ACT 1
FADE IN:
FULL SHOT EXT. OFFICE BUILDING - NIGHT
The OFFICE BUILDING is a squat two-story commercial building
banks of windows line each floor. The parking lot
surrounding the building is dark save for pools of lights
around sodium arc lamps. A single car, a brand new gloss
black European sedan with dark windows, is parked in the lot
next to the main entrance. Two THUGS, both dressed in
immaculately clean white business suits, stand guard at the
building's large entrance. A nondescript MAN in a dark
business suit is walking up to the THUGS.
ANGLE ON ROOF
On the roof we can see the silhouette of NEEDLE scurrying
towards some kind of roof access.
ANGLE ON THUGS
As the MAN reaches the thugs, THUG 1 steps forward and
motions the man away.
THUG 1
The building is closed for the night.
The MAN acts as if this comes as a shock to him.
MAN
You don't understand, I have an
appointment to see COOLIGE.
The MAN is interrupted by THUG 2 who is very annoyed.
THUG 2
(gruff)
He said we're closed. Beat it!
MAN
(pleading)
I really do have an appointment!
Look, here's the fax I got about it...
As the MAN continues to explain and plead we...
DISSOLVE TO:
INT. COOLIGE'S OFFICE - CONTINUOUS
The office is a study in modern elegance. A single pool of
warm light illuminates the area around COOLIGE'S glass desk.
In the darkness we can make out some details regarding the
rest of the décor; paintings on the walls, a large couch and
coffee table in a corner, and what looks like an executive
bar along one wall. There is nothing business related
immediately visible in this office. This is obviously the
office of a man who understands the beauty in simplicity.
COOLIGE is either very good at what he does or he wishes to
give that impression.
ANGLE ON COOLIGE
The man himself, COOLIGE, is seated behind his state-of-the
art glass desk with his back to the camera. Though we cannot
see all of his outfit we can see that he is wearing a
perfectly tailored dark, possibly gray, suit of European cut.
Diamond cuff links adorn the robins blue silk shirt worn
beneath the suit jacket. He is looking out the window at the
spectacle below.
COOLIGE
(amused)
And he's supposed to be the best
mercenary in the entire metroplex?
COOLIGE sighs to himself and turns to face his desk,
obviously giving up on whatever plan he had for the MAN
below. As he turns we...
PUSH IN ON COOLIGE'S FACE
and see him react in surprise and fear to...
CUT TO:
FULL SHOT INT. COOLIGE'S OFFICE - CONTINUOUS
Seated across the desk from COOLIGE, as comfortable as can
be, is NEEDLE. Dressed in all black and wearing an
enveloping black overcoat, NEEDLE exudes confidence. His
short-cropped black hair is neither too short to suggest a
military background, nor too long so as to indicate a lack of
discipline.
NEEDLE
(sincere)
I apologize for not announcing myself but
you seemed occupied. It is a pleasure to
meet you MR. COOLIGE. My associates
speak highly of you.
COOLIGE looks at NEEDLE for a moment, as if sizing him up. He
quickly looks over his shoulder at the window. As he does a
smile creeps over his face. This round has gone to the
NEEDLE.
COOLIGE
You must be the NEEDLE. It goes without
saying that your reputation precedes you.
As I stated in my original communication,
I have a contract that requires an
operative of your caliber.
NEEDLE nods his head once, almost as if he is bowing. He
crosses one leg over the other, obviously comfortable; this
is what he does. COOLIGE has recovered from his shock
quickly. He recognizes that NEEDLE'S sudden appearance was
simply a display of his skill, something like a test drive.
NEEDLE
The client?
COOLIGE taps a few keys on the keyboard integrated into his
desk. As he does a holographic screen fades into view,
hovering between himself and NEEDLE.
COOLIGE
(business like)
The client, this "MOTHER ONE," is an
unknown to me. I have not done business
with her before. She has, however,
already placed a sizable retainer in
secured bond. She has also contracted
the services of your preferred hacker,
JACK.
As COOLIGE speaks the holograpic screen begins to display
data on the mission (unreadable to the viewer). NEEDLE
watches it scroll by for a moment.
NEEDLE
I see.
NEEDLE nods his head as the data screen closes and the screen
fades away
NEEDLE (CONT'D)
My usual fee, plus the retainer applies.
Since I do not know this "MOTHER ONE" I
will require full medical.
COOLIGE
The client has anticipated this request
and has already made arrangements with
the Fulcrum clinic; this is acceptable?
NEEDLE stands.
NEEDLE
Quite.
NEEDLE reaches into his coat and pulls out a small silver
object.
NEEDLE (CONT'D)
When the client has assembled a final
scenario contact me at this address.
NEEDLE flicks the object onto COOLIGE'S desk, as he does we
can see that it is small card made of polished aluminum or
steel. Etched into one side of the card is a com number, a
post office box address, and a solitary Japanese Character.
NEEDLE (CONT'D)
I will expect the entirety of my fee to
be placed in my specified escrow account
by that time.
NEEDLE turns and walks out of the office as he does we...
FADE OUT.
ACT 2
FADE IN:
FULL SHOT EXT. SPACE PORT - NIGHT - ESTABLISHING SHOT
The SPACE PORT is not very busy at this time of night. The
squat concrete bunker like terminals and the carbon scorched
landing pits do nothing to make the space seem like a tourist
stop over. The exposed fuel lines and ducting only add to
the industrial feel. A single dingy lunar freighter lands in
one of the many pits.
CUT TO:
INT. SPACE PORT CUSTOMS - MOMENTS LATER
Dirt smudged miners are filing out of a jet way through
customs. The second to last person to leave the jet way is
HOBBES. This tall black man with his dread locks, urban
camouflage pants, plain black shirt, dark grey trench coat
and sunglasses sticks out like a sore thumb. He is carrying
a large duffle over his shoulder which he tosses onto the
custom table as he approaches.
Sitting behind the large metal customs desk is a balding
paunchy man who is obviously bored out of his mind. This is
the CUSTOMS OFFICER. He looks up at HOBBES as he tosses the
duffle bag down on the desk.
CUSTOMS OFFICER
(bored)
Transit pass?
HOBBES reaches into his coat and pulls out a single
translucent plastic card, about the size of a 3.5" disk which
he hands over to the OFFICER.
HOBBES
Coming in from luna.
The OFFICER places the card in a slot on the table. A
holographic image of someone who bares only a passing
resemblance to HOBBES appears briefly.
CUSTOMS OFFICER
Luna huh? You a miner?
HOBBES
No. I'm a consultant. Worked for
Regolith Refining.
CUSTOMS OFFICER
(good-natured, as if looking
for gossip)
Regolith? Lucky thing you made this
flight, I hear they're not letting anyone
out now.
HOBBES smiles showing his stark white teeth. His tone is
obviously not jovial.
HOBBES
(menacing)
Yeah. Lucky thing.
The OFFICER looks HOBBES up and down nervously for a moment
before handing him back his card.
CUSTOMS OFFICER
Through the scanner.
The CUSTOMS OFFICER jerks a thumb behind him quickly,
pointing to the large imaging scanner framing the customs
exit.
CUSTOMS OFFICER (CONT'D)
Next!
The CUSTOMS OFFICER deliberately takes no further notice of
HOBBES and begins to deal with the next passenger. As he
starts his bored questioning we...
ANGLE ON SCANNER
As Hobbes walks through the scanner we can see the scanner's
display highlight several cybernetic modifications. The
scanner also points out that the duffle bag contains two
pistols.
ANGLE ON HOBBES
Hobbes continues walking out of the spaceport. As he passes
a video terminal we see..
ANGLE ON VIDEO DISPLAY
The video display shows a news broadcast, although the sound
is muted we can see the headline "Luna Refinery Bombing".
DISSOLVE TO:
FULL SHOT EXT. DECKERS DEN - NIGHT - ESTABLISHING SHOT
A large neon sign dominates the cinder block wall of an
otherwise nondescript building. There are no windows and no
doors on the ground level. A deep stairwell cuts into the
wall leading down below ground level. The neon sign on the
wall reads THE DECKERS DEN but several letters are blinking
in and out randomly. It's obvious that no effort has been
made to keep the sign functional. A solitary prostitute
stands under a street light watching the other street trash
walk by. No one enters the stairwell.
CUT TO:
INT. DECKERS DEN - NIGHT
The DECKERS DEN is a dive of the worst sort. Annoyingly
sweet synthesizer music is playing in the background. A row
of booths line one wall while the bar itself lines another.
In the back of the bar is a single round table with two
chairs and a door with the word STIMM spray-painted across
the top. The bar is practically empty. The bartender SPLAT,
is a large barrel chested wall of muscle who barely manages
to fit behind the bar. One or two patrons are drinking alone
in booths with their heads down. NEEDLE enters from off
screen and approaches the bar.
CLOSE ON SPLAT
SPLAT looks up at NEEDLE and nods slowly. Despite the
enormous size difference between the two SPLAT treats NEEDLE
with great respect. SPLAT may be huge but he isn't stupid.
SPLAT
Jack isn't here friend. He'll be by
later. He said he had some business with
a software fence out in 'guna.
NEEDLE pulls a manila envelope out of his inside coat pocket.
NEEDLE
See to it that he gets this. I will
require a response before 7pm tonight.
SPLAT takes the envelope from NEEDLE and places it under the
bar. As he does NEEDLE places a 100 credit slip on the
table.
SPLAT
If he doesn't come by before then is
there something I should do?
SPLAT is about to take the credit slip but NEEDLE stops him,
pinning SPLAT'S hand under his own.
NEEDLE
Ensure that he gets that package before
then.
SPLAT nods rapidly and NEEDLE lifts his hand.
NEEDLE (CONT'D)
A pleasure as always. NEEDLE turns and
walks away.
ANGLE ON EXIT
As NEEDLE leaves he passes HOBBES who is just entering the
bar. Neither of the characters takes any particular notice
of the other. HOBBES ignores the bar and joins one of the
patrons at a booth.
CUT TO:
INT. DECKERS DEN BOOTH - CONTINUOUS
HOBBES sits across the booth from one of the patrons, a man
dressed in an open white shirt wearing a large ruby pendant
around his neck, this is RED, a talent agent who specializes
in hiring out of town operatives.
HOBBES
I'm here. What's the job?
RED
(nonchalant)
It's a bit spur of the moment I'm afraid.
I expected you yesterday.
HOBBES shrugs.
HOBBES
Things took longer than I expected to
wrap up. How spur of the moment are we
talking here?
RED
Tonight.
HOBBES straightens up quickly, suddenly alert.
HOBBES
That's too soon. I don't have any of the
details.
RED smiles and places both hands on the table.
RED
It's of no matter, your hacker will have
all of the tactical details. It's a
simple job really, I wouldn't have
bothered to call you with it all but
everyone else seems to be unavailable
tonight.
HOBBES leans back, a little more relaxed.
HOBBES
Meaning you can't do it without me. Fine.
I'll do it for double your original
offer. Who's the--
RED
(interrupting, incredulous)
DOUBLE?! That's extortion!
RED quickly gains control of himself and looks around to see
if anyone noticed the commotion. HOBBES only shrugs and
smiles.
RED (CONT'D)
(exasperated)
Fine. I'll have the hacker contact you
with the details in an hour. Be ready to
roll by 7pm
HOBBES gets out of the booth and turns to walk away. He
quickly turns back as if struck with a spur of the moment
thought.
HOBBES
Who is he?
RED
Who? The target?
HOBBES almost seems to laugh at that before responding.
HOBBES
No, the hacker. Who is he?
Now it is RED'S turn to laugh which he does, chuckling
lightly.
RED
(amused)
You know him actually, he worked with you
in Cairo. What was his name... Johnny I
think.
HOBBES clenches both fists tightly, he is visibly annoyed.
HOBBES
I didn't get nearly enough from you for
this job.
HOBBES turns and stalks out.
DISSOLVE TO:
EXT. THE SPRAWL - NIGHT
A spy satellite view of the sprawl at night, the bright
lights of the commercial district are plainly visible as are
the web like lights from the highways and mag-lev lines. At
bottom right the words "Location: Socali Metroplex. Time:
18:55" are overlaid on top of the picture. The picture zooms
several magnifications into ...
CUT TO:
EXT. ALLEY - NIGHT
The alley is no more then an access way between two
dilapidated buildings. Debris litters the ground. The
ARCOLOGY looms over skyline in all its high-tech glory.
NEEDLE stands in the foreground pressing his hand to his ear
with a look of concentration on his face. Through the front
of his coat we can see his gun in its shoulder holster.
NEEDLE
(into radio)
Is this channel secure?
JACK (O.S.)
(over the radio)
Yeah.
NEEDLE nods at the unseen voice.
NEEDLE
what did you learn?
JACK (O.S.)
(over the radio)
I don't think our employer is who she
says she is. There's no record of anyone
operating under the name of MOTHER ONE
anywhere. She's either paying another
hacker to cover her tracks or she simply
didn't exist before two weeks ago. NEEDLE
looks up at the ARCOLOGY before
responding.
NEEDLE
Interesting. Was there anything else?
JACK (O.S.)
(over the radio)
Yeah, two weeks ago she cut a deal with
COOLIGE. She's using him as a recruiter
and intermediary. Everything goes
through him. I don't think we're the
only team she's hired between now and
then.
NEEDLE
So she has other operations planned after
this?
JACK (O.S.)
That's just it, I couldn't find any
records of --
JACK is interrupted by a burst of static followed by the
voice of MOTHER ONE.
MOTHER ONE (O.S.)
(over the radio)
This is MOTHER ONE, all units in place
respond.
NEEDLE begins to walk down the alley towards the ARCOLOGY.
NEEDLE
(into radio)
This is NEEDLE, ready.
JACK (O.S.)
(over the radio)
This is JACK, the Haystack is clear.
FADE OUT.
ACT 3
FADE IN:
EXT. ARCOLOGY GATE - NIGHT
A fence surrounds the ARCOLOGY complex. The scene frames a
large gate, apparently for trucks or similar large vehicles.
Behind the fence we can see the massive ground level of the
ARCOLOGY in the distance. Even from here it is obvious that
the ground level is unkempt. Smashed boxes, dust, and other
debris are scattered about. NEEDLE smiles and approaches the
gate. When he arrives at the gate he reaches into his coat
and removes a keycard which he slides through the slot on the
gate's lock display. The gate's MONITOR chimes and a cheerful
voice says...
MONITOR (O.S.)
(cheerful)
Please place your hand on the scanner to
the left.
NEEDLE
(surprise beat, reacting to
voice)
What in the hell?
The screen of the monitor blinks into static which is
replaced by JACK'S TAG, a rotating crimson chaos symbol
against a field of black. We here JACK'S voice.
JACK (O.S.)
(over the radio)
Sorry about the delay. I hit some
protection on the gate program. It
should be clear now.
The lock clicks and the gate slowly trundles open. Needle
trots through the gate...
DISSOLVE TO:
EXT. LOADING DOCK - NIGHT
The loading docks of the ARCOLOGY are huge, several robotic
freight lifters lumber about, moving bulk freight containers
to and fro. HOBBES walks onto the docks from off screen and
stands in front of a security door. He stares nervously at
the palm plate.
HOBBES
(annoyed, apprehensive)
That door better be fucking open.
JOHNNY (O.S.)
(from the door speaker)
Don't worry about it. I sleazed the lock
minutes ago. Just stick your hand on the
plate and we can get on with this.
HOBBES places his hand on the scanner plate and receives an
electric shock.
HOBBES
(angry, reacting to the shock)
What the hell is your problem?!
JOHNNY (O.S.)
(laughing)
Just making sure you were paying
attention HOBBES. We don't want a repeat
of Cairo now do we?
HOBBES clenches his fist and punches the security monitor's
screen.
HOBBES
(still angry)
I'll get you for that asshole. Open the
fucking door.
JOHNNY laughs even more but we can hear the audible buzz of
the door unlocking. As the door slides open HOBBES enters
the ELEVATOR.
ANGLE ON LIFTER
One of the freight lifters strangely drops the bulk freight
it was carrying and stops to watch HOBBES enter the ARCOLOGY.
DISSOLVE TO:
INT. MALL - MOMENTS LATER
The Arcology MALL is the ground level of the ARCOLOGY. It is
in disrepair, the shops are all permanently closed and
several show signs of being looted and burned. Several
smaller corridors branch off from the main promenade into
darkness. In their fading gloom we can see boxes and
homeless people huddling around trash fires. NEEDLE walks
through this slum to the central bank of elevators, avoiding
drug addicts, merchants, pan handlers, hookers, and pushers.
As NEEDLE approaches the elevators the third monitor in the
bank of three elevators lights up and displays JACK'S TAG.
NEEDLE nods to himself and enters the opening doors, ignoring
the keypad and palm scanner entirely. As the doors close
behind NEEDLE the elevator begins its rapid ascent.
TRACK ELEVATOR UP SHAFT
MONITOR (O.S.)
Now approaching floor --
The elevator's MONITOR is cut off with a burst of static.
JACK (O.S.)
(laughing lightly)
You know where you're going.
CUT TO:
INT. 305 HALLWAY - MOMENTS LATER
The hallway is very dimly lit. As the elevator doors open we
see NEEDLE framed in light for a moment before the elevator
lights also go out. In the darkness we can see the glint
from NEEDLE'S gun as he pulls it from his holster. We dimly
see NEEDLE head down the hallway.
DISSOLVE TO:
INT. ELEVATOR - MOMENTS LATER
Hobbes comes in through the door, behind him we can see the
loading dock. As the door slides shut we hear the monitor...
MONITOR
(pleasant)
Please state your destination.
HOBBES
(bored)
305.
HOBBES is standing in the elevator as it climbs upward,
traveling in silence. Every time the elevator passes a floor
there is a "bong" sound. After a few of these bongs the
lights go out and the bonging stops. The only sense of
motion we get is from the light coming in from outside
(startrek style) as the elevator ascends. JOHNNY'S voice
hisses through a burst of static...
JOHNNY (O.S.)
(through static)
Sorry about that. I ran into a bit of
trouble. I had to make them think the
elevator was offline. I hope you like
the dark.
HOBBES
(sighs)
It never bothered me much.
In the darkness we can see a dim pair of red lights begin
glow from HOBBES' eyes.
CUT TO:
P.O.V. ELEVATOR - CONTINUOUS
The elevator is painted in a high-detail black and white that
traces every edge of every object. However no text is
visible and the elevator display is a blank white panel.
Millimeter-wave radar imagery shows only the geometry of high
density objects, anything drawn on a flat surface does not
show up. HOBBES waits as the elevator climbs. Abruptly it
lurches to a halt and the doors open. The elevator is
halfway between floors. Again we hear a burst of static.
CUT TO:
INT. ELEVATOR (DARK) - CONTINUOUS
HOBBES is standing in the elevator, the only light is coming
through the open doors. The elevator is halfway between
floors.
JOHNNY (O.S.)
(through static)
297, it's the best I can do. Something
is setting off security alarms all over
the elevator system.
We faintly hear the clicking of a keyboard.
JOHNNY (CONT'D)
Don't worry, it's not me. Probably some
kids playing with their new palm-top.
HOBBES
(annoyed)
You're making me late. Again. We both
lose serious cash if this job is botched.
At least clear the fucking stairs.
HOBBES begins to move towards the doors and jumps out.
JOHNNY (O.S.)
(through static)
Already done. You've got three minutes.
I'd run if I were you.
CUT TO:
INT. HALLWAY - CONTINUOUS
HOBBES jumps through the doors and takes off down a
nondescript hallway lined with office or apartment doors.
HOBBES
(huffing)
Beautiful. Fucking beautiful.
HOBBES reaches the end of the hallway, which ends in a fire
door. He kicks the fire door open without stopping and
enters the stair well. As the door flings shut behind him
we...
CUT TO:
INT. STAIR WELL - CONTINUOUS
The STAIR WELL is your standard commercial building stair
well. There are a pair of video cameras at every landing,
one facing the fire door, and the other facing down the
stairs to the next landing.
ANGLE ON CAMERAS
HOBBES glances up at them briefly then continues up the
stairs.
ANGLE ON HOBBES
As HOBBES starts up the stairs the lights in the STAIR WELL
turn off floor by floor, starting somewhere above him and
working down. As the black out reaches HOBBES he says...
HOBBES
(still huffing)
I am never working with him again.
In the near darkness we see a blinking red light above each
camera. Each camera turns to follow HOBBES' progress as he
runs by. Hobbes reaches a door marked "300-351" and
carefully opens it.
CUT TO:
INT. 305 HALLWAY - MOMENTS LATER
The HALLWAY is darkened with the exception of a light over
suite 305 which is flashing three short, one long (blink
blink-blink-solid, blink-blink-blink-solid, etc.). We see
NEEDLE approach the door in the gloom. As the flashing lights
illuminate the door we see NEEDLE examine the door's lock.
After a moment he reaches into his coat and removes a device
which he places on the lock. Seconds later we hear a faint
beep and the quiet click of the door as it unlocks. NEEDLE
opens the door slowly and steps inside.
CUT TO:
We see NEEDLE react in surprise to MR. BODY who we cannot yet
see.
ANGLE ON MR. BODY
Mr. Body is sitting in his chair at the desk, with his back
to the large bay window that dominates the wall of the suite.
A halo of blood and bits of brain surround MR. BODY'S head as
he reclines against the window. A large black hole is
visible in the center of his forehead.
NEEDLE
(whisper expletive)
So Ka?
NEEDLE steps closer to investigate the body. As he reaches
for the body (as if to look at the back of MR. BODY'S head)
we...
PUSH IN ON NEEDLE'S FACE
as his eyes go wide...
PULL OUT AND MOVE TO OVER NEEDLE'S SHOULDER
and he spins around, bringing his gun to bear. As he spins
everything goes slow motion and the camera stays over
NEEDLE'S shoulder (so we can see the room spin in relation to
NEEDLE). GIANT, a large gunman wearing an open jacket over a
gray T-shirt emblazoned with the words "Shut Up" across the
chest and faded jeans, comes into frame with his gun already
drawn and aimed at NEEDLE. As the barrel of the gun comes
into focus it fires 3 times in quick succession (even in slow
motion)...
CUT TO:
FULL SHOT ROOM 305 - CONTINUOUS
Still in slow motion we see NEEDLE get rocked backwards by
the bullets from GIANT'S gun.
NEEDLE flies backwards, as he hits the window everything
speeds up to real-time. We see the window shatter as NEEDLE
flies through it.
CUT TO:
EXT. ARCOLOGY - CONTINUOUS
In the distance we see NEEDLE as he flies out the window and
falls to the ground far below (hitting numerous ledges and
slopes along the way).
CUT TO:
P.O.V. 305 HALLWAY - MOMENTS EARLIER
In Millimeter wave radar we see the same hallway NEEDLE was
in moments before. The camera bobs slight as it moves down
the hall.
HOBBES (O.S.)
(quietly)
I'm here, which way to 305?
JOHNNY (O.S.)
(through static)
Left. I'd show you the way but someone
has preempted the environmental controls
on this level. Be careful.
HOBBES turns left down a branching corridor.
HOBBES (O.S.)
(amused)
Concern? From you JOHNNY? I didn't know
you cared.
JOHNNY (O.S.)
(through static)
I don't asshole. I just want my money.
HOBBES suddenly stops. We see the camera pan down to look at
the floor and in millimeter wave radar we see a set of tabi
footprints in the deep carpet. They lead straight to the
door of suite 305.
HOBBES (O.S.)
(concerned)
The room is supposed to be empty JOHNNY,
what's going on?
CUT TO:
INT. 305 HALLWAY - CONTINUOUS
HOBBES walks slowly to the door of 305.
JOHNNY (O.S.)
(concerned)
What are you talking about? I'm wired
into the security camera now and there's
NO ONE in that room! Go to the elevator
I'll route the camera feed to the
monitor.
HOBBES approaches the door and we can see that it is slightly
ajar. We hear 3 gun shots and the breaking glass of a
window.
HOBBES
(whispering, excited)
Don't bother. There is someone in that
room. I'm out of here.
We see HOBBES begin to turn around and we hear a voice from
behind the door...
GIANT (O.S.)
(through the door)
GIANT to Mother One, first target
neutralized. Harp Acquired.
HOBBES pulls his guns from their holsters and turns to face
the door as it opens slowly.
PUSH IN ON DOOR
GIANT walks out into the hall. He is holding the BOX in one
hand and his gun loosely at his side in the other.
ANGLE ON HOBBES AND GIANT
GIANT'S face registers shock as he almost walks into both
barrels of HOBBES' guns.
HOBBES
(pointing guns at GIANT)
Sloppy.
Before GIANT can react HOBBES pulls both triggers blowing
GIANT'S head clean off. As the body falls we see the BOX
clatter to the floor. HOBBES turns to look at it.
HOBBES (CONT'D)
Well, looks like I get paid after all.
Before HOBBES can bend down and pick up the box we can hear
JOHNNY.
JOHNNY (O.S.)
(through a LOT of static)
All hell just broke lose! You gotta get
outta there, security is already on the
way.
HOBBES bends down to get the box, as does we hear the now
familiar "bong" of an elevator arriving. Before HOBBES can
respond to JOHNNY he is interrupted by...
SECURITY
(yelling from down the hallway)
Don't Move!
HOBBES reacts on instinct, turning his head to see the
security team. He fires several shots down the hall then
rolls through the open elevator doors. As he does we hear
the MONITOR.
MONITOR (O.S.)
Please state your destination.
The doors to the elevator snap shut quickly and we hear
trailing scream muffled through the door. As the security
team rushes to ROOM 305 we...
CUT TO:
INT. ELEVATOR SHAFT - LATER
We see a close up of HOBBES' face; one of his eyes is
shattered revealing the cybernetics inside...
PULL OUT UP ELEVATOR SHAFT
As the cameral pulls back we see that HOBBES is laying at the
bottom of an elevator shaft, battered and broken in the
classic dead body pose. His gun lays near his hand broken
into several pieces, but the BOX is nowhere to be seen.
FADE OUT.
ACT 4
FADE IN:
FULL SHOT ARCOLOGY - NIGHT - ESTABLISHING SHOT
In the distance we can see the flashing lights of ambulances.
CUT TO:
EXT. LOADING DOCK - NIGHT
Two ambulances sit side by side. The camera moves in on a
team of paramedics who are zipping closed a body-bag, as the
bag closes we can see that NEEDLE is inside.
PARAMEDIC 1
You ever see a job go bad like this
before?
CUT TO:
INT. ELEVATOR SHAFT - CONTINUOUS
Another group of paramedics are tossing a body bad into a
gurney. As they wheel the body out of the ELEVATOR SHAFT we
see one of the paramedics step on the remains of HOBBES' eye.
PARAMEDIC 2 (O.S.)
Not me. I hope for their sake the money
was worth it.
As the shaft doors close we see a small trap door open in the
wall revealing a droid hutch.
ANGLE ON DROID HUTCH
A small repair and clean-up droid rolls out of the hutch and
begins to vacuum up the blood left behind. Once finished it
begins to pick up the debris from the fall. It approaches a
shadowed area of the shaft and retrieves the BOX. With the
BOX in its claws it rolls back into the hutch which closes
behind it.
FADE TO BLACK.
CREDITS
