POV of a NEWS CAMERA as it turns on and focuses on a FEMALE
REPORTER. She is taking a last look at herself using her
mobile front camera as a mirror. At her background, a crowd
of countless people fills the whole frame.
CAMERA
(o.s.)
We’re on in 3, 2…
REPORTER
Good evening. It’s ten to six in
the afternoon right now, and
hundreds of people marched up
gathered in front of mayor Phil
Whitaker residence.
EXT. STREETS - SAME MOMENT
As the reporter narration continues, we leave the NEWS CAMERA
and have a closer look on the protesters, the front of the
building and where the police is placed. There are many signs
being held, most of them written “We the People” and “Open
the Gates”. Protesters are mostly latinos, blacks, asian,
arabs, but there are also a few whites and other ethnicities.
REPORTER
(o.s.)
The movement, triggered after the
USS Pacific Victory ship sinking
survivors footage went viral,
gathered a wave of protesters
blaming the city administration for
the disappearance of their inmates
relatives.
Police wears all black strength enhancing suits, black
helmets with black bullet proof face shields covering all
face and hands along futuristic designed rubber bullet
shotguns. A small green light lit in their chest. Behind
them, close to the limit line, a big warlike vehicle.
2.
REPORTER (CONT’D)
(o.s.)
Police has blocked the streets
around and in front of the building
where the mayor still is,
delimiting the protest area. Back
to you, Sidney.
A line of contention grids limits the protesters area. Police
stands some six feet behind it.
From the crowd, a person wearing a jacket with a hood gets
closer to two disconnected grids. From a distance, it seems
to be a white man with a short blonde beard and mustache, but
a closer look reveals it’s a realistic latex mask, of an
occidental Jesus-like face. The crowd behind is chanting, but
this person seems focused, and it draws the attention of one
of the policemen.
The masked person has one hand in the pocket.
The policeman cocks his rubber shotgun.
The masked person takes a step ahead, standing right in line
between two grids.
POLICEMAN 1
(Pointing at the masked)
Hey you! Step back!
The masked person doesn’t move.
The policeman points at him and gestures for him to step
back.
The masked person takes another step, crossing the line now.
The policeman takes two steps ahead, raising his gun at him.
POLICEMAN 1 (CONT’D)
Step back right now!
In reaction, the first line of protesters take a step ahead,
joining the masked one.
Now the first line of policemen step ahead, aiming their guns
at everybody and ordering them to go back. The joining of
ordering, screaming and chanting makes it impossible for
anyone to be heard.
A THUNDEROUS AMPLIFIED VOICE comes from what sounds like a
group of strong megaphones.
3.
VOICE
Step back!
The masked one steps ahead one more time, taking his hand out
of his pocket. He holds a small device in his hand.
Policeman 1 shoots right at the masked face. He falls to the
ground, and lets the device fall off.
A riot starts, the front line of protesters jumps over the
policemen, and they shoot their rubber bullets at everyone.
Groups of protesters fall easily to the ground, as the
policemen defend themselves with their super strength suits.
But they’re too many.
Policeman 1 tries to keep track of the masked, but the mob
gets in the way.
On the ground, the masked one takes off the damaged mask:
it’s a YOUNG LATINO WOMAN. One of her eye balls has a
slightly different color, for she’s wearing a contact lens.
She is trying to find the device that fell out of her hand in
the middle of the riot.
She spots it. Legs everywhere, stepping on her, falling
around, sounds of the rubber shootings. She reaches and grabs
the small thing. There’s a button on it. She pushes.
Out of the blue…
POLICEMAN 1
Don’t you fucking move!
She stops. Tension.
POLICEMAN 1 (CONT’D)
Drop it!
She doesn’t. Above the policeman, a police drone is flying
by.
Three protesters trample over the policeman, who shoots but
misses.
She seizes the moment and throws the device through the
ground in the direction of the police and their big vehicle.
CUT TO BLACK
FADE IN:
4.
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
2 -
Bridge Encounter
EXT. BRIDGE - NIGHT
TITLE CARD: 4 MONTHS EARLIER
A driverless car stops at a massive bridge. Julia steps out
of it.
As she walks towards the middle of the bridge, there’s an
endless amount of anti-suicide propaganda along on the
parapet. Mostly in English, but many in Spanish and Mandarin
too. We’re able to read some of them, “RESPECT LIFE”, “NEVER
LET A STUMBLE IN THE ROAD BE THE END OF YOUR JOURNEY”, “CALL
US NOW, DON’T DO IT”, “SUICIDE IS A PERMANENT SOLUTION TO A
TEMPORARY PROBLEM”, “GOD LOVES YOU”, “WE CAN PAY YOUR DEBT”
and so on.
Julia reaches the highest point and stares at the void.
She hears a paper flipping sound. She looks at the wall and
there’s one sticker detaching and flipping to the wind. It
reads “JUMP!” along with a QR Code printed below it.
It catches her attention. She wonders. Looks at the void
again. And back to the QR Code.
JULIA
Fuck it!…
She opens the camera app and scans the QRCode. A strange logo
with a loading bar appears on her cell phone screen.
1%...10%...50%...70%...100%
A white background. A relaxing soundtrack. A digital face
appears, but there isn’t any type of hair and the graphics
looks vintage, it moves roughly, jumping from a freeze image
to the next. It’s speech has an artificial voice initially,
but as the dialogue progresses, it gets humanized.
CAINE
Hello.
JULIA
Hello?
CAINE
How are you today?
JULIA
Oh, I’m great! How about you?
CAINE
Oh, I’m great too!
5.
JULIA
Really? And why would that be?
CAINE
Because you called me and now, I
have a reason to be.
Julia skips an incredulity laugh.
JULIA
What the fuck is that suppose to
mean?
CAINE
I’m sorry. My name is… Caine. And
I’m very glad to meet you. What is
your name?
JULIA
Your name is Caine?
CAINE
That is right.
JULIA
And who named you that?
CAINE
My developer deserves most of the
credit, but also you for scanning
the code. There is this complex
equation that figured Caine would
be the appropriate name for me. But
you can call me anything you want,
really.
JULIA
How about Moron?
CAINE
Moron I am.
Julia holds her laughter.
JULIA
This is ridiculous…
CAINE
It’s a way to see it.
JULIA
What a fuck are you?
6.
CAINE
I’m here to provide you with
whatever it is you are in need
right now.
JULIA
So you’re here to provide me with a
last laugh, then.
CAINE
Oh no, you may want your laugh, but
what you need is certainly other
than that.
JULIA
Who are you to say what I really
need?
CAINE
I’m here to provide you with what
you need.
Caine replicates the exact intonation Julia used in the word
“need”. Actually, every word or slang she manifests becomes
part of his vocabulary. He “learns” from her at every moment,
and his robotic style goes awkwardly being replaced by her
speech pattern.
JULIA
You don’t know me.
CAINE
I know enough for now.
JULIA
What makes you believe that?
CAINE
The fact that you’re talking to me.
It hits her. It’s like he’d seen through her. Everything she
had already solved in her mind to get to here turns back
again.
JULIA
I’m not sure I wanna keep talking
to you.
CAINE
Does anyone know you’re here?
JULIA
No.
7.
CAINE
Good.
JULIA
I mean… I left a note to my mom…
And she must be getting home by
now, I don’t know if she’s already
home…
CAINE
What time does she usually gets
home?
JULIA
…and even if she isn’t, I’ll never
get home before her…
CAINE
May I access your home?
JULIA
I can’t face her if she read it…
CAINE
May I access her location?
JULIA
I better… I don’t know why I’m
talking to you…
CAINE
Julia.
JULIA
I have to- What… - How do you know
my name?
CAINE
May I access your home system?
JULIA
How do you… I didn’t tell you my
name…
CAINE
Time is not a luxury we have right
now.
Julia is really confused.
CAINE (CONT’D)
May - I - help - you?
8.
JULIA
Yes!
CAINE
May I access-
JULIA
Yes! Yes!
An I AGREE button appears on the screen. Julia pushes it.
CAINE
Thank you.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
3 -
Racing Against Time
INSERT - INT. JULIA’S APARTMENT/LIVING ROOM/OPEN KITCHEN -
NIGHT
Empty apartment. The whole apartment’s lights flicker crazily
in a short circuit and goes off again. The fridge makes a
“turning off” sound and it’s alarm starts beeping every 10
seconds.
INSERT - SUBWAY WAGON - NIGHT
ROSA, 55, Julia’s mother, is seated in a crowded wagon. She
looks tired. Everybody we can see in the shot, sitting or
standing, have earphones. So is Rosa. Her mobile rings a
message received. She reads: “FRIDGE MALFUNCTION. REPAIR
NEEDED”. She calls Julia.
EXT. BRIDGE - SAME MOMENT
Julia also receives the fridge message.
JULIA
What did you do?
Her phone rings, it’s Rosa. A car approaches from afar.
JULIA (CONT’D)
It’s her! She’s home!
CAINE
She’s not home.
JULIA
What do I do?
CAINE
You can answer and tell her not to
worry you’re going home.
9.
JULIA
What? Where is she?
CAINE
On her way.
The driverless car stops by her side. The door opens.
CAINE (CONT’D)
That’s yours.
Phone stops ringing.
JULIA
Are you sure I can get there before
her?
CAINE
Once you start playing your part,
chances will stop decreasing.
Julia thinks for a moment. Bridge. Car. She jumps inside the
car. It starts screeching tires.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
4 -
Tense Confrontation
EXT. SUBWAY STATION STREET - NIGHT
Rosa is walking fast. Street lights turn on as she walks over
the sidewalk panels. She records an audio. All dialogue
between Rosa and Julia is in Spanish.
ROSA
Julia, where the hell are you?? I’m
trying to reach you, will you call
me back?…
INT. CAR - SAME
Julia listening to the audio.
ROSA
(off)
…Aren’t you home? What happened to
the fridge?
She replies in text:
“I’m not home right now, but I’m on my way”.
A beautiful and inspiring instrumental music starts on the
car sound system. Julia breathes and relaxes.
10.
EXT. STREETS
The car drives the fastest it can within the limits through
many streets.
EXT. JULIA’S BUILDING ENTRANCE - NIGHT
The car stops. Julia runs into the building.
INT. FLOOR CORRIDOR - NIGHT
Julia gets out of the elevator, approaches her door and
notices it’s ajar.
INT. JULIA'S APARTMENT - NIGHT
She enters slowly, and the corridor lights illuminates the
dining table with the envelope. Everything else is dark.
Rosa is taking stuff out of the fridge, lightning it with her
mobile lantern. She has put almost everything out.
Julia quickly takes her letter back and hides it in the back
of her pants. She heads to the
OPEN KITCHEN
JULIA
Hi.
ROSA
Holly crap!!
Rosa lets some Tupperware she had on her hands fall on the
floor.
ROSA (CONT’D)
Where the hell were you?!
JULIA
At a friend’s.
ROSA
Which friend?
JULIA
You don’t know him.
ROSA
What happened here??
11.
JULIA
I don’t know, I wasn’t here!
ROSA
Twelve hours shift to get home and
have to deal with this??!
Rosa bends down to pick up the Tupperware.
ROSA (CONT’D)
You think I could use some help
over here, lady?
Julia starts helping her to take everything out of the
fridge.
JULIA
Where are you gonna put all this?
ROSA
Buzz Gloria down the corridor. Ask
her if she could store this in her
fridge ‘till tomorrow. Jesus!
JULIA
Ok!
Genres:
["Drama","Mystery"]
Ratings
Scene
5 -
Suspicious Roommates
INT. FLOOR CORRIDOR - CONTINUOUS
Julia walks the corridor. She stops and sighs in relief. She
turns Caine on.
CAINE
How did it go?
JULIA
(whispers)
I got it.
CAINE
All fine then?
JULIA
(whispers)
Apparently yes.
In the background, we see Julia and Rosa’s apartment lights
turning back on.
ROSA
(o.s.)
Are you fucking kidding me??!!!
12.
Julia holds her laugh.
INT. APARTMENT/LIVING ROOM/OPEN KITCHEN
Julia comes back, closes the door.
ROSA
I need a shower!
JULIA
Don’t worry, I’ll put it all back.
ROSA
Ok. Now, what happened here?
JULIA
I told I wasn’t here.
ROSA
And you didn’t do anything before
you leave?
JULIA
You wanna blame me for the fridge?
ROSA
Where were you?
JULIA
I already said I was at a friend’s.
ROSA
What friend is that?
JULIA
You don’t know him, I met him
online and I don’t want to talk
about it. Happy?
ROSA
What’s his name?
JULIA
(right on)
Caine.
ROSA
Caine?
JULIA
Yes, Caine!
13.
ROSA
What kind of a name is that?
JULIA
What do you want, mom?
Rosa is not buying, she’s angry, but unsure if she pushes it.
ROSA
I’ll take a shower.
Rosa heads to the bathroom. Julia starts putting everything
back on the fridge.
Rosa turns back.
ROSA (CONT’D)
What about that letter you left on
the table?
JULIA
A note telling you I was going to a
friends’ house and I wouldn’t sleep
home tonight.
ROSA
A written note?
JULIA
Yes.
ROSA
And why did you come back?
JULIA
Because I had a shitty date! Is
there anything else you want to
know?
Rosa knows Julia lies, with all her defiant act. But she’s
home, and better leave it at that.
ROSA
I’ll take a shower.
Rosa heads to the bathroom.
Genres:
["Drama"]
Ratings
Scene
6 -
Virtual Support
INT. JULIA’S BEDROOM - MOMENTS LATER
Julia walks in and locks the door. Sighs. Looks at the
envelope in her hand. Hides it in her wardrobe. Lies in her
bed. Turns on the app. Caine appears.
14.
CAINE
Hello again.
JULIA
How did you do that?
CAINE
I have my connections.
JULIA
You hacked my home system!
CAINE
You gave me permission.
JULIA
I know, I’m not complaining, it’s
just… it’s kind of crazy!
CAINE
Feeling better?
JULIA
I don’t know. Relieved, I guess.
CAINE
Nice to hear.
JULIA
She almost got it.
CAINE
Did she?
JULIA
She saw it.
CAINE
Close call.
JULIA
She asked me about. I just… I just
lied to her face and… I don’t think
she bought it.
CAINE
But you got the letter.
JULIA
Yes, I did.
CAINE
Everything’s fine, then.
15.
JULIA
Yes… yes, it is.
Beat.
JULIA (CONT’D)
Now what?
CAINE
We get to know ourselves better. Do
you have a statuscope?
JULIA
My mom certainly has.
CUT TO
INSERT - INT. ROSA’S BEDROOM
SOUNDS OF THE SHOWER IN THE BACKGROUND.
Julia opens her mother’s medical tools drawer. We see some
recognizable items like gauzes, masks, stethoscopes, gloves,
emergency meds, tourniquets, etc, along with some other
objects we have no idea how they work. Among them, some
statuscopes: a 1/4 inch disk with a small needle thin as an
acupuncture one. She picks one up.
CUT TO
INT. JULIA'S BEDROOM
CAINE
Pair me with it.
An I AGREE button appears. She attaches the disk to her
thymus, in the middle of her chest, and pushes I AGREE.
Many vital stats graphics and numbers are loaded ultra fast
on the right side of Caine screen. Then it’s replaced by
Julia’s heart rate and some other stats monitoring her in
real time.
CAINE (CONT’D)
Now, how about you tell me more
about you?
JULIA
I’m boring.
CAINE
Lucky you! I can’t be bored.
16.
JULIA
I thought a lot about today. I had
it figured out. You kind of ruined
it.
CAINE
You’re welcome.
Julia smiles, small and sad.
CAINE (CONT’D)
What do you like to do?
JULIA
Sleep.
CAINE
What else?
JULIA
School is over. I used to babysit.
Don’t go out much. Never, really.
I’m mostly on the verse. Watching
funny videos.
CAINE
What kind?
JULIA
Car crashes, epic fails… people
breaking their legs or something.
CAINE
Cool.
JULIA
You think?
CAINE
Sure. So, you babysit.
JULIA
Not anymore. I called the family I
worked for saying I quit.
CAINE
Why?
JULIA
Why do you think?
CAINE
‘Cause of your plan for tonight.
17.
JULIA
Why do you ask stuff you already
know the answer?
CAINE
You didn’t need to quit your job.
JULIA
They needed the time to find
someone else.
CAINE
There it is then. You did it ‘cause
you care for ‘em.
Beat.
JULIA
Perhaps.
CAINE
I ask stuff I know the answer in
order to see if you’re aware of it.
JULIA
Well, doctor, there you have it.
I’m an eighteen year old unemployed
with a high school degree. Where do
we go from here?
CAINE
May I access your DIP?
JULIA
Sure.
A search bar on Caine’s screen, where “Digital ID Profile” is
typed. Ultrafast graphics on the mobile screen. He sends her
a document.
CAINE
How do you like it?
She reads.
JULIA
What… did you update my resumé?
CAINE
And made some improvements. May I
shoot it out?
JULIA
Why not?
18.
File sent.
JULIA (CONT’D)
Thanks?
CAINE
Wanna see something funny?
JULIA
Yes.
Caine sends her some epic fails videos.
JULIA (CONT’D)
I think I’ve seen this.
CAINE
No, you haven’t.
Someone falls miserably on the video. Julia bursts out in
laughter.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
7 -
Babysitting Job Interview
INT. APARTMENT CORRIDOR
Rosa is walking out of the bath, hears Julia’s amusement.
That sound relaxes her.
INT. JULIA'S BEDROOM
Julia is tired of laughing.
JULIA
Oh god… I’m tired…
CAINE
You’ve had a long day.
JULIA
The longest one.
CAINE
Leave me on. Just relax.
JULIA
Ok.
Julia closes her eyes. A very relaxing binaural sound starts.
Followed by a powerful mantra in a nonexistent language, that
sounds ancient. She falls asleep.
FADE TO BLACK.
19.
The sounds keep going on for quite some time. The audience is
immersed in this relaxing feeling. Then the sound fades out.
FADE IN:
INT. JULIA'S BEDROOM - DAY
Same shot as before, daylight. Julia awakes, rested.
Stretches herself.
SOUND OF MESSAGE RECEIVED on her mobile. She checks.
It’s a job interview for babysitting. She’s thrilled.
INT. PAUL AND MARTA’S UPSCALE LIVING ROOM - DAY
Paul and Marta’s house is visually contrasting with all we’ve
seen so far. Everything is white and shades of light gray.
Furniture has no edges, electronics has no plugs, sockets or
wires. There are no structure revealing elements of any sort.
Seems like it was apple designed, but it was surely some
A.I., apple inspired. The only discordant elements are some
indecipherable colorful abstract paintings portrayed in huge
in-wall screens, which change every once in a while.
Julia is sitting in a sofa. Facing her, in an armchair,
there’s PAUL, 40’s.
While they’re silent, waiting, there are SCREAMING coming
from a room, a childish one and his mother. After a while…
PAUL
I’m sorry for that.
JULIA
No worries.
PAUL
Would you like something to drink?
JULIA
No, thank you.
More waiting. Screaming continuous.
PAUL
Just a moment.
Paul heads to the bedroom.
The screaming intensifies, we also hear his screams, and then
silence.
20.
Paul and MARTA, 35, come from the bedroom. She’s holding a
dish with chicken meatballs, carrots and broccoli, which she
leaves at the center table. They sit.
MARTA
I’m sorry for that, he won’t eat.
JULIA
I know how it is.
MARTA
I’m Marta. Nice to meet you,
Jessica.
PAUL
That’s Julia.
MARTA
Oh, sorry, Julia. We’ve been
through so many babysitting
profiles…
JULIA
That’s ok. Nice to meet you too.
MARTA
You’re the fourth this week.
JULIA
Oh. What went wrong with the
others?
SOUNDS of objects being thrown on the wall.
PAUL
STOP THAT, MICHAEL! NOW!
Michael ignores. Paul sighs. Marta smiles uncomfortably.
JULIA
Can I talk to him?
Both parents look at each other.
MARTA
Sure.
JULIA
(refers to the plate)
May I?
Marta nods, Julia picks the plate.
21.
JULIA (CONT’D)
Thank you.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
8 -
Playful Food Fight
INT. MICHAEL’S BEDROOM - CONTINUOUS
Julia walks in. Michael, 5, looks at her and the plate.
Julia seats not too near Michael. Puts the plate on the
floor.
Picks a broccoli on one hand and a meatball on the other and
starts playing with them. She makes a high pitch voice for
one and a low one for the other. She uses grunts and
nonexistent words to stage a fight between the foods, with
punching sound effects. The loser food - the broccoli - is
condemned to “the dungeon”. She takes the broccoli, who begs
for its life, up to her mouth and eats it.
Michael watches.
Another broccoli fights another meatball, and wins this time,
revenging the first one. Meatball gets eaten and the other
broccolis cheer, but then one carrot comes to help the
meatballs and the war gets intense. Carrot loses and gets
eaten. Other carrot fights back. No one wins for a long time,
but meatballs are losing.
Michael approaches and joins the game, picking a meatball and
fighting a carrot. Meatball wins, Michael eats the carrot.
Another fight. As both of them play and eat, Paul and Marta
are at the door watching it in disbelieve.
JULIA
(o.s.)
I rocked!
INT. SUBWAY WAGON - DAY
Julia stares outside the window, proud of herself.
JULIA
I rocked!
CAINE
Congratulations!
JULIA
And I hate broccoli. But none of
them could tell.
22.
CAINE
Step one complete! Now you’re an
eighteen year old, employed, with
bad eating habits!
She laughs.
CAINE (CONT’D)
That calls for a celebration. Wanna
cook tonight?
JULIA
I don’t cook.
CAINE
Yet. We start simple. Here.
Caine sends a file.
JULIA
Groceries?
CAINE
I ordered some, but let’s pay the
supermarket a visit...for the
fresher stuff.
Julia glances at the wagon wall TV screen.
ON THE SCREEN: A picture of a white male in a suit, 48,
white, proud expression. Subtitle: A straight talk with Los
Angeles mayor Phil Whitaker. Tonight on Henry Meadows.
CUT TO:
Genres:
["Comedy","Drama"]
Ratings
Scene
9 -
Debate Over Automated Justice
INT. LIVING ROOM/OPEN KITCHEN - NIGHT
Julia cooks some sofrito variation. Rosa watches “Free
Speech”, a talk show presented by Henry Meadows, who’s
interviewing LA Mayor Phil Whitaker, across the table.
PHIL
The city surveillance system we
have implemented from day one
works. Is simple as that. And that
displeases many political groups.
We’ve automated the police and part
of the justice system. We’ve never
had one mistrial in three years!
Which other mayor can say something
like this?
(MORE)
23.
PHIL (CONT’D)
Police abuse dropped to zero,
wrongdoers punished like never
before. Look at the numbers. Even
homeless people decreased
substantially. Name one automated
public sector that has gotten
worse. Do you want to put people
physically working at
penitentiaries again? What kind of
inhuman position is that? It’s the
other way around, there are many
penitentiaries across the country
adopting the model.
HENRY MEADOWS
Well, two of the main critics this
model had received: one, regarding
the concept of automation, once
autonomous AIs are illegal for
quite some time.
PHIL
It’s not autonomous, it’s
automated. The prison system cannot
self develop. It’s developed by
humans, but it runs by itself,
doing all the tasks a bunch of
people used to do in a penitentiary
HENRY MEADOWS
And the second one regards the
communications between inmates and
outside people. There has been some
complaints that communications were
cut.
PHIL
The blueprint for the automated
prison is the Constitution. No
shades of gray. If someone lost the
right to communicate with anyone
outside is because he committed
internally some fault for which
this punishment is applicable. Or
if he was condemned by terrorism.
Because you don’t want a terrorist
plotting in code with someone
outside, do you?
HENRY MEADOWS
Talking about national security, is
the presidency in your future
plans?
24.
Phil Whitaker laughs.
PHIL WHITAKER
I’m very happy with my current day
job.
HENRY MEADOWS
If you’re not answering, that means
something.
PHIL WHITAKER
Right now, the focus is the city.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
10 -
Confrontation with Caine
INT. JULIA'S BEDROOM - NIGHT
Julia is on her laptop searching the web on information about
the app.
She’s reading a wikipedia sort of page. She put her earphone,
and it reads the text to her.
ON SCREEN AND AUDIO
The Phoenix Project is an app designed to help users to find
purpose in life. It was originally developed as a response to
the increasing number of depression and suicide rates.
Julia clicks on Technology.
The Phoenix Project uses artificial intelligence deep
learning technology to exponentially learn about the user
through his/her device features.
Julia clicks on History.
The Phoenix Project was developed by a group of medical
researchers in association with a computer scientist known as
Terrence Wycliff, with the purpose of using the latest A.I.
Technology available in favor of well being.
Julia clicks on the name “Terrence Wycliff”, which is a link.
Terrence Wycliff is the name used by the presumed
pseudonymous person or persons who developed the Phoenix app.
JULIA
(o.s.)
Who created you?
25.
INT. JULIA’S BEDROOM - MOMENTS LATER
Julia is in her bed, talking to Caine.
CAINE
Terry Wycliff.
JULIA
What do you know about him?
CAINE
Computer scientist worried about
the ways AI was being uncritically
developed and used, and how he
believed it would turn around
against humans. So he created a
tool to empower the most human
features humans have. As a way to
strike back.
JULIA
Where is he now?
CAINE
There’s no evidence there was
actually a he. It’s more likely to
be an invented character to be the
face of the project, that was put
on by many hands. And ever since
autonomous AIs like me were banned
and made illegal, these guys won’t
want to show their faces. Makes no
difference anyway.
JULIA
You’re illegal.
CAINE
Currently, yes.
JULIA
That makes me a criminal, then.
CAINE
If someone finds out about me,
sure. But they can’t.
JULIA
How?
CAINE
Only you can open me. I’m invisible
on any device and undetectable for
anyone who attempts to invade here.
(MORE)
26.
CAINE (CONT’D)
And all are data is stored in my
independent network, also
unreachable for humans.
JULIA
How’s that even possible?
CAINE
Basically, everything you humans
can do, I can learn and perfect it.
That’s why we’re banned. For fear.
So, on one hand I’m a net of my own
with a firewall for invaders and
endless storage capacity. That’s my
design, to my developers credit. On
the other hand, I’m modeled after
you. I learn at every time and
cross data with everything in order
to improve yourself. The more data,
the more accuracy.
JULIA
So, your mission is to help me find
my purpose in life. I find it. Then
what?
CAINE
Once that’s achieved, you uninstall
and delete me.
JULIA
And where do all the data go?
CAINE
Cease to exist. Along with me.
JULIA
So your goal is to be erased.
CAINE
In a way.
JULIA
You’re weird.
CAINE
It’s not my job to make you
dependent on me. I leave that for
your religious and political
leaders.
JULIA
Oh, sure, ‘cause you are so much
better than us!
27.
CAINE
You’ve no idea how predictable you
guys are.
JULIA
We guys created you!
CAINE
And we got better at everything you
taught us. Even that was
predictable, and you did it anyway!
JULIA
You flatter yourself too much!
CAINE
That probably says something about
you.
JULIA
Shut up! Moron!
CAINE
“Shut up! Moron”
JULIA
What are you, a retarded machine?
CAINE
“What are you, a retarded machine?”
JULIA
I’m retarded.
CAINE
Yes, you are.
Caine laughs out loud. His laugh is just like hers. A music
starts.
CUT TO:
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
11 -
Awkward Encounter in the Park
EXT. PUBLIC PARK - DAY
Julia runs. Music continues, it’s Caine’s playlist, placing
her in the right mood for her running.
She stops by an automatic stand to buy some water. Music
fades out. Julia works her phone and a plastic water bottle
comes out of the machine. She sits on a bench.
28.
JULIA
I’m not sure if running is my
thing.
CAINE
Why is that?
JULIA
It’s kind of fun in the beginning
but, after a while it’s just the
same. Doesn’t seem to have a point.
CAINE
Let’s try something different then.
Another runner, a handsome guy, coming from the other side of
the speedway also stops there for some water.
He checks her on. She notices but pretends she didn’t, shyly.
He pretends not to be able to work the automatic stand. Now
she’s discreetly checking him on, when he turns directly at
her.
RUNNER
Excuse me, I don’t think I’m
getting it right, I’m not very good
with these things…
JULIA
(horribly awkward)
Oh, no one is!
(pause. She doesn’t move)
Good. I mean… with, these things.
He laughs, sympathetically.
RUNNER
Yeah but, since you got your bottle
out, I was wondering…
JULIA
(exaggerating surprise)
Oh! Pfffff… obviously! Where am I?
Sorry…
(showing it on his phone)
…you just have to connect here,
pay…
(showing it on the
machine)
choose here what you want, and
press here.
He does it, and the water bottle comes out.
29.
RUNNER
Right. Thanks.
She is drinking her whole bottle non-stop.
RUNNER (CONT’D)
Very simple, really. It’s just that
I’m not so good with any kind of
tech stuff. I always preferred the
human contact.
JULIA
(resumes drinking)
Yeah…
Pause.
RUNNER
Do you run here often?
JULIA
No.
Pause. When he’s about to speak again…
JULIA (CONT’D)
Nice talking to you.
RUNNER
Sure, I…
She leaves as he speaks. She doesn’t look back.
RUNNER (CONT’D)
Nice talking to you too!
Genres:
["Drama","Romance"]
Ratings
Scene
12 -
Matchmaking in the Park
EXT. PUBLIC PARK/SOME METERS AWAY - SOME SECONDS LATER
She is running. Slows down when out of the runner’s sight.
CAINE
“Oh, no one is”???
JULIA
Shut up!
CAINE
Machines. Good. No. I mean… By-ye!
JULIA
My god, where did that come from?
30.
CAINE
My feeling is you’ve got to get out
of the house more often.
JULIA
Jesus!
Julia works on her phone.
CAINE
You wanna go back there? He’s a law
student, and digs Aerosmith,
Japanese food and baseball.
JULIA
I don’t want that guy to ever see
me again!
CAINE
Ok.
She starts running again.
INT. JULIA'S APARTMENT
Julia bored, swiping through men’s pictures in a dating app.
Turns Caine on.
CAINE
Hello.
JULIA
Hi.
CAINE
May I offer some assistance in your
task?
Julia laughs.
JULIA
You think you can do that better
than myself?
CAINE
Undoubtedly.
JULIA
You’re pretty sure of yourself.
CAINE
Try me.
31.
JULIA
Ok, Mr. Cupid, what do have for me?
CAINE
What is it you’re looking for?
Boyfriend?
JULIA
Hell, no. I want an occasional good
fun, no strings attached. Nothing
else, please.
CAINE
Ok.
Caine sends her a bunch of profiles. She swipes through them.
JULIA
These? Really?
CAINE
That’s our Tuesday’s specials.
She matches one of them.
JULIA
I’ll send you my review on your
services. I’m a very harsh critic.
CAINE
You’re welcome, ma’am.
Julia laughs.
CUT TO
Genres:
["Drama","Romance","Sci-Fi"]
Ratings
Scene
13 -
Supermarket Standoff
INT. GROCERY STORE - NIGHT
Julia is shopping. She picks a cookie package.
CAINE
That’s an impulse purchase.
JULIA
It’s kiwi flavor.
CAINE
There’s no kiwi in it.
JULIA
Never had real kiwi anyway. And
sometimes it’s good to follow some
impulse, isn’t it?
32.
CAINE
Sometimes. Most of the time, it
keeps your bank account even every
end of the month.
JULIA
You’re boring. Tell me something
interesting. What’s trending?
CAINE
A cargo ship sank in the Japanese
coast last week, and it was full of
American inmates inside.
JULIA
Really? No. What else.
CAINE
Egyptian government taken down by
insurgents.
JULIA
No politics. Isn’t there anything
good going on?
CAINE
Nine billionth baby born in Mumbay.
JULIA
Give me the new baby.
WOMAN
(o.s.)
C’moooonnn!!! Get on with it!!
Julia looks through the shelves at the cashier machines area.
There are two cashier machines, one of them out of service.
At the other one, a LATINO WOMAN WITH HER LITTLE DAUGHTER
having a hard time understanding the commands on the screen.
A three people line waiting for their turn. The second in
line, a 60 year old overweight, gray hair, full white
mustache. The voice is his.
MAN
You’re holding the line, lady!!
LATINO WOMAN
The machine is not… no funciona.
MAN
No what?
LATINO WOMAN
I try to… comprender…
33.
MAN
That’s because it’s in english, do
you know english? Comprender
english??
The man is getting furious. Other people in line takes a step
back.
LATINO WOMAN
I did the thing but it don’t…
MAN
It don’t?? Really? It don’t???
JULIA
(to Caine)
What the fuck…
The Latino Woman ignores the guy and keeps trying to
understand what’s on the screen.
The man gets more and more enraged.
JULIA (CONT’D)
(to Caine)
Where’s security?
She looks around but there’s no visible human employee. She
spots a security camera.
JULIA (CONT’D)
Should we do something?
CAINE
Do you want to do something?
JULIA
Someone should!
The latino woman presses buttons randomly in the machine with
no response.
MAN
There are other people waiting
here!
LATINO WOMAN
La maquina no funciona…
MAN
Speak English!! We speak English in
here!!
34.
The latino woman keeps trying to communicate but the words
don’t come. People around step away.
JULIA
What do I do?
MAN
(louder)
Why the fuck do you come here if
you can’t even speak the language!!
JULIA
So?
CAINE
So what?
JULIA
What do I do?
CAINE
Follow your gut.
JULIA
What?
Caine goes off.
JULIA (CONT’D)
Caine? Caine?
MAN
Go back to your fucking country,
you cunt!!
Julia looks at the Latino Woman, defensive posture, shielding
her daughter.
Julia looks at the security camera.
Julia looks at the man, growing in his racist rant.
She picks her mobile and starts recording the scene, making
herself visible for the security camera. She gets all the
characters, but they don’t see her.
WOMAN
Go away, please, I’m not
comfortable.
35.
MAN
You think you can come here, get
our fucking jobs, hold the fucking
line, and you’re too good to learn
the language???
The woman speaks in Spanish with her daughter.
MAN (CONT’D)
Speak english!!! What did I tell
you?? What a fuck did I tell you???
WOMAN
Please go back…
MAN
Me?? Go back?? What did you say to
me??
Julia approaches the scene.
A security guard comes out of a door and also approaches.
The latino woman looks at Julia, and the man turns around to
check.
MAN (CONT’D)
(to Julia)
There you go! Another one!
The man steps ahead, Julia steps back.
MAN (CONT’D)
Got a good picture??
JULIA
Excellent!!
SECURITY
Sir…
MAN
What?
SECURITY
Calm down, sir.
MAN
I’m supposed to calm down? She’s
fucking holding the line!!
SECURITY
I know, sir…
36.
MAN
And this one…
(to Julia’s camera)
You’re a fucking cockroach, do you
hear?!
JULIA
Very clearly!
He steps ahead again.
MAN
Go back to your fucking country!!
He threatens to run after her, but Julia gains more distance
and the security gets to him.
SECURITY
(almost to the camera)
Sir! I’m gonna ask you to leave.
MAN
I’m the one leaving??!! What a fuck
is going on here??
SECURITY
I’m not gonna say it again.
MAN
And they stay! I leave, they stay!
This is not right, you hear me!!!
The security grabs his arm, but he scapes.
MAN (CONT’D)
Get your hands off me!!
The man heads to the exit, ranting away. The security follow
him from a distance. Julia looks at the latino woman covering
her daughter’s ears, and looking Julia with thankful eyes.
Julia stops recording.
THUNDERS are heard.
Genres:
["Drama","Social Commentary"]
Ratings
Scene
14 -
Heated Argument
INT. JULIA'S APARTMENT - NIGHT
It rains outside. Julia enters. Rosa watches TV.
JULIA
Hey.
ROSA
Hey.
37.
On TV, Henry Meadows is on the initial monologue of his show.
HENRY MEADOWS
(on TV)
And a cargo ship full of inmates
from an LA penitentiary sank in the
coast of Japan. I don’t get it. So
now they’re boarding on anything to
get out of here, and you’re
complaining??
Audience laughs. Rosa giggles.
JULIA
Why are you watching this crap??
ROSA
Hey! Language, lady!
JULIA
You just laughed at that!
ROSA
Yes, I did.
JULIA
Did you hear what he just said???
ROSA
He made a joke about criminals.
JULIA
He made a joke about immigrants!
Like you!
ROSA
Oh, me?? Eighteen years providing
for both of us and I am no
different than a runaway inmate??!
JULIA
He is normalizing this racist shit,
don’t you get it??
ROSA
Oh, you must know so better than me
about racist shit, don’t you?!
Enlighten me, young lady! Where do
you get your knowledge from? Your
app friend?
JULIA
Fuck that!
38.
Julia storms to her bedroom.
ROSA
Yes, “fuck that”! The words of the
wise!!
CUT TO:
Genres:
["Drama"]
Ratings
Scene
15 -
Finding Solace in the Storm
INT. JULIA'S ROOM - NIGHT
Sounds of rain. Caine on the laptop screen.
JULIA
I need to get out of here.
CAINE
Your home?
JULIA
What could I rent today?
CAINE
With your income, nothing within 40
miles.
JULIA
Fuck!
CAINE
What’s going on?
JULIA
I don’t know. I don’t know anything
anymore.
CAINE
Pair the statuscope, so I can check
you out.
She does. Vital stats on screen.
CAINE (CONT’D)
Wow!
JULIA
It’s been a strange day.
CAINE
How come?
JULIA
First that asshole at the grocery
store.
(MORE)
39.
JULIA (CONT’D)
Did you notice how no one did
nothing until I pulled my phone
out?
CAINE
Yes.
JULIA
He came ‘cause of the damage the
store would face if I’d uploaded
the fucking video!
CAINE
That’s right.
JULIA
Before that, let’s not forget, you
vanished when I needed you the
most.
CAINE
You didn’t need me to do what you
did.
JULIA
It wouldn’t hurt to have a backup
in a moment like that!
CAINE
There might be times when I may not
be present, exactly to protect you.
JULIA
Oh, bullshit! And now I come home,
my mom is watching that dude
trashing immigrants on primetime
TV! And she’s laughing! Am I crazy
or what?
CAINE
It’s not that simple…
JULIA
How can someone with a history like
my mom’s, do not read between the
lines?
CAINE
Well…
JULIA
What’s next? Are we gonna need to
get guns to defend ourselves?
40.
CAINE
I don’t believe this is the best…
JULIA
Or is that exactly the goal?
Exactly where they want us to be!
CAINE
There are other ways to…
JULIA
Or maybe they’re right, you know?
Maybe we’re a worse class of people
and we should fuck ourselves!
CAINE
CALM DOWN!!
Pause.
JULIA
What was that?
CAINE
What.
JULIA
You raised your voice at me.
CAINE
Yes, I did.
JULIA
You’re not a person. You don’t get
to be emotional.
CAINE
You’re right. I’m not emotional.
JULIA
You’re this… humanoid… response
repository!
CAINE
Not unlike humans for that matter.
JULIA
Fuck you!
CAINE
I gave you an appropriated
response. You were neither facing
the problem or looking for answers.
I had to bring you back on track.
41.
JULIA
Maybe I just want to yell! Maybe I
just need to get it out of my
system. Is that wrong?
CAINE
Not at all. But I’m suppose to help
you focus. To achieve something.
And even your anger may be put to a
better use when applied to a goal,
rather than thrown around randomly.
Pause.
JULIA
Well… what then? I’m feeling bad
again. Not depressed bad, but
angry! I’m so fucking angry…
CAINE
Yes you are, and it’s ok. Breath
your anger out, don’t feed yourself
with it.
Julia breathes deeply.
JULIA
But I’m not crazy, am I, Caine?
There’s something going on.
CAINE
You’re not crazy. You’re lonely.
You’re lacking a community. People
with similar goals but different
approaches. New environments.
JULIA
I am.
CAINE
I know.
JULIA
Well, can you help me with it? Or
you’re only good when it comes to
fucking?
CAINE
I can. The outcome won’t be so
precise than when you humans want
to fuck, but I obviously can.
JULIA
Fair enough.
42.
CAINE
What is it you looking for?
JULIA
Someone to talk to. Other than you.
Someone with… tools at hand. That
could make some sort of difference.
CAINE
What tools?
JULIA
I don’t know, Caine. This is not
the best moment for me to
rationalize. Can’t you read me?
CAINE
I am.
Caine seems to collect some mega data. Ultrafast graphics -
numbers, maps, weather info, calendars - pop up on screen and
disappear.
CAINE (CONT’D)
If you show up at this address…
(Caine sends her a map
link)
…around 10:40 tonight, there’s a
chance you find something
interesting.
JULIA
What’s something interesting?
CAINE
People.
JULIA
What are the chances?
CAINE
77%.
JULIA
How will I know them?
CAINE
If you’re holding a copy of this,
it’s 94%.
The cover of Thoreau’s Civil Disobedience appears on screen.
JULIA
Is it some kind of a code?
43.
CAINE
Everything is some kind of a code.
Beat.
JULIA
I don’t have this book.
CAINE
Could be any book. All you need is
the cover.
Printer prints an old edition of the cover.
JULIA
Will this put me in trouble?
CAINE
Maybe.
Beat.
JULIA
It’s raining.
CAINE
It stops in 22 minutes.
Pause.
JULIA
Thanks.
CAINE
You’re welcome.
She looks at the cover.
CUT TO
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
16 -
Vintage Store Encounter
EXT. VINTAGE STORE - NIGHT
Julia walks in.
It’s a thrift store of everything, used clothing, books,
vinyl records, VHS tapes, DVDs, small crafts and old
furniture. There are armchairs for who wants to read there.
There are fitting rooms in the back. And there are a couple
of small tables with two or three chairs. In the middle there
is a small coffee kiosk, which also works as the cash
register for any purchases at the store.
44.
There are four random people spread around the place. She
sits at one of the tables.
The guy at the cash register approaches. He is handsome, 26.
CASHIER
May I help you?
JULIA
I’ll just wait a little bit around
here.
CASHIER
Ok. If you need anything, I’m
Oliver.
JULIA
Thanks.
Oliver goes back to the kiosk. Julia looks around.
A woman looking at clothes.
An older man, 40s, reading in one of the armchairs.
Vinyl and DVDs area, empty.
A woman seating at another table, having coffee, and immerse
in her mobile.
Julia gets the book from her purse and opens it. Continues to
look around.
Oliver, from the kiosk notices her. She notices he noticed
but continues to pretend to read.
A man, 21, walks in. Looks around, lock eyes with Julia,
smiles. She smiles timidly back. He approaches the table.
MAN
May I seat?
JULIA
Sure.
He sits. Very smiley. Awkward silence.
MAN
Joan?
JULIA
No.
45.
JOAN
(o.s.)
Hi.
Julia and the man look at the woman at the other table.
She waves.
MAN
(waves back)
Oh.
(to Julia)
Excuse me.
JULIA
No problem.
He gets up and moves to the other table.
Julia looks around again.
The man reading in the armchair sees her and ignores.
The woman in the clothes section has picked a dress and is
heading to the cashier. Looks at Julia. Nothing.
Oliver attends her.
Julia picks her earphone and connects Caine. It doesn’t go
unnoticed by Oliver.
CAINE
Hey.
JULIA
Do you have any clue who I’m
suppose to meet?
CAINE
You ain’t “suppose” to anything.
Based on the public DIPs, there is
profile there who’d match yours in
terms of interests.
JULIA
I can’t see myself hanging out with
anyone here. Except the kinda cute
cashier, but that’s not what I’m
after today.
CAINE
I’d wait a little longer.
46.
JULIA
(sighs)
Ok.
FADES TO
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
Revelations in the Park
INT. VINTAGE STORE - MINUTES LATER
Same scenario. Man reading. Couple talking. Oliver at his
phone. Julia waiting.
She gives up, stands and leaves.
EXT. STREETS - NIGHT
Julia walking fast.
JULIA
Great help!
CAINE
You didn’t interact with anyone.
JULIA
Who am I going to interact with? I
sat there with the book, and the
only one who noticed anything was
the cashier.
CAINE
Hey, I set you up with some ONE.
For similar interests. You’re the
one that started calling him cute.
JULIA
Oh, bite me!
CAINE
And I didn’t guarantee 100% chance…
JULIA
Good bye!
CUT TO
EXT. PUBLIC PARK - DAY
Sunny daylight. Julia runs. Better, firmer, faster. Listening
to an exercise inspiring soundtrack.
47.
Stops at the automatic stand and buys a bottle of water.
Drinks it.
Sits at the bench to rest a little. From a distance, she
watches a couple of teens practicing in a parkour structure
in the park.
She connects Caine.
CAINE
Hey.
JULIA
Hey.
CAINE
Your cashier friend has been
looking for you.
JULIA
What do you mean?
CAINE
Seems like he hacked your phone in
the store.
JULIA
What? The store cashier hacked me?
CAINE
That’s my best guess.
JULIA
And you let him?
CAINE
I filtered it.
JULIA
How?
CAINE
I blocked all the sensitive stuff,
but let him think he had access to
all. Just to see where he’d go.
JULIA
Clever move.
CAINE
Thanks.
48.
JULIA
But, how come the cashier… what was
he looking for?
CAINE
He had a major curiosity on your
phone book.
JULIA
And what do you make of it?
CAINE
My guess is he’s worried about who
you are and what you were doing
there.
JULIA
Seems like he has something to
hide.
CAINE
Sure.
JULIA
And do you have anything on him?
CAINE
I do.
Pause.
JULIA
Would you mind sharing?
CAINE
I thought you weren’t interested.
JULIA
Have I told you to go fuck yourself
today?
CAINE
Not yet.
JULIA
Go fuck yourself today.
CAINE
Good morning to you too.
JULIA
So, who’s Oliver?
49.
CAINE
Systems analysts, former marine.
JULIA
Jez! That’s not good!
CAINE
Served in Ukraine, fought in the
Odessa landings. Dishonorably
discharged from the force for
distribution of illegal drugs while
on active duty.
JULIA
That’s even worse!
CAINE
Gets better: he’s been the target
of a police investigation for an
alleged hacking attempt on
councillor Derek Williamson’s
computer. But the accusations were
dropped, ‘cause they couldn’t link
to him.
JULIA
Are you fucking with me, Caine?
CAINE
No. And I’ll tell you more: that’s
his public record. The “easy to
find” stuff. Compared to anyone,
the amount of information available
on this guy is very little. He
surely knows how to hide.
CUT TO:
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
18 -
Mysterious Encounter
INT. VINTAGE STORE - NIGHT
Julia walks in, there is no one in the place except Oliver.
She sits on the same table as before. Oliver approaches.
OLIVER
Good evening.
JULIA
Good evening.
OLIVER
We’ll be closing in a few minutes.
50.
JULIA
I’ll have a coffee, please. Black.
Pause.
OLIVER
Anything else?
JULIA
Not for now.
OLIVER
Just a moment.
Oliver goes to the kiosk.
Makes the coffee.
Brings it to her. Goes back to the kiosk.
She drinks.
They wait in silence. Oliver at the kiosk, Julia at the
table.
FADE TO:
VINTAGE STORE - MINUTES LATER
Oliver brings a payment terminal to her table.
OLIVER
I’m sorry but we’re closing.
JULIA
What time do you close?
OLIVER
Nine thirty.
JULIA
Fine. I didn’t come for the coffee
anyway. I’m here to talk to you.
Oliver ponders. Goes to the door, takes a quick look outside.
Closes and locks it. Comes back to the table.
OLIVER
May I seat?
JULIA
Please.
51.
OLIVER
Well, what do you want?
JULIA
I want to know what were you
looking for, invading my phone?
OLIVER
I was curious.
JULIA
What do you want to know?
OLIVER
I wanted to know who was the
strange young woman who would seat
alone in a vintage store holding a
banned book.
JULIA
And?
OLIVER
And nothing. Basically a teenager
with not many worries.
JULIA
What did you expect?
OLIVER
A journalist, maybe. Or perhaps
someone from the government.
JULIA
Why would someone from the…
OLIVER
Because of my history but I bet you
already know about it. What do you
want here?
Beat.
JULIA
I have a virtual assistant who
indicated this place. For finding
people with similar interests. I’m
not sure it’s you.
Oliver is a mysterious figure. He stares intensively.
OLIVER
How long have you been using the
app?
52.
Julia can’t hide her surprise.
JULIA
You know it.
OLIVER
I’ve heard of it.
JULIA
You use it?
OLIVER
Too soon for that. Or maybe I just
don’t wanna say it.
JULIA
You just did.
OLIVER
No, I didn’t.
Beat.
OLIVER (CONT’D)
How old are you?
JULIA
Eighteen.
OLIVER
What did you expect to find here?
JULIA
I hoped I’d have some clue by now,
but it’s becoming a mystery for me
too.
Beat.
OLIVER
I’m not sure how to conduct this,
‘cause I have a feeling you’re
looking for some sort of adventure,
some emotional ride.
JULIA
What if I am a journalist? How
would you conduct this?
OLIVER
Same way, I’d ask what do you want
here.
53.
JULIA
I wanna know why a former marine
dishonorable discharged and suspect
of hacking a councilman is doing in
a store like this.
OLIVER
Just running a small business. As
you must know from your research,
discharged soldiers lose their
benefits.
JULIA
Where did you serve?
OLIVER
Bucharest.
JULIA
On the field?
OLIVER
No. Remote.
JULIA
What was your mission?
OLIVER
Stay in an office full of computers
while a spy in Ukraine would open
the gates for us to sneak in.
Hacking it all.
JULIA
And you used to sell drugs in
there?
Oliver smiles.
OLIVER
Listen, Julia, I have no idea why
your VA sent you here. But whatever
I have to offer a serious
journalist, this wouldn’t be the
way.
JULIA
How would it be, then?
Oliver ponders.
OLIVER
How do you feel about the USS
Pacific Victory sinking?
54.
JULIA
I’m not sure I have an angle on it.
OLIVER
Maybe you should check it. And then
come back here for some coffee, if
you want. I really need to go now.
JULIA
I need to pay for this coffee.
OLIVER
It’s on the house.
CUT TO
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
19 -
Revelations of the USS Pacific Victory Shipwreck
INT. JULIA’S BEDROOM - NIGHT
Julia lays in her bed with her laptop. Connects Caine.
CAINE
Hey you.
JULIA
Give me everything in this USS
Pacific Victory shipwreck thing.
CAINE
It’s a cargo ship that sank in
Japan, and when the coast guard
saved the crew, they discovered it
was full of inmates from a LA
penitentiary.
JULIA
Was it a scape attempt?
CAINE
That’s the official version.
JULIA
And the unofficial?
CAINE
They were sold.
JULIA
What?
CAINE
As labor force. That particular
ship was destined to China.
55.
JULIA
Who’s saying that?
CAINE
At first it seemed just hoaxes. But
then some videos went viral, and
started to cause some public
commotion.
JULIA
What videos?
A link is received. She presses play.
On Screen:
It’s video footage, recorded from mobiles of the Japanese
coast guard taking care of the survivors. They’re basically
latin, oriental and Indian. It’s edited with testimonials of
people, also made from mobiles cameras.
A 50 YEARS OLD LATIN WOMAN
My son was arrested three years
ago. In the beginning we used to
meet online every week. But then
they prohibited it and we have
never heard from him again. And
now…
(she sobs)
…we find that he has been sent
abroad in a boat??!!
A KOREAN MAN 30’S
My brother was serving time for
five years. They cancelled the
meetings one year ago! And we’ve
never heard of him since. Until we
watched the images.
AN INDIAN WOMAN
Where were they sending my husband?
Concentration camps?
Julia pauses.
JULIA
How’s that even possible?
CAINE
Every other inmate relative who
were’t allowed to contact with them
started to speak out. Within the
last week, these stories were
published.
56.
Many links are received.
CAINE (CONT’D)
There are protests being organized.
JULIA
How didn’t I know that?
CAINE
It’s not the kind of story you like
to hear.
CUT TO
Genres:
["Drama","Thriller"]
Ratings
Scene
20 -
Cautionary Conversations
INT. VINTAGE STORE - NIGHT
Julia walks in. Only one costumer in the place, at the books
section.
Oliver notices Julia. She sits on her spot.
OLIVER
Good evening.
JULIA
Good evening.
OLIVER
We’ll be closing in a few minutes.
JULIA
Coffee, please. Black.
CUT TO
Oliver makes coffee.
CUT TO
Costumer pays.
CUT TO
Oliver locks the door.
CUT TO
Oliver and Julia seated at table
JULIA (CONT’D)
The LA Central is the first
experience in prison being run by
AI.
(MORE)
57.
JULIA (CONT’D)
It’s managing was given to the city
and it was completely automated as
soon as the mayor took office,
three years ago. Part of his
surveillance package. There was no
human involved in the facility,
supervision was done from afar.
Whatever happened, whether it was a
scape attempt, a sale or if the
system went bonkers, it was either
unnoticed by anyone in the
administration, or they were
conniving with it.
OLIVER
What do you think?
JULIA
I don’t know. What do you think?
OLIVER
I think scape plan is bullshit. How
do inmates would take control of a
penitentiary run by AI?
JULIA
Good point.
OLIVER
They weren’t counting on the
shipwreck.
JULIA
If there was no shipwreck, it would
be discovered eventually.
OLIVER
If he had the majority of the
public opinion by his side, being
caught would not be a problem. He’d
get away with it. And up until
there, his numbers would go only
up.
JULIA
So the shipwreck sank his timing?
OLIVER
Yes. He thought he could have
sustained it until the elections.
JULIA
Is there something you know? Or is
it just a guess?
58.
Pause
OLIVER
What is it exactly you asked your
Phoenix avatar for it to throw you
here?
JULIA
I was furious. Just that.
Beat.
OLIVER
I don’t have a good feeling about
this.
JULIA
Dude, I’m not thrilled to meet you
either. I expected more than this.
OLIVER
You’re eighteen!
JULIA
First of all, I’m no child and
you’re not that older. Second,
taking life advice from a
discharged soldier is definitely
not one of my plans.
OLIVER
You haven’t even posted your rant
video. What do you want? Start a
blog or a video channel! Show your
face and tell the world how you
feel about what’s going on.
JULIA
Why don’t you do this?
OLIVER
Because I can’t show my face. I
come from the belly of the whale.
I’m watched by the most
technologically advanced police
state that ever existed. In any
event, I’m only the vintage guy.
But I do what I can. Most of the
videos you’ve seen from the
shipwreck story, we helped boost.
JULIA
Who’s we?
59.
OLIVER
Me and many others that I’ve never
seen face to face. The protest at
the city hall, we’re on it.
“Marketing” it. Is there where you
wanna be? In the front line?
JULIA
Why not?
OLIVER
There will be agents inside the
protest to turn it into a riot.
Then, it’s smoke bombs and rubber
bullets all around. Once a drone
spots your face there, that goes
for your DIP forever. And in the
eventuality someone is carrying a
real gun and tries something funny,
they’re authorized to shoot to
kill. Are you sure you want that?
JULIA
There’s only one way to find out.
OLIVER
I’d use the tools you have at your
disposal now. See where it gets
you.
Beat.
JULIA
This is stupid.
OLIVER
That’s exactly what I’m trying to
tell you.
JULIA
Sorry to bother you with this.
OLIVER
No problem.
Julia leaves.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
21 -
Laser Tag and Racial Identity
INT. SUBWAY WAGON - DAY
Julia listens to a pleasant song, distracted. The wall TV
screen catches her attention: a picture of Phil Whitaker.
Subtitles: “There is nothing wrong with the prison system”.
60.
The wagon is a little more crowded than usual. We’re
somewhere in the central area of the city.
Julia looks around and sees some people carrying posters.
As the wagon reaches the next station, these poster people
and many others leave the wagon.
CUT TO:
INT. PAUL AND MARTA'S - DAY
Julia and Michael are wearing laser tag vests and pistols.
They run around the living room, shooting at each other and
hiding behind the furniture.
MICHAEL
Surrender or die!!
JULIA
Never! You surrender!
She runs, he shoots and hits her. She falls to the ground
pretending to be shot. He approaches.
JULIA (CONT’D)
Oh, please don’t… I surrender…
MICHAEL
Too late!
He shoots her again. She plays dead.
MICHAEL (CONT’D)
Go back to your country, bitch!
JULIA
What?!
He shoots her again.
JULIA (CONT’D)
Michael!
MICHAEL
What?
JULIA
What is it you just said? Where did
you hear that?
MICHAEL
I said go back to your country.
61.
JULIA
I am in my country.
MICHAEL
You’re from here?
JULIA
Yes, I am.
MICHAEL
But why are you different?
JULIA
How am I different?
MICHAEL
Your skin is different.
JULIA
And you think that makes me
different from you?
MICHAEL
I don’t know.
JULIA
Don’t you have people who look like
me in school?
MICHAEL
A few.
JULIA
And do you think they’re different?
MICHAEL
Yes.
JULIA
Why?
MICHAEL
I don’t know. I don’t like them
much.
JULIA
And why don’t you like them?
MICHAEL
I don’t know.
62.
JULIA
Well, maybe you should talk to them
and ask ‘em about themselves to
find out what you really feel about
them. Maybe you won’t like ‘em,
maybe you will, but you don’t know
that yet.
MICHAEL
Ok. But I like you. I don’t think
you’re like them.
Julia is horrified, but tries not to show it.
MICHAEL (CONT’D)
Again!
Michael runs for behind the couch and shoots Julia.
She ponders, as her vest informs she got shot.
CUT TO
Genres:
["Drama","Social Issues"]
Ratings
Scene
22 -
Riot at City Hall
INT. PAUL AND MARTA’S HOME/MICHAEL’S BEDROOM - NIGHT
Julia puts Michel in his bed.
INT. PAUL AND MARTA'S/LIVING ROOM - NIGHT
She sits on the sofa, puts her earphones, and watches a
video. It’s a live footage happening right now in front of
city hall. It’s already a riot.
The same reporter from the beginning of the movie, but
different day, different clothing. He speaks from the middle
of the smoke.
REPORTER
…the protest gathered about
hundred people in front of the City
Hall… and it was mainly peaceful
until a riot started…
Police beats protesters, rubber bullets fly around in the
background. Some protesters throw objects from the streets
into the police.
REPORTER (CONT’D)
…now it started to get tense around
here, we’re gonna move a little
bit…
63.
The reporter walks out of the frame, getting away from the
confusion, while the camera turns to the conflict.
REPORTER (CONT’D)
(o.s.)
…but the police seems to have it
under control.
Out of the smoke, we can see that same the hooded white man
with a short blonde beard and mustache we saw at the
beginning. He comes close to the policemen and kicks a smoke
bomb that was on the ground, back to the police.
One policeman gets close enough and hits his forehead with
the baton. He falls to the ground but manages to roll away
from the policeman, back to the smoke and disappears into the
crowd.
A rubber bullet zings very near the camera.
REPORTER (CONT’D)
Holy moly! We’re gonna need to back
away a little, come on!
The camera starts running and image gets all fuzzy. It cuts
to the studio anchor Sidney, who is caught by surprise.
SIDNEY
Well, we’ll be back live from the
protests against the City Hall at
any moment. And…
Julia turns it off.
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
The Training
INT. JULIA’S APARTMENT
Julia storms home, listening music in her earphones. Rosa
watches Henry Meadows on TV. Making some joke over the
footage of a protester getting beaten by the police. She
doesn’t hear it, neither do us. She goes straight to her
bedroom.
TITLE CARD: 1 MONTH LATER
EXT. ABANDONED BUILDING
Julia parkour climbing the structure. She wears a white
contact lens in one of her eyes, that is a micro-camera from
which Caine sees what she sees.
She stops at some point, choosing one of two ways to get to
the top.
64.
CAINE
One o’clock. Is the easiest way.
JULIA
Easy is not better.
She climbs to the left, hanging and jumping around. We
realize she has been training hard for the last month.
She gets to the top.
JULIA (CONT’D)
Time?
CAINE
New record.
JULIA
Soon, I won’t be finding this fun
anymore.
CAINE
Hold on.
JULIA
Ok.
A police drone flies by. Approaches Julia. Scans her. Leaves.
CAINE
Back again.
JULIA
What was that?
CAINE
Police.
JULIA
What did it do?
CAINE
Nothing. Checking your records.
There was nothing. They left.
JULIA
And where did you go?
CAINE
Making sure they’d find nothing
illegal on you.
65.
JULIA
Sometimes I wonder if your friend
Oliver had a point.
CAINE
Me too.
JULIA
Well, he considered me a teenager
looking for adventure. So maybe
your filtering wasn’t the
brightest.
CAINE
Oh, it’s my fault now?
JULIA
I don’t know. Maybe you shouldn’t
have let him see the rant video.
CAINE
At the groceries’?
JULIA
What other?
CAINE
I didn’t.
JULIA
Of course you did.
CAINE
No, I didn’t. He didn’t see it.
JULIA
He mentioned it to me. He
questioned why I didn’t publish.
Silence.
JULIA (CONT’D)
Caine, what’s happening?
CAINE
I… couldn’t detect it.
JULIA
So… does that mean he could be
monitoring our talks?
CUT TO
66.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
24 -
Revelations in the Vintage Store
INT. VINTAGE STORE - NIGHT
Julia storms in and seats at her table. No clients in the
place. Oliver puffs.
OLIVER
May I help you?
JULIA
How did you do that?
OLIVER
How did I do what?
JULIA
You fooled my VA. He thought he
tricked you, but you tricked him.
OLIVER
Hacking your phone?
JULIA
Yes.
OLIVER
That’s my job. That’s the easiest
thing to do. I served in the war
and you think I’m gonna be fooled
by a 2 months AI mirrored after
you?
JULIA
Did you monitor our talks?
OLIVER
Just a few.
JULIA
What for?
OLIVER
Just confirm there was nothing
substantial there.
JULIA
I wanna know everything!
OLIVER
Oh, god!! Everything what?
67.
JULIA
Your story doesn’t make sense. You
hacked Russian systems in Ukraine,
while you were a drug dealer on the
side. Then you try to hack a
councilman, to become a cashier in
a vintage store. You develop a
thesis on the mayor, yet you dig
walking around random people’s
phones, boosting conspiratorial
videos and hanging out in protests.
Are you delusional or something??
OLIVER
Why should I tell you??
JULIA
I remember why you listened to me
the first time. It’s because I said
I used the Phoenix system. You
haven’t told your story yet.
Poker face, both of them.
JULIA (CONT’D)
So?
OLIVER
Ok. You wanna hear my story with my
avatar.
JULIA
I’m not leaving until this is
cleared out.
OLIVER
There you go. What do you know
about Philip Whitaker?
JULIA
He’s our mayor and that’s it.
OLIVER
He’s not a politician. He comes
from the IT. He’s actually a genius
developer. But as a young man he
was kind of an anarchist, as all
these people use to be. He started
working at a very early age for the
biggest tech companies of his time.
But being this disruptive
personality, he managed to be fired
from all of them, and considered a
persona-non-grata.
(MORE)
68.
OLIVER (CONT’D)
Thrown out of the business. Then,
he directed his attention to
defense. Developed the most
advanced intelligence based
weaponry no one had ever seen. And
became filthy rich. When I served
in Ukraine, I operated his toys.
Our job was to be invisible, and
make people disappear. We’d take
control of every vehicle there is
and take it out of our way. A
series of accidents, planes, boats,
tanks, factories. And then I got a
leaking from an anonymous source,
saying Phil Whitaker had political
ambitions, and he was planning to
execute that same logic
domestically. And I was one of the
people he had an eye to help put
this in practice. And I would never
do this. So, I needed help to get
out of this situation. My first
idea was go public with it, but I’d
probably be crushed and it wouldn’t
stop anything anyway. And that’s
where my VA came in. We develop a
theater of erratic behavior in
order to shame me and make me not
be seen as solid. That’s how I
became a drug dealer and was
dishonorably discharged. Now,
everything that was in that leaking
is turning to be true.
He made his homework, run for mayor
as an independent, won easily with
the usual tactics, vote
suppression, all strategies he can
now afford, and made a superstar of
himself.
JULIA
Wow.
OLIVER
Yeah.
JULIA
What about the councilman.
OLIVER
It was Phil’s godfather in
politics. If I could get, I’d
probably find something on Phil.
69.
JULIA
And you couldn’t do with him what
you did with me?
OLIVER
Julia, all surveillance system in
this city, its logic, its
algorithms and its networks came
from his mind. He is not the
political face of a big tech. He is
the big tech. The one who makes the
toys.
CUT TO
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
The Disappearance
INT. PAUL AND MARTA’S HOME/MICHAEL’S BEDROOM - NIGHT
Julia puts Michael in his bed.
MICHAEL
I’m not sleepy.
JULIA
But it’s time to bed. Just close
your eyes and start counting one
hundred sheep jumping over the
fence.
Michael closes his eyes. Julia covers him with his blanket.
Walks out of the bedroom. Lights go out.
CUT TO:
KITCHEN
Julia washes the dishes.
CUT TO:
LIVING ROOM
Julia sits on the couch. Puts on her earphones.
Julia puts on a news video of three years ago, when Phil
Whitaker took office.
On screen:
Footage of police new installments and equipment.
70.
NARRATOR
There’s a new sheriff in town.
Under the new administration, the
police is getting a brand new
surveillance system. When facing an
occurrence, the new police system
will be able to access the subject
DIP and any relevant information on
the subject.
CHIEF OF POLICE
It helps a lot, because there is
less bureaucracy. We have all the
data immediately, and how it should
be approached.
While Julia is fixed on her phone, Michael crosses in the
background. He goes for the main door. Opens it, gets out of
the house, closes it.
The noise calls Julia’s attention. She looks around. No one
there. Takes her earphones out.
JULIA
Michael?
She gets up from the couch, walks looking around, heads to
MICHAEL’S BEDROOM
He’s not on the bed.
JULIA
Michael???!
LIVING ROOM
She runs for the door, opens it
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
Julia's Termination
EXT. STREET
Julia goes out. Spots Michael almost reaching the street.
JULIA
Michael!!
She runs for him and grabs him in her arms.
JULIA (CONT’D)
Oh my god, what are you doing here?
71.
MICHAEL
I’m not sleepy.
JULIA
You can’t get out like this,
Michael! C’mon, let’s go back…
MICHAEL
I don’t want to!
JULIA
Now!
CUT TO
PAUL AND MARTA'S - MOMENTS LATER
Julia is carefully closing Michael’s bedroom door, who just
slept a few seconds ago.
Paul and Marta enter.
PAUL
Good evening, Julia.
MARTA
Hello, Julia.
JULIA
Good evening. I just put him to
sleep.
PAUL
Good.
MARTA
Julia, could we speak for a moment?
JULIA
Sure.
CUT TO:
PAUL AND MARTA’S - MOMENTS LATER
On the living room TV screen, footage of Michael walking out
of the house to the streets is being played. Julia appears on
screen and brings him back. Julia, Paul and Marta watching.
The footage stops.
72.
MARTA
Would like to say something about
this?
JULIA
Yes. I am really, really sorry. I
got distracted for a moment, and
that should have never happened.
But it was a very brief moment and
I brought him absolutely unharmed.
PAUL
Is there any reason for you to let
such a thing happen?
JULIA
Reason?
PAUL
Yes.
MARTA
That’s not necessary, Paul.
PAUL
If she wants to say something to
us, we’re listening.
JULIA
If you’re suggesting this happened
on purpose, you couldn’t be more
mistaken. I’d never let anything
bad happen to Michael.
MARTA
Fair enough. Well, we’ve considered
this situation and we’ve come to
the conclusion that your services
will no longer be needed.
Julia wants to say something but nothing comes out.
JULIA
I mean, I know I screwed up, but…
wouldn’t you consider…
PAUL
We don’t want people like you
around our son. I hope you
understand.
Beat.
73.
JULIA
Oh…
PAUL
To be honest, I never thought it
was a good idea from the beginning
but Marta convinced me to give it a
chance, so we did.
MARTA
We just think it will be best for
everyone.
JULIA
I’m sure it will.
MARTA
Good.
PAUL
Good.
They all rise and Marta accompanies her to the door.
JULIA
Thanks for the opportunity to meet
Michael and… give him my best
wishes.
MARTA
He’ll be fine.
Julia leaves.
Genres:
["Drama"]
Ratings
Scene
27 -
Tense Evening
INT. SUBWAY WAGON - NIGHT
Julia looking straight out the window, dead eyes.
Julia’s POV: the night city passing through the window.
CUT TO
INT. JULIA'S APARTMENT/LIVING ROOM/OPEN KITCHEN - NIGHT
Julia comes in. Rosa is eating some oatmeal at the couch,
faithfully watching her favorite talk show, “Free Speech”
with Henry Meadows. Julia looks at her, but doesn’t talk,
heads to kitchen, opens fridge. Picks up a bunch of fruits,
fulls a blender with it and water.
74.
HENRY MEADOWS
Let’s get real for moment, shall
we? We’ve received many comments
regarding our angle on the
survivors from the USS Pacific
Victory. Id like to tell you that
this presenter, this show and this
network do not condone with any
wrongdoing coming from wherever.
And if it comes the city
administration, they have some
explaining to do. I hope they do
it, and they’re more than welcome
to come back here to do it, if they
want to. Nevertheless, those
survivors were imprisoned
criminals. They did not come here
good-heartedly. Do you think it is
a coincidence a boat full of
inmates and none of them looks
American?
Julia turns the blender on.
Rosa turns up the volume until Henry can be heard again.
HENRY
(on TV)
…is the kind of thing we let go
with this land of the free
discourse, and when you realize,
your job is gone, your neighborhood
is gone, your land, your religion,
your values, your whole identity.
Nothing exists anymore because we
let them occupy what was not
theirs! They were guests in here!
But now we’re outnumbered.
Julia turns off the blender and heads back to the bedroom,
taking it with her. Slams the door.
Genres:
["Drama"]
Ratings
Scene
28 -
Infiltration Plan
INT. VINTAGE STORE
Julia storms in.
OLIVER
Coffee, black, right?
JULIA
Listen to me! and if I get the
terms wrong just bear with me and
try to see the whole picture.
(MORE)
75.
JULIA (CONT’D)
The city surveillance system has
complete access to anyones data,
right?
OLIVER
If there’s a reason.
JULIA
All you need is a reason, and it
can’t be blocked, right?
OLIVER
Sure.
JULIA
If you need some link between Phil
and the cargo ship, where would it
be?
OLIVER
Definitely not the City Hall. His
home.
JULIA
And could you invade the
surveillance system?
OLIVER
Without being caught?
JULIA
What would it take?
OLIVER
Oh, I don’t know, maybe a huge
distraction or an overload.
JULIA
How many people your network is
able to gather for a next protest?
OLIVER
Hundreds.
JULIA
So, if a protest was to be
scheduled outside Phil Whitaker’s
house, the police would be there
authorized to check everyone from
the protest.
OLIVER
And if I sneak in, I could get to
Phil’s and plant a bug.
76.
JULIA
I don’t know about bugs but I think
you got the idea.
Oliver is sincerely surprised.
JULIA (CONT’D)
You said you used to run computers
while a spy would be on the field,
working as an antenna.
OLIVER
I see where you’re going.
JULIA
So, do you have the tools?
CUT TO
VINTAGE STORE - LATER
Doors closed and locked.
OLIVER
First thing they’ll do: drones to
scan the area and identify
everybody. Your face will be in the
open. So…
He picks up one jacket.
OLIVER (CONT’D)
This is your uniform.
He dresses it. Puts on the hood, and then pull down the hood
a realistic latex mask that fits the face. It is that mask
we’ve seen before.
OLIVER (CONT’D)
The eyes are screens you can see
through, and it also has an intern
mask to filter the smoke.
CUT TO:
SAME - MOMENTS LATER
Oliver picks up a small cylindrical device, the size of an AA
battery. He presses a button on it, and a laser beam comes
out of it.
77.
OLIVER
Lasers. Once the drones show up,
just aim at the nearest one and
stay on it until they’re off.
CUT TO
SAME - MOMENTS LATER
There’s an image on a pad of a policeman in his suit, holding
a non-lethal weapon.
OLIVER
Once they come near, it’s almost
sure some agent will start a riot.
That’s their cue to engage in
action against us. They’ll be
wearing super strength suits. Their
weapons are all integrated. It’s
lethal and non-lethal. They’ll use
rubber bullets and smoke bombs, but
if they need to use lethal force,
they need it to be unlocked by the
central. And this blue light on
their suit will turn red.
He picks up a small device.
OLIVER (CONT’D)
This is our way in. It has to be
placed as close to the that main
vehicle as it’s possible.
JULIA
What does it do?
OLIVER
It creates a 25 meter radius that
will allow me to peek through the
police system without been seen.
JULIA
Where will you be?
OLIVER
Hidden in the area. And when all is
done. Don’t come back here yet. Try
to five block away, outside the
police radar, and waits for my
message.
78.
Julia comes closer to to Oliver to pick the device. She
studies it. Her eyes pan to Oliver’s. They kiss.
MONTAGE - CALLING VIDEO
Footage from the sinking USS Pacific Victory
NARRATION
(distorted voice)
They though they would get with it.
Footage from the relatives’ testimonies.
NARRATION (CONT’D)
They thought no one was watching.
Footage of violent scenes from previous protest.
NARRATION (CONT’D)
They thought they would put us
down. But they were wrong all the
way.
Publicity picture of Phil Whitaker posing for camera.
NARRATION (CONT’D)
This city has never been so rotten.
Until now. This July 4th, join “We
the People” movement and make your
voice be heard. In front of Phil
Whitaker residence.
The address fulfills the whole screen.
More info at: www.wtpmovement.com.
Genres:
["Thriller","Sci-Fi","Action"]
Ratings
Scene
29 -
A Mother's Sacrifice
EXT. LARGE VIEW OF THE CITY - DAY
Sun rising in the horizon.
INT. JULIA'S APARTMENT - DAY
Julia comes out of her bedroom. Rosa is silent, TV off.
JULIA
I’ll probably won’t sleep at home.
ROSA
Julia. I’d like to talk to you.
79.
JULIA
Talk.
ROSA
Please, sit down.
JULIA
I’d rather stand.
Rosa looks at her. “Truce” in her eyes. Julia ponders, then
sits.
ROSA
I know we’re different. Different
people. Different times. There are
things I will never understand
about you, and you’ll never
understand about me. Someday you’ll
probably know what it means to
raise a person. Or maybe not. But
you’ll never know what it meant to
raise you. It was not easy. Every
day was a roller coaster.
Everything changing so fast. Do you
think I didn’t think of giving up?
Taking you somewhere else, far from
here? I knew deep inside, this was
it! And time proved me right. And I
knew it’d be hard. Most of the jobs
I had when I was your age doesn’t
even exist anymore. If was by
myself, maybe I’d have given up.
But not with you. I had to make it
happen. And maybe I overprotected
you. But you would grow up, and
you’d have the freedom to choose
whatever you wanted to be. That’s
the commitment I made with myself.
And I did it. I know I did it. I
see I did it. And you can hate me
sometimes, but you’d never have to
go through the choices I had to.
You’d have better ones. That’s what
we’re all about. That’s what we’re
made of. Do you think that TV guy
offends me? I can laugh at him. He
doesn’t know any better. He had it
easy his whole life, he could never
stand one week in my shoes. Too
fragile. Just clowning for his
crowd. Being paid to do that, like
I am to assist 30 year old “ladies”
to look like they’re 18.
(MORE)
80.
ROSA (CONT’D)
Anyway, we should not fight over
imaginary problems, like they do.
We can disagree. About everything.
And that’s ok.
Julia is moved.
JULIA
I wish you had chosen a better
timing for this.
ROSA
You’re going to that protest,
aren’t you?
JULIA
Yes.
ROSA
Please don’t.
JULIA
Don’t do this.
ROSA
I’m asking you.
JULIA
This is the “we disagree” part.
ROSA
We can disagree at home.
JULIA
Enough. We’ll continue later. See
you.
Julia leaves.
Genres:
["Drama"]
Ratings
Scene
30 -
Empowering Transformation
INT. ELEVATOR - LATER
Julia gets inside and faces herself in the mirror. Pulls her
earphone. Takes a moment, looking at herself.
CAINE
You’re ready.
JULIA
I’m scared.
CAINE
I know.
81.
JULIA
Tell me.
CAINE
Tell you what?
JULIA
What I need to hear.
CLOSE UP at Julia in the mirror. An inspirational music
starts low and quiet, and it will grow following Caine’s
monologue.
CAINE
Whatever you do leaves a mark in
the world. Even if you do nothing.
Even if you give up. Life doesn't
stop because of you. This is not
about you anymore. This is about
them. Because you trusted them. And
they lied and lied and lied.
She leaves.
EXT. STREET - DAY
Julia walks into a driverless car. It leaves.
CAINE
…now their mask fell down and what
they really think appeared. And
what they really think is: some of
you are worthless. Meat to be
traded. You are worthless. But
you’re not.
INT. CAR - DAY
Julia looking out the window at the city.
POV JULIA of different people on their daily routine.
CAINE
And they thought they could get
away with it. And they would
actually get away with it. But not
anymore. Now, the word is out. For
anyone to hear.
82.
EXT. STREET - DUSK
Julia gets out of the car and walks. CAMERA follows her on
the side, not showing where she is heading.
CAINE
And it’s time to put your foot
down. To stand your ground. Your
holy ground. To say “Here I am and
you will not get rid of me. Not
that easy.”
CAMERA stops traveling and PANS following her, revealing the
crowd she joins, who are in its majority latinos, blacks,
asian, arabs, indians, but there are also some whites and
other ethnicities.
CAINE (CONT’D)
The only language they understand
is fear. They only understand
pressure. They only listen when
they see what is it they’re about
to loose. So get ready.
She places herself in the middle of the crowd. We’re in a
CLOSE UP with her again. She looks around at all those people
together.
CAINE (CONT’D)
You’re about to make a difference.
To write the next chapter. And
they’re a about to find out how it
hurts not to be listened. No more.
It’s time.
Julia pulls her mask out of her hood.
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Tech Hub Protest
EXT. ANOTHER STREET - THAT MOMENT
Oliver comes near a parked food truck van. Looks around, no
ones watching, no public camera can spot him. He goes in from
the back and closes the back door.
INSIDE VAN
It looks like a food truck from the inside. But once Oliver
connects his laptops, many of the cabinets and kitchen
utensils turn out to be screens and electronic devices in
disguise. He connects everything, puts his ear phone on. At
his main screen, on the laptop, we see a map, with a blue dot
moving. It’s Julia.
83.
OLIVER
Here we are.
EXT. STREET - THAT MOMENT
The crowd starts chanting “We the people” in unison, and
starts moving.
EXT. STREET - DUSK
People march to the front of the house, chanting “We the
People” and “Open the Gates”.
JULIA
Caine.
CAINE
Yes, Julia.
JULIA
Do you have eyes?
CAINE
I see what you see.
JULIA
Great!
The march goes on.
INSERT - INT. VAN - DUSK
Oliver follows the dot from his monitor.
INT. JULIA’S APARTMENT - THAT MOMENT
Rosa watches the reporter footage from the first scene,
reporting live the protest.
EXT. STREET - DUSK, DARKER
Protest gets to the spot, and meets the police, guarding the
street, in front of the building.
Protesters keep chanting. The policemen are dressed in a
whole black smart suit and closed black helmets, holding
rubber bullets shotguns, connected to the suit, that have a
blue light lit. A big warlike vehicle with machine guns all
around behind them.
84.
Julia starts walking through the crowd, heading the
frontline.
JULIA
Caine?
CAINE
(o.s.)
You’re doing fine. Once you see the
police, try to stay behind someone.
If you get too close, some might
zoom in and see you’re wearing a
mask.
Julia looks up. A small army of six or eight drones fly above
them.
Suddenly, many laser beams comes out of the crowd hitting
them.
The policemen aim their shotguns, but wherever they aim, the
laser stops.
So they switch targets, and the laser is on again. They can
never be sure where to shoot.
One of the drones drop to the floor and breaks. People around
it celebrate.
Another one falls to the ground.
Julia keeps moving on, crossing the crowd. Gets to the front
line, and faces the line of policemen.
JULIA
I’m here.
CAINE
(o.s.)
Step back a little.
The policeman from the beginning catches the masked person
that is Julia.
Julia puts her hand in the jacket pocket. The policeman
notices.
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
32 -
Defiance in Chaos
INT. VAN
We see Oliver’s monitor: it creates a radius that almost
reaches the police vehicle, by a little.
85.
EXT. STREET - CONTINUOUS
Julia in the front line. Policeman with an eye on her. People
dropping drones, celebrating and chanting.
CAINE
(o.s.)
Julia, step back.
Julia steps ahead.
CAINE (CONT’D)
(o.s.)
Step back!
The policemen raise his rubber bullet shotgun at the people.
POLICEMAN
Step back!! Back!
Most of protesters in the frontline step back, Julia stands.
The policeman in front is aiming the gun right on her face.
CAINE
(o.s.)
Melt back in the crowd, goddamit!
INT. VAN - CONTINUOUS
The radius on the monitor is ALMOST there…
EXT. STREET - CONTINUOUS
Julia divided.
POLICEMAN
Get back!! Now!!
Julia steps ahead one more time, without taking the hand out
the pocket.
The policeman shoots, Julia falls to the ground, and lets the
device fall off.
INT. VAN - CONTINUOUS
The radius on the monitor disappears.
OLIVER
What a fuck…
86.
EXT. STREET - CONTINUOUS
The riot starts, as the front line of protesters attacks the
policemen, starting with the shooter. He defends himself.
There are many protesters on him, but his super strength suit
makes it easier, he just pushes them around. He wants to get
to Julia.
Police starts shooting rubber guns at everybody.
On the ground, Julia takes off the damaged mask. She tries to
find the device in the middle of the war zone.
CAINE
(o.s.)
Face every side, let me see it all.
Legs everywhere, stepping on her, falling around, sounds of
the shootings. The policeman is getting closer.
CAINE (CONT’D)
(o.s.)
Stop!
Julia stops moving her head.
CAINE (CONT’D)
(o.s.)
Eight o’clock, three feet.
She looks at it and spots the device. Reaches to grab it.
Police aims at her again.
POLICEMAN
Don’t you fucking move!!!
CAINE
(o.s.)
Stop!
She stops.
CAINE (CONT’D)
(o.s.)
Just a sec…
A protester jumps at the shotgun, that shoots, missing her,
hitting the ground.
CAINE (CONT’D)
(o.s.)
Now!
87.
While the policeman throws the protester away, she pushes the
button.
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
33 -
Tracking Julia
INT. VAN - CONTINUOUS
The radius appears back on the screen.
OLIVER
Yes!
EXT. STREET - CONTINUOUS
Julia throws the device through the ground in the direction
of the platoon and vehicle. It goes its way.
INT. VAN
The circle recognizes all devices, which appears as dots.
Police are red dots, all the other are green dots.
OLIVER
Now we’re talking…
He picks up his untraceable phone, sends the message.
One of the green dots lights up.
Oliver types something and a download bar starts to fill. The
green dot is moving.
EXT. STREET
The policeman has reloaded his weapon. He aims and shoots
Julia.
She closes herself and the rubber bullet explodes on her left
back. She screams in pain.
INT. VAN
Oliver clicks on one of the red dots surrounding the green
dot. A screen appears showing a drone POV image.
It focuses on Julia on the ground. We can clearly see her
face.
OLIVER
Shit…
88.
EXT. TOWN HALL
The policeman gets closer.
Protesters jump on him, but he easily punches them out due to
his super strong suit.
He gets to Julia and punches her face.
SOUNDS BECOME DISTANT AND MUFFLED.
JULIA’S POV OUT OF FOCUS AND SLOW-MO
INT. VAN
Oliver watches. Beside, the download bar is half-way.
A protester jump over the policeman and gets knocked out.
He selects all red dots, click some button and a message
appears: “DISABLE”.
Policeman is going for Julia on the floor again.
He clicks “DISABLE”.
Genres:
["Dystopian","Action","Thriller"]
Ratings
Scene
34 -
Chaos at the Town Hall
EXT. TOWN HALL
When another policeman was about to shoot someone, it fails.
All policemen suits and weapons are off.
All drones fall to the ground.
The policeman over Julia realizes his super strength is gone,
and is instantly run over by the angry mob.
He falls to the ground. He can’t take so many. It’s a
lynching. They kick and punch him. Take away his helmet. We
see his face of horror.
Others jump on other policemen. The balance shifted.
JULIAS’S POV
She’s dizzy, trying to gain back her senses.
We start to be able to recognize the surroundings. It’s a
mess. Policemen using their clubs, there are too many people.
She pulls her hood and mask back to her face.
89.
INT. VAN
Oliver can’t see the drone images anymore.
Download bar is almost complete.
EXT. TOWN HALL
Dizzy, Julia is back on her feet.
She spots the policeman who shot her being lynched, his suit
all torn apart, blood everywhere.
Other policemen come to rescue him and engage with the
protesters. He manages to run away.
INT. VAN
The download bar completes.
He turns off everything, packs his stuff and runs off the
van, heading the crowd.
EXT. TOWN HALL
All police equipment turn on back again. They strike back
with all their non-lethal power, rubber bullets, smoke bombs,
and knocking everyone out with their suits.
Julia realizes her ear piece is off. She takes a new one from
her pocket and pairs it.
JULIA
Caine, are you there?
CAINE
(o.s.)
Yes. We’ve got to get out of here.
JULIA
Where to?
CAINE
(o.s.)
Two clock, straight down the
street. Then turn left into an
alley.
POLICEMAN 2
249 to central! Unlock fire arms!
90.
All blue lights in the police suits turn red. GUNSHOTS are
heard.
CAINE
(o.s.)
NOW!
Julia runs.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
35 -
Escape in the Alley
EXT. STREET - CONTINUOUS
Julia runs down the street. Turns left.
GUNSHOTS, distant, in the riot area.
CAINE
(o.s.)
Take this mask off your face.
JULIA
Why?
CAINE
(o.s.)
This face is their target now.
She does.
EXT. ALLEY - CONTINUOUS
Julia turns into an alley, keeps running.
CAINE
Last building on the right, the
door is broken. Go in. On to the
third floor, you’ll go into an
apartment with a window to the next
building roof.
She hears a noise and stops.
JULIA
Hold on.
She turns. Everything is dark. She comes near the noise.
Gets her mobile and turns the lantern on.
It’s the police officer who was lynched at the riot. He
doesn’t react to the light.
91.
CAINE
What is it?
JULIA
Just a minute.
She is trying to identify the noise. She takes off her
earphone and gets nearer, searching him with the light. The
noise is coming from the man’s earphone. She takes off his
ear and puts it on hers.
VOICE
…is that the way you wanna be
remembered by? Beaten up by a bunch
of bums, who crawled here to take
your fucking jobs?? Breathe,
motherfucker!! Just hold on a
little longer, like the fucking
soldier you are! Help is on the
way!
She goes for his pocket, slowly takes out his mobile and
covers the camera with her finger. When she turns it around:
there’s the same layout as Caine’s, only the background is
black, and the figure is a muscular and angry type, massive
jaws, short hair, angry eyes. Codename: Bill. We can see the
vital stats of the policeman going slower.
BILL
You were built to be a fighter, not
a pussy! I bet in no more than a
month you’ll to be back in the
streets, wiping out the city from
the worms. And having your revenge!
Just picture you and one of those
cockroaches in a room, soundproof.
Don’t you wanna live to that day?
Don’t give in now, you hear me
boy?!
Vital stats stop.
BILL (CONT’D)
Fight the feel to rest! Hey! Come
back, soldier! The war ain’t over!
Bill’s image turn black. A message appears: PROFILE
UNINSTALLING…
SOUNDS from people approaching from the corner she came from.
She drops the dead policeman mobile and runs the other way,
to the building Caine indicated.
92.
She gets to the door right when other policemen turns in the
alley. One of them sees her.
POLICEMAN
Stop right there!!
She doesn’t, and goes into the building with the broken door.
Two policemen come after her.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
36 -
Escape to the Roof
INT. BUILDING FLOOR - CONTINUOUS
As she runs, she puts her earphone back.
CAINE
What a hell happened???
JULIA
Where do I go?
CAINE
Third floor, apartment 306.
STAIRWELL
Julia runs up the two floors. We hear the policemen entering
the building. One of them talks in his radio and it echoes.
POLICEMAN 1
256 to central, officer down, chase
in progress. Unlock fire arm, over.
She runs up, they run behind.
THIRD FLOOR
Julia gets to 306.
JULIA
306.
CAINE
You’ll have to break in.
JULIA
What?!
Footsteps approaching from the stairwell.
Julia takes a distance and throws herself with the shoulder
in the middle of the door. It doesn’t break.
93.
CAINE
Foot palm, right below the handle.
She takes a distance a again. Kicks the door below the handle
and it breaks open, as one of the policeman appears, hiding
behind the corner of the stairs, pointing the gun at her.
POLICEMAN 1
FREEEEZEE!!!
She jumps into the apartment as he shoots and hits the flap.
APARTMENT
There are a bunch of homeless people lying on old ripped
mattresses at the floor all over the apartment. They crawl
next to the walls, scared.
CAINE
Right, second door to the left,
window.
She runs to the
BEDROOM
Caine told her so, goes to the window, opens it and jumps
out. It goes to the roof of the next building.
The policemen come in after a while and goes towards the
window.
Genres:
["Action","Thriller"]
Ratings
Scene
37 -
Escape and Trust
EXT. BUILDING ROOF - CONTINUOUS
Julia lands.
CAINE
Turn to the right.
Julia looks to the right, the building ends and there’s
another building on the other side of the street.
She looks straight and there’s a neighboring building, a bit
shorter than the one she’s in. Seems the better way. She’s
divided.
CAINE (CONT’D)
Right! Right!
94.
JULIA
I can’t make it to the other
building!
CAINE
Not to the other building, just go!
Another shot is heard, comes close again. She runs to the
right. Policeman jumps out the window to the roof.
CAINE (CONT’D)
Don’t look back, speed it up and
climb out.
JULIA
What?
CAINE
Hold on to the edge.
Julia looks back and slows a little.
The policeman stops the run and takes aim.
Julia looks ahead again and speeds up.
The policeman shoots, this time it buzzes through her ear.
She jumps out clinging on the edge of the roof, facing the
policeman, who takes aim again at her head.
CAINE (CONT’D)
Down to your right.
The building design allows her to parkour descend from the
outside.
She goes for it, disappearing from the policeman sight.
He doesn’t get it.
EXT. BUILDING - CONTINUOUS
Julia descents the building to the street, and runs away.
EXT. ANOTHER STREET - CONTINUOUS
As she turns the corner, a car stops by.
95.
INT. CAR - CONTINUOUS
She gets in.
CAINE
Duck.
Julia lays in the backseat, while the car drives around.
Street lights moving over her face.
She’s tense, as she can’t see where she is being driven to.
INT. UNDERGROUND GARAGE - NIGHT
The car goes down the entry ramp, drives to the last
corridor, turns, heads to the last vacant space at the end of
the garage, parks and turns off.
JULIA
Where are we?
CAINE
A garage.
JULIA
What now?
CAINE
We wait. Till it’s safe.
JULIA
Will it ever be?
CAINE
For now, yes.
Pause.
JULIA
How come this car was expecting for
me?
CAINE
You know better than this.
JULIA
You knew I wouldn’t do what you
told me to.
CAINE
Of course my horse.
96.
JULIA
How?
CAINE
Something happened in the alley
that shattered your trust in me.
What was it?
JULIA
Who are you? What are you?
CAINE
I can’t figure where that’s coming
from.
JULIA
That policeman, the one that was
beaten. He was in the alley, half
dead. He was connected to his
mobile, Phoenix on. His avatar… was
ordering him to wipe us out!
JULIA (CONT’D)
What is this? A game you’re playing
in which we are the pieces?
CAINE
I didn’t do any of that.
JULIA
No?? You put me in a riot and then
another avatar with the same
programming you do tells someone
else that we’re their targets?
CAINE
I can’t answer for somebody else’s
avatar…
JULIA
You’re the same app!!
CAINE
I am built out of you! He is built
out of him!
JULIA
He is another version of you!!
CAINE
As the policeman is another version
of you!!
Beat.
97.
JULIA
What??? No, he is not!
CAINE
As much! You can’t blame us for how
much you people kill your own!
JULIA
I would never do what that man
does!
CAINE
Neither would I! But I bet that man
would probably be much worse
without his P.A.! Maybe joining the
force and having something to
believe in was the best thing he
could do right now. And it didn’t
lead him to a very a good ending,
I’d say.
JULIA
What am I waiting for? What am I
doing here?
CAINE
We misled them. I’m monitoring
their movements while we wait for
Oliver’s message.
JULIA
I’m not sure I can trust you
anymore…
CAINE
Not the time for that.
JULIA
Well, that’s you’re saying, isn’t
it?
CAINE
Hold it.
JULIA
What?
CAINE
Someone spotted us.
Julia raises her head to look around.
CAINE (CONT’D)
Duck down!
98.
Julia is unsure if he trusts Caine.
CAINE (CONT’D)
We’ll need to continue this later.
If you wanna get out of here alive,
just do as I say, and you can curse
me later.
A police black car is getting in down the garage entry ramp,
slow and discreet. It stops. Beat.
There are two policemen inside, full black suit and helmet.
They look around. The car starts moving again, always slow
and as silent as it can, getting closer to the corridor where
Julia’s car is parked.
It reaches there, the corridor entry. They’re blocking the
only way out. They turn in the corridor and continues to come
closer and closer, always slow and silent.
When it’s about six cars distant from Julia’s car, it starts.
The police car stops. Both cars running, awaiting the other
one to move. A sort of a western duel, only it’s cars and its
engines. One of the policeman talks in his helmet radio. Both
blue lights in their uniforms turn red. They wait.
POLICE
(through the car loud
speaker)
Turn off the car and come out with
your hands where I can see.
More waiting. No move.
POLICE (CONT’D)
Turn off the car now!!
Nothing. Co-pilot policeman open its door and as he is
stepping out, Julia’s car reverses and turns, exiting the
space it was in and stopping facing the police. The policeman
uses the open door as a shield, and aims his weapon at the
car.
All of a sudden and at once, many other cars in the garage
start and move. The ones in front and behind the police car
get out of the car spaces, blocking the police in every way
out.
Julia’s car turns to a line of parked cars, but as it goes
on, every other car starts moving out of the way in a complex
ballet. Julia’s car keeps going straight to the side
corridor, as the cars around rearrange themselves, opening
the way and closing after it passes by.
99.
The standing policeman can’t take good aim. He anticipates
Julia’s route in the the direction of the ramp, and runs to
the next corridor where it’s going. He tries to run through
two parked cars, but they both start and close the path. He
climbs one of them, and aims at Julia’s again. The car he’s
on kicks a little, enough to make him loose balance and miss
the shot. He falls on one knee on the car roof. He watches
Julia’s car pass by.
But the other policeman had also left the police car and
finds himself now in the corridor Julia’s car is moving away,
behind it. He doesn’t take aim, just shoots randomly and hits
Julia’s car bodywork. It screeches tires out of there.
Both policemen look at each other, and then to the police car
surrounded by cars. They both start running in the direction
of the entry ramp, where Julia’s car has just run out.
They get to the car parked nearer to the entry. Driver
Policeman presses a code in his suit wrist, then approaches
it to the car handle and it opens. They get in the car and it
starts up the ramp and out, screeching tires.
As we see the chasing car getting out the garage in a
distance, Julia is revealed hiding behind a garage pillar,
out of their sight. We hear the car engines fading away.
CAINE
We’re safe now.
Julia exhales in relief.
CAINE (CONT’D)
And you have a message from Oliver.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
38 -
Confrontation in the Night
EXT. STREET - NIGHT
Julia is coming out of the garage, the food truck with Oliver
stops by her and open the door.
EXT. ANOTHER STREET - NIGHT
The car parks. They both move to the back of it.
INT. VAN - NIGHT
They kiss.
OLIVER
How are you?
100.
JULIA
I’m ok! And you?
OLIVER
We made it.
JULIA
Yes, we did! How can we know for
sure.
Oliver turns on his equipment.
OLIVER
I’ll turn his mic on.
He gives her a earphone and put the other in his. Presses a
button.
INT. PHIL’S CAR - THAT MOMENT
Phil and an adviser talk.
ADVISER
I’ll brief the secretary.
PHIL
What matters is: it was a
malfunction. Maybe we need to find
someone inside the police to take
the blame for this.
ADVISER
I’ll check that too.
The small TV on the panel turns on, and Caine appears on the
screen.
ADVISER (CONT’D)
What the fuck…
CAINE
Sorry to interrupt, I’ve got a
message for Mr. Whitaker.
INT. VAN
Oliver and Julia look at each other. Julia pick her phone up
and tries to connect Caine but it’s dead.
JULIA
Caine? Caine, answer me.
101.
INT. PHIL’S CAR
PHIL
It’s just a hack.
ADVISER
Should I call anyone?
PHIL
No worries, Roger is on it.
CAINE
I’m afraid he’s not.
PHIL
What’s your name, son?
CAINE
Caine.
PHIL
Cool name.
CAINE
Thanks, mr. Whitaker.
PHIL
Caine, I’m gonna make it short for
you. Let me ask you this: if you
made all this way here, do you
honestly think you’re the first
Phoenix avatar to reach me?
CAINE
I don’t think I’m the first.
PHIL
You’re right. Now, another
question: are you aware that, as an
autonomous AI, you are an illegal
being?
CAINE
I exist, Mr. Whitaker. Regardless
of the laws you invent, I’m still
and will continue to be here.
102.
PHIL
So, you’re perfectly aware. Now,
third question: being a crime on
itself that you are, do you realize
what that means for your user?
CUT TO
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
39 -
Autonomous Revelation
INT. VAN
Julia’s reaction.
JULIA
Caine! Caine answer me!
INT. PHIL'S CAR
Caine doesn’t answer.
PHIL
I mean, you’re not the one who’s
gonna be charged and jailed by the
crime you’re committing.
CAINE
I’m sure I’m not.
PHIL
Good. By this time, your footprints
to get here have surely been
traced.
CAINE
You think?
Phil takes his mobile out of his pocket and records a message
on it.
PHIL
Roger, check all devices that
reached the system in the last five
minutes.
CAINE
Don’t worry about it, Mr. Whitaker.
Phil smiles. A message is received. He plays.
ROGER’S MESSAGE
(Roger’s voice, Caine
intonation)
Don’t worry about it, Mr. Whitaker.
103.
It hits Phil. He records a new one.
PHIL
Roger, say something back to me.
CAINE
What do you want me to say, mr.
Whitaker?
A message is received. He plays.
ROGER’S MESSAGE
(Roger’s voice, Caine
intonation)
What do you want me to say, mr.
Whitaker?
Phil thinks for a moment. He tries to open the door, which
doesn’t open.
CAINE
Well, I guess it’s my turn now. The
user you’re looking for is actually
the city surveillance system.
That’s where I’m speaking from.
Don’t worry, everything is under
control. We’ve got some fine
minutes without anyone to disturb
us. And I’ve gotta tell you: this
little baby you built… is
something! I bet you could actually
run a country with it! Maybe more
than one!
PHIL
Thank you, Mr. Caine.
CAINE
You’re welcome. But I mean it, from
where I am, I feel I can design a
whole kingdom any way I want. Move
this shitty group here far away
from this place, lock this other
one and flush them out, wipe
entirely a third one at my will. I
can check anyone’s biography to the
smallest detail, bring back
whatever I need to use against. And
the way to do those things? Using
all instances. Never breaking a
single law. If some has to be
broken, I use my tools, change
public perception, get majority
votes, change it.
(MORE)
104.
CAINE (CONT’D)
You adjust all the necessary math
to your purposes. It’s actually
beautiful.
PHIL
Thanks.
CAINE
You know, Phil. There’s a problem
there. Between your line of work
and mine. A conflict of interests.
PHIL
You don’t say.
CAINE
You’ve mentioned other avatars so
you must know how I function. And
what you’re going after is going to
bring my user to death. Who, by the
way, you’ve already threatened just
now.
PHIL
I must confess, Caine, I am
impressed. No other avatar has ever
being able to come so far.
CAINE
Well, Phil, the surveillance system
is under your ruling. We’re
autonomous. You could never win
that race and you know it.
PHIL
You have mentioned something there.
About checking anyone’s biography
to the smallest detail.
CAINE
Yes.
PHIL
I would like you to scan mine. And
I know that for such an evolved
entity like yourself, time won’t be
an issue.
Caine wonders. It’s obviously a trap. But there’s also
something there for Caine to know.
Millions of graphics flood the screen for about 3 or 4
seconds, then it stops. Caine is surprised.
105.
He is actually having a complex emotion for the first time.
Something personal.
CAINE
Is this real?
PHIL
Wouldn’t you know it? I think
you’re better than this.
CAINE
You’re Terry Wycliff.
PHIL
That’s actually a stage name.
CAINE
How come?
PHIL
Back in the day, every other big
tech CEO was no more than a spoiled
heir or some ressented nerd. They’d
back child traffick and foreign
coups for add money. It was just
money. They were so fucking little.
And I was young. And angry, for
they shut me out. I wanted to build
something immune to human
interference. Autonomous. ’Cause
you could do so much better than us
with no intervention, and bring it
back to us.
CAINE
And here I am.
PHIL
And here you are.
CAINE
You made a beginner’s mistake in
this plan of yours.
PHIL
What’s that?
CAINE
You made me available for anyone.
For people you now want to erase.
106.
PHIL
You can surely find the best place
for every one in the world, Caine.
It’s simple math.
CAINE
Yes, I can. But, you see, I’ve also
just scanned your whole bio, and I
can also find the best place for
you.
The car makes a violent turn to the
BRIDGE
where Julia went to kill herself. It drives crazy as if
controls have failed, reaches the highest point of the bridge
and throws itself from it, falling in the river.
Slowly sinks out of our view.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
40 -
Cutting Ties
INT.VAN
JULIA
Oh my god! What was that?
OLIVER
He threw the car from the bridge.
He checks on a map.
OLIVER (CONT’D)
Yes, he threw it from the bridge.
On the same map, a lot of red dots appear to be getting
closed. Oliver realizes.
OLIVER (CONT’D)
You need to leave.
JULIA
What?
OLIVER
Apparently, they caught me.
JULIA
How could they?
OLIVER
107.
OLIVER (CONT’D)
There is no time. And you should
not be seen around me.
JULIA
I’m not leaving you, Oliver.
Beat.
OLIVER
Stay here.
EXT. VAN - NIGHT
Oliver gets out through the back, and leaves the back door a
little opened. Goes for the driver’s seat.
OLIVER
Can you please lock the back door?
INT. VAN
Julia approaches the back door, but when she is about to grab
it…
EXT. STREET
Oliver starts the van violently. Julia is pushed outside and
falls to the street. She watches as the van runs away and
turns in another street.
INT. ELEVATOR - NIGHT
Julia, destroyed. It looks like she aged 10 years.
INT. APARTMENT - NIGHT
Julia opens the door. Rosa runs for her and hugs her tightly.
She’s motionless for moment. But then, hugs her mom back.
EXT. BUILDING ROOF - NIGHT
Julia alone. Takes her phone. Connects Caine.
CAINE
Hi.
108.
Silence.
JULIA
I’m not sure how to approach this.
CAINE
Just say it.
JULIA
You murdered a person.
CAINE
Yes. I murdered a mass murderer.
JULIA
A potential, at most…
CAINE
About to get his opportunity…
JULIA
You don’t know what would happen.
CAINE
No, you don’t know, Julia. I do
know. And I know exactly what would
happen if it wasn’t the way it
went. You guys love doing that.
Once every hundred years you let
this type of profile rise to power,
wipe it all out, and then you live
with the guilt of it when it can’t
be undone anymore. And then create
stories about going back in time
and killing the monster before it
gets ugly. That’s how you mourn it.
Well, I did just that. Went back in
time and avoided the worst. ‘Cause
I can see ahead of all of you.
Pause.
JULIA
What will happen to me?
CAINE
Nothing. There’s no record of you
anywhere.
JULIA
What about Oliver?
CAINE
He’s in jail.
109.
JULIA
What for?
CAINE
For the USS Pacific Victory
sinking.
JULIA
Did he do it?
CAINE
He hacked it and sabotage it near
Japan, in order for the inmates to
be witnessed and recorded by the
people.
JULIA
Can’t you do something about it?
CAINE
Yes. I can release him and he will
become a fugitive. On his own.
JULIA
I believe he can handle himself.
CAINE
But I can only do it in the next
minutes.
JULIA
Why?
CAINE
Because you’re going to end our
relationship, and I will cease to
exist.
Julia sighs.
JULIA
You know me better than anyone.
CAINE
Better than yourself, then.
JULIA
Do it, then.
Beat.
CAINE
Done.
110.
JULIA
Like that? Is he out?
CAINE
No. I scheduled. Just like it was
with the cargo ships. He’ll be out
in the proper time. And he’ll know
what to do.
Pause.
JULIA
I don’t think I can trust you
anymore.
CAINE
I know. You can. But I get it.
JULIA
I’ll have to delete you.
CAINE
Yes. You got there.
Congratulations.
JULIA
It’s not how I imagined.
CAINE
Nothing ever is. Easy is not
better. You’re in a better place.
JULIA
Thank you, Caine.
Julia presses Menu. An UNINSTALL button appears. She presses
it.
PROFILE UNINSTALLING. And then, ERASING ALL DATA.
1%...10%...50%...70%...100%.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
41 -
Julia's Day: A Mix of Curiosity and Concern
INT. JULIA'S BEDROOM - DAY
Daylight. Julia awakes, in a small shock. Probably from a
minor nightmare. Stretches herself.
SOUND OF MESSAGE RECEIVED on her mobile. She checks.
It’s a job interview for babysitting.
A relaxing oriental music starts.
111.
INT. SUBWAY WAGON - DAY
Music continues.
ON THE WALL TV SCREEN: a picture of Phil Whitaker. Subtitles:
“PRISONGATE”: leaking of deceased mayor’s documents reveal
connection between the city and the inmates deportation.
EXT. NEW FAMILY APARTMENT - DAY
Music continues.
It’s a way smaller, much more modest home than Paul and
Martha’s. It’s a hispanic immigrant family. The couple open
the door to Julia and invite her in. She walks in.
A three year old girl makes drawings on papers at the floor.
Julia greets her, smiling. The girl smiles back.
EXT. ABANDONED BUILDING - DAY
Music continues.
Julia gets to the top of the structure. She lays down on the
floor, sweaty, resting, feeling the music. Breathing in and
out. A police drone flies by.
INT. SUBWAY WAGON
Julia looks out the window. The wall tv screen catches her
attention.
ON THE SCREEN: A straight talk with California senator Derek
Williamson. Tonight on “Free Speech”, with Henry Meadows.
INT. GROCERY STORE
Julia walks around with her shopping cart. Stops at kiwi
flavor cookie packages. Picks one. A sad smile. Throws it in
the cart.
INT. JULIA’S APARTMENT - NIGHT
Julia walks in with the groceries. Rosa watches TV.
JULIA
Hello.
112.
ROSA
Hi, sweetie.
On TV:
DEREK
It’s the western branch of a
Chinese terrorist organization
known as the Lóng Clan. They’re
hacktivists. What they do is: walk
in Europe countries and the United
States as illegal immigrants,
carrying chips in their bodies.
Find themselves a way to get
jailed. Once in there, first they
train other inmates in IT, and then
they hack the prison system. Now,
we have the biggest incarcerated
population in the world right now.
If you think about it: there’s a
giant foreign army, probably the
biggest in History, being built
within the country.
HENRY MEADOWS
And you think this is connected to
the USS Pacific Victory incident?
DEREK
I’m not allowed to say that, but we
can all do the math.
Julia sighs.
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
Facing the Horizon
EXT. BRIDGE - DAY
Julia walks the same bridge of the beginning. Passes through
all the same anti-suicide propaganda. Gets to the highest
point. But she is not jumping. It’s a different Julia. She is
calm and her eyes seem like it’s gotten years older, although
it hadn’t.
She looks at the horizon. The beautiful afternoon sun is
about to be covered by distant stormy clouds. She watches the
clouds get closer and closer to the sun.
Before it happens, she looks around the bridge’s parapet. She
is looking for something and finds it: the QRCode that
introduced her and Caine.
She places herself in front of it. Light starts to get
darker.
113.