade exchange looks as the
|
|
teacher escorts Cereal to the door.
|
|
|
|
INT. DADE'S PLACE.
|
|
|
|
MRS. MURPHY
|
|
How was school?
|
|
|
|
DADE
|
|
(eating)
|
|
Hmmm.
|
|
|
|
MRS. MURPHY
|
|
What did we learn in school today?
|
|
|
|
DADE
|
|
Revenge.
|
|
|
|
MRS. MURPHY
|
|
Aaaah. Did we meet someone special?
|
|
|
|
DADE
|
|
No. No one special.
|
|
|
|
MRS. MURPHY
|
|
Okay, I gotta get back to work. I'm gonna be
|
|
home late. And would you try and please fill
|
|
these out?
|
|
|
|
She indicates a pile of college applications.
|
|
|
|
MRS. MURPHY
|
|
Oh don't worry, it's only the rest of your
|
|
life.
|
|
|
|
She starts to the door.
|
|
|
|
DADE
|
|
Right. Anything else, you want me to mow the
|
|
lawn? Oops, forgot. New York. No grass.
|
|
|
|
MRS. MURPHY
|
|
And unpack.
|
|
|
|
She leaves. Dade looks over the college applications for
|
|
a second, and pushes them away. He'd rather not do this
|
|
now.
|
|
|
|
INT. CYBERDELIA.
|
|
|
|
Dade, Phreak and Joey are sitting at a table. Joey is
|
|
giving a dull account of his hacking adventures. Enter
|
|
Cereal.
|
|
|
|
CEREAL
|
|
FYI, alright man, you can sit at home, and do
|
|
like absolutely nothing and...
|
|
|
|
Cereal pauses, notices Dade, whom he has never met
|
|
formally but seen around, and then continues.
|
|
|
|
CEREAL
|
|
...and your name goes through like seventeen
|
|
computers a day. 1984, yeah right man, that's
|
|
a typo. Orwell's here and now, he's living
|
|
large. We have no names, man, no names. We
|
|
are nameless. Can I score a fry? Thanks.
|
|
|
|
PHREAK
|
|
Meet Cereal Killer. As in Froot Loops? But
|
|
he does know things.
|
|
|
|
Dade and Cereal acknowledge each other.
|
|
|
|
JOEY
|
|
Anyways, guys, guys, listen, listen to me.
|
|
I'm in this computer right? So I'm looking
|
|
around...
|
|
|
|
PHREAK
|
|
(to Cereal)
|
|
D'you bring those Crayola books?
|
|
|
|
CEREAL
|
|
Oh yeah, technicolor rainbow.
|
|
|
|
Cereal brings a book out of his bag.
|
|
|
|
CEREAL
|
|
Green one.
|
|
|
|
JOEY
|
|
What is that, what is that? Lemmie see. What
|
|
are these?
|
|
|
|
DADE
|
|
International Unix Environments.
|
|
|
|
Cereal pulls out another book.
|
|
|
|
CEREAL
|
|
Luscious orange?
|
|
|
|
Cereal hands the orange book to Phreak.
|
|
|
|
DADE
|
|
Computer security criteria, DOD standards.
|
|
|
|
Another book comes out.
|
|
|
|
DADE
|
|
The Pink Shirt Book, Guide to IBM PCs. So
|
|
called due to the nasty pink shirt the guy
|
|
wears on the cover.
|
|
|
|
Another one.
|
|
|
|
CEREAL
|
|
What's that?
|
|
|
|
DADE
|
|
Devil book. The Unix Bible.
|
|
|
|
Another one.
|
|
|
|
CEREAL
|
|
What's that?
|
|
|
|
DADE
|
|
Dragon book. Compiler design.
|
|
|
|
Cereal brings out a large red book.
|
|
|
|
CEREAL
|
|
Oh yeah? What's that?
|
|
|
|
DADE
|
|
The Red Book. NSA Trusted Networks.
|
|
Otherwise known as the Ugly Red Book that
|
|
won't fit on a shelf.
|
|
|
|
By now Phreak has made a pile of the books, and the Red
|
|
Book looks wholly out of place on the top of the pile.
|
|
|
|
JOEY
|
|
Anyway, anyway, guys guys guys, come on. I'm
|
|
in this computer, right. So I'm looking
|
|
around, looking around, you know, throwing
|
|
commands at it, I don't know where it is or
|
|
what it does or anything. It's like, it's
|
|
like choice, it's just beautiful, okay. Like
|
|
four hours I'm just messing around in there.
|
|
Finally I figure out, that it's a bank.
|
|
Right, okay wait, okay, so it's a bank. So, this
|
|
morning, I look in the paper, some cash
|
|
machine in like Bumsville Idaho, spits out
|
|
seven hundred dollars into the middle of the
|
|
street.
|
|
|
|
CEREAL
|
|
That's kinda cool.
|
|
|
|
JOEY
|
|
That was me. That was me. I did that.
|
|
|
|
DADE
|
|
You did this from your house.
|
|
|
|
Joey takes a drag from his cigarette and just nods, with a
|
|
big grin on his face.
|
|
|
|
PHREAK
|
|
What are you, stoned or stupid? You don't
|
|
hack a bank across state lines from your
|
|
house, you'll get nailed by the FBI. Where
|
|
are your brains, in your ass? Don't you know
|
|
anything?
|
|
|
|
CEREAL
|
|
Stupid, man. It's universally stupid.
|
|
|
|
JOEY
|
|
You guys always think I should know
|
|
everything, and you never tell me anything.
|
|
Am I right?
|
|
|
|
PHREAK
|
|
Alright, what are the three most commonly used
|
|
passwords?
|
|
|
|
JOEY
|
|
Love, secret, and uh, sex. But not in that
|
|
order, necessarily, right?
|
|
|
|
CEREAL
|
|
Yeah but don't forget God. System operators
|
|
love to use God. It's that whole male ego
|
|
thing.
|
|
|
|
PHREAK
|
|
Look, you wanna be elite? You gotta do a
|
|
righteous hack. None of this accidental shit.
|
|
|
|
CEREAL
|
|
Oh yeah, you want a seriously righteous hack,
|
|
you score one of those Gibsons man. You know,
|
|
supercomputers they use to like, do physics,
|
|
and look for oil and stuff?
|
|
|
|
PHREAK
|
|
Ain't no way, man, security's too tight. The
|
|
big iron?
|
|
|
|
DADE
|
|
Maybe. But, if I were gonna hack some heavy
|
|
metal, I'd, uh, work my way back through some
|
|
low security, and try the back door.
|
|
|
|
CEREAL
|
|
Yeah but oh man,
|
|
(starts rubbing one of his
|
|
own nipples in mock sexual
|
|
excitement)
|
|
wouldn't you just love to get one of those
|
|
Gibsons, baby? Ooooh!
|
|
|
|
PHREAK
|
|
Yo, who ate all of my fries?
|
|
|
|
Cereal pauses a second.
|
|
|
|
CEREAL
|
|
(pretending to be enraged)
|
|
Joey?!
|
|
|
|
JOEY
|
|
What, no, nonononono, I didn't touch your
|
|
fries. I did not touch your fries.
|
|
|
|
PHREAK
|
|
Cereal, man, you owe me a pack.
|
|
|
|
CEREAL
|
|
It was him, man!
|
|
|
|
PHREAK
|
|
You're psyched. You need to lay off of that
|
|
shit.
|
|
|
|
CEREAL
|
|
(to Joey)
|
|
I'm gonna hit you!
|
|
|
|
INT. JOEY'S ROOM. NIGHT.
|
|
|
|
Joey is hacking. A Gibson. He gets in. Using GOD as a
|
|
password. Nice graphics represent the machine's vast
|
|
systems.
|
|
|
|
JOEY
|
|
YES! Home run, home run. You and me Lucy.
|
|
We're gonna show em baby.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
A system operator at Ellingson Mineral Corporation, a
|
|
large oil company, notices the intrusion. He gets on the
|
|
phone.
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
The place is a mess, typical of the hacker bachelor pad.
|
|
Empty chinese food boxes and Jolt Cola cans litter the
|
|
place.
|
|
|
|
Plague's phone is ringing, waking him.
|
|
|
|
HAL
|
|
(on phone)
|
|
Mr. Belford?
|
|
|
|
PLAGUE
|
|
(sleepily)
|
|
My name is the Plague.
|
|
|
|
HAL
|
|
Uh, Mr. The Plague, uh, something weird's
|
|
happening on the net.
|
|
|
|
PLAGUE
|
|
As in what, you hapless techno-weenie?
|
|
|
|
HAL
|
|
Uh, the accounting subdirectory in the Gibson
|
|
is working really hard. We got one person
|
|
online, the workload is enough for like ten
|
|
users. I think we've got a hacker.
|
|
|
|
INT. JOEY'S ROOM.
|
|
|
|
JOEY
|
|
Okay, okay, we need proof that we were here.
|
|
Right, uh...
|
|
|
|
Joey starts looking for something to download as proof he
|
|
was there.
|
|
|
|
JOEY
|
|
Yeah, Garbage, okay, give me Garbage.
|
|
|
|
He selects a Garbage file and starts the download. His
|
|
screen becomes a psychedelic mind trip.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
The Plague glides in on a skateboard. Short and thin,
|
|
bearded, about 35 but still trying to be a teenage
|
|
anarchist, yet not consciously realizing he sold out that
|
|
ideal years ago.
|
|
|
|
PLAGUE
|
|
Never fear. I is here.
|
|
|
|
HAL
|
|
I've narrowed the activity to terminal 23.
|
|
|
|
PLAGUE
|
|
Let's echo 23, see what's up.
|
|
|
|
The huge monitor lights up with the display of the
|
|
Gibson's resources. Hal and the Plague watch. Plague
|
|
starts "surfing" around.
|
|
|
|
PLAGUE
|
|
"God" wouldn't be up this late.
|
|
|
|
He sees what Joey is downloading. A file called
|
|
"Garbage".
|
|
|
|
PLAGUE
|
|
Shit! Get me the switching control center.
|
|
|
|
He puts on a telephone headset. Hal dials for him.
|
|
|
|
PLAGUE
|
|
(into the headset)
|
|
I need to trace a call that's in progress.
|
|
|
|
INT. JOEY'S ROOM.
|
|
|
|
Joey is sneaking a cigarette while his computer downloads.
|
|
There is a knock at the door. It's his mother.
|
|
|
|
JOEY
|
|
(whispering)
|
|
Shit!
|
|
(loudly, panicked)
|
|
Uh yeah... hold on, mom. Hold on one second.
|
|
|
|
He puts out the cigarette and sprays the room with air
|
|
freshener.
|
|
|
|
JOEY'S MOM
|
|
I mean it! Open the door, Joseph.
|
|
|
|
JOEY
|
|
Yeah, uh, yeah, okay.
|
|
|
|
He unlocks the door. Joey's mom bursts in. He's still
|
|
clambering into bed.
|
|
|
|
JOEY
|
|
There you go.
|
|
|
|
JOEY'S MOM
|
|
Bed. Sleep. Now!
|
|
|
|
She turns off the computer. It wasn't finished
|
|
downloading.
|
|
|
|
JOEY'S MOM
|
|
Sweet dreams, Joey.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
HAL
|
|
He's gone!
|
|
|
|
PLAGUE
|
|
Did you get a trace?
|
|
|
|
OPERATOR
|
|
(on phone)
|
|
Yeah, we got him.
|
|
|
|
PLAGUE
|
|
(smiling)
|
|
Good.
|
|
|
|
INT. JOEY'S ROOM. DARK.
|
|
|
|
Joey takes a disk out of his computer and stashes it in an
|
|
air vent in the cieling.
|
|
|
|
INT. TENEMENT HALLWAY.
|
|
|
|
Phreak, Dade and Cereal are rollerblading through the
|
|
halls of an apartment building that is filled with
|
|
graffiti. It appears that most of the spray-bomb art was
|
|
created by the residents.
|
|
|
|
CEREAL
|
|
Nice place, huh.
|
|
|
|
Cereal knocks on a door spray-painted "Hackstock"
|
|
|
|
DADE
|
|
You heard of a hacker called Acid Burn? You
|
|
know who he is?
|
|
|
|
PHREAK
|
|
(surprised)
|
|
No, don't know who he is.
|
|
(to Cereal)
|
|
Do you?
|
|
|
|
Cereal shrugs.
|
|
|
|
A hooded black man in his early twenties answers the door.
|
|
|
|
PHREAK
|
|
Nikon! Lord Nikon this is...
|
|
|
|
Phreak motions to Dade.
|
|
|
|
DADE
|
|
(finishing)
|
|
Crash Override.
|
|
|
|
NIKON
|
|
Never heard of you. Done anything?
|
|
|
|
DADE
|
|
No.
|
|
|
|
Nikon slams the door.
|
|
|
|
PHREAK
|
|
Come on!
|
|
|
|
Phreak knocks the door again. Nikon opens again.
|
|
|
|
NIKON
|
|
What, your mom buy you a 'Puter for Christmas?
|
|
(to Phreak)
|
|
Does he know anything?
|
|
|
|
PHREAK
|
|
Sure man, he's elite.
|
|
|
|
NIKON
|
|
(pausing, checking Dade out)
|
|
Come in.
|
|
|
|
CEREAL
|
|
Uh... Nikon, can I... can I crash at your
|
|
place tonight?
|
|
|
|
NIKON
|
|
(removing his hood)
|
|
Again?
|
|
(pauses, then grins broadly)
|
|
Yeah sure.
|
|
|
|
Nikon and Cereal do a fake Kung-fu move together.
|
|
|
|
BOTH
|
|
Ooka-pow!
|
|
|
|
INT. NIKON'S PLACE.
|
|
|
|
Later, the four are watching TV. On TV is a secret
|
|
service agent giving a news interview.
|
|
|
|
GILL
|
|
(on TV)
|
|
Hackers penetrate and ravage delicate public
|
|
and privately owned computer systems,
|
|
infecting them with viruses, and stealing
|
|
materials for their own ends. These people,
|
|
they are terrorists.
|
|
|
|
CEREAL
|
|
Agent Richard Gill, You're hacker enemy number
|
|
one, man. You're a boner!
|
|
|
|
NIKON
|
|
Yo, showtime, showtime!
|
|
|
|
DADE
|
|
What's going on?
|
|
|
|
ALL BUT DADE
|
|
(in unison)
|
|
4...3...2...1...
|
|
|
|
Cheesy music plays. Razor and Blade, androgynous asian
|
|
brothers, have a community access TV show. "Wayne's World"
|
|
in eye liner.
|
|
|
|
RAZOR
|
|
Welcome to our show!
|
|
|
|
BLADE
|
|
Hack the Planet!
|
|
|
|
ALL BUT DADE
|
|
Hack the Planet!
|
|
|
|
RAZOR
|
|
For those late night hacks...
|
|
|
|
BLADE
|
|
Jolt Cola! The soft drink of the elite
|
|
hacker.
|
|
|
|
DADE
|
|
Who are these guys?
|
|
|
|
NIKON
|
|
That's Razor and Blade.
|
|
|
|
DADE
|
|
Razor and Blade.
|
|
|
|
Now Razor and Blade have a disconnected payphone in their
|
|
studio.
|
|
|
|
RAZOR
|
|
That's right, this IS a payphone.
|
|
|
|
RAZOR AND BLADE
|
|
(in unison)
|
|
Don't ask.
|
|
|
|
BLADE
|
|
As you can see, this is just a simple
|
|
microcassette recorder. (shows the
|
|
microcassette recorder) Hook it up to the
|
|
phone and drop in five bucks in quarters.
|
|
|
|
RAZOR
|
|
Record the tones that the coins make. And
|
|
hang up and get your money back!
|
|
|
|
BLADE
|
|
And never again have to pay for a service that
|
|
would be dirt cheap...
|
|
|
|
RAZOR
|
|
...IF it weren't run by a bunch of
|
|
profiteering gluttons!
|
|
|
|
BLADE
|
|
Remember, hacking is more than just a crime.
|
|
It's a survival trait!
|
|
|
|
INT. JOEY'S PLACE.
|
|
|
|
Joey is taking a shower, wearing walkman headphones,
|
|
singing along with the music. Joey finishes, turns off
|
|
the shower, still singing. He draws open the shower
|
|
curtain to find two secret service agents with shotguns
|
|
pointed at him.
|
|
|
|
SS AGENT
|
|
FREEZE!
|
|
|
|
JOEY
|
|
What? What? What did I do? What?
|
|
|
|
The agents drag Joey, still naked and wet, out of the
|
|
shower and into the living room. His mother is
|
|
hysterical..
|
|
|
|
JOEY'S MOM
|
|
Joey!
|
|
|
|
AGENT
|
|
Get in there! Sit down!
|
|
|
|
ANOTHER AGENT
|
|
Stay down there. Don't move.
|
|
|
|
Joey is pushed into a sofa. He sees his computer, "Lucy",
|
|
being carried away.
|
|
|
|
JOEY
|
|
Lucy!
|
|
|
|
Joey dives onto the agent carrying Lucy away, losing his
|
|
towel. His mother, seeing his exposed buttocks, is
|
|
shocked.
|
|
|
|
JOEY'S MOM
|
|
JOEY!!!
|
|
|
|
EXT. OUTSIDE JOEY'S PLACE.
|
|
|
|
A police-type vehicle pulls up. It's Agent Richard Gill
|
|
of the Secret Service. He stops a young agent for an
|
|
update.
|
|
|
|
GILL
|
|
How's it going, Ray?
|
|
|
|
AGENT RAY
|
|
It looks good, sir. We've got an uncorrupted
|
|
hard drive.
|
|
|
|
GILL
|
|
In English, please. I didn't spend ten years
|
|
protecting the president so I could finish my
|
|
career feeling like an idiot.
|
|
|
|
AGENT RAY
|
|
I'm sorry, sir. We caught him by surprise, so
|
|
we don't think he had time to erase his
|
|
computer files.
|
|
|
|
GILL
|
|
Good. Good man. Alright, let's finish up
|
|
here, and take him in for interrogation.
|
|
|
|
AGENT RAY
|
|
Alright sir.
|
|
|
|
They split up. A reporter and her sound man run up to
|
|
Gill.
|
|
|
|
REPORTER
|
|
Agent Gill, can you spare a moment of your
|
|
time?
|
|
|
|
GILL
|
|
Why of course, Jennifer.
|
|
|
|
While Jennifer conducts the interview, agents lead Joey
|
|
into an unmarked car. His mother is behind him, still
|
|
hysterical.
|
|
|
|
JOEY'S MOM
|
|
Joey!
|
|
|
|
JOEY
|
|
Mom...
|
|
|
|
JENNIFER
|
|
Just how dangerous are hackers?
|
|
|
|
GILL
|
|
Well, hackers penetrate and ravage delicate
|
|
public and privately owned computer systems,
|
|
infecting them with viruses...
|
|
|
|
JOEY'S MOM
|
|
Joey!
|
|
|
|
GILL
|
|
...and stealing sensitive materials for their
|
|
own ends. These people, they're terrorists...
|
|
|
|
JOEY'S MOM
|
|
Joey!
|
|
|
|
INT. ELLINGSON MINERAL CORPORATION.
|
|
|
|
A tall, impressive building. A cavernous atrium filled
|
|
with busy people.
|
|
|
|
INT. ELLINGSON BOARDROOM.
|
|
|
|
A handsome looking woman in her late thirties walks in.
|
|
|
|
MARGO
|
|
Good morning, Gentlemen. Please be seated. I
|
|
see we're still dressing in the dark, Eugene.
|
|
|
|
PLAGUE
|
|
(to Margo)
|
|
Once again, don't call me Eugene.
|
|
(to the board)
|
|
A recent unknown intruder penetrated, using a
|
|
superuser acount, giving him access to our
|
|
whole system.
|
|
|
|
MARGO
|
|
Precisely what you're paid to prevent.
|
|
|
|
PLAGUE
|
|
Someone didn't bother reading my carefully
|
|
prepared memo on commonly used passwords.
|
|
Now, as I so meticulously pointed out, the for
|
|
most used passwords are love,
|
|
(gesturing lewdly)
|
|
sex, secret and...
|
|
(eyeing Margo)
|
|
...God. So would your holiness care to change
|
|
her password?
|
|
|
|
Margo just blinks prettily.
|
|
|
|
PLAGUE
|
|
A hacker planted the virus.
|
|
|
|
MARGO
|
|
Virus?
|
|
|
|
PLAGUE
|
|
Yesterday, the ballast program for a
|
|
supertanker training model mistakenly thought
|
|
the vessel was empty, and flooded its tanks.
|
|
|
|
MARGO
|
|
Excuse me?
|
|
|
|
PLAGUE
|
|
(as if to a child)
|
|
The little boat flipped over. A virus planted
|
|
in the Gibson computer system claimed
|
|
responsibility.
|
|
|
|
MARGO
|
|
What, it left a note?
|
|
|
|
Plague hits a button on a remote control, and the virus -
|
|
a long haired male model - appears on a large screen, in
|
|
psychedelic colors. The virus speaks in a hammy Italian
|
|
accent.
|
|
|
|
VIRUS
|
|
Unless five million dollars are transferred to
|
|
the following numbered account in seven days,
|
|
I will capsize five tankers in the Ellingson
|
|
fleet.
|
|
|
|
BOARD MEMBER
|
|
Is that...
|
|
|
|
PLAGUE
|
|
(interrupting)
|
|
That is the virus. Leonardo da Vinci. The
|
|
problem is we have twenty six ships at sea and
|
|
we don't know which ones are infected.
|
|
|
|
DUKE ELLINGSON
|
|
Well then, put the ships' ballasts under
|
|
manual control.
|
|
|
|
PLAGUE
|
|
There's no such thing anymore, Duke. These
|
|
ships are totally computerized. They rely on
|
|
satellite navigation, which links them to our
|
|
network, and the virus, wherever they are in
|
|
the world.
|
|
|
|
MARGO
|
|
So what are we supposed to do?
|
|
|
|
PLAGUE
|
|
Well luckily, you have a gifted and talented
|
|
security officer. I traced the hacker's call.
|
|
The secret service picked him up this morning.
|
|
I'll just search his files for the original
|
|
virus code, and then I can eliminate it.
|
|
|
|
INT. ELLINGSON MINERAL ATRIUM.
|
|
|
|
Plague, Margo and two suits from the boardroom are riding
|
|
down an escalator.
|
|
|
|
SUIT #1
|
|
Now look, now we expect you to get onto this
|
|
right away, yeah?
|
|
|
|
PLAGUE
|
|
Yeah!
|
|
|
|
SUIT #1
|
|
Well, how soon?
|
|
|
|
PLAGUE
|
|
Well, we're working on it as fast as we can.
|
|
This is a very common occurrence in
|
|
corporations as large as ours. You have
|
|
nothing to worry about.
|
|
|
|
SUIT #2
|
|
Yeah, right.
|
|
|
|
SUIT #1
|
|
Now, you're sure about that, Mr. The Plague?
|
|
|
|
PLAGUE
|
|
Yeah, the Secret Service is helping us out 100
|
|
percent. Okay?
|
|
|
|
SUIT #2
|
|
Yeah.
|
|
|
|
SUIT #1
|
|
Okay.
|
|
|
|
PLAGUE
|
|
We'll be in touch. Talk to you later.
|
|
|
|
The suits get off the escalator, Plague and Margo take the
|
|
next one down.
|
|
|
|
MARGO
|
|
What the hell was that all about?
|
|
|
|
PLAGUE
|
|
I had to move fast. The hacker copied my
|
|
garbage file.
|
|
|
|
MARGO
|
|
What?
|
|
|
|
PLAGUE
|
|
I created Mister da Vinci so we could call in
|
|
the Secret Service. So they'd arrest the
|
|
hacker, sieze his equipment, things that we
|
|
can't do on our own.
|
|
|
|
MARGO
|
|
I don't want to go to jail for this.
|
|
|
|
PLAGUE
|
|
Relax. Think about the 25 million dollars.
|
|
|
|
MARGO
|
|
But you've created a virus that's going to
|
|
cause a worldwide ecological disaster, just to
|
|
arrest some hacker kid?
|
|
|
|
PLAGUE
|
|
Basically, uhmm, yeah. Mmm hmmm.
|
|
|
|
MARGO
|
|
Jesus. You know, you're sick, Eugene. You...
|
|
|
|
PLAGUE
|
|
Sh, sh sh sh sh.
|
|
|
|
Plague stops a passing secretary and snatches a piece of
|
|
paper from her hand.
|
|
|
|
PLAGUE
|
|
I'll take care of this.
|
|
|
|
SECRETARY
|
|
Alright, sir.
|
|
|
|
PLAGUE
|
|
I can cancel it any time. I don't need any
|
|
program code. But it's the perfect cover, to
|
|
confiscate the disc and find out how much of
|
|
that garbage file has been copied.
|
|
|
|
MARGO
|
|
Get it!
|
|
(walking away)
|
|
Why did I ever trust you?
|
|
(going back up the escalator)
|
|
Get the file. Otherwise you'll lose all your
|
|
toys.
|
|
|
|
INT. SECRET SERVICE INTERROGATION ROOM.
|
|
|
|
Joey is distraught over the dismantling of Lucy. Agent
|
|
Ray examines the Mac's innards.
|
|
|
|
GILL
|
|
Did you find the program for the virus on any
|
|
of the discs we confiscated?
|
|
|
|
PLAGUE
|
|
No. He's either very smart or very stupid.
|
|
|
|
GILL
|
|
Then he stashed it somewhere, or he has an
|
|
accomplice. We'll release him until his
|
|
indictment, keep tight surveillance, and see
|
|
if he leads us to your disc.
|
|
|
|
EXT. OUTSIDE JOEY'S PLACE.
|
|
|
|
Joey's apartment building is an L-shaped skyscraper about
|
|
30 storeys high, unimpressive by New York City standards.
|
|
Two Secret Service agents are staking Joey out in a car
|
|
outside.
|
|
|
|
SECRET SERVICE AGENT BOB
|
|
Unit 3 outside suspect Joey Pardella's
|
|
apartment. Nothing to report. Suspect still
|
|
grounded... by his mother.
|
|
|
|
His radio crackles.
|
|
|
|
AGENT BOB
|
|
Listen to this bullshit.
|
|
(he reads)
|
|
"This is our world now. The world of the
|
|
electron and the switch, the beauty of the
|
|
baud. We exist without nationality, skin
|
|
color, or religious bias. You wage wars,
|
|
murder, cheat, lie to us and try to make us
|
|
believe it's for our own good, yet we're the
|
|
criminals. Yes, I am a criminal. My crime is
|
|
that of curiosity. I am a hacker and this is
|
|
my manifesto." Huh, right, manifesto? "You
|
|
may stop me, but you can't stop us all."
|
|
|
|
AGENT RAY
|
|
Now that's cool.
|
|
|
|
AGENT BOB
|
|
Cool?
|
|
|
|
AGENT RAY
|
|
Yeah, cool.
|
|
|
|
AGENT BOB
|
|
You think it's cool?
|
|
|
|
AGENT RAY
|
|
(not caring for where Bob is going
|
|
with this)
|
|
It's cool!
|
|
|
|
AGENT BOB
|
|
It's not cool. It's commie bullshit!
|
|
|
|
INT. HIGH SCHOOL BOYS' ROOM.
|
|
|
|
Dade, Cereal and Phreak check their faces. Cereal brushes
|
|
his teeth.
|
|
|
|
CEREAL
|
|
(to Phreak)
|
|
So what do you think, can I crash at your
|
|
place tonight?
|
|
|
|
DADE
|
|
What is it with this guy?
|
|
|
|
PHREAK
|
|
His parents missed Woodstock and he's been
|
|
making up for it since. Hey, you hear about
|
|
Joey's bust?
|
|
|
|
CEREAL
|
|
Yeah. Probably had something to do with that
|
|
bank in Idaho.
|
|
|
|
PHREAK
|
|
Do you think he could hack a Gibson?
|
|
|
|
DADE
|
|
Did you talk to him?
|
|
|
|
PHREAK
|
|
Nope. His mom said he's grounded for his next
|
|
three lifetimes.
|
|
(imitating her)
|
|
He isn't to consort with his computer friends.
|
|
(himself again)
|
|
The secret service is really out to get him.
|
|
(changes the subject)
|
|
Hey there's a big party tonight, you wanna go?
|
|
|
|
Dade shakes his head.
|
|
|
|
PHREAK
|
|
It's at Kate's...
|
|
|
|
Dade just smiles.
|
|
|
|
PHREAK
|
|
Thought so!
|
|
|
|
Cereal and Phreak leave, Cereal dancing.
|
|
|
|
INT. PLAGUE'S OFFICE.
|
|
|
|
Plague is wearing a VR helmet and gloves, playing some
|
|
sort of action game. He is unaware that Gill has just
|
|
entered the room.
|
|
|
|
GILL
|
|
What the hell are you doing? Plague!
|
|
|
|
He thumps the VR pedestal.
|
|
|
|
GILL
|
|
PLAGUE!
|
|
|
|
Plague finally notices, and takes off the helmet.
|
|
|
|
PLAGUE
|
|
Gill.
|
|
|
|
GILL
|
|
I think we've got something.
|
|
|
|
Gill hands Plague a folder. It has the logo of Stanton High.
|
|
|
|
PLAGUE
|
|
Uuugh, hard copy.
|
|
|
|
Plague looks it over and recognizes a name.
|
|
|
|
PLAGUE
|
|
Dade Murphy.
|
|
|
|
INT. DADE'S PLACE.
|
|
|
|
It's after school. Dade's just unlocking the front door,
|
|
only to find a Secret Service agent behind it. And one
|
|
behind him in the hallway. Both point pistols at him.
|
|
|
|
AGENT RAY
|
|
Secret Service!
|
|
|
|
AGENT BOB
|
|
Don't move!
|
|
|
|
They slam Dade against a wall and start frisking him.
|
|
|
|
DADE
|
|
Christ! What is the...
|
|
|
|
AGENT BOB
|
|
Shut up!
|
|
|
|
DADE
|
|
What are you doing, man? Get off me!
|
|
|
|
They lead him into his room and throw him down on the bed.
|
|
Plague is there.
|
|
|
|
AGENT BOB
|
|
Just sit in the bed and keep your hands where we can see
|
|
them.
|
|
|
|
PLAGUE
|
|
The year was 1988. And this nasty virus
|
|
crashed fifteen hundred systems in one day.
|
|
|
|
Dade has a flashback.
|
|
|
|
DADE
|
|
Fifteen hundred and seven.
|
|
|
|
AGENT RAY
|
|
(astounded)
|
|
Wow, huh!
|
|
|
|
GILL
|
|
It got you seven years probation. No
|
|
computer, couldn't even use a touch tone
|
|
phone.
|
|
|
|
PLAGUE
|
|
Must have been hell, huh? Zero Cool?
|
|
(getting to the point)
|
|
A virus has been planted in the Ellingson
|
|
Mineral computer system. You were our prime
|
|
suspect, till we trashed your stuff and found
|
|
no trace of it.
|
|
|
|
GILL
|
|
However, we have come to believe that one Joey
|
|
Pardella is involved in this Ellingson virus.
|
|
He or perhaps his accomplice has a disk that
|
|
Mr. Belford needs to disable that virus. We
|
|
want you to help us find it.
|
|
|
|
PLAGUE
|
|
Gill.
|
|
|
|
The three secret service agents leave Plague and Dade
|
|
alone. Plague shuts the door behind them.
|
|
|
|
PLAGUE
|
|
(of Gill)
|
|
Loser.
|
|
(continues)
|
|
I can't believe you were only eleven when you
|
|
wrote this. It's quite an impressive virus.
|
|
Dade, I know how you might feel about narking
|
|
on your friends, but, we're hackers. For us,
|
|
there's no such thing as family and friends.
|
|
We're each our own country, with temporary
|
|
allies and enemies. I'd like to make a treaty
|
|
with you.
|
|
|
|
DADE
|
|
I'm sorry. Who are you?
|
|
|
|
PLAGUE
|
|
I'm the one who understands you. Now, can we
|
|
be allies?
|
|
|
|
DADE
|
|
Nah. I don't play well with others.
|
|
|
|
Plague is holding Dade's baseball bat. He shrugs, turns
|
|
around, and smashes Dade's stereo to smithereens.
|
|
|
|
DADE
|
|
Shit! Come on!
|
|
|
|
PLAGUE
|
|
Watch which friends you do play with. A
|
|
record like yours could land you in jail, get
|
|
you kicked out of school, no colleges would
|
|
take you. No future. Exiled from everyone and
|
|
everything you love.
|
|
|
|
Plague replaces the baseball bat.
|
|
|
|
PLAGUE
|
|
I'll be in touch.
|
|
|
|
Plague leaves.
|
|
|
|
PLAGUE
|
|
(to agents)
|
|
I'm fine.
|
|
(to Dade)
|
|
Oh, and Dade, try to stay out of trouble, okay?
|
|
|
|
DADE
|
|
Blow me.
|
|
|
|
PLAGUE
|
|
(smiles)
|
|
Thank you!
|
|
|
|
INT. DADE'S ROOM. LATER.
|
|
|
|
Dade is lying in bed. A door opens. It's Kate. She opens
|
|
her motorcycle jacket, revealing her bare breasts. Dade
|
|
starts to get up, she pushes him back own on the bed and
|
|
starts kissing him passionately. He responds in kind.
|
|
Then, Gill, Agent Ray and Agent Bob burst into the room,
|
|
handcuff him, break the two up and haul them away as
|
|
Plague looks on smugly.
|
|
|
|
Then Dade wakes up in a sweat. It was only a dream. He
|
|
regains his composure. The sound of New York City at
|
|
night surrounds him. He goes back to sleep.
|
|
|
|
INT. KATE'S PLACE.
|
|
|
|
The party. A large, well-furnished apartment in an
|
|
elegant old skyscraper in the fashionable part of town.
|
|
Teenagers dance and writhe to loud, bassy music. Dade and
|
|
Phreak arrive.
|
|
|
|
PHREAK
|
|
Her mom makes big bucks writing self-help
|
|
books for women. Stuff like "Women Who Love
|
|
Men Who Are Emotional Amoebae"
|
|
|
|
Phreak shows Dade the book.
|
|
|
|
DADE
|
|
That explains a lot.
|
|
|
|
Kate, the lovely and gracious hostess, mingles and greets
|
|
her many guests, not noticing Dade or Phreak. Cereal
|
|
offers Dade a drink from a plastic bottle. Dade, not
|
|
knowing what he's in for, drinks. Nikon is the Deejay.
|
|
|
|
PHREAK
|
|
(loudly)
|
|
Yo, what's up Nikon!
|
|
|
|
NIKON
|
|
Yo Phreak! Dade, man, you made it.
|
|
(to Cereal)
|
|
Houston, we have liftoff, 3 o'clock,
|
|
check it... don't look right away, what's
|
|
wrong with you! Look at her man...
|
|
|
|
Nikon and Cereal are checking out a truly fine babe.
|
|
|
|
NIKON
|
|
(concentrating)
|
|
Look out, man. Lisa Blair, 26 East 7th St.,
|
|
apartment 16, 555-4817, BOOM!
|
|
|
|
DADE
|
|
How did you know that?
|
|
|
|
NIKON
|
|
I got photographic memory.
|
|
(Smiling)
|
|
It's a curse!
|
|
(Into the crowd)
|
|
Lisa!
|
|
|
|
LISA
|
|
Hey, how do you know my name?
|
|
|
|
Cereal and Phreak move through the crowd. Cereal notices
|
|
something.
|
|
|
|
CEREAL
|
|
Oooo, look at that pooper man. Spandex, it's
|
|
a privilege, not a right!
|
|
|
|
INT. MEETING HALL.
|
|
|
|
A 12-step recovery group. Addicts, including Joey
|
|
Pardella, sit in a semi-circle.
|
|
|
|
VICKIE
|
|
Hi, my name is Vickie, and I'm an addict.
|
|
|
|
HANK
|
|
Hi, my name is Hank, and uh, I'm an addict.
|
|
|
|
JOEY
|
|
(smoking)
|
|
Uh, my name's Joey but, uh, I'm not an addict.
|
|
|
|
Joey takes a drag. The group reacts indignantly.
|
|
|
|
JOEY
|
|
Nono, really, really, listen, listen to this.
|
|
I got in trouble with my computer, right,
|
|
okay, and my lawyer told the judge that I'm an
|
|
addict, but I'm not addicted to my computer!
|
|
No really, really,
|
|
|
|
Joey takes another drag.
|
|
|
|
JOEY
|
|
I'm not an addict. I'm not, I'm not.
|
|
|
|
Joey downs his coffee.
|
|
|
|
JOEY
|
|
Can I get some more coffee?
|
|
|
|
INT. KATE'S BEDROOM.
|
|
|
|
Phreak is checking out Kate's computer.
|
|
|
|
PHREAK
|
|
Yo. Check this out guys, this is insanely
|
|
great, it's got a 28.8 BPS modem!
|
|
|
|
DADE
|
|
Yeah? Display?
|
|
|
|
CEREAL
|
|
Active matrix, man. A million psychedelic
|
|
colors. Man, baby, sweet, ooo!
|
|
|
|
NIKON
|
|
I want it.
|
|
|
|
PHREAK
|
|
I want it to have my children!
|
|
|
|
CEREAL
|
|
Yeah, I bet it looks crispy in the dark.
|
|
|
|
PHREAK
|
|
Yo, hit the lights.
|
|
|
|
Dade hits the lights. The four ooo and ahh at
|
|
its graphics. Kate and Curtis walk into the
|
|
room and hit the bed, unaware of the hackers
|
|
in the corner by her laptop.
|
|
|
|
DADE
|
|
(whispering)
|
|
Shit!
|
|
|
|
CEREAL
|
|
Shh!
|
|
|
|
DADE
|
|
Was that her top?
|
|
|
|
PHREAK
|
|
One-handed!
|
|
|
|
CEREAL
|
|
Difficulty rating?
|
|
|
|
NIKON
|
|
Seven. Wow! Burn's wetware matches her
|
|
software!
|
|
|
|
DADE
|
|
(loudly)
|
|
Burn!
|
|
|
|
Their cover is blown.
|
|
|
|
NIKON
|
|
What the f...
|
|
|
|
Cereal hides under the desk.
|
|
|
|
KATE
|
|
Hey! What are you guys doing in here?
|
|
|
|
PHREAK
|
|
I'm sorry, we're sorry, just checking out your
|
|
fly laptop!
|
|
|
|
NIKON
|
|
Yeah, it's hyped, you know... you're in the
|
|
butter zone now, baby.
|
|
|
|
PHREAK
|
|
(smiling)
|
|
Uh-huh!
|
|
|
|
KATE
|
|
(her tone changing)
|
|
Yeah, it is...
|
|
(she comes over to it)
|
|
I wanna triple the RAM...
|
|
|
|
CURTIS
|
|
Oooh, Leopard Boy... AND the Decepticons. Uh,
|
|
Kate, Kate, you're not going into that
|
|
computer shit now, right?
|
|
|
|
Kate barely acknowledges him.
|
|
|
|
CURTIS
|
|
(cynically)
|
|
Humm, yeah.
|
|
|
|
Curtis leaves.
|
|
|
|
CEREAL
|
|
(mockingly)
|
|
Right.
|
|
|
|
DADE
|
|
The sensitive type.
|
|
|
|
Kate finally notices that Dade, whom she didn't invite, is at her
|
|
party and in her bedroom.
|
|
|
|
KATE
|
|
What is he doing in here?
|
|
|
|
PHREAK
|
|
Relax, Burn, he's my guest.
|
|
|
|
DADE
|
|
Burn. You're Acid Burn. You booted me out of
|
|
OTV!
|
|
|
|
KATE
|
|
What?
|
|
|
|
DADE
|
|
I'm Crash Override.
|
|
|
|
KATE
|
|
You're the moron that's been invading my turf?
|
|
|
|
CEREAL
|
|
Whoa, whowhowhowhoa.
|
|
(motioning to Dade)
|
|
Crash...
|
|
(motioning to Kate)
|
|
and Burn!
|
|
|
|
Cereal breaks into hysterics.
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
Plague is hacking.
|
|
|
|
MARGO
|
|
Murphy kid turn you down?
|
|
|
|
PLAGUE
|
|
(in a hammy southern accent)
|
|
I disguised myself as an Alabama State Trooper
|
|
and penetrated the FBI NCIC.
|
|
|
|
MARGO
|
|
Pervert! What are you talking about?
|
|
|
|
She turns her back to him. He does up the zipper on her
|
|
dress. Their relationship becomes apparent.
|
|
|
|
PLAGUE
|
|
The FBI computer holds files on twenty million
|
|
Americans. I just hacked into it.
|
|
|
|
MARGO
|
|
Congratulations.
|
|
|
|
PLAGUE
|
|
From here I got access to every piece of data
|
|
ever stored on Dade Murphy's parents. His
|
|
parents separated five years ago, reconciled
|
|
two years later, filed for divorce last year,
|
|
custody battle, boy chose to go with his
|
|
mother. Hmm.
|
|
|
|
MARGO
|
|
So?
|
|
|
|
PLAGUE
|
|
So, we get the mother, we get the boy.
|
|
|
|
INT. KATE'S ROOM.
|
|
|
|
Kate's room is empty, and Dade can't resist going back in
|
|
to play with her laptop, which far outclasses his own,
|
|
some more. On the balcony, Kate notices and comes back
|
|
in.
|
|
|
|
KATE
|
|
What the hell are you doing?
|
|
|
|
DADE
|
|
It's cool, I'm just looking.
|
|
|
|
KATE
|
|
It's too much machine for you.
|
|
|
|
DADE
|
|
Yeah?
|
|
|
|
Dade starts working furiously on it.
|
|
|
|
KATE
|
|
I hope you don't screw like you type.
|
|
|
|
Dade slows to a two-finger keypoke, not missing a beat.
|
|
|
|
DADE
|
|
It has a killer refresh rate.
|
|
|
|
KATE
|
|
P6 chip. Triple the speed of the Pentium.
|
|
|
|
DADE
|
|
Yeah. It's not just the chip, it has a PCI
|
|
bus. But you knew that.
|
|
|
|
KATE
|
|
Indeed. RISC architecture is gonna change
|
|
everything.
|
|
|
|
DADE
|
|
Yeah. RISC is good.
|
|
|
|
They uncomfortably exchange glances.
|
|
|
|
DADE
|
|
You sure this sweet machine's not going to
|
|
waste?
|
|
|
|
KATE
|
|
Crash Override. What was it. "Mess with the
|
|
Best, Die Like the Rest?"
|
|
|
|
DADE
|
|
Yeah.
|
|
|
|
KATE
|
|
Are you challenging me?
|
|
|
|
DADE
|
|
Name your stakes.
|
|
|
|
KATE
|
|
If I win, you become my slave.
|
|
|
|
DADE
|
|
(intrigued)
|
|
Your slave?
|
|
|
|
KATE
|
|
(realizing his mind is in the
|
|
gutter)
|
|
You wish. You'll do shit work, scan, crack
|
|
copyrights, whatever I want.
|
|
|
|
DADE
|
|
And if I win?
|
|
|
|
KATE
|
|
(giggles)
|
|
Make it my first born.
|
|
|
|
DADE
|
|
Make it our first date.
|
|
|
|
KATE
|
|
You're not gonna win.
|
|
|
|
DADE
|
|
And you have to smile.
|
|
|
|
KATE
|
|
I don't do dates. But I don't lose either, so
|
|
you're on.
|
|
|
|
MONTAGE: Scenes of Dade and Kate preparing for the challenge.
|
|
|
|
PHREAK
|
|
(voice over)
|
|
So here's the deal. The chosen contest: To
|
|
hassle Secret Service Agent Richard Gill, and
|
|
get one back for Joey.
|
|
|
|
Dade spray paints camouflage onto his keyboard.
|
|
|
|
NIKON
|
|
Our decisions are final, by a vote of 2 to 1.
|
|
No appeals.
|
|
|
|
Kate rifles through her address book.
|
|
|
|
CEREAL
|
|
The duel will last until we declare a winner.
|
|
|
|
Dade plays quick-draw with disks.
|
|
|
|
PHREAK
|
|
Use only the dialups, access codes and
|
|
passwords in your collection. Can't ask for
|
|
any help from us.
|
|
|
|
Dade, having mastered the quick-disk-draw in the mirror,
|
|
looks satisfied.
|
|
|
|
DADE
|
|
(into mirror)
|
|
Talking to me?
|
|
|
|
All five are together at the beginning of the challenge.
|
|
|
|
PHREAK
|
|
Any questions?
|
|
|
|
KATE
|
|
Yeah. Whose gonna notify his next of kin?
|
|
|
|
Dade and Kate shake hands and the challenge begins.
|
|
|
|
EXT. NEW YORK CITY PUBLIC PHONE.
|
|
|
|
At a public phone, Kate hacks into Concourse Bank, looks
|
|
up Richard Gill, and has his credit card maxed out.
|
|
"Destroy Card" is the final instruction. The other
|
|
hackers look on.
|
|
|
|
INT. RESTAURANT.
|
|
|
|
A waiter runs a credit card through a validation machine,
|
|
sees the message and returns to the patron's table. It is
|
|
Richard Gill. Right there, the waiter chops the
|
|
MasterCard in two with a pair of scissors, to Gill's
|
|
horror.
|
|
|
|
EXT. NEW YORK CITY PUBLIC PHONE.
|
|
|
|
Dade hacks into an electronic personal ads system and
|
|
changes an ad.
|
|
|
|
KATE
|
|
Alright, he's in the personal ads.
|
|
(reading Dade's ad)
|
|
"Disappointed white male, crossdresser, looking
|
|
for discreet friend to bring dreams to
|
|
reality. Leather, lace, and water sports.
|
|
Transvestites welcome."
|
|
|
|
INT. GILL'S OFFICE.
|
|
|
|
At his office, Gill is on the speaker phone with someone
|
|
responding to the ad.
|
|
|
|
GILL
|
|
I... I... I know where you can stick it... I
|
|
know where you can stick it...
|
|
|
|
Gill punches a button on the phone, another caller comes
|
|
on.
|
|
|
|
CALLER
|
|
...wanna lick your earlobes... I wanna lick
|
|
your lips... I wanna lick your toes... I
|
|
wanna lick your ankles...
|
|
|
|
GILL
|
|
Awww, yeah, you wanna lick something? Lick this.
|
|
|
|
Gill punches another button, another caller comes on.
|
|
|
|
CALLER
|
|
That's why they call me Stallion...
|
|
|
|
GILL
|
|
Aw, that's disgusting!
|
|
|
|
Gill punches another button.
|
|
|
|
CALLER
|
|
My heart is steaming for you...
|
|
|
|
Gill punches another button. He is becoming quite flustered.
|
|
|
|
CALLER
|
|
...spank you with my...
|
|
|
|
GILL
|
|
Aww, Spank your ass...
|
|
|
|
He punches another button.
|
|
|
|
Another caller comes on, and Gill hangs up the phone,
|
|
disgusted, offended, and distraught. The Plague is there,
|
|
witnessing the whole thing.
|
|
|
|
PLAGUE
|
|
Animal!
|
|
|
|
EXT. EMPIRE STATE BULDING OBSERVATION DECK.
|
|
|
|
It's Kate's turn. Kate is hacking into the Department of
|
|
Motor Vehicles. She adds 113 traffic violations and DUI
|
|
offender status to Gill's record.
|
|
|
|
EXT. NEW YORK CITY, BUSY STREET.
|
|
|
|
Gill is being arrested quite forcefully by a NYC police
|
|
grunt. He is thrown onto the hood of his car and
|
|
handcuffed.
|
|
|
|
GILL
|
|
Hey! Hey, ow! Do you know who I am? Do you
|
|
know who I am?
|
|
|
|
EXT. CHINATOWN, PUBLIC PHONE.
|
|
|
|
Dade's turn. He hacks into the Secret Service's personnel
|
|
file, and changes Gill's status to "Deceased."
|
|
|
|
INT. GILL'S OFFICE.
|
|
|
|
EMPLOYEE
|
|
(on phone)
|
|
This is accounting, sir. You enquired about
|
|
an employee of ours, an Agent Richard Gill?
|
|
|
|
GILL
|
|
Yes.
|
|
|
|
EMPLOYEE
|
|
Our records indicate he's deceased.
|
|
|
|
GILL
|
|
I'm what?
|
|
|
|
INT. CYBERDELIA.
|
|
|
|
The five are playing pool.
|
|
|
|
DADE
|
|
Dead.
|
|
|
|
PHREAK
|
|
Dead?
|
|
|
|
DADE
|
|
Yeah. Like Rigor Mortis, Habeas Corpus.
|
|
|
|
NIKON
|
|
Very impressive.
|
|
|
|
CEREAL
|
|
Super hero like even.
|
|
|
|
KATE
|
|
Yeah, whatever. What's the score?
|
|
|
|
Phreak clicks the pool scoreboard so it says 60 - 60.
|
|
|
|
PHREAK
|
|
Tie.
|
|
|
|
The other four protest.
|
|
|
|
PHREAK
|
|
Due to Mr. Gill's untimely demise and
|
|
everything, I guess you two will have to
|
|
improvise the next round.
|
|
|
|
DADE
|
|
Right. If I win, you wear a dress on our
|
|
date.
|
|
|
|
KATE
|
|
And if I win, so do you.
|
|
|
|
Dade thinks about it a second.
|
|
|
|
DADE
|
|
Deal.
|
|
|
|
Kate gives Dade a look that says "I'm going to hold you to
|
|
that."
|
|
|
|
INT. KATE'S BED. NIGHT.
|
|
|
|
A shapely figure wearing a red leather legless suit with a
|
|
zipper that goes all the way around the crotch. Hands
|
|
caress the sultry figure as the camera pans up. The body
|
|
belongs to Dade Murphy.
|
|
|
|
Kate wakes up gasping. It was only a dream. She pants
|
|
and regains her breath. Then she smiles. She enjoyed
|
|
that dream.
|
|
|
|
KATE
|
|
Oooohhhh...
|
|
|
|
INT. HIGH SCHOOL HALLWAY.
|
|
|
|
Kate, at her locker, stops Dade.
|
|
|
|
KATE
|
|
Dade. I didn't know your size, so I guessed.
|
|
|
|
She opens her locker to reveal a red leather bustier and
|
|
bikini bottom.
|
|
|
|
KATE
|
|
You are man enough to stick with the deal,
|
|
aren't you?
|
|
|
|
Dade walks off.
|
|
|
|
INT. DADE'S PLACE.
|
|
|
|
Dade signs an electronic pad for a package from UPS. He
|
|
takes the package.
|
|
|
|
DADE
|
|
Thanks.
|
|
|
|
He closes the door and opens the package. It is a laptop
|
|
computer, clear plastic shell, full colour screen. Very
|
|
high-end, perhaps the equal to Kate's machine. He turns
|
|
it on. The Plague's face, distorted, appears. It speaks.
|
|
|
|
PLAGUE
|
|
You wanted to know who I am, Zero Cool? Well
|
|
let me explain the New World Order.
|
|
Governments and corporations need people like
|
|
you and me. We are samurai. The keyboard
|
|
cowboys. And all those other people out there
|
|
who have no idea what's going on are the
|
|
cattle. Mooo! I need your help, you need my
|
|
help. Let me help you earn your spurs. Ahh,
|
|
think about it. Enjoy the laptop, "Cool"!
|
|
Tell me where the disk is.
|
|
|
|
Plague's face vanishes.
|
|
|
|
INT. JOEY'S ROOM.
|
|
|
|
Joey lies on his bed with a comic book, looking
|
|
despondent. His mother enters.
|
|
|
|
JOEY'S MOM
|
|
You look pitiful. Okay, okay, you're not
|
|
grounded anymore.
|
|
|
|
She kisses his forehead and leaves. He springs back to
|
|
life, gets up and gets the disc from where he stashed it
|
|
in the air vent.
|
|
|
|
EXT. PARK.
|
|
|
|
Joey is nervously waiting on a park bench. Phreak arrives.
|
|
Agents Ray and Bob still have Joey staked out.
|
|
|
|
PHREAK
|
|
Yo, what's up?
|
|
|
|
JOEY
|
|
Dude dude dude, I gotta talk to you a minute,
|
|
listen listen listen. I copied a garbage file
|
|
from...
|
|
|
|
PHREAK
|
|
Big deal. A garbage file's got shit in it,
|
|
Joey, come on.
|
|
|
|
JOEY
|
|
Nono, it's like hot or something. I don't know.
|
|
|
|
PHREAK
|
|
Joey, a garbage file holds miscellaneous data.
|
|
Junk. Bits of stuff that's been erased, man.
|
|
|
|
JOEY
|
|
I copied it from Ellingson, okay? They're
|
|
asking me about it, alright? Will you take a
|
|
look for me?
|
|
|
|
Joey hands Phreak the disc. Agent Bob is taking pictures,
|
|
and Phreak notices.
|
|
|
|
PHREAK
|
|
Oh shit, Joey, you've got a tail.
|
|
|
|
Joey sees, and runs for it.
|
|
|
|
JOEY
|
|
Shit!
|
|
|
|
The agents split up, one runs after Joey, the other after
|
|
Phreak.
|
|
|
|
INT. HIGH SCHOOL BOYS' ROOM.
|
|
|
|
Phreak has lost his tail. He puts Joey's disc behind a
|
|
condom machine in the boys' room at school, and sticks it
|
|
there with gum.
|
|
|
|
INT. PHREAK'S ROOM.
|
|
|
|
Phreak frantically destroys all records of his hacking
|
|
career. He knows he's about to be busted.
|
|
|
|
DREAM SEQUENCE.
|
|
|
|
The Secret Service is about to burst in on Phreak. He
|
|
still hasn't destroyed any records, and starts manically
|
|
going through everything. Gill is on his laptop screen.
|
|
|
|
GILL
|
|
I'm watching you...
|
|
|
|
INT. PHREAK'S ROOM. MORNING.
|
|
|
|
A knock on the door. Phreak awakes. It's his mother.
|
|
|
|
PHREAK'S MOM
|
|
Ramon? Wake up. Ramon! Wake up! Vamano.
|
|
Time for school, come on.
|
|
|
|
The secret service bursts in through the window just as
|
|
Phreak's mom opens the blind. She screams, Phreak leaps
|
|
to his feet.
|
|
|
|
AGENT
|
|
Secret Service, don't move!
|
|
|
|
PHREAK
|
|
Deja vu!
|
|
|
|
AGENT BOB
|
|
Ray Sanchez, you are under arrest, under the
|
|
Computer Fraud and Abuse Act of 1986.
|
|
|
|
Phreak's mom becomes very angry and starts slapping
|
|
Phreak, cursing in Spanish.
|
|
|
|
PHREAK
|
|
What are you waiting for, arrest me already!
|
|
|
|
INT. POLICE STATION LOCKUP.
|
|
|
|
The undersized Phreak is just a morsel to the hardened
|
|
thugs behind these bars and they taunt him viciously as he
|
|
is led to his one phone call.
|
|
|
|
COP
|
|
You get one call. Uno. Understand?
|
|
|
|
The cop locks the dial on the phone.
|
|
|
|
Phreak waits for the cop to leave, and hangs up. He
|
|
starts rapidly pushing the hangup hook, and he hears a
|
|
ringing tone.
|
|
|
|
OPERATOR
|
|
Hello, operator services.
|
|
|
|
PHREAK
|
|
Hello, operator? I'm having trouble dialing a
|
|
number.
|
|
|
|
OPERATOR
|
|
What number please?
|
|
|
|
PHREAK
|
|
555-4202.
|
|
|
|
OPERATOR
|
|
Just one moment.
|
|
|
|
PHREAK
|
|
Thank you.
|
|
|
|
Kate answers.
|
|
|
|
KATE
|
|
Hello?
|
|
|
|
PHREAK
|
|
Hey, it's me.
|
|
|
|
KATE
|
|
Phreak?
|
|
|
|
PHREAK
|
|
I'm freaking! Joey wasn't making it up! He
|
|
really hacked into Ellingson! He gave me the
|
|
disc with a file he copied and now I'm in
|
|
jail! They're charging me with some serious
|
|
shit! And there's stuff I didn't even do,
|
|
like inserting some virus called Da Vinci, and
|
|
they keep asking about you guys.
|
|
|
|
KATE
|
|
You think they're going to bust us?
|
|
|
|
PHREAK
|
|
Yeah! You better figure out what's on that
|
|
disc, cause we're being framed. It's in that
|
|
place where I put that thing that time?
|
|
|
|
He hangs up just as the cop returns.
|
|
|
|
INT. SCHOOL BOYS' ROOM.
|
|
|
|
Kate is entirely out of place in the boys' room, as the
|
|
boys look on amusedly. She finds the disc behind the
|
|
condom machine and pockets it. Then she buys a condom from
|
|
the machine and struts out, smiling sweetly, hot as fire.
|
|
|
|
INT. DADE'S PLACE.
|
|
|
|
Kate knocks. Mrs. Murphy lets Kate and Cereal in.
|
|
|
|
MRS. MURPHY
|
|
Hi!
|
|
(looking Kate over)
|
|
Well, now I see what all the fuss is about.
|
|
(she shows them to Dade's room)
|
|
Dade... you have company.
|
|
|
|
CEREAL
|
|
It's a nice room.
|
|
|
|
KATE
|
|
We need your help.
|
|
|
|
DADE
|
|
Do my ears deceive me?
|
|
|
|
Kate starts to leave.
|
|
|
|
CEREAL
|
|
Nonononono. Truce, you guys. Listen, we got
|
|
a higher purpose here, alright? A wake up
|
|
call for the Nintendo Generation. We demand
|
|
free access to data, well, it comes with some
|
|
responsibility. When I was a child, I spake
|
|
as a child, I understood as a child, I thought
|
|
as a child, but when I became a man I put away
|
|
childish things.
|
|
(pause)
|
|
What... It's Corinthians I, Chapter 13, verse
|
|
11, no duh. Come on.
|
|
|
|
KATE
|
|
Phreak and Joey are being framed. We need
|
|
your help to figure out what's on this disc.
|
|
|
|
DADE
|
|
I can't. Everybody who touches that thing
|
|
gets busted, I can't afford to get arrested,
|
|
I'm sorry.
|
|
|
|
CEREAL
|
|
Maybe I should just go to the bathroom or
|
|
something.
|
|
|
|
Cereal leaves the room.
|
|
|
|
KATE
|
|
What is it with you? I know we've been
|
|
playing games, but, we're supposed to be on
|
|
the same side and we really need your help. I
|
|
really need your help.
|
|
|
|
DADE
|
|
I'm sorry, I can't.
|
|
|
|
KATE
|
|
Well, could you just make a copy of the disc?
|
|
And just hide it in case we get busted, so we
|
|
have something to give our lawyers, something
|
|
that hasn't been tampered with? Can you do
|
|
that?
|
|
|
|
A knock on the door. Dade's mom peeks in.
|
|
|
|
MRS. MURPHY
|
|
Listen you guys, help yourself to anything in
|
|
the fridge. Cereal has.
|
|
|
|
She leaves.
|
|
|
|
KATE
|
|
(to Mrs. Murphy)
|
|
Thank you.
|
|
|
|
DADE
|
|
Okay. I'll copy it.
|
|
|
|
KATE
|
|
Okay, thank you.
|
|
|
|
Later. Plague phones Dade. Plague has Lauren Murphy's
|
|
records on his screen.
|
|
|
|
PLAGUE
|
|
The girl. The girl has the disc I need.
|
|
|
|
DADE
|
|
I told you, I don't play well with others.
|
|
|
|
PLAGUE
|
|
Turn on your laptop. Set it to receive a
|
|
file.
|
|
|
|
Dade does.
|
|
|
|
An extensive criminal record with a strange woman's
|
|
picture comes up. The strange woman transforms into
|
|
Dade's mother.
|
|
|
|
PLAGUE
|
|
Lauren Murphy is now a wanted felon in the
|
|
state of Washington. Forgery, Embezzlement,
|
|
two drug convictions, plus she jumped parole.
|
|
When she's arrested, she will not have a
|
|
trial, she will not pass go, she will go
|
|
directly to jail. Then I change this file
|
|
back to the original, and your mom disappears.
|
|
|
|
DADE
|
|
That's bullshit.
|
|
|
|
PLAGUE
|
|
What can I tell you. Computers never lie,
|
|
kid. Your mom will be arrested at work,
|
|
she'll be handcuffed, and later, strip
|
|
searched.
|
|
|
|
DADE
|
|
You lay a finger on her and I'll kill you.
|
|
|
|
PLAGUE
|
|
Kid, don't threaten me. There are worse
|
|
things than death and, uh, I can do all of
|
|
them!
|
|
|
|
Dade emerges from his room. His exhausted, overworked
|
|
mother is asleep on the couch. He pulls a blanket over
|
|
her.
|
|
|
|
EXT. PUBLIC PHONE, WET STREET, NIGHT.
|
|
|
|
Shortly after, Dade is outside on a payphone.
|
|
|
|
PLAGUE
|
|
Talk to me.
|
|
|
|
DADE
|
|
I got it. But listen, Kate didn't know what's
|
|
on it. I mean, she came to me to figure it
|
|
out. She's not the one who planted the virus.
|
|
You leave her alone.
|
|
|
|
PLAGUE
|
|
Hey, don't worry, kid. If she's innocent,
|
|
she'll be fine. Your mommy's safe now, okay?
|
|
|
|
Dade hangs up and waits for some time. A limousine drives
|
|
by, with a skateboarder tailing. Plague grabs the disc,
|
|
jumps in the limo and speeds away. Dade tries to chase
|
|
but gives up quickly.
|
|
|
|
INT. KATE'S ROOM.
|
|
|
|
Dade shows up. Kate, Nikon, and Cereal are working on the
|
|
disc.
|
|
|
|
DADE
|
|
Kate, listen.
|
|
|
|
KATE
|
|
Uh, hold on...
|
|
|
|
DADE
|
|
I have to tell you something.
|
|
|
|
CEREAL
|
|
Hold on a second!
|
|
|
|
NIKON
|
|
Look at this, it's so lean and clean.
|
|
|
|
CEREAL
|
|
Looks like a hacker wrote it.
|
|
|
|
KATE
|
|
Come here, look at this. This thing is dense.
|
|
|
|
Nikon points out part of the code.
|
|
|
|
NIKON
|
|
But that's ill, man. It's incomplete. This
|
|
is taking forever and a day to figure out.
|
|
I'm gonna make some coffee.
|
|
|
|
Dade takes Nikon's place.
|
|
|
|
CEREAL
|
|
Tag, you're in.
|
|
|
|
Hours pass. Dade studies and reverse engineers the
|
|
garbage file. The other hackers watch, and do just about
|
|
anything but be hackers. Finally, over boxes of
|
|
half-finished pizza, Dade makes an announcement.
|
|
|
|
DADE
|
|
This isn't a virus. It's a worm!
|
|
|
|
NIKON
|
|
What's this one eat?
|
|
|
|
DADE
|
|
It nibbles. You see this?
|
|
|
|
Dade indicates a rapidly scrolling data display.
|
|
|
|
DADE
|
|
This is every financial transaction Ellingson
|
|
conducts, yeah? From million dollar deals to
|
|
the ten bucks some guy pays for gas.
|
|
|
|
KATE
|
|
The worm eats a few cents from each transaction.
|
|
|
|
DADE
|
|
And no one's caught it because the money isn't
|
|
really gone. It's just data being shifted
|
|
around.
|
|
|
|
KATE
|
|
Right. And when the worm's ready, it zips out
|
|
with the money and erases its tracks.
|
|
|
|
DADE
|
|
Joey got cut off before he got to that part.
|
|
Check it out. By this point, it's already
|
|
running at, what, twice the speed as when it
|
|
started.
|
|
|
|
KATE
|
|
Right, and at this rate it ends its run in...
|
|
|
|
NIKON
|
|
Two days.
|
|
|
|
DADE
|
|
And judging by this segment alone, it's
|
|
already eaten about...
|
|
|
|
CEREAL
|
|
21.8 million bucks, man.
|
|
|
|
Nikon whistles.
|
|
|
|
KATE
|
|
Whoever wrote this needs somebody to take the
|
|
fall. And that's Phreak, and that's Joey, and
|
|
that's us. We've got to get the rest of the
|
|
file, so we can find out where the money is
|
|
going before the worm disappears, so we can
|
|
find out WHO created it.
|
|
|
|
DADE
|
|
I know, I know who wrote it.
|
|
|
|
KATE
|
|
What?
|
|
|
|
DADE
|
|
This Ellingson security creep. I gave him a
|
|
copy of the disc you gave me.
|
|
|
|
KATE
|
|
You what?
|
|
|
|
DADE
|
|
I didn't know what was on it.
|
|
|
|
CEREAL
|
|
(agitated)
|
|
Oh man. That's universally stupid, man!
|
|
|
|
NIKON
|
|
Yo, man, you an amateur, man.
|
|
|
|
KATE
|
|
Why did he come to you?
|
|
|
|
DADE
|
|
I got a record. I was Zero Cool.
|
|
|
|
NIKON
|
|
Zero Cool? Crashed fifteen hundred and seven
|
|
systems in one day?
|
|
|
|
Nikon closes his eyes and access his photographic memory.
|
|
|
|
NIKON
|
|
Biggest crash in history, front page, New
|
|
York Times, August 10th, 1988. I thought
|
|
you was black, man! Yo, man, this is Zero
|
|
Cool! Oh, shit!
|
|
|
|
CEREAL
|
|
That's far out!
|
|
|
|
NIKON
|
|
This is Zero Cool, man! Whooo, haha!
|
|
|
|
KATE
|
|
(coldly)
|
|
Well that's great. There goes MIT.
|
|
|
|
DADE
|
|
I'll make it up to you!
|
|
|
|
KATE
|
|
How?
|
|
|
|
DADE
|
|
I'll hack the Gibson.
|
|
|
|
NIKON
|
|
They'll trace you like that
|
|
(snaps his fingers)
|
|
man, cops are gonna find you, they're
|
|
gonna find you with a smoking gun.
|
|
|
|
DADE
|
|
Fucked if I care, man.
|
|
|
|
NIKON
|
|
Look, even if you had the passwords, it'll
|
|
take you ten minutes to get in, and you've
|
|
still gotta find the files, man, I mean, the
|
|
cops will have you in... five minutes.
|
|
|
|
CEREAL
|
|
Oh wow, we are fried.
|
|
|
|
KATE
|
|
(suddenly lighter-hearted)
|
|
Never send a boy to do a woman's job. With
|
|
me, we can do it in seven.
|
|
|
|
CEREAL
|
|
You're both screwed. I help, we can do it in six.
|
|
|
|
NIKON
|
|
Jesus, I gotta save all your asses. I help,
|
|
we can do it in five minutes, man.
|
|
|
|
DADE
|
|
Okay. Let's go shopping.
|
|
|
|
CEREAL
|
|
Woo hoo! Boom!
|
|
|
|
EXT. OUTSIDE ELLINGSON BUILDING.
|
|
|
|
Dade and Kate cut through a chain link fence and jump into
|
|
a dumpster at Ellingson. Kate lands on Dade.
|
|
|
|
DADE
|
|
You know, if I didn't live by a strict code of
|
|
honor, I might take advantage of this
|
|
situation. Erotically, as it were.
|
|
|
|
Kate fishes around in her pants, never breaking eye
|
|
contact with Dade. She pulls out a flashlight. They
|
|
start trashing. They get up to leave and are spotted by a
|
|
security guard.
|
|
|
|
GUARD
|
|
Alright, hold it right there!
|
|
|
|
Kate pulls out a flare gun and fires it at the security
|
|
guard. He ducks.
|
|
|
|
DADE
|
|
Shit!!
|
|
|
|
KATE
|
|
It's my subway defense system.
|
|
|
|
EXT. NEW YORK CITY STREET.
|
|
|
|
Nikon is staring down a manhole, Cereal is fishing through
|
|
an adjacent phone company truck.
|
|
|
|
NIKON
|
|
He's way down there.
|
|
|
|
Cereal emerges with a beltload of equipment and a hard hat.
|
|
But he forgot the most important thing.
|
|
|
|
CEREAL
|
|
Ta-da!
|
|
|
|
NIKON
|
|
Yo, brain dead, the manual!
|
|
|
|
Cereal goes back to the truck and gets a thick manual. The
|
|
phone company technician comes up from the manhole.
|
|
|
|
PHONE COMPANY TECH
|
|
Hey!
|
|
|
|
CEREAL AND NIKON
|
|
(in unison, pointing down the street)
|
|
TRUCK!!!
|
|
|
|
The phone company tech jumps back in the hole, Cereal and
|
|
Nikon take off.
|
|
|
|
INT. SECRET SERVICE BULDING.
|
|
|
|
A woman is seated at the desk. Agent Gill walks by.
|
|
|
|
WOMAN
|
|
Find it?
|
|
|
|
Cereal emerges from the desk, between her legs. His tool
|
|
belt dangles obscenely from his crotch.
|
|
|
|
CEREAL
|
|
Phone's alright. The problem must be
|
|
somewhere else.
|
|
|
|
Cereal walks away with his buttcrack seriously showing.
|
|
|
|
INT. ELLINGSON MINERAL OFFICES.
|
|
|
|
Nikon poses as a flower delivery boy. He winds his way
|
|
through the offices of Ellingson Mineral, "shoulder
|
|
surfing", watching the workers entering passwords. His
|
|
photographic memory captures everything. The Plague walks
|
|
past him, noticing briefly but not making the connection.
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
The Da Vinci virus' launch/cancel prompt is up.
|
|
|
|
MARGO
|
|
(pacing)
|
|
They had a large chunk of the garbage file?
|
|
How much do they know?
|
|
|
|
PLAGUE
|
|
Not everything. But enough to implicate us.
|
|
|
|
MARGO
|
|
You said the worm was untreaceable!
|
|
|
|
PLAGUE
|
|
Yeah. To civilians. But they're hackers.
|
|
But don't worry. All we have to do is launch
|
|
the Da Vinci virus, and then they'll all be
|
|
put away.
|
|
|
|
MARGO
|
|
Launch the Da Vinci virus? You can't do that!
|
|
|
|
PLAGUE
|
|
No one believes the guilty. Besides, by the
|
|
time they realize the truth, we'll be long
|
|
gone with all of our money.
|
|
|
|
Margo starts to protest.
|
|
|
|
PLAGUE
|
|
Look, there is no right and wrong. There is
|
|
only fun and boring. A thirty year prison
|
|
sentence sounds pretty dull to me. Who do you
|
|
prefer serves it, us? Or them?
|
|
|
|
Plague clicks on "Launch". The virus repeats its demand.
|
|
|
|
VIRUS
|
|
Unless five million dollars are transferred to
|
|
the following numbered account in seven days,
|
|
I will capsize five tankers in the Ellingson
|
|
fleet.
|
|
|
|
EXT. OPEN SEA.
|
|
|
|
As the virus speaks, a supertanker sails on a choppy sea.
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
Plague leaves a message on Gill's answering machine.
|
|
|
|
PLAGUE
|
|
(sternly)
|
|
The virus goes off tomorrow morning at 10:30,
|
|
and those hackers tried to get into our system
|
|
again. At this point I insist you take more
|
|
strenuous action, or Ellingson Mineral will
|
|
hold the Secret Service responsible.
|
|
|
|
Gill gets on the phone.
|
|
|
|
GILL
|
|
(grimly)
|
|
Get me arrest warrants on Kate Libby, alias
|
|
Acid Burn, Emmanuel Goldstein, alias Cereal
|
|
Killer, Dade Murphy, alias Crash Override,
|
|
also known as Zero Cool, and Paul Cook, alias
|
|
Lord Nikon. We pick them up tomorrow morning
|
|
at nine o'clock.
|
|
|
|
As Gill gives the order, a mysterious device under his
|
|
desk blinks. Cereal put it there.
|
|
|
|
INT. NIKON'S PLACE.
|
|
|
|
Nikon and Cereal taped Gill's orders.
|
|
|
|
CEREAL
|
|
Snoop onto them...
|
|
|
|
NIKON
|
|
...as they snoop onto us.
|
|
|
|
Nikon calls Kate.
|
|
|
|
KATE
|
|
Yeah, it's Kate.
|
|
|
|
NIKON
|
|
Hey, Burn. We got a little problem here.
|
|
|
|
INT. SUBWAY.
|
|
|
|
Cereal, Nikon, Dade and Kate skate through a run down
|
|
subway platform and get on the "A" Train. They go over
|
|
the results of their password gathering spree.
|
|
|
|
KATE
|
|
Alright, so what have we got?
|
|
|
|
DADE
|
|
Well, we have fifty passwords, plus whatever
|
|
Polaroid head here got inside Ellingson.
|
|
|
|
NIKON
|
|
Well, I got a lot, alright? I don't know how
|
|
many but... my head hurts.
|
|
|
|
CEREAL
|
|
Yo, everyone check this out. Hey, what's the
|
|
Da Vinci virus?
|
|
|
|
DADE
|
|
What?
|
|
|
|
CEREAL
|
|
Check this out. It's a memo about how they're
|
|
gonna deal with those oil spills that happened
|
|
on the fourteenth.
|
|
|
|
KATE
|
|
What oil spills?
|
|
|
|
NIKON
|
|
Whoa, whoa. Yo, brain-dead, today is the
|
|
thirteenth.
|
|
|
|
CEREAL
|
|
Well this hasn't happened yet.
|
|
|
|
KATE
|
|
Wait a minute, the fourteenth, that's the same
|
|
day the worm ends its run. I mean... Da Vinci
|
|
virus, didn't Phreak say that's what he was
|
|
being charged with? Look...
|
|
(quotes the memo)
|
|
"Infecting ballast programs of Ellingson
|
|
tankers" - they blame hackers!
|
|
|
|
NIKON
|
|
(angry)
|
|
Damn!
|
|
|
|
CEREAL
|
|
A worm AND a virus? The plot thickens.
|
|
|
|
Kate gets ready to get off the subway.
|
|
|
|
NIKON
|
|
Whoa, whoa whoa whoa, where are you going,
|
|
huh?
|
|
|
|
KATE
|
|
I got an idea. We've got a few hours, right,
|
|
till we get arrested. So just stay low. I'm
|
|
gonna go get some help. I'll beep you, okay?
|
|
(to Dade)
|
|
Are you coming?
|
|
|
|
Dade gets up.
|
|
|
|
CEREAL
|
|
May the Force be with you, man.
|
|
|
|
INT. INDUSTRIAL DANCE CLUB.
|
|
|
|
Weird music plays, lots of weird people dance. Razor and
|
|
Blade are on stage, dancing in front of a huge speaker.
|
|
|
|
KATE
|
|
There they are!
|
|
|
|
DADE
|
|
Razor and Blade! They're flakes!
|
|
|
|
KATE
|
|
They're elite! Let's get 'em.
|
|
|
|
Dade and Kate push through the crowd. The song changes to
|
|
a fast industrial rap number, Razor and Blade leave the
|
|
stage, and Dade starts getting moshed. He climbs on the
|
|
stage to follow Razor and Blade. For his trouble, he is
|
|
thrown back onto the crowd, who pass him around overhead.
|
|
|
|
Finally the crowd lets him go. He catches up with Kate.
|
|
|
|
KATE
|
|
I lost 'em. Where were you?
|
|
|
|
Dade tries to explain, but is at a loss for words.
|
|
|
|
They make their way to the entrance to Razor and Blade's
|
|
lair. Video monitors are everywhere.
|
|
|
|
DADE
|
|
I don't like this.
|
|
|
|
A robotic arm with a revolver swings around to point at
|
|
Dade.
|
|
|
|
DADE
|
|
AAAAAUGH! I definitely don't like this!
|
|
|
|
BLADE
|
|
(through video intercom)
|
|
What do you want?
|
|
|
|
DADE
|
|
Ummm... we come in peace?
|
|
|
|
Dade winces at his own corniness.
|
|
|
|
KATE
|
|
We need your help. If you're up to it.
|
|
|
|
RAZOR
|
|
She's buff. Ballsy.
|
|
|
|
BLADE
|
|
Let's keep her.
|
|
|
|
RAZOR
|
|
Waste the dude.
|
|
|
|
The gun goes off. It's only a cigarette lighter! No one
|
|
can accuse Razor and Blade of not having a sense of humor.
|
|
|
|
INT. RAZOR AND BLADE'S PLACE.
|
|
|
|
KATE
|
|
A virus called Da Vinci will cause oil spills
|
|
at 10:30 AM Eastern Time tomorrow.
|
|
|
|
DADE
|
|
It's somehow connected with the worm that's
|
|
stealing the money.
|
|
|
|
KATE
|
|
We need your help to overload the Gibson so we
|
|
can kill the Da Vinci virus and download the
|
|
worm program.
|
|
|
|
RAZOR
|
|
She's rabid, but cute.
|
|
|
|
BLADE
|
|
See, we're very busy. A TV network that
|
|
wishes to remain nameless has expressed an
|
|
interest in our show.
|
|
|
|
DADE
|
|
(noticing the stench of sellout)
|
|
Let's go, Kate.
|
|
|
|
RAZOR
|
|
Wait. Nobody said no. But you are going to
|
|
need more than just two media icons like us.
|
|
You need an army.
|
|
|
|
BLADE
|
|
That's it! An electronic army! If I were us,
|
|
I'd get on the internet, send out a major
|
|
distress signal.
|
|
|
|
RAZOR
|
|
Hackers of the World, Unite!
|
|
|
|
BLADE
|
|
How are you going to take care of the cops?
|
|
|
|
Dade just smiles.
|
|
|
|
INT. DADE'S ROOM.
|
|
|
|
Dade hacks into the city traffic light control system.
|
|
Suddenly there is gridlock on the streets of New York
|
|
City.
|
|
|
|
EXT. CENTRAL PARK.
|
|
|
|
Nikon is playing chess against two Hassidic Jews.
|
|
Cereal's beeper goes off. It displays the message:
|
|
|
|
GRAND CENTRAL
|
|
HACK THE PLANET
|
|
|
|
CEREAL
|
|
Yo. I'm blowing up. It's Kate, Grand
|
|
Central. Let's hit it!
|
|
|
|
Nikon checkmates his opponent and the two leave.
|
|
|
|
Dade, Cereal, Nikon, and Kate skate through the streets.
|
|
Dade's program to freeze all the traffic lights on green,
|
|
runs on schedule at 9:00:00 precisely. Picture New York City in
|
|
morning rush hour, and every traffic light is green. Instant
|
|
gridlock ensues. The four skate through the traffic easily, while
|
|
the Secret Service, now pursuing them, is stuck. Gill punches a
|
|
parked car in frustration. Its alarm goes off.
|
|
|
|
INT. GRAND CENTRAL STATION.
|
|
|
|
The four hackers skate into Grand Central Station and head
|
|
to the lowest level. They meet up with Joey.
|
|
|
|
CEREAL
|
|
Hey Joey, you made it!
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
The hackers are now setting up laptops at a bank of pay
|
|
phones. Dade is wearing a "Pirate Eye" eyepiece.
|
|
|
|
KATE
|
|
Now listen up, use your best viruses to buy us
|
|
time, we have to get into Plague's file and
|
|
copy the worm.
|
|
|
|
Cereal screams.
|
|
|
|
CEREAL
|
|
Ai! Boom boom aiaiaiaiaee! Alright, that was
|
|
a little tension breaker, that had to be done,
|
|
alright?
|
|
|
|
KATE
|
|
Cereal.
|
|
|
|
CEREAL
|
|
Yeah?
|
|
|
|
KATE
|
|
Go fix the phones.
|
|
|
|
CEREAL
|
|
Roger.
|
|
|
|
Cereal takes off to fix the phones.
|
|
|
|
KATE
|
|
Joey, take his place.
|
|
|
|
JOEY
|
|
What, me?
|
|
|
|
KATE
|
|
Take his place, man, do it. You can do it.
|
|
|
|
Joey takes Cereal's place.
|
|
|
|
KATE
|
|
Ready?
|
|
|
|
DADE
|
|
Yeah.
|
|
|
|
KATE
|
|
Alright, let's boot up.
|
|
|
|
The four boot up their machines. Various vanity screens
|
|
come up on the laptops. They begin to hack. We see the
|
|
inside of the Gibson. Viruses of all kinds begin to pour
|
|
in. In the offices and data processing rooms, the
|
|
Ellingson staff are in pandemonium. Happy faces with eye
|
|
patches appear on their screens. "Sit on my interface."
|
|
"Shit for Brains." "Arf Arf Arf!" Cookie monsters.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
The big monitor shows the attack in progress.
|
|
|
|
MARGO
|
|
What is it? What's wrong?
|
|
|
|
PLAGUE
|
|
Nothing, it's just a minor glitch.
|
|
|
|
MARGO
|
|
"Minor glitch" with you seems to turn into a
|
|
major catastrophe.
|
|
|
|
The main screen is filled with:
|
|
|
|
I WANT A COOKIE. GIVE ME A COOKIE NOW!
|
|
|
|
HAL
|
|
There's a new virus in the database.
|
|
|
|
MARGO
|
|
What's happening?
|
|
|
|
HAL
|
|
It's replicating, eating up memory. What do I
|
|
do?
|
|
|
|
PLAGUE
|
|
Type "Cookie", you idiot. I'll head 'em off at
|
|
the pass.
|
|
|
|
Another virus appears.
|
|
|
|
HAL
|
|
We have a Zero Bug attacking all the login and
|
|
overlay files.
|
|
|
|
PLAGUE
|
|
Run anti-virus. Give me a systems display!
|
|
|
|
The systems display comes up. Red flashes everywhere,
|
|
signifying new attacks. Plague presses a key.
|
|
|
|
PLAGUE
|
|
Die, dickweeds!
|
|
|
|
HAL
|
|
The rabbit is in the administration system.
|
|
|
|
Rabbit icons start to fill the systems display.
|
|
|
|
PLAGUE
|
|
Send a Flu-shot.
|
|
|
|
MARGO
|
|
Rabbit, Flu-shot, someone talk to me.
|
|
|
|
HAL
|
|
A rabbit replicates till it overloads a file,
|
|
then it spreads like cancer.
|
|
|
|
MARGO
|
|
Cancer?
|
|
|
|
The Da Vinci Virus sings "Row Row Row Your Boat".
|
|
Tanker ballasts start filling - for real.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
KATE
|
|
It's the Gibson, it's finding us too fast.
|
|
|
|
DADE
|
|
Man, there's too many garbage files, I need
|
|
more time.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
PLAGUE
|
|
They're at Grand Central Station, lower level.
|
|
Don't screw up.
|
|
|
|
EXT. GRIDLOCKED STREETS.
|
|
|
|
The Secret Service and NYPD are stuck. They turn around
|
|
and head for Grand Central Station.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
The public phone next to Dade's rings. Dade answers.
|
|
It's The Plague.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
PLAGUE
|
|
Game's over. Last chance to get out of this
|
|
without a prison sentence. You're not good
|
|
enough to beat me, you little shit.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
DADE
|
|
Yeah, maybe I'm not. But we are, you asshole.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
PLAGUE
|
|
Give it up! Just give it up.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
Kate's phone rings. It's Razor.
|
|
|
|
RAZOR
|
|
Are we fashionably late?
|
|
|
|
Hackers in England, Italy, Japan, Russia, everywhere
|
|
mobilize and start attacking the Ellingson Gibson. The
|
|
English hacker looks and talks suspiciously like Annie
|
|
Lennox's husband. Our heroes relentlessly search for
|
|
the right garbage file.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
SYSOP
|
|
We have massive infection. Multiple GPI and
|
|
FSI viruses.
|
|
|
|
HAL
|
|
They're coming in from remote nodes. They're
|
|
going after the Kernal!
|
|
|
|
MARGO
|
|
Colonel who?
|
|
|
|
HAL
|
|
The System Command Processor, it's the brain.
|
|
|
|
MARGO
|
|
Cancer, brain... Brain Cancer?
|
|
|
|
Duke Ellingson arrives.
|
|
|
|
DUKE ELLINGSON
|
|
Belford, what's going on?
|
|
|
|
PLAGUE
|
|
In short, Duke, a shit storm.
|
|
|
|
INT. GRAND CENTRAL STATION.
|
|
|
|
Dozens of armed Secret Service and SWAT troops push
|
|
through the crowded station looking for the hackers.
|
|
|
|
INSIDE THE COMPUTER.
|
|
|
|
The garbage file lights up. The familiar psychedelic
|
|
swirl of equations and fractal graphics returns.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
DADE
|
|
I found it! I found it!
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
PLAGUE
|
|
This is the end, my friend.
|
|
(smiling sickly)
|
|
Thank you for calling!
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
Dade is disconnected.
|
|
|
|
DADE
|
|
Oh, shit! He got me.
|
|
|
|
NIKON
|
|
Joey's getting stupid busy.
|
|
|
|
The SS and SWAT are still closing in on the hackers.
|
|
|
|
DADE
|
|
Joey. I need you to drop your viruses, go
|
|
after the worm. You're the closest.
|
|
|
|
The SS and SWAT push through crowds.
|
|
|
|
DADE
|
|
It's root slash period workspace slash
|
|
period garbage period.
|
|
|
|
The SS are nearly there.
|
|
|
|
Joey has found the file.
|
|
|
|
The SS arrive. Gill himself has his .357 drawn.
|
|
|
|
GILL
|
|
Freeze!
|
|
|
|
It's an empty bank of payphones, the receivers are linked
|
|
together and taped up. No hackers. They keep going.
|
|
|
|
GILL
|
|
(pissed off but determined)
|
|
Ahhh Come on!
|
|
|
|
Joey completes the download.
|
|
|
|
KATE
|
|
(to Razor and Blade)
|
|
Kill the Gibson.
|
|
|
|
RAZOR
|
|
Roger that.
|
|
|
|
INT. COMPUTER ROOM, ELLINGSON MINERAL.
|
|
|
|
PLAGUE
|
|
Come on you son of a bitch, is that all you
|
|
got, huh? Come on, let's see what else you
|
|
can do! You talking to me? Huh? Hahahaha.
|
|
Are you nuts? Come at me!
|
|
|
|
Margo and Duke are awed by Plague's imminent failure and
|
|
total unprofessionalism.
|
|
|
|
HAL
|
|
They're in the kernal.
|
|
|
|
DA VINCI VIRUS
|
|
Help... me...
|
|
|
|
The Da Vinci virus dies. The tankers stop capsizing and
|
|
right themselves.
|
|
|
|
WOMAN
|
|
(off screen)
|
|
The tankers have stopped capsizing.
|
|
|
|
SOMEONE ELSE
|
|
(off screen)
|
|
Ballast tanks are emptying. It'll be okay.
|
|
|
|
The main screen lights up:
|
|
|
|
ARF ARF!
|
|
WE GOTCHA!
|
|
|
|
MESS WITH THE BEST
|
|
DIE LIKE THE REST
|
|
|
|
PLAGUE
|
|
Little pissant!
|
|
|
|
The Gibson dies in a flash of light.
|
|
|
|
INT. GRAND CENTRAL PUBLIC PHONES.
|
|
|
|
The hackers cheer and congratulate each other.
|
|
|
|
NIKON
|
|
Yes!
|
|
|
|
DADE
|
|
We did it!
|
|
|
|
KATE
|
|
Let's get out of here!
|
|
|
|
GILL
|
|
FREEZE!
|
|
|
|
The SS have caught up with the hackers. Agent Bob seems to
|
|
be choosing which pore on which hacker's face to blow away
|
|
first. Only Joey thinks to put his hands up.
|
|
|
|
As they are led away, a handcuffed Dade surrreptitiously tosses the
|
|
disc with the worm into a trashcan.
|
|
|
|
EXT. GRAND CENTRAL STATION.
|
|
|
|
Outside, he notices Cereal, who wasn't present to be
|
|
arrested. He yells to the crowd, but really is
|
|
addressing Cereal.
|
|
|
|
DADE
|
|
They're TRASHING our rights, man! They're
|
|
TRASHING the flow of data! They're TRASHING!
|
|
TRASHING! TRASHING! HACK THE PLANET! HACK
|
|
THE PLANET!
|
|
|
|
GILL
|
|
Shut up and get in the car!
|
|
|
|
CEREAL
|
|
(understanding the hidden message)
|
|
HACK THE PLANET! HACK THE PLANET!
|
|
|
|
INT. GRAND CENTRAL STATION.
|
|
|
|
Later, Cereal is trashing through the garbage cans in
|
|
Grand Central Station. Eventually he finds the disc.
|
|
To Cereal's disgust, it has gum stuck to it.
|
|
|
|
INT. GILL'S OFFICE.
|
|
|
|
Gill phones The Plague to report the successful takedown.
|
|
|
|
PLAGUE
|
|
Hello?
|
|
|
|
GILL
|
|
We caught 'em.
|
|
|
|
PLAGUE
|
|
Good.
|
|
|
|
GILL
|
|
Red handed! You won't be having any more
|
|
trouble from them.
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
At Plague's place, Plague and Margo toast with champagne,
|
|
giggle, and then scurry off to bed...
|
|
|
|
INT. GILL'S OFFICE.
|
|
|
|
Dade and Kate are there.
|
|
|
|
DADE
|
|
Me, alright? I did it. She knows shit about
|
|
computers. She... she's just my girlfriend.
|
|
|
|
GILL
|
|
(laughing)
|
|
I suggest you modify your attitude. Because
|
|
you are floating. And I'm about to flush your
|
|
ass.
|
|
|
|
The intercom beeps.
|
|
|
|
AGENT
|
|
You've got a Mrs. Murphy to see you, sir.
|
|
|
|
Gill leaves.
|
|
|
|
KATE
|
|
Are you crazy? What are you doing?
|
|
|
|
DADE
|
|
I'm trying to help you.
|
|
|
|
She pauses, realizing his gesture.
|
|
|
|
KATE
|
|
Dade.
|
|
|
|
DADE
|
|
What?
|
|
|
|
KATE
|
|
Thanks for your help.
|
|
|
|
Dade turns on the intercom. Gill can be heard through it.
|
|
|
|
GILL
|
|
(grimly)
|
|
Your son is in big trouble. He has violated
|
|
his probation and he has engaged in criminal
|
|
activity.
|
|
|
|
MRS. MURPHY
|
|
My son happens to be a genius. He understands
|
|
something happening today that you won't
|
|
comprehend if you live to be a hundred, and he
|
|
would never use what he knows to harm a living
|
|
soul.
|
|
|
|
Agent Bob enters.
|
|
|
|
AGENT BOB
|
|
The news crew you requested is here.
|
|
|
|
MRS. MURPHY
|
|
Oh good. Cause I have a few things to tell
|
|
them.
|
|
|
|
GILL
|
|
Your son is facing thirty felony counts in an
|
|
ongoing investigation. You face possible
|
|
arrest if you do that.
|
|
|
|
MRS. MURPHY
|
|
Mister, I don't care if I face certain death.
|
|
|
|
GILL
|
|
Mrs. Murphy stays right here.
|
|
|
|
KATE
|
|
Oh, wow, she's great.
|
|
|
|
DADE
|
|
Yeah.
|
|
|
|
INT. SECRET SERVICE OFFICES.
|
|
|
|
The news crew interviews Gill.
|
|
|
|
REPORTER
|
|
...and attacked the Ellingson's computer
|
|
network. Is the last we've seen of this type
|
|
of high-tech espionage?
|
|
|
|
GILL
|
|
Well, I'm afraid not. Hackers are a grave
|
|
threat to the national security. This
|
|
incident just proves without a doubt that we
|
|
need increased funding to stop...
|
|
|
|
Nikon and Joey are led in.
|
|
|
|
The monitors cut into static, then Cereal appears.
|
|
|
|
SOMEONE
|
|
That kid cut him off!
|
|
|
|
CEREAL
|
|
Hold on, boys and girls. It is I, the Cereal
|
|
Killer, making my first coast to coast, world
|
|
wide, global television appearance. Yes,
|
|
that's right, I'm here to tell you about this
|
|
heinous scheme hatched from within Ellingson
|
|
Mineral.
|
|
|
|
Razor and Blade busily work on keeping him on the air.
|
|
|
|
CEREAL
|
|
But for what, you ask? World domination?
|
|
Nay. Something far more tacky. A virus called
|
|
Da Vinci, that when launched, would cause
|
|
Ellingson Mineral tankers to capsize was to be
|
|
blamed on innocent hackers. But this virus was
|
|
really the smokescreen, right. What could be
|
|
so vitally important to protect that someone
|
|
would create such a nasty, antisocial, very
|
|
uncool virus program?
|
|
|
|
Cereal is now seen and heard on the big screen in Times
|
|
Square.
|
|
|
|
CEREAL
|
|
But why? Could it be to cover the tracks for
|
|
this worm program? A worm that was to steal 25
|
|
million bucks. The password for this hungry
|
|
little sucker belongs to Margo Wallace, head
|
|
of public relations at Ellingson Mineral...
|
|
|
|
INT. PLAGUE'S LOFT.
|
|
|
|
Margo watches this and sits bolt upright in bed.
|
|
|
|
MARGO
|
|
Oh my God!
|
|
|
|
CEREAL
|
|
(continuing)
|
|
...and Eugene Belford, Computer Security
|
|
Officer.
|
|
|
|
INT. SECRET SERVICE OFFICE
|
|
|
|
GILL
|
|
(finally understanding what's been
|
|
going on all along)
|
|
Son of a BITCH!
|
|
|
|
CEREAL
|
|
(continuing)
|
|
What's this? Is this the unnamed account in the
|
|
Bahamas where the money was to be stashed? I
|
|
think so!
|
|
|
|
An account number scrolls below Cereal's chin.
|
|
|
|
CEREAL
|
|
Yo. I kinda feel like God!
|
|
|
|
His voice echoes across the earth and among the
|
|
satellites.
|
|
|
|
MARGO
|
|
Plague?
|
|
Eugene?
|
|
|
|
Almost supernaturally, Plague is already gone. He was
|
|
right next to her, stark naked in bed a second ago.
|
|
|
|
INT. SECRET SERVICE OFFICES.
|
|
|
|
The hackers embrace and congratulate each other again,
|
|
Lauren Murphy hugs her son.
|
|
|
|
INT. POLICE STATION, WOMEN'S LOCKUP.
|
|
|
|
Margo Wallace has been arrested, and is being led into the
|
|
women's lockup. Some of the other women grab at her
|
|
expensive Italian leather jacket as she is led to her cell.
|
|
|
|
MARGO
|
|
I don't even know how to work a VCR, let alone
|
|
a computer! Get off! Look, listen, I'll make
|
|
a deal. Eugene Belford! I know where his
|
|
mother is, I promise you. Get offa me! I need
|
|
a lawyer!
|
|
|
|
INT. AIRLINER CABIN. IN FLIGHT.
|
|
|
|
STEWARDESS
|
|
Here you are, Mr. Babbage. Flight time to
|
|
Tokyo should be about 14 hours today. Can I
|
|
get you anything else?
|
|
|
|
"Babbage" is The Plague in disguise; he now appears about
|
|
60 years old.
|
|
|
|
PLAGUE
|
|
Just a pillow please.
|
|
|
|
The pillow slides in behind his head, he reaches up to
|
|
adjust it.
|
|
|
|
PLAGUE
|
|
Thank you.
|
|
|
|
A handcuff snaps onto his wrist. It's Gill.
|
|
|
|
GILL
|
|
You're welcome.
|
|
|
|
PLAGUE
|
|
What's going on? Let go of me! Stewardess!
|
|
I'll never fly this airline again!
|
|
|
|
EXT. NEW YORK CITY SIDEWALK. NIGHT.
|
|
|
|
Dade and Kate are on their date. Dade is smartly,
|
|
somewhat androgynously dressed. Kate is heavily made up,
|
|
and yes, she is wearing a dress.
|
|
|
|
DADE
|
|
You look good in a dress.
|
|
|
|
KATE
|
|
You would have looked better.
|
|
|
|
DADE
|
|
Wanna go for a swim?
|
|
|
|
EXT. ROOFTOP SWIMMING POOL.
|
|
|
|
Dade and Kate swimming, fully clothed, in a pool on a
|
|
roof.
|
|
|
|
KATE
|
|
I can't believe they decided you won.
|
|
|
|
DADE
|
|
They didn't. The guys felt it was the only
|
|
way I'd get a date. Anyway, you're pretty
|
|
good. You're elite.
|
|
|
|
KATE
|
|
Yeah? You know if you would have said so in
|
|
the beginning, you would have saved yourself
|
|
a whole lot of trouble.
|
|
|
|
They look out at the skyline. Suddenly, the lights in
|
|
three buildings change. They spell out:
|
|
|
|
C B
|
|
R A U
|
|
A N R
|
|
S D N
|
|
H
|
|
|
|
Kate laughs, honestly impressed.
|
|
|
|
DADE
|
|
Beat that!
|
|
|
|
Kate continues laughing.
|
|
|
|
DADE
|
|
You know, I've been having these really
|
|
weird..
|
|
|
|
KATE
|
|
(finishing his sentence)
|
|
Dreams?
|
|
|
|
They kiss passionately.
|
|
|
|
The credits roll.
|