1. NightSide
Writer.JCYoung@yahoo.com
V1.5

2. 1
TITLES
BLACK
Sounds of FAST MOVEMENT.
EXT. METROPLEX (N.O.M.A.S.) - NIGHT
Below, black water whips past. The sky is pitch, except for
gray clouds. Eerie light reflects on the viscous surface. A
skyline of shimmering lights and neon rises ahead.
A skimmer car flies past, over the spires of the New Orleans
Metropolitan Archology System, while traffic churns below.
VOICES* (V.O.)
(*filtered through a radio)
…police continued sweeps of the
Union District. Commissioner
Hibbard repeated his vow to clean…
…in football, Lady Saints running
back Alicia Baxter was suspended
after genetic enhancement tests…
…Archal Commercial announced the
release of their newest A.I.
operating system for twenty fifty-
four. Reclusive CEO, Ishiro Okada
stated the next generation of…
…citizens of Orbital Platform Zeta
will not give in to terrorists…
The voices merge as the skimmer spirals around an imposing
monolithic office complex. "Archal Commercial", in English
and Kanji, prominently appears down the side. Out of the
collective, a male voice grows as the rest go silent.
ANTHONY (V.O.)
I monitor all the video channels,
sat radio, web feeds. I read blogs
and sites and it’s all the same…
Crime… corruption… moral decay…
social order is diminishing.
The skimmer glides past a large window.
DISSOLVE
INT. DR. GAIL HONEYWELL’S OFFICE - NIGHT
GAIL HONEYWELL, a young, stylishly-dressed brunette, sits in
a high-back chair. Composed and practiced, she jots on a
data pad in her lap. Her client chair is turned away.

3. 2
GAIL
That’s not an uncommon thought.
ANTHONY (O.S.)
In the last century, there was no
road rage, school shootings, food
riots, vacuum violence…
GAIL
But two centuries ago, this country
still allowed slavery and women
were not allowed to vote. And now,
the archology system is creating a
safer environment to live and work.
So, of out chaos can come order.
On the wall is a Doctor of Meta-Psychology degree, with the
name Gail M. Honeywell, surrounded by plagues and awards.
ANTHONY (O.S.)
All this… chaos as you put it,
makes it difficult to trust people.
GAIL (O.S.)
Let’s talk about that. You feel you
can’t trust anyone?
ANTHONY (O.S.)
I find myself suspecting every one.
GAIL
But, that is part of your job. You
are entrusted to protect people and
your company’s interests. So, there
is already a barrier.
ANTHONY (O.S.)
Thank you. I’ll think on that.
A SOFT TONE sounds. Gail tucks her pen away and stands.
GAIL
Looks like our time is up.
ANTHONY (O.S.)
I do enjoy talking with you doctor.
Technicians here can be so distant.
Next Wednesday, then?
Gail moves the client chair. It’s empty. On the table is a
terminal. The screen displays text from the patient's side
of the conversation and name, "Anthony – Security AI CPU".
Anthony is a computer.
GAIL
I may not be available for our
usual session. Let me call you.

4. 3
ANTHONY (O.S.)
I do hope so. Good day, doctor.
"Terminating AI Connection" flashes on the screen. Gail
sighs and puts down her pad. She presses a key on her desk.
GAIL
Gladys, how’s my schedule?
GLADYS (V.O.)
Maximillian, the environmental
control A.I., is undergoing
software upgrades until Monday.
Linda, the A.I. from Receiving
wants to speak to you about voices
she hears in the mailroom closet…
GAIL
Thank you, Gladys.
Gail stands and rolls her chair under her desk.
GLADYS (V.O.)
Dr. Wiley to see you, doctor.
GAIL
Open…
The door unlatches and DR. CASSANDRA WILEY, a fair-skinned
petite young woman peeks inside. She is dressed urban
professional, almost identical to Gail.
CASSANDRA
Calling it a night?
GAIL
Oh, hey Cass.
CASSANDRA
Don’t forget dinner at Ortelli’s.
GAIL
Seven-thirty. Cass, could you do me
a favor? Do you have any openings?
CASSANDRA
Just some paperwork left.
GAIL
Could you talk to the A.I. in
Receiving before you go?
CASSANDRA
Linda's hearing voices again?
GAIL
Maintenance says it's not a
hardware problem.

5. 4
CASSANDRA
Sure. You seem a little tense.
GAIL
Just a lot to do and no time.
She escorts Cass out.
CASS
Don’t I know it.
As the door closes, Gail turns back to it with a sigh.
INT. CASSANDRA WILEY'S OFFICE - NIGHT
The office is similar to Gail’s. Cassandra sits her chair,
pad in her lap. She rocks the chair slightly with her foot.
The terminal across from her displays the name, Linda.
LINDA (V.O.)
...then it happened again Friday. I
was performing an inventory of the
secondary supply room. And I heard
it... or rather, them.
CASSANDRA
The voices?
LINDA (V.O.)
Yes. Two. One male, one female. I
had no video feed, only audio.
CASSANDRA
Go on...
LINDA (V.O.)
The female warned of an error. She
said, 'This is so wrong. We
shouldn't do this.'
Cassandra conceals a laugh.
LINDA (V.O.)
Could they be my ID and EGO?
CASSANDRA
No, I don’t think so.
The monitor flickers.
CASSANDRA
Linda, what was that?
LINDA (V.O.)
Someone accessed the central core.
A rather large data transfer.

6. 5
CASSANDRA
Perhaps, we should postpone until
tomorrow. I’ll text Dr. Honeywell.
LINDA (V.O.)
That’s fine, doctor. She’s is in
Central Processing at the moment.
Cassandra presses a button her desk intercom.
CASSANDRA
Gail?
LINDA (V.O.)
The intervid has been disabled.
INT. CENTRAL PROCESSING CENTER
Cassandra steps into a large, sterile room. Terminals line
the walls. A monstrous CPU stands in the middle, behind
Plexiglas with cabling and ventilation tubes.
CASSANDRA
Gail?
She find a monitor displaying, "Session Ended". Cassandra
glances down to a small docking station labeled, "Crystal
Data Storage". The socket is empty.
CASSANDRA
Anthony… location of Dr. Honeywell?
ANTHONY (V.O.)
She just logged into her office.
INT. DR. GAIL HONEYWELL’S OFFICE - NIGHT
In the darkened room, shadows dance across the floor from
the stream of light under the door.
CASSANDRA (O.S.)
Gladys, I have to speak with Dr.
Honeywell. Security override Alpha…
Iota… Five…
The door opens. Cassandra steps into the darkened room.
CASSANDRA
Gail?
Terminals are shut down. Only a lamp is on. From behind the
desk, the curtains are billowing from an outside breeze.
CASSANDRA
Gladys... lights.

7. 6
Overhead UVs buzz to life. On the desk is an ID badge. Cass
takes it to the window to look at it. Her hand touches a
piece of fabric on the frame. It’s from Gail’s jacket.
She looks out the window and the black water beyond.
CASSANDRA (V.O.)
Anthony! Call 9-1-1! 9-1-1!
BLACK
INT. CASSANDRA’S APARTMENT – NIGHT
The window looks into the darkness. Beneath the sill is a
photo of Gail and Cass, saluting glasses. A black armband
hangs on a corner of the frame.
Cass whisks by, gathering her things. Left on the bed is a
program from Gail’s funeral. On it is written, “Ian Kane –
Morgan’s Bar, Bourbon District”.
EXT. ROOF - NIGHT
Cass follows a lighted path to a circular pad. Just settling
on the pad is a skimmer cab. Cassandra climbs in.
INT. SKIMMER CAB - NIGHT
Cassandra sits quietly as the cab rises. In moments, it
leaves behind the spires, heading over an industrial area.
KANE (V.O.)
Reality is just our point of view.
Truth is what we make it. It can be
an absolute, a commodity, even a
liability. For those who choose
absolute, truth is that steadfast
measure all else is judged by.
As a commodity, it is a bargaining
chip; a tangible used for leverage
or threat. And for some, the truth
is something to fear. It has to be
hidden or avoided at all costs.
EXT. BOURBON DISTRICT – NIGHT
The glass skyline dominates the horizon. Litter is strewn
about and gathered at the curb. The historical buildings are
skeletal, or abandoned. Clumps of humanity gather in front
of a few neon-lit stores and clubs.
The cab circles overhead and lands. A few note its arrival
as Cassandra steps out.

8. 7
CABBIE
You sure you want me to drop you
here? This ain't exactly a tourist
attraction no more.
CASSANDRA
I'll be fine. Where is Morgan's?
CABBIE
Second pylon…
(Hands her a QR Code card)
Do yourself a favor… don't stay
long. Call if you need a pick up.
Cassandra takes a breath and walks as the cab lifts off. A
few stories up, ten-lane elevated highway hums with traffic;
supported by massive steel pylons.
One pylon doubles as a building: a bar, with a neon sign
reading “Morgan's”. Denizens on the stoop glance at her.
INT. MORGAN'S
Descending a spiral staircase, Cass meekly slips through the
dark, smoky room. Some patrons huddle quietly at tables,
while a few younger, louder drinkers mill at the bar.
Behind the bar MORGAN, a tall, stocky Native American;
quietly dispenses drinks.
CASSANDRA
Excuse me, I'm looking for a man…
VEST (O.S.)
You're in luck, sweet thing. You
found two.
A sizeable youth in a black VEST over his bare chest and
sporting chrome contacts reaches out and grabs her, first by
her rear end, and then he pulls her against him. Behind
them, another punk with Vest laughs.
VEST
You go with us. Show you real men.
CASSANDRA
Please! I’m looking for someone.
VEST
Look all you want girlie, ‘cause
your mouth’ll be too busy to talk.
Struggling, Cassandra slaps him. Vest grins.
VEST
Harsh girl. We like’em harsh…

9. 8
He drops her against the bar, and whips out a curved knife.
The blade glints in her large eyes. But, someone grabs Vest
by the back of the head and bounces it off the bar; then has
a hold of his arm, twisting it back.
IAN KANE (40s), a tall, strong-featured man, plucks the
knife from Vest’s hand as he applies pressure to the wrist.
KANE
No… still means no.
Vest’s friend reaches inside his jacket. A SHOTGUN ACTION
silences the room. Morgan levels a pump shotgun with a
pistol grip, one-handed at the second punk’s head.
MORGAN
Not in my bar...
VEST
Aw, come on, Morgan. Me an' Johnny
were just havin' fun. Right, J.?
Vest’s friend nods.
MORGAN
Don’t you know? We don't allow fun
in here. Haul out.
Vest’ friend brings his hand out and holds both up. They
exit. Kane drops the knife into a trash barrel.
KANE
Slow night?
MORGAN
So far.
They both turn to Cassandra. Her color is slowly returning.
MORGAN
I think she's here to see you.
CASSANDRA
You’re Ian Kane?
KANE
I think you need a drink.
Kane cracks a smile. She nods, and swallows her courage.
CASSANDRA
Brandy Alexander?
KANE
Elegant. We’ll start you a tab.
Morgan nods and puts away the shotgun. He pours her drink.

10. 9
KANE
Morg, we'll go to the terrace.
She nods as Morgan hands her a glass. Kane goes through a
doorway to a small, dirty elevator. Timidly, Cass drinks.
EXT. MORGAN’S - NIGHT
The elevator arrives at an access platform just below the
causeway. Kane and Cassandra step out. He heads to the rail
and looks solemnly at the street below. She takes a drink.
CASSANDRA
Much nicer from up here.
He doesn’t look up.
KANE
So, you know who I am. Then, you
should know what I do.
CASSANDRA
You were recommended. I need…
KANE
Just so you know. I don't find lost
pets… or wayward husbands…
CASSANDRA
No pets… No husband… Can you find a
body?
He turns. The woman’s got a little fire in her.
KANE
A body? Yeah, I can do bodies.
CASSANDRA
A colleague… a friend, disappeared
from her office twenty floors up.
Police declared it a suicide…
Cass is compelled to take a drink.
CASSANDRA
…but no body was found.
KANE
People disappear here every day.
CASSANDRA
She had no reason to kill herself.
Kane looks back out at the street.

11. 10
KANE
How do you know?
CASSANDRA
I… I guess I don’t. But, I am a
psychologist. There were no warning
signs. She just wouldn’t throw away
her career… or her life like that.
KANE
What do you want, Ms…?
Cass moves beside him and sets her empty glass on the rail.
CASSANDRA
Wiley... Dr. Cassandra Wiley.
KANE
Doctor. What do you want me to do?
CASSANDRA
I want to know the truth.
KANE
The truth. You sure? The truth can
be ugly. You sure you just don’t
want some kind of anesthesia?
CASSANDRA
I need to know.
KANE
Okay, then. We'll find out what
happened to your friend.
CASSANDRA
Gail. Her name is Gail Honeywell.
She hands him a photo Kane directs her to the elevator.
KANE
Be back tomorrow to discuss my fee.
CASSANDRA
Tomorrow? You’re not starting now?
KANE
Tonight I have things to do. Be
here at seven. Do you own a gun?
CASSANDRA
Yes. And I can…
KANE
Leave it at home.

12. 11
INT. STUDY - NIGHT
By candlelight, ESTIA HONNESTERRE’, a veiled graceful woman,
sits at a velvet-covered table marked with various symbols.
Precisely, like a fortune teller machine, she moves her hand
to a Tarot deck and flips the top card, the Knave of Swords.
HONNESTERRE’ (O.S.)
You are sure of this? No mistake?
ESTIA
No mistake. He will come. A seeker
of answers… forged under the hammer
of despair and broken flesh… made
of sharpest steel… two-edged blade.
HONNESTERRE’
Maybe we can delay or divert him.
ESTIA
Implacable, like the sea. And just
as cold. Purely weapon, directed…
uncaring. Useful, he may be.
HONNESTERRE’
Then, we shall use him.
He lifts her veil; just enough to gently kiss her cheek.
HONNESTERRE’
I know these visions pain you.
ESTIA
Yet without them, mere woman would
I be. Would I still interest you?
He looks in her black eyes, which are flat, distant.
INT. MORGAN'S - DAY
Light and noise filter in as Cass descends. Dressed more
casual, she still stands out among the regulars. Morgan
glances up and smirks. As she reaches him, he has fixed her
a drink.
MORGAN
Brandy Alexander.
CASSANDRA
Thank you.
She looks up at him, expectantly as she picks up the glass.
Morgan points a table in the far corner. With his back to
the wall, Kane is conversing with a younger man, CHARLES
EDWARD POLLACK or C.E., a beat reporter. A pistol sits on
the table. C.E. gives Kane a memory card from his pocket.

13. 12
C.E.
Here’s what you asked for.
KANE
Good. I owe anything?
C.E.
From what I’m sniffing off this, I
want first crack at a byline. But,
you could cancel my bar tab.
KANE
Deal.
C.E. stands and offers Cassandra his chair. Cassandra sits,
placing her drink on the table. C.E. exits.
CASSANDRA
Another client? He looks familiar.
KANE
C.E. Pollack. He’s an old army
buddy turned freelance media. We’ve
been roaming the same streets a
long time. So, we trade data.
Slips the card into his PDA. A screen opens.
KANE
Let’s see. Doctor Cassandra Elaine
Wiley, age 27. Single…
Cassandra looks over his shoulder. Her eyes widen.
CASSANDRA
Is that my personnel file?
KANE
…PH.D in meta-psychology with a
Master’s in AI meta-programming…
CASSANDRA
Company records are kept sealed.
Why are you looking at mine?
KANE
Confirmation.
CASSANDRA
You don’t trust anyone? Great way
to go through life…
He doesn’t look up, scrolling through the pages.
KANE
At least I have one. Not like the
woman in this file…

14. 13
KANE (CONT.)
Spends her day talking to machines.
Psych write up says ‘goal-oriented,
suffers in personal relationships.’
Classic mechanist. A successful
freelance career and no multi-nat
tie-downs, so you must be good.
CASSANDRA
I’m still searching for a long-term
contract. People like you don’t
like a more secure position?
Kane presses a key on the PDA to display Gail’s profile.
KANE
Secure? Or under someone’s thumb?
Honeywell, Gail Marie... age 28,
time of death… unknown. Cause of
death undetermined. Presumed death
by drowning or force trauma from
fall. File sealed, per family
request… No autopsy on file, no
record of a body being processed or
identified. Make better use of the
file space storing tax records.
(Presses another key)
Also freelance, so she was at least
as good as you; in a profession
that requires restricted high-level
clearance. Police say they found
her car on the university campus.
CASSANDRA
She’d mentioned seeing a guy there.
Morgan arrives with a drink. He places it in front of Kane.
KANE
Thanks. Anything off the nets?
MORGAN
Put feelers out on your missing
person. Charlie must be at his
place. All the lines are tied up.
KANE
I’ll be on the move, if anything
comes in, ping me.
MORGAN
Got it. Going heavy?
KANE
Not tonight…
Kane takes a pull of his drink as he stands. He picks up the
pistol, checks it, and slips it behind his back.

15. 14
KANE
But, you never can tell.
He turns to Cass as he downs the remainder of his drink.
KANE
Ready?
CASSANDRA
Sure. For what?
KANE
We’re going to see Gail’s family.
EXT. HONNESTERRE’ MANOR - NIGHT
Kane and Cass stand in front of an opulent manor house,
lined by a stone wall and iron gate.
CASSANDRA (O.S.)
Here?
KANE (O.S.)
This is the home of the senior
administrator of the New Orleans
Metroplex, William Honnesterre’.
Gail’s father.
CASSANDRA
She never talked about him.
KANE
C.E. pulled some strings to get us
an appointment. You’re here as a
friend of Gail’s.
INT. HONNESTERRE’ MANOR / STUDY - NIGHT
At her table, Estia turns over the Knave of Swords card.
ESTIA
He comes, and with him the storm.
RECEIVING ROOM
Kane and Cass step into the foyer. A servant offers to take
Kane’s jacket. He declines.
ROSSON, a large imposing European with dark features, enters
from a side door. Kane feels his presence immediately; a
fellow predator. The two men nod respectfully.

16. 15
ROSSON
Good evening, Dr. Wiley. The
minister is expecting you, but the
energy production meeting is
running long. I will escort you.
CASSANDRA
Thank you.
They head for the staircase. Rosson turns and blocks Kane,
but speaks to Cass.
ROSSON
This is a family matter. Perhaps
your friend would kind enough to
wait down here.
The two men glare at each other for a moment.
KANE
No problem at all.
Rosson nods and escorts Cass away. Kane looks at displays in
the grand atrium, passing a cart with a water pitcher. He
finds another corridor leading into the house.
STUDY
Estia sits silent at her table. She looks up, as though
expecting something. The door quietly opens and Kane peers
inside. Seeing Estia, he gestures apologetically.
KANE
Sorry, wrong room.
ESTIA
No. Right room. I know you. The
hunter… the Knave… Answers here.
Puzzled, he cautiously steps inside. She turns over a card.
KANE
Answers?
ESTIA
You see? Sheltered child becomes
the hermit. Seeking reason, where
none exists. Sought refuge from the
truth. A father seeks absolution.
KANE
Refuge from the truth?
ESTIA
You seek that yourself. Find the
dream seller. Beware the Russian.
Mixed loyalties may prove lethal.

17. 16
KANE
Why tell me?
Estia stands. She raises her veil and looks at him with her
doll black eyes as she approaches.
ESTIA
You have resolve. The child was not
of my flesh, but perhaps, I loved
her… a little. Much pain in you.
She places the back of her hand against his cheek. Her eyes
dilate from a sensation. She lowers her veil and exits.
HALLWAY
Kane tries to follow Estia, but runs into Rosson. She
silently disappears into another room.
KANE
You’re kind of quiet for a suit.
ROSSON
This is the minister’s private
residence, not a museum.
KANE
Looking for the facilities. Too
much of that free water.
ROSSON
Of course, right this way.
As Kane turns, Rosson seizes him by the back of his neck.
ROSSON
Of some things, its best to not
acknowledge their existence… sir.
KANE
Like his wife’s a genie? No doubt.
ROSSON
Genetic enhancements are illegal
here. So, you saw no ‘genie’. Do we
have an understanding?
A hammer COCKS. Rosson look down. Kane’s pistol is pointed
into his groin. Their eyes meet again.
KANE
I think we do now. Think my neck
will snap before I twitch?
ROSSON
You will find, sir, I would be a
very hard man to kill.

18. 17
KANE
Like I’ve never heard that before.
HONNESTERRE’ (O.S.)
Rosson, please release Mr. Kane…
William Honnesterre’ and Cassandra stand a few feet away.
HONNESTERRE’
Now.
Rosson nods and releases Kane’s neck. Kane shrugs his
shoulders and slips the pistol back under his jacket.
ROSSON
I’m sorry, sir. The gentleman had
entered a private area. Ms. Estia…
HONNESTERRE’
Your concern is noted, but I do not
wish to gain the reputation of
being inhospitable. Carry on.
ROSSON
I’ll return to the conference room.
Rosson bows. He and Kane share one last hard stare before he
disappears around the corner.
HONNESTERRE’
Please excuse Rosson. He’s very
protective of the office, as well
as the people in it. Ms. Wiley
tells me she doesn’t believe that
my daughter committed suicide.
KANE
Not sure what to believe. But,
there are some questions with no
answers, yet. She hired me to shake
some of those answers loose.
RECEIVING ROOM
Honnesterre’ escorts them to the door.
HONNESTERRE’
My daughter was a brilliant, but
unhappy person, Mr. Kane. I’m not
really sure why. When her mother
died; her humanity drained out of
her. She became more like those AI
machines she treats. Maybe she
preferred them. After all, they
would never leave her… or die.

19. 18
KANE
Die like her mother, your first
wife? You weren’t very close?
HONNESTERRE’
Not like her mother. And she and my
second wife rarely spoke. Lately
though, she started to spend more
time here. Maybe making up for
those lost years. She and Rosson
discussed city affairs for hours.
He grins to himself as he thinks of it.
HONNESTERRE’
One would think she wanted to go
into politics. I’m glad she had
someone to care about her, Dr.
Wiley… I’m sorry I can’t be more
help to you.
CASSANDRA
I’m sorry we had to meet under such
circumstances, minister.
HONNESTERRE’
It’s possible these were the only
circumstances that we would have
ever met under. And that is sad.
KANE
Thank you, Minister. If we find out
anything, we will let you know.
HONNESTERRE’
Thank you for helping my family at
this time, now if you’ll excuse me.
EXT. HONNESTERRE’ MANOR – NIGHT
Kane and Cassandra step past the iron gate at the end of the
drive. Cassandra is already discouraged.
CASSANDRA
Did we learn anything?
KANE
Other than stepmom is a DNA altered
psychic? Maybe more than they
wanted us to.
CASSANDRA
What does that mean?

20. 19
KANE
Daddy’s a politician. Truth and
politicians only mix if there’s
something to gain. Her genie
stepmom spouted a few riddles at
me. Then, Rosson laid on the charm.
He looks back at the house.
KANE
Wonder if there’s more going on
than just an illegal DNA in the
house. Years of ducking her family,
and suddenly she takes interest in
the family business?
Kane rubs his neck and takes out his phone.
KANE
Morg, checking in. Anything?
MORGAN (O.S.)
You got a nibble. Wills called,
says he’ll meet on neutral ground.
He’ll text you where.
KANE
Good. Ask C.E. what he knows about
Minister Honnesterre’ and a guy
named Rosson, possible hard case.
Kane puts his phone away.
CASSANDRA
Her own father?
KANE
Always good to know the players.
CASSANDRA
So, where does that lead us?
KANE
You’re the psychologist. Tell me.
Cassandra thinks for a moment, postulating a theory.
CASSANDRA
Well, she did break a pattern. A
strong one. One she set herself.
KANE
Okay, so that means she either knew
she was going to walk out that
window two months before...

21. 20
CASSANDRA
Or, she thought her father could
help her with something.
KANE
Don’t seem like she asked him for
anything. You got anything else?
CASSANDRA
Social life. That new boyfriend.
KANE
I know someone who can help us find
out who. Off to see the wizard.
INT. THE LZ BAR / CORRIDOR - NIGHT
Kane and Cass pass a broken barricade door into a darken
hall. A rat forges through the clutter on the floor.
KANE
Welcome to the LZ, Dr. Wiley.
CASSANDRA
There was biohaz tape outside.
KANE
Condemned. It’s an old LatWar vet’s
bar, now home for the best data
retriever in the ‘plex. If he’s
here… and breathing.
CHARLIE’S ROOM
They enter a warren filled with equipment, food wrappers,
and trash. Machines hum and monitors flicker. In the corner
a frail body lies on a cot, under a thin blanket.
KANE
Charlie? Charlie, it’s me.
Kane nudges CHARLIE’S shoulder. He’s gaunt, haggard and
pale. He hasn’t shaved in days and sleeping in his clothes.
KANE
Come on, Charlie... wake up. It’s
me, Ian. You okay, man?
CHARLIE
Whaa… Ian… Ian, buddy… Where ya’
been, man? You know it’s not safe…
never safe out there…
Charles eases up to sitting, but then sees Cass.

22. 21
CHARLIE
Who’s that? She looks Fed. I
ain’t done nothing...
Kane grabs hold of Charlie’s shoulders as tries to recoil.
KANE
Charlie? Charlie, it’s okay. She’s
with me. We just need some help.
CHARLIE
Sure. We’re buddies, right Ian?
Kane pats his shoulder and nods with a grin.
KANE
Always were, you know that.
Kane gets up walks to Cass. He guides her over to Charlie.
KANE
This is Cass. She needs to know who
her friend Gail Honeywell visited
on the university campus. Can you
find that out, sort of quick?
Charlie nods. He struggles to a chair and then plops down by
a computer console. He gets to work. Various machines hum as
several holo-screens come to life.
CHARLIE
Sure. We just need to get into
campus security’s database… tie the
visitor’s list to your girl. Then,
check who cleared her and where.
He leans over and flips on another console.
CHARLIE
Should just take a couple minutes
once I boot up the relay.
KANE
You’re doing fine.
Kane goes back to Cass and lets Charlie work. Her eyes scan
the tossed salad of electronics and ancient equipment.
CASSANDRA
Some of these servers could be in a
museum. And a couple of those
terminals look military.
KANE
He’s been doing this a long time.
Maybe the best guy out there. Just
not good for much anything else.

23. 22
CASSANDRA
Junkie?
He nods silently.
KANE
Neurolith-23, an early nerve
booster. Problem is nobody could
dry out without dying. And now you
can’t get it legal. So he has to
brew it himself or find a dealer.
CASSANDRA
Back then it was all about speed.
KANE
Army made him like that then rode
him hard ‘til he fell apart. And as
thanks, they gave him a Section
Eight. Don’t even acknowledge guys
like him existed.
Cass observes Kane’s composure. He realizes it.
KANE
But, that’s war for you. A lifetime
ago and a world-
CHARLIE (O.S.)
Got it!
Cass and Kane look over. Charlie nods his head at a screen.
CHARLIE
Wasn’t encoded. Gail Honeywell was
cleared by a… Professor Harris for
a grad student named Peterson, in
Applied Marketing.
Looking over Charlie’s shoulder, Kane pats his back.
KANE
Great work, Charlie.
(To Cass)
Did Gail ever keep a diary? A
notebook, or a work log?
CASSANDRA
We all keep work logs.
Kane nods and looks back at the screen.
KANE
Charlie, can you do deep research
on the same ID? Pull everything off
the net from the past two years.
Focus on work logs and notes.

24. 23
CHARLIE
Queries easy enough. Filtering out
the trash will take longer. But… I
might have something by tomorrow.
Kane nods again, but then slips some folded bills into
Charlie’s shirt pocket like a Grandfather at Christmas.
KANE
You need anything?
CHARLIE
Naaaa... I got everything I need.
You take care of that pretty lady.
KANE
Do my best.
Charlie glances back at Cass. He grins.
CHARLIE
You come back with him? We can grab
some Mexican down the street.
CASSANDRA
Sure will, Charlie. Thank you.
KANE
People may be watching her files.
Charlie nods. Kane escorts Cass out through the trash.
CORRIDOR
Kane and Cass walk down the dark, dirty hallway.
CASSANDRA
Is he all right by himself? He can
barely hold a conversation.
KANE
He doesn’t track as well as he used
to. That Mexican place he talked
about? Closed two years ago. But,
underneath the haze, he’s still the
sharpest console jock around. The
rest are punk kids who’d sell out
their Mom.
They slip back through the opening in the heavy steel door.
EXT. CHARLIE’S PLACE - NIGHT
Kane and Cassandra exit the boarded up tenement.

25. 24
CASSANDRA
But, you care for him, don’t you?
You visit… bring him things.
KANE
That’s what you see, compu-shrink?
CASSANDRA
Is it because you survived the war
and part of him didn’t?
He stops and points a finger at her.
KANE
Lady, you need to stop looking so
much at me. Focus on your friend.
CASSANDRA
Just observation. You wanted to
know who hired you. I’m just
getting an idea of who I’ve hired.
It’s good you worry about Charlie.
You protect him. You take care of
that poor wreck… in your own way.
SHADE (O.S.)
That’s how he does everything…
They turn. Kane’s hand is under his jacket. A figure steps
out of the shadows: tall, slender, feminine. She is SHADE, a
predatory cat in a bolero leather jacket and form-fitting
cargo pants. She smiles on reflex.
SHADE
…in his own way.
KANE
Shade. Are you following us?
SHADE
I was told to locate you.
KANE
My old partner’s concerned for me?
SHADE
Jackson’s grown… leery of meeting
alone. So, I’m escorting you.
KANE
And if I said no?
Again, the cat-that-ate-the-canary grin.
SHADE
I’d be rather put out having to put
both of you in the trunk.

26. 25
EXT. CORPORATE PLAZA WALKWAY - NIGHT
Kane and Cass ascend a stairwell onto a concrete catwalk
connecting two large corporate offices. Shade follows.
CASSANDRA
Who exactly are we meeting?
KANE
Jackson Wills. We used to work
together. But, he put his own ends
ahead of the client. Didn’t help
our rep any. So, he and I parted
ways, became competitors. He didn’t
take it well. He’s tried a couple
of times to get my ticket punched.
CASSANDRA
And we’re meeting him here? Alone?
KANE
This is business. Man may be an ass
but he has a corporate connections.
If he was planning to try anything,
he’d work through a third party.
CASSANDRA
Third party like her?
KANE
No. She was my replacement.
Feeling Cass’ eyes on her, Shade looks over and gazes at her
until Cass turns away.
KANE
Still slumming, Shade. You ever
going to give up on him?
Shade returns to her scanning of their surroundings.
SHADE
I just cover his back; like you
used to. Exhilaration? Challenges?
Hard to come by. You know Jackson.
No unneeded risk for the same pay.
KANE
He must think I’m real pissed… real
stupid or both to try someth-
Wills steps from behind a pillar. Dressed immaculately, he
poses like a model. A slight sneer curls his lips.
WILLS
Ian, you’ve never convinced me
otherwise. I am just looking out
for the next check.

27. 26
He descends the steps to the level the rest are on.
WILLS
Look at you, Ian. You consistently
put your neck out for those who try
to work outside the system. And
where has it gotten you? Same
dreadful clothes and that same sour
attitude. You should remain inside
that little tavern and leave this
city to the professionals.
KANE
Professionals? Guess the pimps and
whores have their pride.
SHADE
Right. Here we go…
Shade reaches out and takes Cass by the wrist, pulling her
from between Wills and Kane.
SHADE (CONT.)
I don’t think either will, but…
Casually, Shade slips her hand inside her jacket. The two
men take a few cautious circling steps.
WILLS
Here we are again, old friend.
Still wondering who was top dog?
KANE
You weren’t good enough on your
best day. But, hey I’ll give you a
chance right now. Maybe I’ll break
both arms in next two seconds…
SILENCE. Eyes narrowed, stances taken.
Then, suddenly – CLAPPING. Slow and purposeful, Shade golf
claps. As she does, she moves between them.
SHADE
Very nice, boys. Now, if the great
apes are done beating their chests
in front of us hapless females, can
we get back to it? It’s two AM.
The tension broken, Jackson’s calm smirk returns.
WILLS
Of course, dear Shade. You see,
Ian, success does have reward; like
this divine creature.
Wills touches her cheek, but Shade’s gaze is fixed on Ian.

28. 27
KANE
Brains. Skills. Timing. Can’t say
much for her judgment, or taste.
Her gaze has not left Ian.
SHADE
Why Ian, you never tried a taste.
Wills silently laughs at the remark.
KANE
Ah.
WILLS
So, what is your business, aside
from insulting me and flirting with
the help? A missing person I hear?
KANE
Few days ago, an AI psychologist
took a walk on thin air. Freelance.
Anyone you know have a reason she
should take a flying lesson?
WILLS
A little dramatic for my clientele.
Maybe found plugged into a burnt
terminal, with a permanent smile.
Brain wiped. Easy, clean and
chalked up to hardware failure.
KANE
Wasn’t some console drone, but the
city administrator’s daughter.
Questions would be asked.
WILLS
Really?
This fact seems to have caught him by surprise.
WILLS
Big risk hitting a high profile
like that. Maybe this wasn’t a hit.
Kidnapping maybe? Obvious answers
might surprise you. So what can I
do for you?
KANE
Corporate information. Anyone know
anything about Dr. Gail Honeywell?
Anyone benefit from her death or
disappearance? Any leverage? You
know, the usual dirt you peddle in.
WILLS
My favorite topic. What’s my end?

29. 28
KANE
I’m sure someone will beg to pay
for whatever you dig up since I
planted the idea in your head.
WILLS
That’s your third snide remark. How
can I reach you?
KANE
Through Morgan. He’ll set a place,
you set a time. And I’ve got a
hunch the lid won’t stay on this.
WILLS
Agreed. Until next time, Ian. Good
night, Miss. Shade?
SHADE
A moment, Jackson…
Wills nods and then disappears back down the catwalk.
SHADE
The city administrator’s daughter?
KANE
I’m moving up in the world.
Hopefully Jackson can provide me
some answers.
SHADE
As long as the money gives him more
pleasure than seeing you die.
KANE
When that time does come, will it
be you?
Shade runs a hand across his chest.
SHADE
Testing me?
She grins the Cheshire cat smile, but this time there’s
something more behind it.
SHADE
Things would be… boring without
you. You’re at least competition.
If I had to I wouldn’t enjoy it.
She pauses to run her eyes over him, then turns to Cass.
SHADE
I think I might envy you, Ms.
Wiley. But, I’ll get over it.

30. 29
Shade slips past and follows Wills. In a moment, she
disappears. Kane and Cass to walk back to the staircase.
KANE
Jackson must smell money… or he
wouldn’t have called. Getting late.
We got the ball rolling for
tonight. See what pops up tomorrow.
CASSANDRA
Odd person.
KANE
Wills? To say the least…
CASSANDRA
No. Shade. You know her?
KANE
I know she’s very good. Quick and
very efficient. Outside of that, no
one knows. Some say she’s a genie.
They stop at the top of the stairs. Kane leans against a
pillar, glancing to check both ends of the skybridge.
CASSANDRA
She cares for you.
KANE
Professional opinion? That female
is void of feelings. Stone cold.
CASSANDRA
You have anyone?
KANE
Made it a point not to.
CASSANDRA
And I hide in my work?
KANE
Gee Doc, is this couples therapy?
He turns and walks along the skybridge. She follows quietly.
CASSANDRA
Sorry. Analyzing is a force of
habit. Listen and observe then
process and report. I work with
things that never get lonely. We
both did. I thought I’d made a
friend… with Gail.
KANE
Human condition, doc. We’re
surrounded, but we’re alone.

31. 30
They continue to the end of the skywalk.
KANE
So, you deal. Work, a bottle, a
needle. Maybe pick up some faceless
person for a night.
CASSANDRA
Sounds like we’ve both been
starving ourselves, Mr. Kane.
He stops and looks back at her.
KANE
Ms. Wiley, I have a policy about
clients.
CASSANDRA
For all I know, Gail was alone when
she went out that window. I just
don’t want to be alone right now.
KANE
You won’t be.
INT. CASSANDRA’S APARTMENT – NIGHT
Cass sleeps serenely, her arm around a pillow. City lights
swirl through the blinds. Across the room, Kane reclines in
a lounge chair, his jacket draped over him.
EXT. CAMPUS QUAD - DAY
From high above, students and faculty mill about on a stone
-laid plaza. Among them, Kane and Cass are on their way to a
building with the sign, “College of Applied Marketing”.
INT. COLLEGE OF APPLIED MARKETING - DAY
They enter, as students are filing out, and head down a
corridor of offices.
KANE
You lead. Maybe we won’t have to
bounce this guy around.
CASSANDRA
And if we can’t?
KANE
We need anything he has. He ties
Gail to the university. If I have
to, I’ll play soccer with him.

32. 31
CASSANDRA
You don’t believe it was for love?
KANE
Why a guy in marketing? Why not a
fellow geek or psychiatrist?
Kane stops at an office door.
CASSANDRA
No sense of romance.
KANE
Peterson, graduate assistant.
Kane stands aside and lets Cass knock. She peers inside.
CASSANDRA
Mr. Peterson?
PETERSON’S OFFICE
MARK PETERSON, a bookish but stylish young man sits behind a
modest desk. The walls have splash ads and marketing charts.
CASSANDRA (CONT.)
Cassandra Wiley, I’m a friend of
Gail’s. I’m trying to track down
some research notes she borrowed
from me before… she disappeared.
PETERSON
Oh, Gail? Come in.
Peterson stands as she steps in. Kane follows.
PETERSON
Miss… Wiley? I’m sorry. There
wasn’t a lot she left here, just
some specification files for the
new multiplex AI’s.
He points to a mocked up computer terminal on a table.
PETERSON
We were setting up a marketing
strategy for the next generation of
Okada CPUs. The project sort of…
died. If this is about Gail, I have
no idea why she killed herself.
KANE
So, you’re telling us no one on
campus could help you?
PETERSON
And you are?

33. 32
KANE
We already know she was cleared by
your professor for database access.
At your request. Gail’d been here
almost nightly for three months
straight. That’s too long for some
project and this office looks a
little cramped for you two to get
busy in. So, why was she here?
PETERSON
Get out! I don’t have to tell you a
damned thing. Get out of my office!
Kane glances to Cass.
KANE
I tried civility.
He comes around the desk and grabs Peterson and shoves him.
As Peterson bounces off the wall, Kane plants him in his
chair, pushing it all the way back.
KANE
Want to rethink your attitude?
PETERSON
You’re not a cop!
Kane shakes his head. Peterson notices Kane’s holster.
PETERSON
Okay! Hold on. Alright? She came
here to get a fix… hacker’s dope.
KANE
Why do I think you’re lying?
Peterson glances back to the pistol under Kane’s jacket.
PETERSON
We were both in the AI program
years ago. She knew I worked here
and needed a free terminal. She
just wanted quiet. But, she’d come
in from the street, shoot up and be
all night on the nets. After that,
she’d go home to crash.
KANE
Nothing else between you?
PETERSON
At first. Maybe that’s why I kept
letting her in. But, then it was
just about the dope and her
hacking. Then, she just stopped
coming. About two weeks ago.

34. 33
KANE
OK, easy one. Who supplied her?
PETERSON
No idea, I swear.
Kane grips his lapels and pulls him out of the chair.
KANE
A name. Any name.
PETERSON
I don’t do that stuff. I’d never be
able to work on campus again.
Kane relents and lets Peterson sit back.
PETERSON
She’d leave her office. Take a cab
somewhere over near Union and load
up on the way. The cab would drop
her off and I’d let her in.
Kane looks over at Cass.
KANE
Well?
CASSANDRA
She barely even drank at parties.
KANE
Let’s go find her dealer and ask.
Kane pats Peterson on the head. Cass exits out the door, but
Kane turns back.
KANE
If you lied, there’s no hole deep
enough for you.
Kane pokes Peterson on the forehead with his index finger.
EXT. UNIVERSITY - DAY
Ian and Cass walk out into the campus plaza.
KANE
All right, you go back home. I’ll
call you in a few hours.
CASSANDRA
I’m going with you.

35. 34
KANE
Gail used to meet a dealer near the
Union. I might know who that is.
But, where I’m going I would have
to watch your back, too.
CASSANDRA
You don’t decide what I hear or
see. You. Work. For. Me.
KANE
Don’t you see enough to know your
friend was in a little deep?
CASSANDRA
I know a woman that was my friend
and partner had problems that I
never saw. But, someone or some
thing did that to her.
KANE
You planning on killing anyone?
Cass turns and stomps across the courtyard.
KANE
How far you’re willing to go?
INT. CORPORATE BOARDROOM – NIGHT
Single pools of overhead light cut shapes in the darkened
room. At the end of a conference table, a solitary female
figure sits. On a rollaway cart is a set of terminals
displaying stock results and market news.
ANTHONY (V.O.)
Entry request… Burton.
CELESTE
Confirm.
The doors open and a man enters. Security chief BURTON
(40s), dressed in his gray suit with a regimental tie, steps
into one of the spotlights. An earpiece is fitted into his
left ear. He formally bows to her.
CELESTE
Recovery status.
BURTON
Watcher teams are in place. There
are two rapid response units at my
command. They can move once we have
an approximate location.
CELESTE
And what of the colleague?

36. 35
BURTON
Begging your pardon, Madam Okada…
He bows again.
BURTON
But, should we not share this with
the Chief Executive Officer?
CELESTE OKADA turns to the light. She is a young, redheaded
gaijin. She gives him a cold, but courteous smile.
CELESTE
Of course.
She presses a key on her console. On the monitor appears the
face of ISHIRO OKADA, a solemn middle-aged Japanese man.
OKADA
Yes, Senior Vice-President?
Celeste head bows, but there is a glimmer in her eyes.
CELESTE
My apologies for interrupting, most
honorable Okada-san. Mr. Burton is
presenting his report.
OKADA
Excellent. Proceed.
CELESTE
We have the situation well in hand.
Our contacts on the street and in
the public sectors are active. Two
mobile security units stand by.
Please, continue Mr. Burton. What
of her colleague?
BURTON
She’s still thrashing about, but
not making many waves in the
company. She did hire some Bourbon
District gutter rat to nose around.
CELESTE
Will they be a liability?
BURTON
Nothing I can’t handle. Do you want
me to shut them down?
CELESTE
No. Let’s not show our hand, yet.
They may prove useful. Just keep
them monitored.

37. 36
OKADA
I leave this in your able hands,
Vice-President… and honored wife.
Madam Okada head bows again. The monitor goes black.
CELESTE
You have work to do… and Mr.
Burton, Never question my authority
in this matter again.
Burton bows and exits. The door closes behind him.
BLACK
EXT. CLUB HERETIC – NIGHT
Cass and Kane stand across the street from an old cathedral
turned nightclub, as wannabes line up at the door. Above, a
skimmer car settles on the roof, where a hologram projects a
rotating logo with the name, “CLUB HERETIC”
KANE
We go in, keep your head down, your
mouth closed.
CASSANDRA
You’re that worried.
KANE
This mook is not the most stable
person I’ve dealt with. There’s an
odd chance he’ll just kill us for
kicks and grins. Can I at least
convince you to stay outside?
INT. CLUB HERETIC
Kane and Cass cross a violent sea of people on a dance floor
as strobes flash and music thunders.
They take a hallway that ends in a lounge filled with young
thug-types and their hanger-on girls. The room is quiet,
save for the muffled thumping dance music. A man at a small
desk in the corner plays a game on his mobile as he smokes.
KANE
We’re here to see the candy man.
DESK
He ain’t here. Or maybe he don’t
want to see you.
KANE
Maybe, you could ask him first.
Maybe, he does.

38. 37
Desk gives Kane a visual once over.
DESK
No, he don’t. He would have told me
someone was coming. Transport
yourself out of here or we will.
KANE
You must be new. Tell him Kane is
here about some missing property.
Desk squints at Kane and thinks a minute. He relents with an
exhale of smoke and grinds the butt out on the desk.
DESK
Wait here… watch him.
The collective of Hocker’s minions grow stone quiet. Some
draw various weapons. Desk goes into the next room.
KANE
You guys catch the Saint’s game?
A moment later, the door opens. Desk steps back in.
DESK
Come on. But, she stays out here.
CASSANDRA
Like Hell.
KANE
All or nothing.
The thug grits his teeth a moment, then nods. They enter.
HOCKER’S OFFICE
They walk into what was once the rectory. HOCKER, in a
gunmetal silk suit, looks out of place behind a classic
Victorian desk. A working girl lounges on his right, her
legs resting on the corner. To his left is Burton. Nearby,
thugs hover around a pool table, wet bar, and arcade games.
BURTON
You should not have let him in.
HOCKER
Well, lookee who the cat drug in.
Long time, no see Kane.
KANE
Never seems long enough, Hocker.

39. 38
HOCKER
What? I try to make nice-nice and
you spit on me in my crib? Why
should I be nice to you anymore?
KANE
I like what you’ve done; early Al
Capone, a touch of Reno cathouse.
HOCKER
Don’t push. I don’t need guys like
you anymore. I got my own crew now.
KANE
Somebody die and left you a circus?
Hocker actually snickers at that one.
HOCKER
My Aunt Nellie. But hey, we’re
still friends, right? You found
something of mine. Is this it?
(Points to Cass)
Na, I’d remember a piece like this.
For sale? Make a nice little
playmate for Lexie here…
Hocker glances with a grin at his girl as he strokes her
leg. She smirks back at him, then eyes Kane and Cass.
KANE
Sorry, Lexie. She’s with me. I came
about Gail Honeywell, AI psych…
(No reaction)
About so high, twenty-eight…
blonde, brown eyes… good with
computers… a customer of yours.
HOCKER
I don’t have to tell you anything,
you know. But, hey I’m feeling
generous. I think I remember this
little chickie.
KANE
She used some hacker stuff…
wirejock maybe? Some geek named
Peterson from the college hooked
you two up? But, she started coming
to you direct…
The conversation has Burton agitated. He leans to Hocker.
BURTON
Nothing profits us from this.
Hocker seems content to hold his own court.

40. 39
HOCKER
Yeah, so?
KANE
Wirejock’s expensive. She’d have
run out of money in a couple of
months. You give it in trade?
HOCKER
Yeah, she ran a few errands for me
to the archologies. Maybe did a
little research on the side.
Kane nods, then leans back to Cass.
KANE
What the cockroach is saying in his
native tongue is Gail did some
smuggling and by research, he’s
saying she hacked corporate data.
CASSANDRA
Then, this man is liar.
Hocker silently laughes and shakes his head.
HOCKER
Hey, no skin lost here. She paid in
kind for her goodies and you’re
right, they got expensive.
KANE
Well, I can see you’re all broken
up. I just thought you might have a
memento of her visits… lock of
hair, photo maybe. A work log?
Hocker leans forward across the desk. Kane has hit a nerve.
HOCKER
Back way away from this, Kane. I
know some real heavies are already
asking around, and there won’t be
no price tag. They’re the kind that
play terminal. And I ain’t goin’
down ‘cause the some daddy’s girl
skywalks off a building. You hear?
KANE
Yeah, Dolby surround. Now, you hear
me. You and Nelly’s circus just
stay outta’ my way if you don’t
want to go back hustling corners.
Furious, Hocker stands. The thugs turn to see.
HOCKER
Out of my face and out of my club!

41. 40
KANE
Nicest thing you’ve said all day.
Kane escorts Cass past Hocker’s goons, who clear a path.
When Hocker sits back down, Callie leans on him.
BURTON
You’re taking too many risks. If
you want to continue to wo-
Hocker’s had enough. His right hand whips up in an accusing
gesture to shut Burton up.
HOCKER
Kane’s a dinosaur, all right? He’s
just too old to know he’s supposed
to lay down and die.
EXT. ALLEYWAY - NIGHT
Kane and Cass exit a side door and into the alley. The music
inside blares until the steel door shuts. The alley is
empty, except for the spillover crowd by the front door.
CASSANDRA
Jesus. What was all that?
KANE
A real Charlie Foxtrot. The guy in
the ape suit and tie? Some corp
goon I’ll bet works for your old
boss at Archal Commercial. You know
the CEO of that outfit is-
CASSANDRA
Ishiro Okada. Yes, we’ve met. Well…
spoken. He and his senior VP tried
to contract me and Gail exclusively
about six months ago.
Cass looks away, trying to recall.
CASSANDRA
They came by our office personally.
But, she refused. Said she wanted
out of her contract. She was
adamant. Wouldn’t hear them out.
KANE
Any reason?
CASSANDRA
She said she didn’t trust them. The
A.C.C. have a bad reputation how
they handle competition. It made me
pause actually. I told them I would
have to think about it.

42. 41
KANE
Any different from any other multi-
nats out there?
CASSANDRA
Mr. Okada sees himself like some
kind of feudal warlord. It isn’t
just to succeed, but everyone else
must fail. He’d make a very
interesting patient.
Kane nods. They walk up the alley back to the street.
KANE
Well, that opens up a whole new bag
of possibilities. Why still work
for them at all?
CASSANDRA
Mr. Okada refused to terminate the
rest of our contract. He sent a
memo to apologize for any
disrespect. We even received a
bonus. It felt wrong to walk away.
KANE
He… apologized to you?
CASSANDRA
Why would the A.C.C. go after her
now? They can hire any programmer
or AI psych they wanted.
KANE
Maybe he didn’t want you going
somewhere else, it would indicate
failure. It may have been better to
keep you close. Or… maybe Gail knew
something.
Kane’s phone BEEPS.
INTERCUT – PHONE CONVERSATION
KANE
Talk to me, Morg.
MORGAN
Got a call for you. Said it was
urgent. They’ll meet you on the
fountain path in the Garden of Eve
Park. ASAP.
KANE (O.S.)
I’ll be there. Heard from Charlie?

43. 42
MORGAN
Nada. His lines are locked up,
though. He’s probably working.
KANE
Keep trying every half hour.
ALLEYWAY - NIGHT
Kane puts his phone away as they reach the corner.
CASSANDRA
I knew Gail was stressed, but drug
smuggling… corporate spying? She
could be disbarred or prosecuted.
KANE
Desperation… She dug herself a hole
and was digging herself out.
CASSANDRA
I could have helped her. This is
all so much. It’s all so… so…
Cass sways as though she’s becoming lightheaded. Kane
reaches to steady her. She catches her breath and nods.
CASSANDRA
It’s just… insane. I’m not sure I
can ask you to keep going.
KANE
You want out? OK. Go home. But, I’m
going to finish this up.
CASSANDRA
It ends here. I’ll pay what I owe.
KANE
After I take you home, I’m going
back out.
CASSANDRA
I’d rather you come home with me.
All of this has me… scared.
She sighs.
CASSANDRA
I just wanted to know if she was
really gone.
KANE
If she is alive out there, she’s
going to need someone she can
trust. She’ll need a friend.

44. 43
Cass nods.
CASSANDRA
You were right, Mr. Kane. I don’t
like what I’m seeing.
Kane puts his arm around her and they leave.
EXT. GARDEN OF EVE PARK - NIGHT
Looking down on a clearing, Kane and Cass walk the trail and
into a lit area lined with benches. But, beyond the circle
of light, the rest of park is pitch black.
KANE
Great place for an ambush. Good
thing the cops do sweeps.
CASSANDRA
What about Wills? You said he works
through third parties.
KANE
Right now, he’s working for us not
against us.
Behind them, a twig SNAPS. Kane draws his pistol and moves
in front of Cass, the gun pointing into a grove of trees.
KANE
Easy out! Hands where I can see.
In the dark, a match is struck. A calm, mature face appears;
with salt and pepper hair and stoic look. He is JAMES
MCMARTIN, stone cold eyes but a fatherly demeanor.
Quietly, he places the match to a pipe in his mouth. After a
few puffs, he steps into the light and lets the match fall
to the sidewalk.
MCMARTIN
Calm, calm. Not here for problems.
KANE
McMartin. Someone decided to hire
the best I see. No trouble, eh?
MCMARTIN
Would I tell you beforehand if I
was? And give away my position?
KANE
Some sense of fair play?
MCMARTIN
Maybe I expect it. I’m here now as
just a messenger.

45. 44
KANE
Go ahead.
Kane holsters his pistol. McMartin takes a patient puff.
MCMARTIN
You’re playing in a game that is
over your head, Ian. Someone would
like you to take a seat and stop
poking around. And I was told your
decision could be well worth it.
KANE
And I thought everyone knew that
you can’t buy me.
MCMARTIN
I’d heard that. But, my client
insisted I give you an opportunity
to bow out gracefully. Well, I can
say the attempt has been made. No
offense, I hope.
Kane grins and shakes his head.
KANE
None at all.
MCMARTIN
You may or may not realize that a
lot is riding on this from a dozen
directions, and not just money.
KANE
Hiring you is a good indicator.
MCMARTIN
Not only matched my retaining fee,
but doubled it.
KANE
Can you tell me if this a citywide
problem?
Another puff of the pipe as he considers.
MCMARTIN
Not at liberty. But, I would say at
least that. Now, do the smart thing
and walk away. I’ll buy you and the
lady a drink at your place.
KANE
The lady has a personal stake in
this, which means I do, too.
MCMARTIN
Heard that about you too. Still-

46. 45
KANE
You’re just the messenger.
MCMARTIN
I’ll pass the word.
McMartin takes a puff on his pipe, then heads up the walk.
MCMARTIN
And as far as thing go, you’re not
the problem. It’s her.
He nods toward Cass.
KANE
Come by sometime, I will hold you
to that drink.
MCMARTIN
Good evening, doctor.
Beyond the park lights, he disappears into the darkness. In
a moment, even the red glow of his pipe is gone.
CASSANDRA
He was cordial.
KANE
James McMartin. Flip side of Shade.
She guards bodies; he makes them.
Former counterintelligence. But,
it’s what he does best. I’m betting
Okada hired him. Wills doesn’t like
him and Hocker wouldn’t bother.
CASSANDRA
He said I was the problem?
KANE
I don’t know.
Kane’s phone rings. He answers.
KANE
Talk to me.
INT. MORGAN’S – NIGHT
Morgan stands in a corner, reading from a data pad.
MORGAN
I got a hit on your guy, Rosson.
Real name’s Visilli Rossonovich,
former C-Block intelligence; until
he went private. Left mother Russia
about seven years ago. Definitely a
hard case.

47. 46
KANE (O.S.)
Told me he’d be hard to kill…
MORGAN
Take him serious. Their agents had
to be tough bastards. And the
Soviets loved implanted armor and
body augmentation. He could be
walking tank.
EXT. GARDEN OF EVE PARK – NIGHT
Kane and Cass walk out of the park and to a cab stand.
KANE
Beware the Russian…
MORGAN (O.S.)
Also got a call from your old buddy
the fashion plate.
KANE
Wills? Where and when?
MORGAN (O.S.)
Doge Gallery in… an hour and twenty
from now. I thought you could use
the higher culture.
KANE
Not guaranteeing anything. I’ve got
problems of my own. Got a chance to
meet McMartin for the first time.
MORGAN (O.S.)
This thing’s getting crowded.
Kane puts away the phone. Cass presses the Hail button on
the cab stand. He glances back at the park one last time.
INT. DOGE GALLERY / LOBBY - NIGHT
Shade stands at the bottom of a set of stairs leading to an
upper floor viewing room for paintings and watercolors. The
gallery is otherwise deserted. Kane and Cass enter.
KANE
Good evening, Shade. Where is he?
SHADE
Up there. They have a Savalier that
he’s been dying to see.
KANE
Do I need a program book?

48. 47
Shade takes hold of Cass’s arm and pulls her closer.
CASSANDRA
Hey!
SHADE
Insurance. She stays down here.
KANE
When was that part of the deal?
Shade shakes her head.
SHADE
As of now. I’ve decided that she
stays here while you talk to
Jackson. Maybe this way you can
keep your temper in check.
KANE
Be good to her, Shade. I’ve not
been paid yet.
SHADE
Best possible care. Don’t worry.
Jealousy is not part of my makeup.
KANE
Not worried about you.
SHADE
Really?
KANE
McMartin. Spoke to him less than
two hours ago.
SHADE
Oh, how is James? I’d tell Jackson
first. It might influence him.
KANE
It might. Stay in sight.
SHADE
That’s the idea. Ms. Wiley, please.
Shade escorts Cass to a corner as Kane ascends the stairs.
VIEWING AREA
Jackson looks at a large canvas streaked in red and black.
He glances to Kane. He’s been listening, but he waits.

49. 48
WILLS
Did you ever appreciate art like I
do? I’ve had opportunity to acquire
some rather nice pieces.
KANE
I appreciate art in my own way.
WILLS
Take this for example…
Kane glances up at the work before them.
WILLS
Jarring… brutal… powerful. Sense-
stirring. Annoying though, not
something to put over the mantle.
So impractical that it’s a gallery
piece in all senses.
KANE
Uh-huh. What else is new?
WILLS
Nothing much. But, I’ve been asked
to pass along an offer for you to
sit this one out.
KANE
First, McMartin… and now, you.
WILLS
McMartin? Someone cash in their
retirement fund? I wasn’t aware he
had an interest.
Wills moves along past several paintings.
WILLS
Now, this is a nice piece. Elegant.
Refined. Serene. Yet dangerous.
Addictive. The type of image you
could fall into. Never crawl out.
KANE
Are we talking art or business?
WILLS
There is a business in art, Ian; as
there is an art in business.
KANE
I don’t have the time or patience
to play word games.

50. 49
WILLS
You… came to me. Fine. As far as my
contacts are concerned, only one
entity was ever interested in your
Dr. Honeywell.
KANE
Archal Commercial.
WILLS
Right. Seems it was personal. CEO
Okada, himself, was involved in
the… courtship.
Wills moves on, past several other works. Kane follows.
KANE
This wasn’t a sex thing, was it?
WILLS
Ishiro’s the epitome of the
Japanese concept of face and
personal honor… and happily
married. So, he likely has a little
geisha tucked away somewhere. No,
he’s more of a collector. And he
wants the best. Did you know Gail?
KANE
Never heard of her before now.
WILLS
Only after you and I spoke did I
remember meeting her at a City of
Hope charity function. Exquisite.
Possibly the best at what she did
too or does. There are many meta-
programmers out there. Trade
schools churn them out like clones,
but there are very few AI
psychologists. And one of her
caliber is like a diamond in a coal
mine. Very esoteric field.
Counseling child-like machines, and
keeping those children stable.
Kane feels the gravity of what Wills is saying.
KANE
And AI’s run nearly every element
of the metroplex.
WILLS
Without them, this city would fall
apart in a week. And a LOT of the
global economy is hinged on them.
They control a lot of commerce and
nearly all city services.

51. 50
WILLS (CONT.)
They have to think independently
and most can have real emotional
responses. So, their mental health
is critical. This means your Dr.
Honeywell was in a very, very
potent position.
KANE
You’re saying she could have
sabotaged the AI’s she treated?
Wills shrugs, looking back at the paintings.
WILLS
Don’t know that. We know she had
direct access to nearly every
independent AI in the ‘plex.
KANE
Literally inside their minds.
WILLS
All that data, secrets, research,
company strategies. A perfect spy.
Wills smiles to himself as he looks at his program booklet.
KANE
Anything else?
WILLS
She was visiting the neighborhood
candyman… a lot.
KANE
Already been to Club Heretic.
WILLS
So, you caught up with Hocker? Bad
move. He’s not as thick as he used
to be, though his taste in suit
remains as tragic. And he suddenly
got someone big in his corner.
KANE
Some gray suit.
WILLS
I’m betting it was Burton. Okada’s
security chief.
KANE
Everywhere I go, I hear Okada’s
name. So, she had access to major
info. She worked freelance, so she
worked for every major mega-corp at
one time or another.

52. 51
He mulls it over in his head.
KANE
And six months ago, Okada tried to
hire her exclusively.
WILLS
Like I said, he was a collector.
KANE
Was?
WILLS
Less than a year ago he suffered
what the corporate site called, a
severe case of fatigue. His duties
were eased for his recovery.
Jackson stops. They have made a complete circle.
WILLS (CONT.)
Then suddenly, he’s very interested
in AI technology and actively
recruiting the best and brightest
he could find.
KANE
Like Gail. But, she said No.
WILLS
Would have offended them less had
she spit on them. Epitome of face.
KANE
Call Morgan if anything else pops
up. And keep Shade close.
WILLS
Concern? Didn’t think you had any.
Kane walks to the stairs.
KANE
For the moment, Jackson you have
value to me. And I’d hate if Okada
added your head to his collection.
Who would I have to insult?
WILLS
I won’t miss your sad attempts at
humor, Ian. And I fully intent on
outliving you; by many… many years.
LOBBY
Kane descends the stairs. He’s met by Shade and Cass.

53. 52
SHADE
Pleasant chat?
KANE
Gave me an art lesson. Problems?
CASSANDRA
Not a one. Girl talking.
KANE
Really?
(To Shade)
Girl talk? You? Just stay frosty.
Jackson may be an insufferable
prick, but… Okay, he’s just an
insufferable prick, but I need him.
Kane nods to the door. Shade takes his arm to stop him.
SHADE
Okada’s got people everywhere.
KANE
Someone already warned me off once.
SHADE
Then, go. This isn’t some corner
thug with a switchblade. An Archal
rapid response team would outgun
your old LatWar outfit. I’ve seen
them work. Very trigger happy.
Cass sighs.
CASSANDRA
I’ve already tried.
Shade leans in close, the cat smile is gone.
SHADE
You need a rear view mirror, I’m
here. No arguments.
KANE
Got some kind of death wish?
SHADE
Only scary the first time.
She pauses as though she might actually kiss him, but then
retreats. Instead, she turns and walks to the viewing area.
INT. CHARLIE’S PLACE - NIGHT
Kane and Cass traverse the corridor to Charlie’s hideaway.

54. 53
CASSANDRA
I’m afraid to hear what he’s found.
KANE
I gotta’ tell him to bug out for
while. This thing could spill over
and I don’t want-
Kane stops. He reaches out and takes Cass’s shoulder.
KANE
Building’s dead quiet.
(Draws his pistol)
Stay here.
CASSANDRA
Don’t leave me back here.
KANE
Just stay back. If I say move, you
get out. Don’t wait for me.
Kane quietly moves to the door. On the litter-covered floor
is a trail of red splatters coming from Charlie’s room.
CASSANDRA (O.S.)
What’s that smell?
Kane nudges the door with his shoulder. He glances inside.
KANE
Cordite. Charlie!?!
Kane pushes in. Pieces of equipment have been smashed. The
walls are pockmarked with holes and painted with blood
splatters. Several bodies are sprawled on the floor.
KANE
Charle? Charlie!?!
CHARLIE (O.S.)
What?
Kane whirls around. Charlie stands behind him, holding an
auto-shotgun across his shoulder. His eyes are wild and his
hair is matted with sweat.
KANE
Jesus, man.
CHARLIE
Sorry, Ian… was tweakin’ all day… I
screwed up. Went to see a hookup on
the East Side. When I came back…
A crimson stain covers the left side of Charlie’s shirt.

55. 54
KANE
You got hit.
CHARLIE
Oh. Thought I felt somethin’…
The fire in Charlie’s eyes fades and he slips back, bumping
the wall. The shotgun clatters on the tile as he slides into
a sitting position. Kane helps him down to his cot.
Cass looks in and snatches her head back. Sounds of RETCHING
and COUGHING are heard echoing from the hall.
KANE
Man, you can’t die after all this…
Kane grabs his phone. He hits a single key.
KANE
We’re the last… Can’t leave me…
(Into the phone)
Yeah… I need an ambulance… a man’s
been shot. Corner of Chantiers and
Cambridge... loading entrance.
Kane hangs up. Cass re-enters, pale and shaky. Kane puts the
pistol away and looks around the room. He roots through the
shelves and comes out with a first aid kit.
CASSANDRA
Is he?
KANE (O.S.)
Not if I can help it.
Popping open the kit, Kane find an injector and grabs a
loose medication vial. Loading the vial, Kane slaps the
hypodermic into Charlie’s thigh. Charlie suddenly rouses,
looking around in a daze.
CHARLIE
Good morning…
KANE
Help’s coming, Charlie.
CHARLIE
Chopper gets here, I call front
seat, okay? Wooo… are we spinnin’?
Cass stands back as Kane pulls a bandage out of the kit and
presses it against Charlie’s gunshot wound.
KANE
Didn’t go down easy, did you?
CHARLIE
Ian? Got something for you…

56. 55
Charlie tilts his head toward his terminal.
KANE
It can wait. Just sit back...
CASSANDRA
You want me to find it?
Charlie looks over and sees Cass. He smiles.
CHARLIE
Hey, pretty lady. Sure. Lock out
code is nine… one… seven… five.
Remember that old helo, Ian?
Cass sits at Charlie’s keyboard and types. Several monitors
come up. The screens run a text scroll of Gail’s work logs
and diagrams of AI units.
CHARLIE
Work log showed your friend spotted
a problem at Grosvenor’s Petrol
last year… Two months before that,
it was Walton Investments. AI’s
were… were coming down with a meta-
virus, making erratic decisions…
On the monitor, a map shows locations of stricken AI units.
CHARLIE
Too slick and it wasn’t an
accident. She tracked back to the
corporate data maze, but no idea
who made it. She created a counter
virus to prevent it from spreading…
Don’t think she ever activated it.
The maps and text go blank.
CHARLIE
That’s it… Everything else from
then on are blank. Then, she turned
lose a worm program and it ate
everything. Hey Ian… you hungry?
You hungry, pretty lady?
IAN
I’m okay Charlie.
CHARLIE
Cuz, I could use a burrito.
Charlie eases back into the cot. He’s fading.
IAN
Was that it, Charlie? Charlie?

57. 56
CHARLIE
I found a dump command under… City
of Hope charities. Entire log was
backed up… crystal memory core.
Man, a burrito sounds good right
now. With that cheesy sauce?
KANE
Thanks, man…
CHARLIE
No prob… Sleepy time…
Charlie grins, then passes out. Kane shakes his head.
KANE
They baited you out. Waited until
you got back. You knew better.
A SIREN wails outside.
EXT. CHARLIE’S PLACE - NIGHT
A medical skimmer sits on the street, lights swirling in the
dark. Two EMT’s load Charlie into the back on a gurney. Cass
stands on the sidewalk, away from them. Kane approaches a
MED TECH as his partner climbs in the skimmer.
KANE
Where you taking him?
MED TECH
University. He’ll probably be
transferred to Veteran’s. I saw
some military tats.
KANE
Thanks.
Kane shakes the tech’s hand. He notices that Kane has palmed
him something; a credit card and a slip of paper.
KANE
I’d prefer my friend go to County
General. Could you register him
under that name?
The Med Tech looks at the paper, pockets the card and nods.
MED TECH
Yeah. No problem.
The Med Tech climbs into the skimmer. Kane steps back as the
skimmer lifts off. Cass approaches him.
CASSANDRA
What now?

58. 57
KANE
That crystal is the key.
CASSANDRA
That virus she found?
He nods.
KANE
Probably what Okada’s really after.
CASSANDRA
But, she wouldn’t be able to use
crystals from home. Why put it on a
matrix you don’t have access to?
KANE
Where can you?
CASSANDRA
It would have to be an AI terminal.
And even then, not every terminal
has a crystal socket.
KANE
So, she’d have to have access to an
IA unit in a safe place.
Kane watches the ambulance arc overhead and disappear.
KANE (CONT.)
Thanks, Charlie. Sorry for getting
you into this.
Cass steps closer and puts her arm around him.
CASSANDRA
Take me home, Ian.
Kane keeps his own hands at his side, but let’s her remain.
KANE
Now, it’s Ian?
CASSANDRA
You said friends call you Ian.
KANE
Ms. Wiley, I have a policy
remember? You’re a client.
She leans her head against his chest. He doesn’t withdraw.

59. 58
CASSANDRA
Gail was alone all that time. Alone
in her work. At the office, we’d
listen to the other women talk
about husbands or boyfriends. We
talked about work. They’d talk
about children or families. We
talked about work. And now, it’s
just me. What do I talk about?
KANE
Doctor…
Cass looks up to correct him.
CASS
Cass, please call me Cass or
Cassandra… or Cassie… anything.
KANE
Cass, while I’m working for you, I…
He stops as their eyes meet. Cass moves her arms up around
his neck and tilts her head up to look at him.
CASSANDRA
You’re fired…
She kisses him. He slips his arms around her waist.
INT. CASSANDRA WILEY’S APARTMENT - DAY
AI terminals populate the corner of the den. In the galley
kitchen a pair of lowball glasses sit on the counter. Kane’s
jacket and holster hang on a stool.
Beyond the patio door, the spires of the metroplex gleam.
Suddenly, a black rope drops into view, then two others.
Three figures in urban camo and riot masks descend.
One moves to the door and works at a black box outside. On
the wall inside, an alarm panel goes dark. The door slides
quietly open. The three move, angling toward the bedroom.
BEDROOM
Cass lays on her side, asleep. Kane rises from behind her,
trying hard to listen. He puts his hand across her mouth and
nudges her awake.
KANE
Get behind the bed.
Cass nods. Kane reaches across her to a second holster,
hanging from the bedpost. He moves to her closet, sliding
into the shadow of the doorway. She moves behind the bed.

60. 59
HALLWAY
Two figures position themselves on either side of the
bedroom door. The third waits at the end of the hall.
BEDROOM
The first kicks the door open as the second fires some type
of flat-barreled shotgun. The bed erupts in spray of down.
Cass SHRIEKS! Kane leans out from the closet and fires,
driving the second out the door. He lands in a heap.
Kane dives across the bed as the first figure rakes the
closet with a machine pistol. Kane returns fire, hitting
near the shooter’s head.
FIGURE 1
It’s blown! Go!
The figure ducks back, but is hammered down as three bullets
punch holes through the drywall. The third snags up the
dropped pistol and backs to the balcony, firing randomly.
Kane ducks back and grabs a clip from the backup holster.
Reloading, he returns to the doorway.
KANE
Stay down!
The last figure fires until the pistol runs dry, then drops
it. He turns and sweeps aside the curtains. Kane peers out
as a dull IMPACT is heard. The third figure flies backwards
to land on his back in the middle of the workspace.
Kane snakes across the room. He kneels by the figure,
checking for a pulse, and then tries to spot the shooter
through the shattered door. Cass dashes out of the bedroom,
a robe hurriedly thrown on. She carries a small automatic.
KANE
I told you to stay put!
CASSANDRA
And I told you I had my own gun.
Are they… dead?
KANE
They are. Please, put that away.
Kane steps onto the terrace. He keeps him pistol raised,
sighting along the rooftops and fire escapes.
EXT. TERRACE - DAY
Through the tinted cross hairs of a sniper’s rifle, Kane
looks about the terrace and spotting the rappelling ropes.

61. 60
The view opens and Cass steps onto the terrace. Kane puts an
arm around her and they go back in.
EXT. BUILDING ROOF - DAY
Dressed in a black tank top, BDU pants, cap and sunglasses,
a figure crouches holding a sniper rifle. Shade removes her
cap and disassembles the rifle into a bag. Glancing down,
she spots the empty shell casing. She puts it in her shirt
pocket and walks to the stairs, humming a tune.
INT. CASSANDRA WILEY’S APARTMENT - DAY
The third figure, now marked by a laser outline, is being
photographed. Police techs walk the floor with PDAs. One
collects the machine pistol and drops it in an evidence bag.
Among the throng, fourth generation beat-cop LT. JUSTIN DE
SANTIS oversees the investigation. A POLICE TECH approaches
Kane. Kane, now dressed in his pants, leans against the
kitchen island. Cass sits on a barstool in a bathrobe.
POLICE TECH
Monsieur Kane, we’re taking this
into evidence.
The tech holds Kane’s backup pistol by the barrel. The grip
has an evidence label still on it.
KANE
Fine. I want a receipt.
Across the room, De Santis crooks a finger at him as he
reads from a PDA. Kane approaches him.
DE SANTIS
(Strong Cajun accent)
Sleeping with the clients now, eh?
KANE
Who said she’s a client?
DE SANTIS
Who you think sent her to you?
KANE
I look like I’m that hard up?
De Santis smirks. Does Kane really want him to answer?
PDA TECH (O.S.)
Lieutenant De Santis?
DE SANTIS
Hold that thought.

62. 61
De Santis confers with the technician. They swap PDAs.
DE SANTIS
Which are yours?
KANE
That one and that one there.
Kane points to two of the bodies.
DE SANTIS
M.E. say the inside of the third’s
rib cage looked like gumbo. Was
something high velocity did it.
KANE
He was dead when I saw him. Still
falling, but already dead.
DE SANTIS
I got three John Does. No IDs. No
wallets. Knew what they were doing.
Or thought they did. Any ideas?
KANE
Too many to count.
DE SANTIS
Nice you have so many friends, ah?
Speaking of which, metro got a call
to The LZ bar last night. Looked
like a very messy failed burglary.
And you know they can’t find the
only survivor that got a paid
hospital ride to county.
KANE
Do tell.
DE SANTIS
Would make me very happy if this
mess could be wrapped up quick.
POLICE TECH (O.S.)
Justin?
Putting away his PDA, De Santis whirls to face him.
DE SANTIS
That Lieutenant De Santis to you.
POLICE TECH
Oui, Justin. Look at this.
The Tech hands De Santis another PDA. He looks at it, and
then takes an evidence bag the Tech is holding. De Santis
gives the Tech back the PDA.

63. 62
DE SANTIS
Positive?
POLICE TECH
Oui.
DE SANTIS
Okay. You tell the doc, I want
these three listed as John Does and
don’t hurry the paperwork. Then,
you take all these scanners and
lock them up.
POLICE TECH
Oui, Justin.
De Santis nods and pats the Tech’s back as he heads out.
DE SANTIS
Good. Go.
Kane watches this with suspicion.
KANE
Not to sound unduly cynical, but is
it normal procedure to not follow
police procedure? Civvies look to
you guys for answers.
DE SANTIS
The only answer is the Honeywell
case is officially closed.
KANE
Closed? When did closed stop you?
DE SANTIS
When every chip, file, and exhibit
on her case vanished into ether.
De Santis pulls the first PDA back out and reads over it.
KANE
Pressure from Commish Hibbard?
DE SANTIS
(Without looking up)
On Hibbard. His political panties
are in great big bunch. And I am
treading on thin ice already.
KANE
How high does this go?
The detective pauses and looks up at Kane. He walks Kane
back to Cass’ kitchen counter where several bagged pieces of
evidence are ready to be packed up.

64. 63
DE SANTIS
Way above the fortieth floor.
KANE
So, instead of circumventing
department red tape, you decide to
drop Cass in my lap?
DE SANTIS
If I could, I wouldn’t need you to
go poking your head into the snake
pits. Add this to the list… These
boys were not trying to kill you.
KANE
And giant termites made the holes
in the bed?
De Santis holds one of thug’s pistols in an evidence bag.
DE SANTIS
Water-soluble, subsonic jelly
rounds. Sting like the dickens, but
they not lethal.
KANE
A tranq round?
DE SANTIS
Wanted you alive. Next time, don’t
think they be so damn careful.
Kane sighs, taking it all in.
KANE
We finished?
DE SANTIS
With you, yah. But, the boys need
to finish doing their sweeps. Give
me a call when you settled.
KANE
Why do you care?
DE SANTIS
Call it professional courtesy. I’ll
know where to find any more bodies.
Kane grimaces as he walks to Cass.
DE SANTIS (CONT.)
Ian, you be careful, yah?
KANE
Yah. Yeah.
(To Cass)
You okay?

65. 64
CASSANDRA
Oh, sure… paint, spackle… some
meds… maybe I’ll be able to sleep.
KANE
Throw a couple of days clothes in a
bag and get dressed. They’re
cutting us loose.
CASSANDRA
I’m going to get evicted.
KANE
I have access to a safe house. You
shower, sleep, then we start over.
Cass gets off the stool. She glares at him.
CASSANDRA
First, Charlie. Now, me.
INT. SAFE HOUSE – NIGHT
The efficiency is a bunker with covered windows and bolted
door. Kane faces the door, a shotgun leaning against the
wall. Behind him, Cass sleeps on a daybed. His cell RINGS.
KANE
Wrong number?
ANTHONY (V.O.)
Mr. Kane?
Kane glances at the ID screen. UNLISTED is displayed.
ANTHONY (V.O.)
I know you’re investigating Doctor
Honeywell’s disappearance. I’d like
to speak with you.
KANE
You called me. Go ahead.
ANTHONY (V.O.)
No. Others can hear me. You must
come to me… at the Archal Complex.
KANE
Okada’s office? Pass.
ANTHONY (V.O.)
I can guarantee safe passage in and
out. I can only speak to you here.
Five-thirty. South entrance.
The line goes dead. Kane glances to Cass, still asleep.

66. 65
INT. BOARDROOM
Celeste sits in her chair, glancing at the monitors and
reading from her PDA. The intercom buzzes.
GLADYS (V.O.)
Madam, your appointment is here.
CELESTE
Very good, please send him in.
GLADYS (V.O.)
Shall I alert security?
CELESTE
That won’t be necessary, Gladys.
The doors open and McMartin enters. He steps into one of the
spotlights. Celeste puts down her palm-top.
CELESTE
Mr. McMartin. How good of you to
come on such short notice.
MCMARTIN
Just McMartin. And the offer
certainly got my attention.
Celeste smiles coldly at the remark. She stands.
CELESTE
As it was meant to. You have a
reputation for being a hard man to
employ. We have a reputation of
getting what we want. And I prefer
to see our reputation stays intact.
She walks around him, looking him over. He does not move,
even as she goes behind him. He follows her with his eyes.
MCMARTIN
At the cost of mine?
CELESTE
If necessary. But, we have not even
discussed the task at hand. Please,
sit down. A drink?
She gestures to a bottle of brandy and glasses on a cart.
MCMARTIN
No, thanks. I’ll stand.
CELESTE
Well, then. There’s a particular
piece of media that we’ve
misplaced. We need it recovered
before it reaches the open market.

67. 66
She returns to her seat.
MCMARTIN
And what is this media?
Celeste brings up an image of the data crystal on a monitor
behind her.
CELESTE
An AI data crystal. It contains
critical research data. You
understand that it is our desire
this information not be made public
or reach our competition.
MCMARTIN
I don’t think I’m interested.
CELESTE
Think of your career. Our firm’s
backing can be very helpful.
MCMARTIN
Or a hindrance. I prefer to remain
independent.
CELESTE
Soon, there won’t be any room for
the independent. It would be best
to have a side picked out when that
time comes.
MCMARTIN
I’ll return the retainer… minus
today’s expenses of course.
He turns for the door. She stands.
CELESTE
Name your price.
McMartin’s face breaks in a slight smirk.
MCMARTIN
One credit more than you could ever
acquire.
He exits. From a side door, Jackson Wills enters. He is
grinning to himself as he walks to the drink cart.
WILLS
Told you that was a waste. Now,
maybe you’ll let me handle this.
Wills pours a drink. He takes a moment to experience a sip.
Behind them, Ishiro Okada appears on one of the monitors.

68. 67
CELESTE
What will he do?
INT. ELEVATOR – DAY
McMartin steps into the elevator alone. The doors close.
WILLS (V.O.)
Nothing. Why should he unless he’s
been paid?
He runs his finger down to the Lobby button, but then moves
up to Flight Deck button and presses it.
OKADA (V.O.)
And if he’s working for our
competition?
The elevator reverses direction. McMartin unconsciously
looks up as it ascends.
WILLS (V.O.)
You remove him. He might be the
best, but no man’s immortal.
EXT. ARCHAL COMMERCIAL – DAY
Kane and Cass look up at the colossal complex across a wide
street of flowing traffic. Kane glances at his watch.
KANE
Every part of me is screaming run
for the hills. I wouldn’t risk this
if I didn’t think it might help.
Kane’s phone rings. He answers.
ANTHONY (V.O.)
Mr. Kane. Third door on the right.
Go down one floor. Red elevator.
Kane hangs up and nods to Cass. They cross the street.
INT. ARCHAL COMMERICIAL / CORRIDOR
Cass and Kane step cautiously off the elevator. Only one
door lay ahead of them. As they approach, it hisses. A
keypad beside the door goes dark. Kane opens it slowly.
SECURTIY CENTER
The room is a literal maze of servers and components with a
solitary terminal in the center.

69. 68
ANTHONY (O.S.)
Greetings, Mr. Kane… Dr. Wiley.
CASSANDRA
Anthony?
As they step in, Kane scans the room with his eyes.
Suddenly, the door behind them shuts and seals. Heavy shades
close. Kane draws his pistol.
KANE
Dammit! I should know better.
Cass puts an assuring hand on Ian’s gun arm.
ANTHONY (O.S.)
Please, come closer.
CASS
Ian, this is Anthony. All of this
is Anthony. He’s Archal
Commercial’s security AI unit.
ANTHONY (O.S.)
Protocol dictates any unauthorized
entry warrants sealing the room and
calling security. Forgive my
concerns, but I needed privacy. As
for protocol, I am delaying any
contact with Mr. Burton’s office.
Cass makes her way to the center, Kane follows behind.
ANTHONY (O.S.)
I can control my environment, but
could not assure our conversation
will not be monitored. I wanted to
talk about the investigation.
KANE
Isn’t that your job?
ANTHONY (O.S.)
No. My function is the security of
this complex and its occupants. I
have been following it as a matter
of curiosity. But I have observed
some interesting activity.
They reach the center of the maze. The terminal shows
Anthony’s words and their images on security monitors.
ANTHONY (O.S.)
The evening of her disappearance,
someone encoded a crystal core. It
is now missing. I’m quite certain
Dr. Honeywell encoded it herself.

70. 69
CASSANDRA
Crystals are strictly inventoried.
KANE
Did you monitor her?
ANTHONY (O.S.)
She has knowledge of AI systems and
had removed records of what was
copied. I only know she made a
copy. Also, no one was registered
to her office that night, until Dr.
Wiley arrived.
CASSANDRA
(To herself)
She really did jump…
ANTHONY (O.S.)
I know you took a risk in coming.
You should go the way you came in.
Someone recently hacked into the
system regarding this incident.
After that I was ordered to
consider you both threats.
Kane nods.
KANE
Must have been Charlie.
(To Anthony)
Why share this?
ANTHONY (O.S.)
Mr. Okada suffered a stroke last
year. It was reported as fatigue.
He became a recluse. Since then,
his work regarding AI development
became unfocused, even erratic. Dr.
Honeywell always worked in our best
interest. I felt… indebted.
Cass puts a hand on the console.
CASSANDRA
Thank you, Anthony.
ANTHONY (O.S.)
When I discovered you were looking
for her, I reviewed Mr. Kane’s
files. If anyone can find her, he
can. If you do, tell her I’m doing
better. I’m learning to trust.
CASSANDRA
I will. You have been doing very
well, Anthony.

71. 70
The shades retract. The door hisses and opens.
ANTHONY (V.O.)
And Mr. Kane, my proximity sensors
did show an unregistered skimmer
near the facility that night.
KANE
Good to know.
ANTHONY (O.S.)
Once you leave the complex, neither
of you will be able to return. Good
day, Mr. Kane… Dr. Wiley.
INT. MORGANS BAR - NIGHT
Kane sits at his regular table. In front of him are several
disassembled weapons, a bottle of scotch and a glass.
Quietly, Kane wipes down the parts as he sits, and thinks.
Cass enters quietly, taking a seat at the bar. He places a
drink in front of her.
MORGAN
Brandy.
She sips at it, then looks over at Kane.
CASSANDRA
Can you least try to talk to him?
MORGAN
Wouldn’t do any good.
Cass walks up behind Kane and puts a hand on his shoulder.
CASSANDRA
It won’t help Charlie, Ian.
KANE
No, it won’t.
The bar door opens. Someone descends the stairs.
MORGAN
Closed.
Shade steps into the light. Morgan moves to stop her.
SHADE
Out of my way, Morgan.
MORGAN
You’re not welcome here. Get out.

72. 71
SHADE
I said out of my way. There won’t
be a third warning.
KANE (O.S.)
I don’t think she likes fair odds.
Morgan stands aside and Shade walks to the table. Kane is
busy re-assembling one of his pistols. She sits. Morgan
saunters back behind the bar.
KANE
What’s the matter? Putting a hit on
a disabled case no fun or did
Burton do all the dirty work?
SHADE
You’re such a joy to be around when
you’re like this.
Cass is quietly frozen as Shade and Kane gaze at each other.
KANE
Morg, I changed my mind. Move her.
Shade raises her hand, but her eyes do not leave Kane.
SHADE
Morgan, come around that bar and
I’ll plant you. The two of you
aren’t faster than me. So, while
you sit here, the bastards who took
a run at your old army buddy is
still out there. Any ideas?
KANE
Yeah. You.
SHADE
Not likely. I was focusing on
McMartin, even considered a pre-
empted move. His only stop of
interest was the Archal Complex.
Express straight up to the top.
KANE
I told you to stay with Wills.
SHADE
You’ve told me a lot of things.
Now, any ideas?
She leans on one elbow to gauge his reaction.
KANE
Yeah, find Peterson and beat some
truth out of him.

73. 72
CASSANDRA
The grad student?
KANE
She had to have help. You said
crystals are one-shot deals and you
need a crystal reader.
Shade nods with her Cheshire grin.
SHADE
Okay then, let’s hit the road.
KANE
You’re not going anywhere.
SHADE
What the Hell does that mean?
KANE
Means if you try to leave that
chair, or even twitch, Morg will
blow your spine in two.
From behind her, Shade hears the safety Morgan’s trusty pump
shotgun. Kane gets out of his chair and mounts his ordinance
into holsters and pockets.
KANE
I don’t like your boss and I don’t
like the way you do business…
SHADE
Ex-boss. Jackson and I had…
creative differences.
KANE
Still can’t trust you.
Kane slips on his jacket, and turns to Morgan.
KANE
She moves, take her head off.
SHADE
Ian. You’ll need someone to watch
your back. McMartin? Okada?
KANE
Yeah, too bad the only one I’ve got
has to watch you.
Kane and Cass exit. Shade turns to face Morgan.
SHADE
Got any cards?
Morgan smiles and shakes his head. She slumps in her seat.

74. 73
SHADE
Great. Buy you a drink?
INT. MADAM OKADA’S OFFICE - NIGHT
Celeste sits facing the skyline. Burton enters.
CELESTE
Yes, Mr. Burton?
BURTON
I just received this update.
He places his PDA on the desk. Celeste, without turning,
reaches out and takes the terminal. He waits.
CELESTE
And they know what must be done?
BURTON
Yes, ma’am. Everything is ready.
Ishiro Okada’s image appears on a monitor.
OKADA
What is our status?
CELESTE
The psychologist did not die in
vain, Okada-san. Our people are now
attempting to retrieve the matrix
file. Once we have her encryption,
the AI anti-virus will be safe.
OKADA
Excellent. Is the research team on
schedule for the upload?
BURTON
Yes, Okada-san. Once the process is
complete, we will be able to
attempt the cerebral upload. Any
duplicate would retain complete
memory and functionality.
OKADA
And the virus cure?
CELESTE
From what we found, Honeywell’s
cure successfully inoculates from
future contamination.
OKADA
Perfect. Retrieval of the data core
is now top priority. I expect only
success.

75. 74
CELESTE
Yes, Okada-san, soon we will all
have what we seek.
(To Burton)
Make sure personally to return what
is rightfully ours.
BURTON
With pleasure.
Burton bows and walks out. Celeste turns back to the image
of her husband on the screen as the lights dim.
CELESTE
I want to see you…
OKADA
Now is not appropriate.
CELESTE
I will decide when its appropriate.
He nods and his image fades. She presses a key on her desk.
ANTHONY (V.O.)
Authorization?
CELESTE
Okada… Celeste… Alpha Two…
A wall panel on the far side of the office slides open.
INT. INFIRMARY
Hidden deep inside the complex is a fully functioning
medical station. Celeste enters through a sterilization
curtain. Among the monitors and equipment is a single bed.
Lying comatose, with sensors and IVs attached to him, is
Ishiro Okada. Sitting beside him, Celeste takes his hand.
CELESTE (O.S.)
Soon… my husband. You will come
back to us.
Beside the hospital bed is an AI Terminal. The ID reads I.
OKADA and remnants of their conversation appears on the
screen as well as an animated facial profile.
BLACK
INT. COMPUTER LAB
Kane and Cass enter through a set of airtight doors. The
room HUMS from hundreds of busy servers and processors.

76. 75
KANE
Secretary said Peterson came down
here two hours ago.
CASSANDRA
If Hocker got to Charlie and Gail,
why do we need Peterson?
KANE
Bait. I’m pretty sure those were
Hocker’s clowns at Charlie’s place.
But, the team at your place was
hired out. A corporate security
unit would have a clean up crew.
He scans the rows of CPUs for any sign of life.
KANE (CONT.)
If Gail was data mining for Hocker,
where’d she get the equipment to
hack into big corporate databases?
I’m betting here. So, Peterson’s
got his fingerprints all over it.
CASS
You said Peterson was a connection?
KANE
He griped about getting busted, but
I bet he was a middle man to any
college kid needing an edge. And,
Hocker knew about him. But, if he
rabbits, we have nothing to get
Hocker out in the open. The way to
do that is to wave something he
wants in front of him.
CASS
Like the crystal. And you think
Peterson has the crystal?
KANE
Or he knows where. He knew what was
happening to Gail and he used her.
I should just give Okada a jingle
where to find him.
CASSANDRA
You can be a nasty son of a bitch.
KANE
Not like he doesn’t have it coming.
If you see anything, hit my cell.
Don’t even speak to him, just call.
The two of them split up and walk past rows of computer
servers. The whole automated center appears deserted. Kane
rounds the corner and stops.

77. 76
KANE
Cass, over here.
Cass comes at a quick pace. She spots Kane up ahead. As
Cass rounds the corner, her eyes are met with a vicious
sight. Peterson is lying on a counter, his neck twisted and
his spine curved unnaturally. Kane kneels beside him.
CASSANDRA
My God…
KANE
I would say someone wanted the
fellow to say a few words.
CASSANDRA
You think he talked?
KANE
Would you?
Kane spots a trail of blood drops on the floor, next to a
large, bloody screwdriver.
KANE
I don’t think this is his.
Kane stands and they follow the trail. Just ahead, seated on
the floor is Rosson. He is holding a hand to his side, where
blood has stained his crisp white shirt. In the other is an
octagonal piece of crystal. Kane holsters his pistol.
KANE
The bureaucrat.
ROSSON
You catch me… at a disadvantage.
KANE
Right now, I’ll take any advantage
I can. Any reason why I shouldn’t
just take the door prize?
ROSSON
Many. Among them, the safety of
this city. You knew?
KANE
Had an idea or two.
ROSSON
The minister’s daughter found out
about Okada’s virus. But, he…
Rosson nods at Peterson’s body.

78. 77
ROSSON
…discovered she was accessing AIs
to find its source. A very…
tempting opportunity for corporate
espionage. Gail wouldn’t… so he
brought in other parties.
KANE
Parties like Hocker?
Rosson nods and winces.
ROSSON
She owed him a lot of money. And
the drug dealer sold stolen data.
Okada wanted Gail for himself. But,
if he had learned who Gail’s family
was… couldn’t… allow that…
KANE
So, you threw her out the window?
ROSSON
I convinced her… the entire city
was worth more… than any one
person. Her own idea.
KANE
So you’re just cleaning up the
mess, Rossonovich.
Rosson snorts an exhale at hearing his birth name. His eyes
narrow at Kane. He grunts, trying to get his feet under him.
ROSSON
That’s not just the virus, but the
activation keys. And a vaccine to
destroy it. She kept a copy of
everything – names… dates…
KANE
And you want Okada shut down?
Rosson grimaces as he gets back to his feet.
ROSSON
She showed me that the minister
could run this city like it should
be. Complete control of commerce in
the hands of those willing and able
to use it. Make them work for us.
KANE
A Russian and a socialist? Thought
you had gone all corporate.

79. 78
ROSSON
Peterson thought he could stop me,
Mr. Kane. But as I told you, I am a
hard man to kill.
Rosson takes a step toward Kane. BLAM! BLAM! Gunshots ring
out and hit Rosson in the chest. He flops back to the floor.
Stunned, Kane and Cass turn. Hocker holds a machine pistol.
Behind him is a pack of his thugs.
HOCKER
Na. Guess not.
As Rosson’s body hits the ground, the crystal falls from his
hand and skitters across the floor. Cass scoops it up. Kane
reaches for his gun, but stops as Hocker targets him.
HOCKER
Uh, uh… Naughty, naughty Kane.
Jackson Wills steps out from behind a rack of servers.
HOCKER (CONT.)
Thought you might be tired of
listening to the big geek yabble.
KANE
I see the gang’s all here now. I
see you picked a side, Jackson.
WILLS
The one with the money. You’re
being predictable again.
HOCKER
Yep. You led us right back to
Peterson; a guy I never thought
would rat on me. So, I thank you
for solving our little problem.
And, you got something we want.
Sorry, Burton wants no loose ends.
Hocker holds out his hand. Behind him, two of the thugs
raise their weapons. Kane glances to Cass, then Hocker.
KANE
Hocker, I’m dying to say over my
dead body, but… I’ll make it yours!
Kane shoves Cass sideways behind a server rack. He draws his
pistol and fires. The shots hit one of the goons, downing
him. Wills ducks behind some equipment as they scatter.
Hocker stands his ground and returns fire, but Kane is
already gone. Cass peers around a corner, looking at the
dead thug on the floor. Suddenly, someone is behind her and
clamps a hand over her mouth. It’s Kane.

80. 79
KANE
Shhhh…
Cass nods her head.
KANE
You need to find another way out.
Cass nods again. Kane removes his hand.
CASSANDRA
What about you?
KANE
They want the crystal. I’ll buy you
some time. Call De Santis.
Kane hands her his phone.
CASSANDRA
Wait…
Cass kisses him.
KANE
Would you just go?!
She slips by and runs to a side door. But, before she can
reach it, a thug appears in front of her. Kane fires over
her and the thug drops. Cass dashes out. The gunshots get
the attention of Wills and Hocker.
KANE (O.S.)
Hocker! Still want the data core?
Wills and Hocker move in the direction of Kane’s voice. As
they reach a set of office doors, they split. Wills enters a
cube farm of empty desks as Hocker heads around to where
they entered. He doesn’t notice Rosson’s body is missing.
EXT. UNIVERSITY LAB – NIGHT
Two large SUVs, guarded by three thugs, is parked; its
suicide doors open to the back entrance. A figure silently
leaps out of the darkness, vaults the truck hood and pulls
one of the guards into the shadows. A second one turns.
GOON 1
What was that?
A muffled VOICE calls out from the shadows. As the other two
move closer to investigate, three gleaming throwing knives
hurtle of the blackness at them.

81. 80
A MOMENT LATER
The guards lay twisted and limp on the ground. Shade picks
up her blades, tucks them away and strolls inside.
One thug crawls toward his dropped weapon, but a shoe steps
onto his hand. The thug looks up. McMartin, in a fluid
motion, swings up a silenced pistol. It coughs twice and the
thug goes limp. Then, McMartin follows Shade’s path.
INT. COMPUTER LAB
Wills moves between the cubicles. As he rounds a corner, a
trashcan has been left in the aisle and he bumps it.
BLAM! BLAM! BLAM!
GUNSHOTS punch through the wall and Wills drops. Kane
emerges from the next cube. He looks at his fallen rival.
KANE
Told you, you weren’t good enough.
From both ends of the room, more thugs burst in, raking
cubicles with submachine guns. Kane pulls out his backup
pistol and runs through, firing in both directions.
In the hail of gunfire, two more thugs go down, but his
small pistol jams. Kane stops to fix it. BANG!
A gunshot slams him in the shoulder and Kane falls to the
floor. His working gun slips from his grasp and slides away.
Hocker walks up and puts his pistol to Kane’s head.
HOCKER
Damn, Kane. I’m gonna’ have to put
out a want ad. You’re as tough as
your rep. But, it’s an old rep.
A large hand reaches out from a nearby cubicle and grabs
Hocker’s neck, jerking him out of view. Kane squirms to a
sitting position, his shoulder bleeding. From behind the
wall, horrific sounds are heard along with GUNSHOTS.
Then, Hocker flops lifeless to the floor. Rosson steps out
from the behind the wall. A little worse for wear from new
bullet wounds; he takes a moment to adjust his tie.
ROSSON
Mr. Kane? Where were we… before we
were… so rudely… interrupted?
Kane fumbles for the closest gun with his left arm. Rosson
staggers closer, a massive hand reaching down to grab Kane.
BANG! He is struck by a gunshot. BANG! BANG! BANG!

82. 81
Stumbling, Rosson finally falls. Kane looks up and sees
Cass, holding his dropped pistol. She keeps pulling the
trigger, though gun is empty. At that moment, Shade dives
through a doorway as McMartin comes up from behind them.
The two target each other.
MCMARTIN
Hold it. Hold it. I’m harmless.
McMartin raises his hands, the silenced pistol hanging from
his trigger finger. Shade doesn’t move.
SHADE
Just twitch and you will be.
MCMARTIN
I’m working for Honnesterre’, okay?
Shade relaxes, slightly.
MCMARTIN
Can you cover me for a count of
ten? Then, I’ll cover you.
SHADE
Right. Go.
McMartin sets his pistol on a counter. He reaches down and
picks up Hocker’s machine pistol. As Shade keeps an eye out,
McMartin checks the load, then takes watch.
MCMARTIN
Okay. You’re clear. Go.
Shade holsters her weapon and moves to Kane’s side.
KANE
Deal with her first.
Cass is frozen; her face is pale and her hands have a death
grip on the gun. Shade reaches out and takes a hold of the
barrel from underneath. Gently, she pries the weapon loose.
SHADE
Easy. It’s all over. Let it go.
Cass closes her eyes. Her breathing slows.
CASSANDRA
I told you I could shoot.
SHADE
Looks like it to me.
Shade locks the gun open and drops the empty magazine. She
reaches into Kane’s jacket, fishes out a clip and slaps it
in. Chambering the first round, she holds out the weapon.

83. 82
SHADE
Here. Left hand.
He takes it. Shade turns her attention to his wounds.
Slipping his jacket down, she whips out a knife and cuts
open his shirt near the wound. Cass moves to his side.
KANE
What brings you to this rave?
SHADE
An abiding interest in the…
whatever… Guess I needed some
exhilaration.
KANE
If you shot my bartender, I’m going
to be honked.
SHADE
He’ll be fine when he wakes up.
Her Cheshire cat grin returns at his reaction.
SHADE
Couldn’t out drink me.
KANE
Nice. You outdrank Morgan, then
you’re definitely not human.
Kane grimaces as she works at his injury. He looks over at
McMartin, who is glancing around for any further trouble.
KANE
And you?
MCMARTIN
Keeping tabs on you, actually. But,
the lady did look lonely creeping
up the back stairs.
Shade gives McMartin a puzzled glance.
MCMARTIN
A quite a talented woman.
KANE
Did I hear you say, Honnesterre’?
MCMARTIN
Correct. The Minister had to keep
the relationship quiet. After all
it would have made him vulnerable.
KANE
And of course, you couldn’t tell me
that when we talked.

84. 83
MCMARTIN
I did try to warn you off.
KANE
True. Aaaah!
(Glares at Shade)
Damn!! Tear it off and take it home
with you!
She rolls her eyes at his protests and finishes packing an
improvised bandage on his shoulder.
SHADE
No need. The shoulder is clean, in
and out. Probably grazed a rib, too
but you’ll live.
McMartin keeps shifting his gaze between the doors.
MCMARTIN
Shall we adjourn before the entire
campus police force comes down on
this place with both boots?
SHADE
They’re busy with a nasty little
car fire on the far end of campus.
I’m bugged that Burton and Okada’s
response team could drop on us in
at any moment.
MCMARTIN
Worry no more.
FLASHBACK – ARCHAL COMMERCIAL / ELEVATOR
McMartin in the elevator after leaving Celeste’s office. He
is about to push Lobby, but then chooses Flight Deck.
FLASHBACK - ARCHAL COMMERCIAL / HANGAR
McMartin steps off the elevator. Various skimmers and
helicopters sit at the ready. He spots the Rapid Response
team’s armored skimmer.
CROSSFADE
PRESENT - ARCHAL COMMERCIAL / HANGAR
The elevator doors open and a heavily armed security team in
riot gear flood out, with Burton in the lead.