Gattaca (1997) by Andrew M. Niccol. Draft script

FADE INA white title appears on a black screen."As night-fall does not come at once, neitherdoes oppression...It is in such twilight thatwe all must be aware of change in the air- however slight - lest we become victims ofthe darkness." Justice William O. DouglasThe title fades off, replaced by a second title."I not only think that we will tamper withMother Nature, I think Mother wants us to."     William GaylinThe second title fades off, leaving a dark screen.The darkness gradually gives way to a dawning light.We are confronted with sight of a barren, empty landscape.  Awide expanse of wasteland.Suddenly, without warning, an elephant tusk falls from the skyand crashes onto the parched ground.  The earth-shudderingimpact causes the tusk to rebound once in slow motion beforefinally settling to the desert floor in a cloud of dust.The first tusk is quickly followed by a second, also droppingfrom the heavens.  It lands near the first.  Another tusksmashes to earth several yards away.  Yet another comes crashinginto the foreground.Finally the dust settles upon a graveyard of tusks.DISSOLVE TOA BARREN, EMPTY LANDSCAPEIn another region of the wasteland, a forest of tree trunkssuddenly rains down from the sky.  The trunks thump to the hardground, also rebounding in slow motion.  Cleanly sawn,branchless, palm-like trunks, they come to rest in the dust onlyto be followed by a second cascade of lumber.When the dust finally clears. the felled tree trunks lie in ahuge, log-jam in the desert.DISSOLVE TOA BARREN, EMPTY LANDSCAPENext to descend from the sky, a torrent of firewood.  One showerafter another, crashing to the plain.  Enough chopped lumber tofuel a thousand hearths.DISSOLVE TOA BARREN, EMPTY LANDSCAPEJoining the rest of the debris is a deluge of slate - sheetsof shale from a great unseen quarry in the sky come slamming toearth.  Some of the pieces shattering, some rebounding into theair until the granite litters acres of landscape as far as theeye can see.TITLES ARE SPACED APPROPRIATELY THROUGHOUT THE PRECEDINGSEQUENCE.  THE FINAL TITLE READS:   T H E   N O T  -  T O O  -  D I S T A N T   F U T U R EThe camera commences a long, slow pull-back from the pile ofelephant tusks.  Gradually they are revealed as humanfingernails magnified many hundreds of times.The tree trunks are mere hair follicles.  The firewood,whiskers.  The slate, flakes of skin.INT.  INCINERATOR.  EARLY MORNING.A naked MAN, thirties, seen in profile, is crouched upon a metalfloor inside a small, brushed stainless steel tank, rubbing hisskin raw with a wire brush.  JEROME MORROW.Having completed his scrupulous ablutions, Jerome arches hislean frame through the small, oval door of the metal roomwith practised ease.Securing the thick, fireproof windowed door behind himself, heturns a switch to release gas into the vacated chamber.  The gasinstantly ignites in what is now revealed to be a gleamingmodern stainless-steel custom-made incinerator.We refocus on a MAGNIFIED CLOSE UP of his exfoliated flesh inthe incinerator as it blackens, curls and burns.Jerone covers himself with a silk robe and steps into a pair ofbackless slippers.INT.  EUGENE'S CONDOMINIUM.  EARLY MORNING.JEROME emerges from the incinerator room into a large, luxuriousloft-style condo containing a bizarre assortment of equipment -arranged somewhat like a production line.Long, scrupulously clean metal work benches are arranged alongone entire wall.  Laid out on the benches in neat rows aredozens of plastic bags - some filled, some unfilled.  Instrumentson trays - various types of tweezers, scissors and other lessfamiliar utensils.  Round, stainless steel containers filledwith hairs of differing lengths and other body matter.JEROME approaches another man slumped over one of the benches.EUGENE.  He clutches an empty vodka bottle.  He is snoringlightly - sleeping off the night before.  As JEROME gentlyprises the bottle out of his hand, we are struck by thesimilarity of Eugene's face to Jerome's.Jerome pulls Eugene's chair back from the desk with surprisingease.  A wheelchair - a modern, ergonomic design.  Jerome wheelsEugene to a bedroom and, with some difficulty, hauls the largerman onto the bed.  Through his alcoholic fog, Eugene feebly co-operates - his paralyzed legs a particular dead weight.After covering Eugene with a blanket, Jerome enters a bathroomcontaining a surgically-clean stainless steel basin, sink,shower and toilet.Beside the toilet stands a large, industrial-style stainlesssteel refrigerator.Donning protective gloves, Jerome opens the liquid-nitrogencooled refrigerator.  A cloud of condensed water vapor billowsout.  Revealed inside the fridge are racks of labelled jars andsilicon pouches - some containing a yellowish liquid, some adeep, red liquid.In front of one of the jars is a handwritten shopping list -"TRUFFLES, CIGS, VODKA".  Jerome smiles to himself as heretrieves the note along with one of the jars.  He checks thejar's label.  Satisfied with the date written there, he breaksthe seal and pours the contents into the clear, silicon pouch ofan IV-like device lying on the steel bathroom counter.He seals the pouch and checks the apparatus by opening the valveon its fine tube and squirting a small quantity of the liquidinto the nearby toilet bowl, as one would test a syringe.  Weremain on Jerome's face as he reaches between his legs andinserts the pouch.Reopening the refrigerator, Jerome slides out a tray containingneat rows of slim, fingertip-sized plastic sachets filled with adeep, red-colored liquid.  He removes his gloves, selects one ofthe sachets and carefully adheres the sachet to the pad at theend of his index finger.  He prepares a second sachet for hismiddle finger.  Jerome then applies skin-colored cover-up makeupto the sachets, blending them in with the color of his fingers.JEROME, still dressed in his robe, climbs a large, spiralstaircase to the floor above.INT.  JEROME'S CONDOMINIUM.  EARLY MORNING.He emerges at the top of the staircase into a similarly large,loft-stlye condominium.  Through the floor to ceiling windowthat opens onto a balcony we see that dawn is only just startingto leak into the night sky.In the bedroom JEROME removes a shirt from a drycleaning bag.Printed on the bag - "Confidentiality Guaranteed".  He emergesfrom his bedroom, dressed in a smart albeit unconventionally cutsuit.  He adjusts his tie in the mirror, careful not to disturbthe sachets attached to his fingertips.INT.  INVESTIGATOR'S POOL.  MORNING.A lone MAN swims a ferocious lap of freestyle in what appears tobe a pool of enormous length - yet he never reaches the pool'send.  We pull wider to reveal that the man is swimming againstan artificial current in a pool barely larger than himself.Abruptly, the man stops and stands up - the fast-flowing currentinstantly stilled.  We glimpse the face of INVESTIGATOR LUCAS.Thirties, he has a youthful yet rigid face.  We have theimpression that he does not swim for pleasure.EXT.  CONDOMINIUM COMPLEX.  MORNING.It is still early as JEROME exits the building's undergroundparking garage in an immaculate Studebaker Avanti and proceedsdown the long straight driveway.  He exchanges a wave with aGARDENER trimming a lawn.The whir of the car's electric powered engine belies itsconventional appearance.EXT.  GATTACA AEROSPACE CORPORATION.  DAY.JEROME's car exits a highway and turns up the sweeping roadleading to the parking lot of "GATTACA AEROSPACE CORPORATION".A sleek, modern, low-rise industrial compound boasting perfectlymanicured landscaped gardens.INT.  GATTACA AEROSPACE CORPORATION.  DAY.JEROME strides purposefully up to the entranceway with hundredsof other GATTACA EMPLOYEES.  He carries himself with a certainarrogance, a cool detachment.  All employees wear similarlyunconventionally-cut suits, short coiffed hair and robust tans.The Gattaca employees are a seemingly equal split of men andwomen and a diverse range of ethnicities.They filter through a row of channels supervised by SECURITYGUARDS.  Each channel contains a computerized security device,featuring a slim groove in which the employee places a fingerunder the watchful eye of a Security Guard.Jerome gives a polite nod to a Guard as he places his indexfinger in the groove.  His fingertip is jabbed with thefinest of needles and a minute blood sample taken.The blood specimen confirms Jerome's identity - an ID photographappearing on a computer screen.Out of the corner of his eye, Jerome spies a young womanentering through the adjacent channel.  She is also sneaking aglance in his direction - IRENE.  Catching each other looking,they both quickly avert their eyes.As Jerome enters the computer facility of Gattaca AerospaceCorporation he furtively glances at the pin-prick puncture inhis fingertip sachet.SOMEWHERE IN DEEP SPACE.A GATTACA spacecraft skirts an asteroid.  Taking advantage ofthe rock's gravitational pull, the craft slingshots deeper intothe black void.  Then abruptly the craft and the asteroid freezein mid-space, suddenly reverse direction and proceed forwardagain - the spacecraft taking a slightly adjusted course.We pull back to reveal that the journey is merely a highlyrealistic graphic representation on a GATTACA computer screenoperated by JEROME.Appearing simultaneously alongside the computer animation is aseemingly never-ending column of computer instructions for thiscelestial navigation - the incomprehensible language of thecomputer programmer.140 #x20x08x$$x20x08x$$x20x08x$$x20{150 #x00x00x00x00x00x00x00x00x00x00160 #xfexfexfexfexfexfexfexfexfexfeJerome is transported - plotting a path through the heavens.As his fingers fly across the keys he does not once take hiseyes from the screen.His is one of hundreds of ergonomically designed work stations,arranged in ever-widening circles in a huge, curcular, well-appointed if antiseptic room.  Each curved desk contains acomputer terminal consisting of a keyboard and a slim,transparent screen behind which is seated a PROGRAMMER,designing software for the aerospace agency.  At the center ofthe room is a donut-shaped command console, chairs facingoutwards, from which operations are monitored.Floor to ceiling smoked-glass curved walls offer the onlyconcession to nature - a tinted view of a man-made, meticulouslylandscaped garden.Jerome tears himself away from his screen and picks up adiscreet mini-vac.  He vacuums between the keys of his keyboard.DIRECTOR JOSEF, 50's, a shorter, official-looking manapproaches.  His assistant IRENE stands at his shoulder.DIRECTOR JOSEFYou keep your work station so clean, Jerome.JEROME--Next to Godliness, isn't that what they say?The Director smiles at the notion and places a computer discon Jerome's desk.DIRECTOR JOSEFI reviewed your flight plan.  Not one errorin a hundred thousand keystrokes.  Phenomenal.(placing a hand on Jerome's shoulder)It's right that someone like you is taking usto the Belt.(glancing to notification on Jerome's screen)You have a substance test.The Director briskly departs, Irene in tow.  At a nearby workstation, a painfully thin programmer, NAPOLEON, perks up atthe mention of the test.Jerome merely shrugs and pretends to reach down and scratch hisankle.  However he surreptitiously produced one of Eugene'stransparent specimen bags from his sock.  An EXTREME CLOSE UPreveals the bag's contents - flakes of skin, hair follicles,eyelashes, a fingernail.  Cupping the bag in his hand to avoiddetection, Jerome sprinkles the fraudulent body matter over hiskeyboard, desk surfaces and the floor around his work station.He opens his desk drawer and casually scatters the remainder ofthe bag.  Finally he inspects a comb already laced with twohair follicles.Jerome rises from his work station and makes his way towards thetesting lab.INT.  GATTACA AEROSPACE CORPORATION - TESTING LABORATORY.  DAY.White-coated LAMAR, forties, buzzcut, a man's man, checksJEROME's eyes with an instrument.  Satisfied with hisexamination, he passes a transparent plastic container toJEROME.  Standing directly in front of the technician with hisback to camera, Jerome opens his fly.  A steady stream of urinebegins to flow into the container from Jerome's hidden pouch.LAMAR(staring admiringly at the discharge)Jerome...never shy.  Pisses on command.You've got a beautiful cock.  I ever toldyou that, Jerome?JEROME(deadpan as he continues to urinate)Only every time I'm in here.Jerome hands the container to Lamara who seals and label it asJerome refastens his trousers.LAMARI see a lot of cocks.  I speak from experience.Yours is a beautiful example.  Why didn't myfolks order a cock like that for me?LAMAR pours the urine sample into a high-tech device where itis instantly analyzed.  The urine identifies Jerone while alsoregistering a negative drug reading.  The computer reads"VALID".LAMAR(walking Jerome to the door)If everything goes to plan, this could be thelast time I see you for a while.  One week togo.  Please tell me you're the least bit excited.JEROMEI'll tell you at the end of the week.Jerome departs.INT.  GATTACA - RESTROOM.  DAY.JEROME enters the restroom and glances at the toilet stalls.Only three in the bank of twenty is occupied.  He tarries at themirror above the uniform line of basins, unnecessarilyreknotting his tie.A toilet flushes and a COLLEAGUE exits one of the stalls.  Heand Jerome exchange a nod.  When the man has exited the restroom,Jerome enters the man's vacated stall.INT.  GATTACA - TOILET STALL.  DAY.JEROME immediately feels around the back of the toilet bowl anddetaches a secreted stainless steel container.With surprising swiftness and dexterity, Jerome removes anextremely fine contact lens from each eye and drops the pairinto the toilet bowl.  He inserts two replacement lenses fromthe container and reattaches it in its hiding place.Jerome flushes the toilet and exits the stall.  He checks in themirror that his new contact lenses are properly inserted.INT.  GATTACA - CORRIDOR.  DAY.Walking back along one of the long, glass-walled corridors,JEROME becomes aware of a peculiar noise in the complex -or to be more precise, a lack of noise.  The incessant tappingof computer keys has stilled.As Jerome gazes through the glass walled corridor, we see thereflection of his face, deep in thought.JEROME (VO)The most unremarkable of events.  JeromeMorrow, Navigator First class, is only daysaway from a one-year manned mission to 951Gaspra in the Outer Asteroid Belt.  Nothing sounique in that.  Last year over one thousandcitizens from every walk of life embarked onsome space mission or other.  Besides,selection for Jerome was virtually guaranteedat birth.  He is blessed with all the physicaland intellectual gifts required for such anarduous undertaking, a genetic quotient secondto none.Jerome's gaze drifts to the sky.JEROME (VO)No, there is truly nothing remarkable aboutthe progress of Jerome Morrow, except that Iam not Jerome Morrow.EXT.  BEACH.  DUSK - THIRTY-ODD YEARS EARILERA starry sky.  The camera tilts down to find palm treesswaying against a setting sun.JEROME (VO)I was conceived in the Riviera.  Not theFrench Riviera.The camera tilts down further to find a Buick Riviera parked ina deserted beachfront parking lot on a polluted stretch ofbeach.JEROME (VO)The Detroit variety.Through the car's steamed windows we see Jerome's mother andfather, MARIA and ANTONIO, early twenties, making love.JEROME (VO)They used to say that a child conceived in love,has a greater chance of happiness.  They don'tsay that any more.INT.  FAMILY PLANNING CLINIC.  DAY.MARIA, wearing a medical gown, lies on an examining table, feetin stirrups.  A NURSE, forties, wheels an instrument traytowards her.  Maria suddenly disengages her feet from thestirrups and swings her legs off the table.NURSEWhat are you doing?MARIA(shaking her head)I can't do this.NURSE(misinterpreting the problem)I told you, the government pays.  It's alltaken care of.MARIANo, you don't understand.  I can't.The nurse places a comforting hand on Maria's shoulder.NURSE(reassuring)The doctor will give you something.MARIA(removing the hand, adamant)I'm not doing it.NURSE(trying to make her see reason)Honey, you've made one mistake--The remark stings Maria.NURSE(softening her tone)--I've read your profile.  I don'tknow about the father but you carryenough hereditary factors on your own.(pause)You can have other children.MARIA(holding her swollen stomach protectively)Not like this one.NURSE(trying to be diplomatic)Honey, look around you.  The world doesn'twant one like that one.Maria gets off the table and reaches for her clothes layingacross a chair.MARIA(irate)You don't know what it will be!The nurse watches Maria as she dresses, genuinely bewildered.NURSE(calling out to Maria as she disappearsout of the door)The child won't thank you!INT.  DELIVERY ROOM.  DAY.We focus on a crucifix dangling on a rosary.  Tilting up we findthe rosary clasped between MARIA and ANTONIO's intertwinedhands.JEROME (VO)Those were early days--days when a priestcould still persuade someone to put theirfaith in God's hands rather than those ofthe local geneticist.Bathed in sweat, Maria gives a final push on the delivery table.While still attached to his umbilical cord, the heel of theNEWBORN BABY BOY is immediately pricked by a masked NURSE.  Aminute drop of blood is inserted into an analyzing machine.Even as the baby is put into Maria's arms, page after page ofdata begins to appear on a monitor, pulsing warning signalsthroughout the spreadsheets.Two assisting NURSES exchange a look.  Antonio senses somethingamiss.ANTONIOWhat's wrong?JEROME (VO)Of course, there was nothing wrong with me.Not so long ago I would have been considereda perfectly healthy, normal baby.  Ten fingers,ten toes.  That was all that used to matter.But now my immediate well-being was not thesole concern.Antonio turns his attention from his baby to the data appearingon the monitor.  We see individual items highlighted amongst thedata - "NERVE CONDITION - PROBABILITY 60%", "MANIC DEPRESSION -42%", "OBESITY - 66%", "ATTENTION DEFICIT DISORDER - 89%"--    JEROME (VO)My destiny was mapped out before me--all my flaws, predispositions andsusceptibilities - most untreatable tothis day.  Only minutes old, the date andcause of my death was already known.Antonio focuses on a final highlighted item on the monitor'sscreen, "HEART DISORDER - 99% - EARLY FATAL POTENTIAL."."LIFE EXPECTANCY - 33 YEARS".NURSEThe name?(typing details into birth certificate)For the certificate.MARIAAntonio--ANTONIO(correcting her)--No, Vincent Antonio.With a computer stylus he signs the nurse's handheld screen.EXT.  TRACT HOME - BACKYARD.  DAY.2-YEAR-OLD JEROME (REFERRED TO BY HIS GIVEN NAME OF "VINCENT"FOR MOST OF THE FOLLOWING FLASHBACK) running with a toy rocketfalls more in clumsiness than fatigue.  MARIA suddenly whisks upthe toddler.MARIA(hysterical)Oh, Vincent, Vincent, Vincent...I can't letyou out of my sight.Maria frantically listens to her young son's heartbeat.  Forhis part, Vincent appears surprised by the attention.  Mariaplaces a portable oxygen mask over Vincent's mouth.JEROME (VO)I was born Vincent Antonio Luca.  And froman early age I came to think of myself asothers thought of me - chronically ill.Every skinned knee and runny nose treatedas if it were life-threatening.INT.  DAY CARE CENTER.  DAY.MARIA and ANTONIO drop off dark-haired 2-YEAR-OLD VINCENT at aDay Care Center.JEROME (VO)And my parents soon realized that whereverI went, my genetic prophecy preceded me.While HEALTHY CHILDREN play outside on tricycles, clamber overjungle-gyms and finger-paint, the PRE-SCHOOL TEACHER showsVincent into a room where CHILDREN WITH OBVIOUS DISABILITIESsleep on mats.Maria wheels around and marches out of the center with Vincentin her arms.  Antonio follows close behind, pleading with hiswife to see sense.JEROME (VO)They put off having any more childrenuntil they could afford not to gamble -to bring a child into the world in whathas become the "natural" way.EXT.  HOME.  DAY.ANTONIO reluctantly shows off his spotless Buick Riviera to aprospective BUYER.JEROME (VO)It meant selling the beloved Buick.The two men haggle over the price while MARIA, holding VINCENTin her arms, looks on.  Finally money and a pink slip areexchanged.VINCENT (VO)My father got a good price.  After all,the only accident he'd ever had in thatcar was me.As the BUYER drives away, Antonio shrugs to Maria to hide hisdisappointment.EXT.  GENETIC COUNSELLING OFFICE BUILDING.  DAY.ANTONIO, MARIA and 2-YEAR-OLD VINCENT exit a packed commuterbus and enter a Genetic Counselling office building bearingthe sign - "PRO-CREATION".INT.  GENETIC COUNSELLING OFFICE.  DAY.A GENETICIST stares into a high-powered microscope as ANTONIO,MARIA and 2-YEAR-OLD VINCENT are shown into the office by aNURSE.  On the counter beside the Geneticist is a glass-dooredindustrial refrigerator containing petri dishes arranged onracks several feet high.GENETICIST(to the nurse, without taking his eyes from his binocular microscope)Put up the dish.While Antonio and Maria take a seat in front of a televisionmonitor, the Nurse puts a labelled petri dish under a video-equipped microscope.  The Geneticist swings around in his chairto greet his clients.Four magnified clusters of cells - eight cells on each cluster- appear on the television screen.GENETICISTYour extracted eggs...(noting the couple's names fromdata along the edge of the screen)...Maria, have been fertilized with...Antonio's sperm and we have performed ananalysis of the resulting pre-embryos.After screening we're left with two healthyboys and two healthy girls.  Naturally, nocritical pre-dispositions to any of the majorinheritable diseases.  All that remains isto select the most compatible candidate.Maria and Antonio exchange a nervous smile.GENETICISTFirst, we may as well decide on gender.Have you given it any thought?MARIA(referring to the toddleron her knee)We would like Vincent to have a brother...you know, to play with.The Geneticist nods.  He scans the data around the edge of thescreen.GENETICISTYou've already specified blue eyes, darkhair and fair skin.  I have taken the libertyof eradicating any potentially prejudicialconditions - premature baldness, myopia,alcoholism and addictive susceptibility,propensity for violence and obesity--MARIA(interrupting, anxious)--We didn't want--diseases, yes.ANTONIO(more diplomatic)We were wondering if we should leave somethings to chance.GENETICIST(reassuring)You want to give your child the best possiblestart.  Believe me, we have enough imperfectionbuilt-in already.  Your child doesn't needany additional burdens.  And keep in mind,this child is still you, simply the best of you.You could conceive naturally a thousand timesand never get such a result.ANTONIO(squeezing Maria's hand)He's right, Maria.  That's right.Maria is only half-convinced, but the Geneticist swiftly moveson.GENETICISTIs there any reason you'd want a left-handedchild?ANTONIO(blank)Er, no...GENETICIST(explaining)Some believe it is associated with creativity,although there's no evidence.  Also forsports like baseball it can be an advantage.ANTONIO(shrugs)I like football.GENETICIST(injecting a note of levity)I have to warn you, Mr Luca, he's goingto be at least a head taller than you.Prepare for a crick in the neck insixteen years time.Antonio beams proudly.GENETICIST(scanning the data on the screen)Anything I've forgotten?MARIA(hesitant about broaching the subject)We want him--we were hoping he would getmarried and have children.  We'd likegrandchildren.GENETICIST(conspiratorial smile)I understand.  That's already been takencare of.(an afterthought)Now you appreciate I can only work withthe raw material I have at my disposal butfor a little extra...I could also attempt toinsert sequences associated with enhancedmathematical or musical ability.MARIA(suddenly enthused)Antonio, the choir...GENETICIST(interjecting, covering himself)I have to caution you it's not fool-proof.With multi-gene traits there can be no guarantees.ANTONIOHow much extra?GENETICISTIt would be five thousand more.Antonio's face falls.ANTONIOI'm sorry, there's no way we can.GENETICISTDon't worry.  You'll probably do justas well singing to him in the womb.(rising to end the appointment)We can implant the most successfulpre-embryo tomorrow afternoon.Maria is staring at the four magnified clumps on the screen.MARIAWhat will happen to the others?GENETICIST(reassuring)They are not babies, Maria, merely"human possibilities".Removing the petri dish from beneath the lens of the microscope,he points out the four minuscule specks.GENETICISTSmaller than a grain of sand.DISSOLVE TOINT.  TRACT HOME.  DAY.A red pencil draws a mark on a doorway at the height of achild's head.  The child moves away and the name, "ANTON 11" iswritten beside the mark by proud father, ANTONIO.JEROME (VO)That's how my brother, Anton, came into theworld - a son my father considered worthyof his name.There is little physical similarity between 11-YEAR-OLD ANTONand 13-YEAR-OLD VINCENT standing beside him, apart from theirheight.  In fact Vincent is mortified to see that his youngerbrother's mark is a fraction of an inch higher than the markbeside his own name, "VINCENT 13".  Vincent runs from the room.EXT.  BEACH.  DAY.13-YEAR-OLD VINCENT and 11-YEAR-OLD ANTON sit together on awindswept beach.Anton picks up a broken shell and deliberately slices the tip ofhis thumb with the sharp edge.  He hands the shell to Vincentwho hesitantly follows suit.JEROME (VO)By the time we were playing at bloodbrothers I understood that there was somethingvery different flowing through my veins.The two brothers press their thumbs together, merging the blood.JEROME (VO)And I'd need an awful lot more thana drop if I was going to get anywhere.EXT.  BEACH.  LATER IN THE DAY.While ANTONIO and MARIA doze under a beach umbrella, ANTON andVINCENT enter the water, diving through the waves.  From abovewe watch their two young bodies swimming beside each otherbeyond the breakers.JEROME (VO)Our favorite game was "chicken".  When ourparents weren't watching, we used to swim outsidethe flags, as far out as we dared.  It was aboutwho would get scared and turn back first.Suddenly VINCENT stops swimming, pulling up sharply in thewater, exhausted and fearful.  He watches ANTON swim on into thedistance.JEROME (VO)Of course, it was always me.  Anton was by farthe stronger swimmer and he had no excuse to fail.INT.  SCHOOL - CLASSROOM.  DAY.A TEACHER gives a physics lesson.  The bespectacled 13-YEAR-OLDVINCENT has his arm energetically raised at each opportunity butis never called upon.  Eventually he lowers his arm in defeat.JEROME (VO)My genetic scarlet letter continued to followme from school to school.  When you're toldyou're prone to learning disabilities, it'ssometimes easier not to disappoint anybody.EXT.  STREET.  NIGHT.13-YEAR-OLD VINCENT stands at a cul-de-sac at the end of a long,straight deserted street.  He places a basketball in the middleof the street to represent the SUN and begins to unwind the hugereel of string attached to the ball.  11-YEAR-OLD ANTON walks apace behind him.  Several yards along the trail a bead isthreaded through the string to represent the planet MERCURY.ANTONHow many astronauts are there, anyway?Vincent ignores him and continues to reel out the string.ANTONI bet I could be one.Vincent stops and regards his younger brother with contempt.VINCENTYou're standing on Venus.Anton lifts his foot.  There is a bead beneath it.INT/EXT.  CAR / SATELLITE DISH.  DUSK.VINCENT has developed into a handsome 17-YEAR-OLD.  Hisspectacles hidden, he and a YOUNG WOMAN are necking in the frontseat of a beat-up car, parked overlooking a huge satellite dish.JEROME (VO)I was popular enough until it got aroundthat I wasn't a long-term proposition.The love-making intensifies.  The YOUNG WOMAN moves downVincent's chest and unzips his fly.JEROME (VO)Those who didn't know already could easilyfind out for themselves.  It was certainlyno problem coaxing the information out of me.We remain on Vincent's face as he climaxes.  The YOUNG WOMANturns her head away from the spent Jerome and, out of hisview, trickles semen from her mouth into a clear specimen vial.JEROME (VO)I didn't blame them.  You need to know if aprospective husband can qualify for a mortgageor life insurance or can hold down a decent job.INT.  HOME.  DAY.In the living room of their modest home, the dark-haired, 17-year-old, bespectacled VINCENT sits opposite his PARENTS.  Thecrestfallen Vincent has a book on his lap entitled "CAREERS INSPACE".MOTHER(trying to break it gently)Vincent, you have to be realistic.  Aheart condition like yours--VINCENT--I don't care.  I'll take the risk.MOTHERIt's not just you they have to be concernedabout.  Perhaps we could get you one ofthose new pacemakers.  They're not perfectbut--FATHER(letting his frustration show)For God's sake, Vincent, don't you understand.The only way you'll see the inside of a spaceship is if you're cleaning it!Vincent looks at his father in disbelief.On a dinner table on the other side of the living room, 15-YEAR-OLD ANTON looks up from the biological specimen he is studyingwith a magnifying glass.INT.  PERSONNEL OFFICE - WAITING ROOM.  DAY.17-YEAR-OLD VINCENT hides his glasses in his pocket as he entersa WAITING ROOM.  He gazes around at other APPLICANTS.JEROME (VO)My father was right.  It didn't matter howmuch I lied on my resum, my real C.V. wasin my cells.  Why should anybody invest allthat money to train me, when there are athousand other applicants with a far cleanerprofile?  Of course, it's illegal to discriminate -"genoism" it's called - but no one takes thelaws seriously.As Jerome enters the office, we focus on the doorhandle he hasjust touched.JEROME (VO)If you refuse to disclose, they can alwaystake a sample from a doorhandle...Vincent hesitates before shaking the PERSONNEL OFFICER'soutstretched hand.JEROME (VO)...or a handshake...We focus on Jerome's envelope attached to his application formsitting on the Manager's desk.JEROME (VO)...even the saliva off your application form.Sitting opposite the manager, Jerome's face falls.  The managerputs a clear, plastic cup in front of Jerome.JEROME (VO)But for the most part we know who we are.And if all else fails, a legal drug testcan just as easily become an illegal peekat your future in the company.Vincent saves the Manager the trouble and exits the office,leaving the cup where it sits.EXT.  BEACH.  DAY.17-YEAR-OLD JEROME walks up the beach to find 15-YEAR-OLD ANTONsitting with the YOUNG WOMAN Vincent had previously dated.JEROME (VO)I didn't blame Anton for his free ride.  Youcan't blame someone for winning the lottery.The Young Woman hastily departs.LATER the two brothers face each other on the sand.  Anton isthe more statuesque of the two.ANTON(cocky)You sure you want to do this?Vincent's answer is to walk towards the water.  Anton smilesmockingly at his brother's grim "game face" andfollows.From an aerial view we watch VINCENT and his younger brother, ANTON,swim beyond the breakers.JEROME (VO)It was the last time we swam together.Out into the open sea, like always,knowing each stroke towards the horizonwas one we had to make back to theshore.  Like always, the unspoken contest.We watch the two young men swimming stroke for stroke.  Theyswim far out, beyond the point.  Suddenly ANTON starts to slow,his strokes becoming labored until he becomes motionless in thewater.  He begins to sink like a stone.  VINCENT, realizingAnton is no longer beside him, turns back to lend support.Vincent takes him in a lifeguard hold and begins to nurse himback to shore.  Finally the two boys are coughed up onto theshallows.  They collapse, just beyond the waterline, exhausted,gasping for air.  ANTONIO and MARIA arrive on the scene.  ANTONis the first to recover while VINCENT clutches his side, hisface screwed up in pain.  Maria kneels down and starts toadminister to Vincent but his father, Antonio, is unable toconceal his anger and contempt for Vincent.ANTONIOVincent, you damn fool!  You could have killedAnton with your ridiculous contest!  Why shouldhe risk his life to save yours?!  When are yougoing to get it through your thick head--youcan't compete with your brother!  Why try?!Maria takes Antonio aside.  Anton and Vincent exchange a look.ANTONWhy didn't you say anything?VINCENTWhy didn't you?  (staring back at his father knowingly)It's okay.  It's the way they want it.JEROME (VO)It confirmed everything in the minds ofmy parents - that they had taken the rightcourse with my younger brother and thewrong course with me.  It would have been somuch easier for everyone if I had slipped awaythat day.  I decided to grant them that wish.INT.  HOME.  NIGHT.ANTON stands at the mantlepiece in the dimly-lit living room.He gazes at a framed family portrait - Vincent's face has beentorn out of it.  He suddenly spies VINCENT exiting the frontgate, carrying a suitcase.  Anton goes to shout Vincent's namebut the words don't get out.EXT.  GATTACA.  DAWN.A pick-up truck, packed with a CLEANING CREW, pulls into therear of the building.  They are no longer strictly the migrantworkers we have come to expect but rather a mixture ofethnicities - all members of a genetic underclass that does notdiscriminate by race.As VINCENT exits the truck and turns towards the camera, wediscover that he has now matured into the man we have come toknow as JEROME.  The only visible differences are the glasses hewears and his hair, still naturally dark.JEROME (VO)Like many others in my situation, I movedaround a lot in the next few years, gettingwork where I could.  I must have cleanedhalf the toilets in the state.We follow VINCENT through the course of a day.  Cleaningrestrooms, toilets, picking up litter, sweeping, washingwindows - gazing at the AEROSPACE WORKERS below.  The buildingis part of the Gattaca facility, located near a shuttle launchsite.  Throughout the day, with the regularity of 747's, Vincentspies rocket ships in the distance, launching into the sky.Jerome's is the only head that turns and looks up.  Long afterthe sun has set, Vincent is still working.  Another rocket shiplights up the darkness.  Vincent gazes forlornly into theheavens.EXT. GATTACA - GLASS WALL.  DAY.VINCENT cleans a window from the outside, staring in at thearrogant GATTACA EMPLOYEES entering the security channels -a smaple taken from their fingertips.  Jerome, in a trance,constantly cleans the same spot of glass.  He fails to notice anOlder Janitor, CAESAR, appear beside him.CAESARWhen you clean the glass, Vincent, don'tclean it too well.VINCENT(confused)What do you mean?CAESAR(glancing to the Gattaca workers)You might get ideas.VINCENTBut if the glass is clean, it'll be easierfor you to see me when I'm on the otherside of it.Caesar smiles at Vincent's cockiness.INT.  GATTACA.  DAY.VINCENT empties garbage into a dumpster adjacent to Gattaca.His attention is drawn to something in the trash.  A discardedmanual on Celestial Mechanics and Navigation.  He wipes foodresidue off the corner.INT.  ASTRONOMY & TELESCOPE SHOP.  DAY.A forest of telescopes on tripods in an astronomy shop.  VINCENTenters the store with a bucket and squeegee and immediately goesto clean the storefront window.  The STORE OWNER looks up fromhis tabloid - "STAR" magazine.OWNERWhere's Earl?JEROMEHe fell.  Lucky it was only the second floor.The owner nods and returns to his magazine.  When he looks upagain one of his tripods is missing its telescope and Jerome isnowhere to be seen.INT.  IN-VALID HOUSING PROJECT.  NIGHT.JEROME returns to his bare apartment.  He removes the clothcovering the bucket to reveal a dumpy-shaped telescope snuglywedged inside.  He starts to pour over his collection oftextbooks.  Other tattered space paraphenalia adorns the wall.JEROME (VO)Of course the best test score in the worldwasn't going to get me in the front doorunless I had the blood test to go with it.EXT.  GATTACA.  NIGHT.While his fellow WORKERS sit on the steps at the serviceentrance to Gattaca, passing around an unlabeled bottle of clearliquor, VINCENT sits some distance away studying his text book.In the absence of a computer, he practices typing commands on akeyboard handdrawn on the flap of a cardboard box.A tiny, seedy-looking man, GERMAN, forties, appears fromnowhere and takes a seat beside him.GERMAN(offering his hand)Vincent, I'm German--(anticipating Vincent's response)That's my name.He looks the apprehensive Vincent up and down.VINCENTWhat do you think?GERMAN(shrugs)I think I could do something(glancing to the text book)provided you know what you're doingand you can meet the terms.Vincent pulls a plastic e-money card from his overalls.GERMANYou got a photo of yourself?Vincent produces a snapshot of himself - torn from the familyportrait.  German feeds the snapshot into the pocket-sizedcomputer he carries.  The picture is instantly scanned andappears on the computer's small color screen.  German returnsthe photograph and hastily departs.CAESAR, the elderly janitor, notices German's exit.CAESAR(to Vincent)I thought I told you not to get any ideas.High up the side of a building, washing windows, VINCENT pausesoccasionally to practice typing commands on his cardboard keys -viewing a screen in his imagination - or the nightsky itself.He hears his name being called.GERMANVincent...Vincent...VINCENT(staring through his glasses)German, is that you?GERMANVincent, come down.  I've found him.INT.  IN-VALID HOUSING PROJECT.  NIGHT.GERMAN leads VINCENT through a maze of corridors.JEROME (VO)For the genetically superior, successis easier to attain but is by no meansguaranteed.  After all, there is no genefor fate.  And when, for one reason oranother, a member of the elite falls onhard times, their genetic identity becomesa valued commodity for the unscrupulous.One man's loss is another man's gain.He gives a conspiratorial nod to another passing DNA BROKER,both men carrying their palm-top computers.GERMAN(enthusiastically reading from data onhis portable screen as he walks)He has the heart of an ox.  He could runthrough a Goddamn wall--if he could still run.Actually, he was a big college swimming star.VINCENTI hope he's not just a body.GERMANNo problem.  Before he dropped out he wasan honor student, the right majors--VINCENTHow do I square the accident?GERMAN(still reading data from hispalm-top computer)It happened in Australasia.  He checkedin yesterday.  No family complications, norecord he ever broke his neck.  As far asanybody's concerned, he's still a walking,talking, fully-productive member of society.You just have to get him off the pipe andfill in the last two years of his life.(correcting himself)Excuse me, your life.German has stopped walking as if they have arrived.VINCENT(looking around for a likelycandidate but finding none)Where is he?German reaches towards a PARAPLEGIC sitting in his wheelchairin the stairwell directly in front of them, his head slumped, anincriminating bong nestled in his lap.  German pulls the man'shead up by the hair.  EUGENE.  Depsite the patchy, unkemptbeard and thick glaze over his eyes he bears a strikingsimilarity to Vincent.  Vincent holds a mirror beside the faceof the lethargic Eugene to compare his own reflection.GERMAN(smiling confidentlyWhat did I tell you?  Which one's the mirror?VINCENT(still not fully convinced)That's the hair color in his profile?German checks an entry in his computer:  "HAIR: BLONDE"GERMANYeah.VINCENT(touching his own dark strands)I'd have to bleach my hair.GERMAN(irritated, impatient)Why are you inventing problems?  You twoare a couple of goddam clones.  You lookso right together, I want to double my fee.VINCENT(a thought occurs, addressing theparaplegic for the first time)How tall are you?EUGENE(deadpan)Four foot six.Vincent grins, realizing that Eugene is referring to his seatedheight.  There is an instant connection between the two men.VINCENTOkay, how tall did you used to be?EUGENE(apathetic, still under theinfluence of whatever he's been smoking)Six one.VINCENT(to German, disappointed)He's too tall.GERMAN(shrugs)You can wear lifts.VINCENTEven with lifts I'm never that tall.GERMANThere's a way.INT.  BACKSTREET SURGERY.  NIGHT.In a primitive operating theatre, VINCENT lies on a table, hislower legs masked off for surgery.  The SURGEON switches on asurgical saw and lines it up with handdrawn incision marks.Metal struts are ready to elongate his legs.INT.  IN-VALID HOUSING PROJECT - APARTMENT.  DAY.GERMAN wheels the dazed EUGENE into the apartment, clutteredwith space paraphenalia.  One wheel of his rusting wheelchair isflimsily held on with wire.  VINCENT follows behind on crutches,both lower legs in casts and cross-braces.  Vincent signs thecontract German puts in front of him.EXT.  STREET OUTSIDE A BAR.  DAY.EUGENE, glassy-eyed, strides out of a bar, past camera and intothe street.  We hear a squeal of brakes and a sickening thud.INT.  HOUSING PROJECT - APARTMENT.  DAY.EUGENE awakens with a scream, bathed in sweat, arms bound to abed - the only real piece of furniture in the room.  VINCENT,sitting on a crate beside him, soaking a towel in a bowl ofwater, is taken by surprise.  Eugene continues to scream andthrash, fighting against his bindings.  Vincent stuffs the towelinto Eugene's mouth and holds onto his arms.JEROME (VO)I confess, at first I wondered if I had rescueda man who was already dead.INT.  HOUSING PROJECT - APARTMENT - BATHROOM.  NIGHT.VINCENT holds EUGENE's head over the toilet bowl as he vomitsviolently.  Eugene's paralysis and Vincent's broken legs makethe operation doubly difficult.Finally Eugene has nothing left in his stomach to vomit.  Hedrops to the floor in exhaustion.  Vincent, also exhausted fromthe effort of holding Eugene over the bowl, joins him on thebroken linoleum.  Both men stare up at the ceiling that carriesa map of the constellation.VINCENTYou okay, Jerome?EUGENE(ironically referring totheir mutual immobility)Yeah.  You want to go dancing tonight?Vincent smiles.INT.  HOUSING PROJECT - APARTMENT.  NIGHT.EUGENE turns his nose up at the plate of boiled meat andpotatoes that VINCENT puts in front of him.  Vincent catches thelook.VINCENTWhat's wrong with it?EUGENEI think I'd better choose the menu.  After all,you're learning how to be me, I'm not learninghow to be you.VINCENT(shrugs)Suit yourself.EUGENE(trying to be more diplomatic)Listen, I don't want you to think I'm ungrateful--I know you and that little broker--what do youcall him?VINCENTGerman.EUGENEYou're both going to a lot of trouble--(trying to be tactful)Maybe you can con somebody into believingyou're me to get your foot in the door--butonce you're inside, you're on your own.  I'msure you're sincere...(glancing to the space paraphenalia)...but I was being groomed for something likethis myself.  Even without the accident I don'tthink I would have made it.  My point is--how thehell do you expect to pull this off?Jerome merely stares back as if the thought of failure has neveroccurred to him.VINCENT(shrugs and states it simply)I don't know exactly, Jerome.EUGENE(laughing)At least you're honest.(a thought occurs)Call me by my middle name--Eugene--If you'regoing to be Jerome, you may as well startgetting used to it.NB:  FOR THE REMAINDER OF THE SCREENPLAY "VINCENT" IS REFERREDTO AS "JEROME".INT. HOUSING PROJECT - APARTMENT.  NIGHT.JEROME looks through Eugene's personal effects, including aphotograph album.  He is drawn to a swimming medal inside thealbum at a page displaying a photo of a wealthy, austereMOTHER - Eugene evidently comes from money.Even as he wheels into the room in his rickety wheelchair we seethat EUGENE has the bearing of someone of good breeding.  He hasa bag of blood on his lap.  More blood is being drawn from hisarm through an IV.  Eugene catches Jerome looking at the album.JEROME(guiltily closing the book)I have to know where you come from.EUGENEIf anybody asks, tell them the truth--your family disowns you.  You are adisappointment, Jerome.JEROME(referring to Eugene's medal, impressed)What about this?EUGENEWrong color.  It's silver.(tossing the bag of blood to Jerome)It's not easy living up to this.Eugene wheels away.INT.  HOUSING PROJECT - APARTMENT.  DAY.JEROME practises writing with his right hand, trying toreplicate Eugene's signature.EUGENE(wheeling by, looking over Jerome'sshoulder at the signature)It needs work.JEROME(rueful)You had to be a right-hander.EUGENENoone orders southpaws anymore.INT.  HOUSING PROJECT - APARTMENT.  DAY.A pair of spectacles lie on the bed.  JEROME, still wearing histwin casts, sits behind an optometrist's portable examiningdevice.  GERMAN hovering in the background, an OPTOMETRISTcustom-fits JEROME with gossamer thin contact lenses.JEROME (VO)Myopia is a dead giveaway - one of the earliestand most justifiable of the quality-of-lifecorrections.  Anybody with impaired vision iscertain to be suffering from all the otherdeficiencies of a "nonadvantaged" birth.GERMAN(inspecting the lens in Jerome's eye)It's no good.  I can see an edge.  He may aswell walk in there with a cane.INT.  HOUSING PROJECT - APARTMENT.  DAY.The Optometrist has been replaced in the living room with aBLACK MARKET DENTIST who bonds JEROME's small, gapped teeth tomatch EUGENE's perfectly straight, white picket fences.INT.  HOUSING PROJECT - APARTMENT.  DAY.Hair already bleached and cut to match Eugene's hairstyle,JEROME sits in a chair against a hastily erected white paperbackdrop.  From his wheelchair, EUGENE puts the finishingtouches to Jerome's hair.  He wheels himself out of the way.The final accomplice in Jerome's deception, a BLACK MARKETCOMPUTER GRAPHICS DESIGNER, takes Jerome's photo with a videocamera.  Manipulating the captured image, the Designer morphsJerome's face into the face of Eugene.  The resulting photo thatspits out of a printer is neither one nor the other but anacceptable combination of the two.INT.  HOUSING PROJECT - APARTMENT.  DAY.EUGENE is starting to prepare Jerome's specimen bags for thefirst time.  He winces in pain as he plucks several hairs fromhis head.  JEROME, now out of his casts, prepares jobapplications.EUGENE(still grimacing, referring to the follicles)You really need that much?JEROMEMore than that.  You'll get used to it.EUGENE(yanking out another hair)God, what wouldn't you do to leave the planet?JEROME(inspecting a hair follicle)Leave?  Just a few million years ago every atom inthis hair--in our bodies--was a part of a star.I don't see it as leaving.  I see it as going home.EUGENE(marvelling at Jerome's earnestness)God, you're serious, aren't you?Jerome ignores him.  Having learnt his lesson, he hands theenvelopes to EUGENE to lick the flaps.INT.  HOUSING PROJECT - APARTMENT.  DAY.JEROME is doing a late-minute cram on a geriatric computer fromthe late 1990's.  Checking the time, Jerome hurriedly picks upthe shirt that EUGENE has been ironing from a prone position onthe floor.JEROMEIt's not too late to back out.EUGENEYou don't know what a relief it is not tobe me.  Are you sure you want the job?Jerome contemplates the question for a moment.JEROMEWhat about you?  What's in this for you, Eugene?EUGENE(referring to the bladder bag he wears)Listen, I bag this stuff anyway.  It mayas well pay my rent.Jerome hurrise to the bathroom where, with some difficulty, heinserts his urine device for the first time.  The new improvedJerome emerges into the living room ready for his interview.INT.  GATTACA CORPORATION - TESTING LAB.  DAY.JEROME emerges from a bathroom and hands a TECHNICIAN hisplastic cup full of fraudulent urine and inserts it into theanalyzer.TECHNICIAN(reading off the profile)Congratulations.JEROME(perplexed)What about the interview?TECHNICIAN(referring to the cup)That was it.EXT.  GATTACA.  DAY.JEROME, scarcely able to disguise his delight, exits Gattaca,trying not to stare at the superb specimens who are now his"colleagues".JEROME (VO)The majority of people are now made-to-order.What began as a means to rid society ofinheritable diseases has become a way to designyour offspring--the line between health andenhancement blurred forever.  Eyes can always bebrighter, a voice purer, a mind sharper, a bodystronger, a life longer.  Everyone seeks to givetheir child the best chance but the most skilledgeneticists are only accessible to the priveleged few.In a nearby park MODEL CHILDREN from MODEL PARENTS playtogether.JEROME (VO)Anyone who is the product of an alteredDNA is proudly referred to as a "DAN","self-made man or woman", "man-child". INT.  HOUSING PROJECT - APARTMENT.  NIGHT.JEROME wheels EUGENE out of their housing project.  He takes inthe neighborhood for the last time.  We focus on a POOR COUPLEcradling an INFANT.JEROME (VO)Those parents who, for moral or, more likelyeconomic reasons, refrain from tampering withtheir offspring's genetic makeup or who failto abort a deprived fetus condemn their childrento a life of routine discrimination.We glimpse other PEOPLE in the neighborhood.  They appear poorbut, for the most part, physically normal.  However a pall ofgloom hangs over them.JEROME (VO)Officially they are called "In-Valids"*.  Alsoknown as "godchildren", "men-of-god", "faith births","blackjack births", "deficients", "defectives","genojunk", "ge-gnomes", "the fucked-up people".[* "IN-VALID" pronounced as in "an invalid license"]JEROME (VO)They are the "healthy ill".  They don'tactually have anything yet - they may never.But since few of the pre-conditions can becured or reversed, it is easier to treat themas if they were already sick.As they enter a car, driven by GERMAN, Jerome spies a beautifulyoung GIRL, 11, sitting on the steps of the housing project,staring forlornly into space.  While there is no outward sign ofany deficiency, she is somehow aware that she is damaged goods.Jerome glances in the rearview mirror.JEROME (VO)By means of a donor I have cheated thesystem for the last four years to open doorsthat would otherwise be closed to me.Jerome wheels Eugene into the palatial condominium complex wherethe two men now reside.INT.  GATTACA.  PRESENT DAY.We return to JEROME's reflection in the glass.  Other GATTACAEMPLOYEES are gradually gathering behind him.JEROME (VO)In the guise of Jerome Morror I have risenquickly through the ranks of Gattaca.  Only oneof the Mission Directors has ever come closeto discovering my true identity.We now see what Jerome has been gazing at through the windowthe whole time - the sight that has brought a hush to thecomplex.  Through an open office door lies the body of a largeman - the MURDERED DIRECTOR, lying where he has just beendiscovered, in a pool of his own blood.JEROME (VO)Strange to think, he may have more successexposing me in death than he did in life.Jerome wipes his eye and also goes to investigate.  We focus onan extreme close up of his EYELASH.  Loosened by Jerome's hand,it breaks free and floats gently down to the floor where itcomes to rest.INT.  GATTACA AEROSPACE CORPORATION.  MORNING.DETECTIVE HUGO, late-forties, wearing a crime-scene hygenic suitand gloves and a full clear mask - looking more like a surgeonor a toxic waste worker than a detective - places a blood-spattered computer keyboard alongside the Director's shatteredskull.  The indentations match the blunt corner of the keyboard.Hugo detaches the dangling keyboard from its parent computer andseals the likely murder weapon in a marked, transparent plasticbag.A CREW of similarly-suited homicide detectives systematicallyvacuum the surrounding office area with metallic, industrial-looking mini-vacs.  Once each work space has been vacuumed, thetransparent plastic vacuum bag is detached, sealed and labelled.OTHER DETECTIVES video the scene with camcorders.  Video printsspit out of the cameras for instant inspection.EXT.  GATTACA - LANDSCAPED GARDENS.  DAY.A silicon police tape cordons off the crime scene.  From thelandscaped garden, a crowd of GATTACA EMPLOYEES view theproceedings through the glass walls.EMPLOYEE 1(staring at the Director's body)Awful.EMPLOYEE 2Yeah, awful it didn't happen sooner.Nervous smirks from nearby employees.  We focus on JEROME.Standing slightly apart from the others, he does not appear toshare the joke, or perhaps even hear it.  Jerome watches, wide-eyed, as a DETECTIVE approaches his work station with a mini-vac.  A chill goes through Jerome as the detective's cleanerpasses over his desk.Jerome is distracted by a smear on the window, obstructing hisview.  Without thinking, he breathes on the glass and rubs thesmear away with his elbow.  Nearby, elderly janitor, CAESARnotices Jerome's fastidious act and reads the panic in Jerome'seyes.  DIRECTOR JOSEF suddenly appears at Jerome's shoulder.Standing a pace behind the Director, computer notepad in hand,is IRENE.DIRECTOR JOSEFYou're lucky to be getting out of this.JEROMEWe're still going ahead as planned?DIRECTOR JOSEFThe launch window is only open until week'send.  Tragic though this event may be, ithasn't stopped the planets turning.He glances towards a group of Detectives headed by HUGO.DIRECTOR JOSEFYou'll have to excuse me, Jerome.  I have tomeet with the authorities--naturally, we'reco-operating in any way, although I won'ttolerate a major disruption.(as he departs)I wish I was going with you, Jerome.As the pair depart, Jerome and Irene exchange a glance.  Ireneis also aware of Jerome's unease.INT.  GATTACA - CORRIDOR.  DAY.We focus on JEROME's eyelash, still lying on the floor.A huge crescent-shaped hair that fills the screen.  Suddenlythere is a roar of a mini-vac and the eyelash is sucked up.  Wefollow the eyelash's journey, down the throat of the cleanerinto the specimen bag where it is sucked against the bag'sclear, plastic wall.INT.  GATTACA - COMPUTER COMPLEX.  DAY.The DIRECTOR's corpse is sealed in a plastic bodybag and wheeledaway on a gurney.  The blood and other body matter from themurder scene is sucked up by a portable wet-vac and the samplebag appropriately labeled.EXT.  GATTACA - COURTYARD CAFETERIA.  DAYA chime sounds over the P.A. follwed by an announcement.ANNOUNCER (OC)Thank you for your co-operation.  Pleasereturn to your work stations immediately.The PROGRAMMERS get to their feet en masse and begin filing intothe work room.EMPLOYEE 3(sarcastic aside)What, no counselling?INT.  GATTACA COMPUTER COMPLEX - DIRECTOR'S OFFICE.  DAY.A WOMAN ASSISTANT whose keyboard was used in the attack has topause as a MAINTENANCE WORKER gives her work station a finalspray to return it to its former pristine condition.  A newkeyboard is plugged into her monitor to replace the one taken asevidence.INT.  GATTACA COMPUTER COMPLEX.  DAY.JEROME opens his desk drawer to check his comb, now pluckedcompletely clean.  He carefully places two of Eugene's hairs tothe comb and scatters another bag of fraudulent matter aroundhis work station.INT.  GATTACA - SIMULATOR ROOM.  DAY.In a large, bare room a simulator does a slow dance back andforth on its hydralic legs, miming the path of the spacecraft Jerome will soon be aboard.  The simulation ends andJEROME exits the simulator through a small door.  IRENEhesitantly approaches, carrying a slim electronic tablet.IRENEExcuse me, Jerome.  I'm sorry to bother you.Jerome turns, not displeased by the interruption.JEROMENo bother.IRENE(referring to her notepad)I've been asked to compile a log for theinvestigators--they want to know everyone'swhereabouts last night.JEROMELast night?  I was at home.Irene makes a note with her stylus.IRENECan that be, er, verified?  Were you alone?JEROMENo it can't be verified.  Yes I was alone.Irene makes another note.JEROME(wry smile)Looks bad, doesn't it, Irene?  What aboutyou?  Where were you last night?IRENEI was at home.JEROMEWere you alone?IRENE(hesitant)Yes.JEROME(teasing)So we don't know for sure about you, either.IRENE(wary, wondering where theconversation is headed)No.JEROMEWhy don't we say we were together?IRENE(confused)Why would we do that?JEROMEI have better things to do this week thananswer the foolish questions of some flatfoot.Don't you?Irene contemplates the question.JEROME(gently pressing)Well, shall we say we spent the evening together?Irene is still unsure whether or not Jerome is serious.IRENETo be convincing, Jerome, I would have to knowwhat that was like.Irene turns and departs.  Jerome watches her go.INT.  EUGENE'S CONDOMINIUM.  NIGHT.The paraplegic EUGENE, seated by the window, meticulously cutsa long fingernail into numerous clippings.  He places theclippings in small plastic bags and seals them.  He then beginsto fill tiny sachets with blood.  He turns as he hears JEROMEenter down the spiral staircase with the groceries.EUGENEYou didn't forget the truffles?JEROME places the items in the refrigerator in the bathroom andretrieves a bottle of vodka - the vodka incongruous-lookingbeside the blood and urine specimens.  Joining Eugene at hisworkbench, he pours them both a drink.EUGENE(sensing something amiss, tryingto keep his humor)Who died?JEROMEThe Mission Director.EUGENE(misinterpreting the deadpan remark)You wish.JEROMEThey found him in his office this morning--beaten so bad they had to check his nametag.Eugene takes in the news, a smile broadening across his face.EUGENEWhat an act of benevolence--a service to thecommunity.  So that's it.  Now there's nothingbetween you and ignition.JEROMEHe was still warm when they confirmed.EUGENE(confused by Jerome's attitude)This calls for a celebration.  Doesn't it?JEROMEThe place is crawling with Hoovers.EUGENESo what?  You didn't kill him, did you?Jerome shoots him a glance for the inappropriate remark.JEROMEThat's not the point.EUGENE(scoffing)Hey, how much of you can be there?  Even if the"J. Edgars" do find something, in a week--(glancing up to the night sky)you'll be slightly out of their jurisdiction.(gently chiding)Come on, we've got to get drunk immediately.JEROME(still tempering Eugene's enthusiasm)You're going to have to earn your supper.  I've gotmy final physical tomorrow.Jerome wheels Eugene's chair to a specially constructed platformthat allows the wheels to spin in mid-air.  Jerome tapes anelectrode to Eugene's chest and attaches the wire to a slimrecording device.  Eugene begins to spin the wheel of the chairfaster and faster.  Jerome monitors Eugene's steady heartbeatthrough a set of headphones.INT.  GATTACA AEROSPACE CORPORATION - COMPUTER COMPLEX.  NIGHT.The complex is virtually empty - only a handful of the hundredsof PROGRAMMERS working late into the night.  IRENE approachesJEROME's work station on the pretext of delivering somedocuments.  Trying to act casually, she looks under the paperson his desk, then opens the top desk drawer.We see an EXTREME CLOSE UP of the comb lying there - the twohairs trapped between the teeth of the comb.  Irene removes oneof the follicles and drops it into an envelope she is carrying.INT.  24-HOUR SEQUENCING LAB.  NIGHT."SEQUENCING-WHILE-U-WAIT".  Similar to a 1-hour photo lab, thestore - little more than a booth - displays a price list on thewall.  "FULL SEQUENCE - $80".  IRENE waits in line with a cross-section of other CUSTOMERS.  She checks the contents of theenvelope that contains the hair.The YOUNG WOMAN in line ahead of her allows the TECHNICIAN totake a swab from her full lips with a Q-tip.TECHNICIANHow old?YOUNG WOMAN(confused)Me?TECHNICIAN(mustering patience, referringto the Q-tip)The specimen.YOUUNG WOMAN(proudly)I kissed him five minutes ago.  A real good one.Overhearing, several PEOPLE in the line snicker.TECHNICIAN(long-suffering)I'll see what I can do.The technician hands the swab to an ASSISTANT.  The Young Womanis handed a number and takes a seat.  Irene hands her envelopeover the counter.  She too is handed a number.  We followJerome's follicle as another TECHNICIAN places it in ananalyzing machine.INT/EXT.  SEQUENCING LAB / PARKING LOT.  NIGHT.The TECHNICIAN returns the envelope to IRENE along with aminiature compact disc.TECHNICIAN(remarking on the profile result)9.4...very nice.Irene does not appear to share the technician's enthusiasm.She emerges from the sequencing lab and enters her car.  Takinga palm-top computer from her purse, she inserts the disc intothe computer.  Jerome's counterfeit genetic profile appears onthe screen.  The details confirm her worst fears.EXT.  MICHAEL'S DINNER CLUB.  NIGHT.JEROME and EUGENE, dressed to the nines, pull up in the carto a darkened doorway in a poorly lit street.  A VALET appearsout of the shadows.  Familiar with the car, he goes immediatelyto the trunk to retrieve Eugene's collapsible wheelchair.Jerome tips the valet - a credit card wiped through a device.INT.  MICHAEL'S DINNER CLUB.  NIGHT.The chic, elegant establishment inside belies its darkenedexterior.  JEROME wheels EUGENE into a decadent dinner clubfull of an odd assortment of people.  They are immediatelygreeted respectfully by MICHAEL, the owner and maitre d'.Jerome and Eugene are obviously regulars.MICHAELGood evening, gentlemen.  Your table is ready.(referring to Jerome's mission)Not long now, sir.  You'll be upstairsbefore you know it.  We're going to miss you.JEROMENot as much as I'll miss your Stroganoff.I'd like to take one of your chefs with me.INT.  MICHAEL'S DINNER CLUB.  NIGHT.In a secluded booth JEROME and EUGENE toast from a bottle of1999 vintage Bordeaux.  Eugene drinks longer than Jerome.Jerome dabs his mouth with a napkin.  He fails to notice aminute FLAKE OF SKIN dislodged from his chin.  We follow theflake as it comes to rest beneath the table.LATER, Eugene and Jerome watch COUPLES dancing a samba on thedance floor.  A WAITER vacuums the table with a discreet,handheld miniature vacuum while a WAITRESS clears the plates.She accidentally drops a knife onto Eugene's leg.WAITRESS(aghast at the sight of his lifeless legs)I'm so sorry.  Did I hurt you?EUGENE(smiling, a trace of bitterness)Honey, if you'd hurt me, I'd be cured.Eugene, the worse for drink, gropes for the waitress's leg butshe easily avoids his clumsy pass.EUGENEYou want to meet a real-life spaceman?Jerome, always aware, scanning the club, suddenly spiesNAPOLEON, his Gattaca colleague, on the other side of theroom.  Napoleon is taking a hit from a vial concealed in hishand.  Jerome abruptly turns his back to avoid being recognized.JEROMELet's get out of here.EUGENE(knocking back his drink,misinterpreting the hasty departure)You're right, there's more atmospherewhere you're going.INT/EXT.  CAR.  NIGHT.Driving along the freeway, Jerome's car suddenly dives down anescape road.  EUGENE looks sideways at JEROME.JEROMEYou drive.INT/EXT.  CAR.  NIGHT.The car careens around and around a small circular building -a cloud of dust billowing up behind the car.  We focus on aBRICK wedged against the car's gas pedal.EUGENE is at the wheel, JEROME in the passenger seat.The hard turn is repeated with increasing recklessness, Eugenefighting to control the bucking car.EUGENE(screaming in both fear and exhilaration)I gotta stop!!  I gotta stop!!JEROMEKeep going!!  Keep going!!Finally the car spins to a halt in a cloud of dust.  When thedust settles it is revealed that they have been circling thebase of a huge satellite dish in a desolate location.EXT.  SATELLITE DISH.  NIGHT.EUGENE lies on the hood of the car, leaning against thewindshield, drinking from a bottle of vodka.  In thebackground, the unmanned satellite dish.  JEROME relieveshimself against the building at the base of the satellite.EUGENE(gently chiding Jerome over the joyride)You idiot.  You could ruin everythingwith a stunt like that.Eugene spies a spacecraft launching from Gattaca city.EUGENE(gazing up into the night sky)At least up there your piss will be worth something.(smiling at the thought)You'll all be showering in it, right?JEROME(zipping his fly)And drinking it.  It's like Evian by thetime it's filtered.EUGENE(referring to the rocket ship)What is that one?Jerome doesn't bother to look in the direction of the craft butmerely glances to his watch.  He joins Eugene on the hood of thecar.JEROME(looking at his watch)11.15 to the port.  A maintenance crew.EUGENEHow long do you stay up there before you go?JEROMEA day or so.EUGENE(beaming)I still can't believe they're sending you tothe Belt--you of all people--never meant to beborn, on a mission to discover the originof life.Eugene laughs to himself and passes the bottle to Jerome.JEROMEYou should be going instead of me.Jerome taps Eugene's lifeless legs with his foot.JEROMEUp there they wouldn't be a problem.EUGENE(glancing heavenwards, shaking his head)You know I'm scared of heights.INT.  CRIME LABORATORY - AUTOPSY ROOM.  NIGHT.The body and clothing of the MISSION DIRECTOR, lying on a metalexamining table is scanned with a blue-light magnifyinginstrument.  Fingernail specimens are taken for analysis.  Inanother area of the laboratory, the labelled vacuum bags areattached to analyzers and the contents sucked out andautomatically identified.  ID names and photographs of GATTACAEMPLOYEES begin appearing on a computer screen at high speedalong with other personal details - all data automaticallylogged for later review.The photographs and personal details of JEROME and IRENE flashpast, amongst the faces of other employees.We focus on a magnified close up of JEROME'S EYELASH, stillclinging stubbornly to the side of its specimen bag.  Wecontinue to follow its journey as it is finally sucked into theanalyzer.INT.  CRIME LAB - ANALYZER MACHINE.  NIGHT.Inside the machine, a minute, cell-thin sliver is sliced fromJEROME'S EYELASH and analyzed.INT.  INVESTIGATOR'S CRIME LAB.  NIGHT.A severed HUMAN TONGUE sits on a tray in a sterile, sealedchamber.  Using gloves that protrude through the chamber's glasswall, face buried in a binocular eyepiece, the INVESTIGATORtakes a swab from the tongue.INVESTIGATOR(to the tongue, as he inserts thetip of the swab into an analyzer)Let's see what you've got to say for yourself.A FEMALE ASSISTANT, looking on, hardly has time to smile at theremark before information begins to appear on a nearby computerterminal.  The computer gradually builds a portrait of the ownerof the tongue using genetic predictors.  The Investigatorwanders over to the window as his Assistant reads theinformation from the screen.ASSISTANTThe tongue is male.  Mature.  Blonse hair.Brown eyes.  Light complexion.  Between5'11 and 6'1.  Pronounced Caucasian nose.Thin lips.  Weak chin.  Lobeless ears.Prematurely balding.  Slightly bow-legged.Broad shoulders.  Barrel chest...(pause)Blind.INVESTIGATOR(interest piqued)Blind?(mildly amused, checking themonitor for himself)The tongue is blind?ASSISTANT(confused)Who cuts out the tongue of a blind man?INVESTIGATOR(shrugs)Someone who is mindful that the blindstill speak.The INVESTIGATOR is alerted by the chime of his nearby computer.On the screen, he discovers the face of 20-YEAR-OLD VINCENTand the accompanying flashing message: TRACKING IN-VALID883000181105-10  - NEW DATA -INT.  CONDOMINIUM COMPLEX - PARKING GARAGE.  NIGHT.Having plugged his car into an overnight charger, JEROME pushesEUGENE in his wheelchair to the elevator.  Bottle in hand,Eugene leans over and vomits on the ground.  Jerome shakes hishead resignedly.  Eugene looks drunkenly up at Jerome.EUGENE(sarcastically referring to the pool of vomit)I'm sorry.  Did you want it?Jerome meets Eugene's gaze.  There is a trace of bitternessin Eugene's drunken smile.EUGENELet me get it for you.Eugene bends down to scoop up some vomit with his hand but theelevator arrives and Jerome quickly wheels him away.  Eugene'shead flops to the side as he passes out.INT.  EUGENE'S CONDOMINIUM.  NIGHT.JEROME unlocks EUGENE's condo and wheels his chair inside.  Wesee their reflection in a full-length mirror as Jerome pushesEugene to the bedroom.  After removing Eugene's soiled clothing,he heaves the tall man from the chair and onto the bed.EUGENE(maudlin, sobbing like a child)I'm sorry.  I'm sorry.JEROME(attempting to comfort)It's okay, Eugene.EUGENEYou know I wasn't drunk--I knew what I wasdoing when I walked in front of that car--JEROME--What car?--Go to sleep.EUGENE--I walked right in front of it.  I was nevermore sober in my life.Jerome looks at Eugene's lifeless legs, trying to cover hisshock at the revelation.JEROMEIt's all right.EUGENE(grabbing Jerome by the collar)I'm proud of you, Vincent.Eugene's head falls back onto the pillow.JEROME(smiling to himself)You must be drunk to call me Vincent.But Eugene does not reply, drifting into sleep once again.Jerome pulls a blanket over him.On the verge of leaving, Jerome's attention is drawn to a wallon the far side of the room.  Approaching the wall, nearEugene's mirrored closet, he detects a faint mechanical whircoming from inside the adjacent condominium.  Jeromecontemplates investigating but exits the condominium instead- climbing the spiral staircase to his own condominium.INT.  JEROME'S CONDO - LIVING ROOM.  NIGHT.JEROME fastidiously vacuums with an upright cleaner.  Using ahose attachment he cleans around a picture frame that containsJerome's original computer keyboard handdrawn on the flap of acardboard box.INT. GATTACA - COMPUTER COMPLEX.  DAY.In the vast room of COMPUTER PROGRAMMERS we pull-focus todiscover that we have been filming the complex through thetransparent specimen bag containing JEROME'S EYELASH.On the mezzanine floor overlooking the scene of the crime,the INVESTIGATOR holds the bag, transfixed by the lash.  Thelead homicide detective, DETECTIVE HUGO, finishes interviewinga GATTACA SECURITY GUARD and approaches the Investigator.A large telescope in the background.Although Hugo is deferential to his more youthful superior, hisbody language betrays his displeasure.  Hugo clearly does notrelish the Investigator's involvement in his case.DETECTIVE HUGOI don't understand why you were dragged outhere, Sir.  It's hardly worth wasting yourtime--a no-nothing case like this.INVESTIGATOR(gently rebuking his subordinate)A man's dead, Detective.DETECTIVE HUGOOf course, Sir.  We're checking the entry log,alibis, grudges...INVESTIGATORGrudges?DETECTIVE HUGO(looking out over the balcony)I look around, I see a lot of dry eyes.The Director was not...(searching for the words)...universally loved.  He was leading thecut-backs in the program.  You're looking ata room full of motives.INVESTIGATOR(shaking his head adamantly,referring to the bag in his hand)No, this is your man.DETECTIVE HUGO(not so convinced)With respect, Sir--it may be the onlyunaccountable specimen but the profilesuggests--INVESTIGATOR--What about his profile?Hugo refers to a print-out of 20-YEAR-OLD VINCENT's profileincluding his Genetic Quotient.  (The fifteen-year-old photo ofVincent now bears little resemblance to his assumed identity.)DETECTIVE HUGOAccording to this, he's a sick man.  Congenitalheart condition.  Who knows how long the specimenhas been here but there's an 80 percent chancethe owner of that eyelash has already diedhimself from natural causes.INVESTIGATOR(terse)So there's a 20 percent chance he's not dead.Detective Hugo goes to comment further, then revises hisremark in his head before speaking.DETECTIVE HUGOEven if this Vincent Luca is alive, is itlikely he could bludgeon a man to death?INVESTIGATORNo.  Not likely.The Investigator's tone suggests that the identity of theculprit is no longer a matter for debate.  There is an awkwardpause before the Detective falls into step with his superior.DETECTIVE HUGOI take it you're thinking along the lines of arobbery gone sour--a thief disturbed in the act?The Investigator merely shrugs.DETECTIVE HUGO(skeptical)Of course that doesn't jibe with what wefound.  This was an angry killing.INVESTIGATOR(glancing to the profile in Hugo's hand)Who knows with these "deficients"?  His profileindicates a proclivity for violence.DETECTIVE HUGO(trying to appear co-operative)I'll run a crossover on the eyelash forany family or associate connections--INVESTIGATOR--I've already run it.  There's no recordof any living relative.DETECTIVE HUGOWhat a pity.INVESTIGATOR(irritated, glancing to the sample bag)Detective Hugo, it's a simple case of lost andfound.  All we have to do is locate the man who'sminus an eyelash and this murder will solve itself.We focus on JEROME at his work station.  Although he continuesto work, he clrarly feels the presence of the INVESTIGATORS onthe mezzanine floor behind him.A MEDICAL DIRECTOR approaches the programmer in the neighboringwork station - NAPOLEON, the programmer Jerome encountered inthe nightclub the previous evening.MEDICAL DIRECTORNapoleon, you're late for your substance test.Napoleon looks up, ashen-faced.  Jerome intervenes.JEROMEDirector, Napoleon's helping me today.The Director regards both men suspiciously.MEDICAL DIRECTORWell, you take it for him, Jerome.The Medical Director departs.  Napoleon, stunned by thereprieve, approaches Jerome's work station and pretends tostudy the program on his computer screen.NAPOLEONWhy did you do that?JEROME(exiting to the testing lab)Don't worry about it.INT.  GATTACA - TESTING LAB.  DAY.From behind we observe JEROME standing in front of LAMAR,issuing forth his steady stream of fraudulent urine.EXT.  GATTACA AEROSPACE CORPORATION - WORKOUT CENTER.  DAY.Twenty GATTACA EMPLOYEES, identically-outfitted men and women,run in a perfectly straight line towards the tranquil lake ofthe picturesque grounds, never getting any closer to their goal.They run at a steady 10mph on twenty identical state-of-the-arttreadmill machines sunken into the floor and arranged in auniform row facing a floor to ceiling window.  The strain isbeginning to show on many of the faces.  The heartrate of eachemployee is monitored via a wireless electrode attached to thechest.Outside in the sunshine the next batch of twenty EMPLOYEESlimbers up in readiness for their physical.  JEROME's onlypreparation consists of thoughtfully dragging on acigarette while staring out at the man-made lake.  Hisnonchalant attitude disheartens nearby colleagues, includingIRENE who is amongst a group of workers excused from the runby benevolent, over-protective TRAINERS.TRAINERYou're excused, Irene.  You may resume your duties.On the way into the work-out facility Jerome stubs out hiscigarette in a stainless steel ashtray.  Only we are aware ofthe slim credit card-sized recording device that he furtivelyslips out of his cigarette pack and secrets in his hand.  As hetakes his place on one of the treadmills and adheres thecordless electrode to his chest, Jerome surreptitiously attacheshis device to the underside of the running machine's controlpanel.INT.  GATTACA - WORK-OUT OBSERVATION ROOM.  DAY.From a mezzanine floor above the work-out room, LAMAR, themedical officer, monitors computer read-outs displaying thepace and pulse of the runners on each treadmill machine.INT. GATTACA - WORK-OUT CENTER.  DAY.One by one the GATTACA EMPLOYEES drop out until JEROME is thesole remaining runner.  Several of the other employees standaround and watch Jerome run as they towel off.He appears under little duress, staring directly ahead,seemingly in a trance.  As we focus on his chest, only we areaware of the sound of his furiously pounding heart making a lieof his calm exterior.INT.  GATTACA - WORK-OUT OBSERVATION ROOM.  DAY.Jerome's heart registers a far more measured beat on thecomputer in the observation room.  The DIRECTOR is at LAMAR'sshoulder, beaming proudly.LAMAR(marveling at Jerome's heartrate)Six miles later it's still beating like aGoddamn metronome.  I could play piano by thatheartbeat of his.The INVESTIGATOR and DETECTIVE HUGO enter the observation room,escorted by IRENE.DETECTIVE HUGODirector Josef, this is our lead Investigator.The two men exchange a polite handshake.  However theInvestigator is immediately taken with the SOLE RUNNER with hisback to him, on the treadmill below.INVESTIGATORHow often do you test, Director?DIRECTOR JOSEFOften.INVESTIGATOR(intrigued)Surely you know what you have.DIRECTOR JOSEFWe have to be certain.  Once they're up, wecan hardly turn the boat around.On the treadmill below, Jerome glances to his watch as he runs,the distress starting to show.  Caught up in the conversation,Lamar has forgotten to end the work-out.  Remembering, hefinally presses the "WARM-DOWN" button, slowing the treadmill.LAMAR(still marveling at Jerome)I swear if I went to lunch and came back, he'dstill be there.We focus on Jerome's recording device attached to the bottom ofthe control panel.  It clicks to a stop, indicating that thebogus heartbeat recording has ended before the workout.The heartbeat monitor in the observation room suddenly racesfrom 80 to 250 beats per minute.  Lamar catches the discrepancyout of the corner of his eye but before he can take a secondlook, Jerome has whipped his electrode from his chest.  Thephysician shrugs it off as a glitch in the machine.The Investigator has turned his back on Jerome to face theDirector.INVESTIGATORWe believe we have a suspect.DIRECTOR JOSEFWhat a relief.INVESTIGATOR(referring to the profile of VINCENTon Hugo's computer notepad)This unaccountable specimen was found inthe south wing corridor.In the room below, Jerome nonchalantly steps off the treadmill,stealthily retrieves the recording device from beneath thecontrol panel and returns it to his cigarette pack.He casually wipes off drops of sweat from the machine with atowel, briefly glances to Irene with the Investigators and exitsto the locker room.The Director idly regards the image of VINCENT on Hugo'shandheld screen.  He does not recognize the face.DETECTIVE HUGOAn age enhancement is being prepared aswe speak.DIRECTOR JOSEF(referring to his assistant)Irene will make it available to security.INT.  GATTACA - LOCKER ROOM.  DAY.JEROME wears his assured smile all the way along the corridorand into the now empty locker room.  He exchanges a cheerygreeting with an exiting COLLEAGUE, enters a shower stall,closes the door behind him and promptly collapses on the showerstall floor.The effects of the gruelling work-out are only now apparent.  Nolonger sucking up the pain, he gulps air into his oxygen-starvedlungs, his heart looking for a way through his tightened chest.He writhes in agony on the white-tiled floor - a brutal reminderof the physical frailty he seeks to disguise.EXT.  GATTACA - GARDEN.  LUNCHTIME.In Gattaca's perfectly landscaped gardens JEROME, dressed andrecovered from his ordeal, joins his COLLEAGUES for lunch at oneof the umbrella-covered tables.  While most of the others pickat unappetizing salads and take their individualized medication,Jerome carries a steak sandwich on his tray.The sight of the juicy steak is greeted with envious looks fromhis colleagues.  Jerome pretends not to notice and rubs it in byliberally sprinkling salt onto the meat.However when Jerome looks over towards IRENE, she avoids eyecontact.  When she abruptly gets up and leaves, Jerome follows -thinking twice before depositing the napkin in the nearbytrashcan.  A janitor reaches for the napkin.  It is the OldJanitor, CAESAR, from Jerome's former life.CAESARI'll take care of that for you, Mr Morrow.The two men exchange a conspiratorial smile.EXT.  GATTACA - WIND FARM.  AFTERNOON.A forest of wind turbines, supplying energy to the aerospacecomplex.  However the blades of the turbines are motionless inthe still afternoon.  JEROME finally catches up with IRENE.  Sheturns, unsurprised by his appearance.  Standing beside her, helooks out over the complex as if he too has come for the view.JEROME(eyes fixed on the view)We were looking at each other.  You stopped.Irene, also keeps her gaze ahead.IRENEI'm sorry.  I didn't mean anything.JEROME(shrugging as if it makesno difference to him)We were just looking.IRENEI know about you.Jerome turns to her, startled, trying to read her face.  Irenetakes a deep breath and abruptly plucks a long, dark hair fromher head.IRENE(offering the hair to Jerome)Here, take it.Jerome, confused, takes the hair - more in reflex than intent.IRENE(a challenge)If you're still interested, let me know.Jerome contemplates the hair in his fingers for a moment, thendeliberately lets it fall to the grounf.JEROME(never taking his eyes from her)Sorry, the wind caught it.Irene meets his gaze.  There is not a breath of wind.  Thehair lies, plainly visible on the ground.EXT.  GATTACA AEROSPACE COMPLEX.  AFTERNOON.As JEROME and IRENE walk between the wind turbines, Jeromepretends not to notice that Irene keeps furtively checking thepulse on her wrist.  They pause in the shade.JEROME(as if making conversation)Have they found our friend?IRENEFriend?JEROME(shrugs)It was a mercy-killing after all.IRENEThey found an eyelash.JEROMEWhere?IRENEIn the South Wing.JEROMEDoes it have a name?IRENEJust some In-Valid.  Vincent--(trying to come up with the last name)--somebody.Jerome turns away to disguise his alarm.  He quickly recovers.JEROMEPerhaps we ought to celebrate, Irene.IRENE(a smile playing around her lips)You celebrate, Jerome?INT.  EUGENE'S CONDO.  NIGHT.EUGENE talks irritably on the phone, examining a container froma newly opened case of hair bleach.EUGENE(into phone)--I know what I ordered.  I ordered "HoneyDawn" and you sent me "Summer Wheat".JEROME descends the staircase, taking the steps two at a time.He immediately goes to the refrigerator, removing trays ofsamples.  Eugene abruptly hangs up the phone.JEROME (OC)Call German.EUGENEAny particular reason?JEROME(collecting up sample bags fromthe work bench)We can't stay here.EUGENEWhat are you talking about?JEROMEThey think I offed the Director.Eugene wheels himself over to Jerome, unconcerned.EUGENEWhat makes them think that?JEROMEThey found my eyelash.EUGENE(a flicker of anxiety)Where?JEROMEIn a corridor.EUGENE(blas once again)Could be worse.  They could have foundit in your eye.Jerome half-smiles despite the situation.JEROME(resuming his collection of samples)Come on--we're taking off.EUGENEI'm not going anywhere.  Less than a week to go.Not on your life--JEROME--You don't understand, they'll make theconnection, they'll hoover again.  We shouldcut our losses.EUGENE(angrily grabbing a tray from Jerome's hands)Where is your head, Jerome?  You're actinglike a guilty man.  They won't marry the eyelashto you.  They won't believe that one of theirelite navigators could have suckered them for thelast five years.JEROMEThey'll recognize me.EUGENE(scoffing)How could they recognize you?(referring to the torn photo of20-year-old Vincent on the wall)I don't recognize you.  Anyway, you don't have achoice.  You run, you may as well sign a confession,turn us both in right now.  No, we stick this out--find out what we can but change nothing.  This isa minor inconvenience is all it is.  We've takenworse heat than this.(angry now)Jesus, if I'd known you were going to gobelly up on me at the last fucking gasp, Iwouldn't have bothered.  You can't quit on menow.  I've put too much into this.(returning the samples to the fridge)Besides, this stuff is mine.  I had other offers,you know.  I could have rented myself out tosomebody with a spine.  You want me to wheel inthere and finish the job myself?(meeting Jerome's gaze)We'll take off all right, from pad 18 just likewe planned.Jerome slumps down in a chair, Eugene's tirade starting to getto him.EUGENEAnd keep your lashes on your lids wherethey belong.  How could you be so careless?JEROMEI'm sorry.(reluctant admission)I think I was crying.Eugene is uncomfortable at the notion.EUGENEWell save those tears.Jerome shrugs awkwardly and pours them both a drink.JEROMEYou really had other offers?EUGENE(shrugs)I'm sure I could have.INT. CONDOMINIUM - INCINERATOR.  NIGHT.The naked JEROME scrapes away at his skin with even greaterferocity than usual.  After exiting the incinerator, he depositsall the incriminating trash he has collected during the day intothe furnace and ignites the gas.INT.  EUGENE'S CONDOMINIUM.  NIGHT.From outside, a car horn sounds.  JEROME, in a formal suit andspectacles, abruptly enters the condominium.  He goes to acloset and starts searching through Eugene's clothes.JEROMEMind if I borrow a tie?EUGENE is more interested in the car parked outside thecondominium.  IRENE sits in a convertible Citroen DS, dressed ina classic but provocative black suit.  Unaware that she is beingobserved she touches up her lipstick in the rearview mirror.EUGENESo it's not just the Hoovers who've gotyou rattled.JEROMEYou're the one who said not to change anything.She's my ear to the investigation.EUGENE(skeptical)Is that all?JEROMEI've got enough on my mind without that.EUGENEIf you say so.(referring to the ties in Jerome's hand)The stripe.JEROME(agreeing with the selection)Good choice.Jerome fumbles with the knot.  From his chair, Eugene knotsJerome's tie for him.  Jerome is intrigued that for once Eugeneis abstaining - he has not touched his drink.JEROMENot thirsty?(referring to the fridge)We've got enough virgin samples to last us the week.EUGENEI don't feel too good.  I think I'm stilldrunk from last night.JEROMENever stopped you before.(regarding Eugene's head)And for God's sake stop plucking your hair.Someone went to a lot of trouble to make sureyou wouldn't go bald.EUGENEIf I were you I'd worry about myself.(nodding to Jerome's spectacles)Haven't you forgotten something?Jerome pockets the spectacles and enters the bathroom for hiscontact lenses.  The horn sounds outside the window a secondtime and Jerome hastily exits.  We stay with Eugene.  Irenecatches a glimpse of him before he moves away from the window.Jerome emerges from the building.As the couple drive away, Eugene wheels himself to the fulllength mirror.  He regards his own reflection for a moment andopens the mirror - a disguised door opening into the adjacentapartment.  A cloud of condensed water vapor billows out.GERMAN, the DNA Broker, emerges with an ENGINEER.He sends the engineer on his way and joins Eugene at his desk.Eugene hands German a credit card that he wipes through hiscomputer.GERMANWe still need to overhaul the back-up generator.(fixing Eugene with a penetrating stare)What's going on, Eugene, I thought he was goingaway, not you--you going on vacation?EUGENE(looking away)You got it, German.GERMAN(nodding thoughtfully)You deserve it.INT. CONCERT HALL - AUDITORIUM.  NIGHT.JEROME and IRENE step over feet, apologizing as they go,eventually finding their seats in a box in a sold-out concerthall.On the stage below, a YOUNG PIANIST - a teenage prodigy - hasalready taken his place at the keys of a grand piano.  Thepianist removes his white gloves and begins to play - anextremely complex and beautiful piece we have never heardbefore.  IRENE looks to JEROME.  He is clearly caught up in themusic.EXT.  IN-VALID HOUSING PROJECT.  NIGHT.The music from the piano recital continues under the followingcontrasting action.  A huge, brooding housing project.  PEOPLEhang around on street corners.  Menace in the air - a feeling ofimpending violence.Suddenly unmarked police cars appear from all directions,blocking any escape route.  Dozens of PLAINCLOTHES DETECTIVESpour out of the cars and onto the street.People scatter, many running straight into the arms of theDetectives.  OTHERS, spilling out of the housing project, arealso immediately apprehended.The Detectives quickly weed out those suspects not fittingJerome's description - WOMEN, OLD MEN and TEENAGERS.  They areshepherded off the street.  A line of IN-VALIDS is formedseveral hundred yards long.  Detectives begin to laboriouslymove along the line, taking finger-prick blood samples from eachsuspect - instantly confirming their identities with portableanalyzers worn on their hips.As if having the idea at the same time, TWO SEPARATE MENsuddenly bolt from the line, knowing that their blood willincriminate them.  Other Detectives, watching for such escapeattempts, esaily apprehend them and escort them to a waitingpolice van.With the raid under control, DETECTIVE HUGO indicates to theINVESTIGATOR that it is safe to exit his car.  The Investigatorappears irritated, only half-glancing at the TWO MEN already incustody, apparently certain that neither one is his suspect.DETECTIVE HUGO(enthusiastic)Not our fish, but sometihng stuck in the net.The Investigator clearly does not share Hugo's enthusiasm.  TheDetective offers the Investigator an age enhanced photograph,computer-generated from the last existing photo of VINCENT asa 20-year-old.DETECTIVE HUGOThis is the age enhancement we're working with.The Investigator ignores the photo, preferring instead to trusthis own eye as he wanders along the line of suspects.DETECTIVE HUGO(referring to the line-up)As you requested, we've kept the parameterswider than usual.The MEN they scrutinize are hardly mutants - the differencesbetween an IN-VALID and a DAN are subtle at best.  Some shorter,some wearing glasses, some with receding hairlines or bald, manywith no discernable physical difference at all.  TheInvestigator is only halfway down the line before he turns andstarts walking back to his car.The mystified Detective Hugo follows his superior.INVESTIGATORWe're in the wrong place.  We're wasting time.DETECTIVE HUGOThis is the most likely location--The Investigator wheels on Hugo, suddenly angry, clearly unusedto having his judgement questioned.INVESTIGATOR--There's that word again.  I have a feelingThis man doesn't play the odds, Detective.  Notexactly a slave to probability.  Is it "likely"that a man who has successfully eluded authorities forfifteen years--a brutal killer--is going to cometo us now like a lamb?DETECTIVE HUGO(taken aback by the outburst)Is there something more we should know about thissuspect, Sir?  I mean besides what's on his sheet.INVESTIGATORSince going underground, traces of this In-Validhave shown up at the scene of four seriousfelonies.  Do you need any more than that?DETECTIVE HUGOWith respect, Sir, many perfectly innocentcitizens have left specimens at as many crimescenes.  Maybe he's just unlucky.INVESTIGATORI don't like anybody this unlucky.(pause)Widen the sweep.  The West side.  Draw a five mileradius around Gattaca.  Hoover some of the classierestablishments.  Random car stops.DETECTIVE HUGOWe're already getting complaints aboutfrivolous search.INVESTIGATORThis is a murder investigation.  The publicshould be happy to co-operate, to get thisdisease off the streets.INT.  CONCERT HALL.  NIGHT.A standing ovation.  The YOUNG PIANIST on the stage bows deeply,soaking up the applause of the AUDIENCE.  The pianist tosses oneof his white gloves into the front row where it is caught by anadoring FAN.  The second glove he tosses up to the box whereJEROME and IRENE are standing.  Jerome snares the glove out ofthe air and immediately hands it to Irene.  She promptly slipsthe glove on her own hand.The glove fits snugly over her five fingers.  However one fingerof the glove remains unfilled.  Jerome is stunned to realizethat it is a six-fingered glove.IRENE(catching his look of astonishment)You didn't know?JEROME(trying hard to convince)Yes...yes...IRENE(picking up a resentment, confused)You're angry--JEROMEWhy would I be angry?  It was beautiful.He quickly turns away to lead the applause.  On stage, thepianist raises his hands to acknowledge the crowd.  Both hishands contain a perfectly formed extra finger.INT.  IN-VALID HOUSING PROJECT - PROSTITUTE'S BOUDOIR.  NIGHT.From an upstairs window we observe the INVESTIGATOR's carcruise slowly back into the squalid housing project.  A MAN isbuckling his pants at the window.JOHNShit!  One of those Hoovers is back.A prostitute, VALERIE, a slender, sylphlike beauty, joins him atthe window.VALERIEIt's alright.  He's here to see me.Her client looks at her askance.  Despite her assurances, hehurries into his clothes anyway.VALERIE(to an unseen woman in the next room)Sonja, I can't see anyone else tonight.INT.  IN-VALID HOUSING PROJECT - PROSTITUTE'S BOUDOIR.  NIGHT.The INVESTIGATOR, sits up in the bed, glass in his hand.VALERIE lies on the tangled sheets, naked, making no effort tocover herself.  She regards the Investigator curiously.VALERIEI don't understand you, Investigator.The Investigator glances idly in her direction.VALERIE(teasing good-naturedly)You hunt us by day and fuck us by night.  Doyou only get it up for In-valids?The Investigator smiles and rejoins her on the bed.VALERIEWouldn't you be happier with one of yourmade-to-order whores?INVESTIGATOR(gently stroking her hair)You are so beautiful, are you sure you weren'taltered?  This is not the face, the body, ofa Godchild.  How could something so lovelybe a product of chance?VALERIEIs that what keeps you coming back?(meeting his gaze)Look at you.  Such angry, beautiful, perfect eyes.Do you ever wonder what they would see if theyweren't quite so perfect?  They will never seewhat I see.The Investigator tries to laugh off her assertion but histight-lipped smile betrays his displeasure.INVESTIGATOR(a cruel edge to his voice)You have so much wrong with you, you'llbe lucky to see next year.He roughly forces himself on top of her but she remains defiant.VALERIEAre you so much more alive, Investigator?INVESTIGATOR(parting her legs)I'm not paying you to talk.INT/EXT.  IRENE'S CAR.  NIGHT.IRENE drives, JEROME at her side.  Cars are being flagged downby uniformed POLICE OFFICERS.  Irene slows down behind the carin front.  Spying an OFFICER shine a flashlight in the eyes ofthe MALE DRIVER up ahead, Jerome wipes the contact lenses fromhis eyes and flicks them out of the passenger window when Ireneis not looking.An OFFICER approaches Jerome and, without a word, opens anelectronic testing kit worn on his hip.  He removes a sterilizedQ-tip and motions for Jerome to open his mouth so he can scrapea culture.  Jerome waves his hand in front of his mouth,feigning embarrassment.JEROME(conspiratorial)Better not.(nodding in Irene's direction)Don't want to give you a contaminatedspecimen...if you get my meaning.IRENE plays along, shrugging coyly at the cop.We see an EXTREME CLOSE UP of Jerome's hand as he furtivelyretrieves a hair follicle attached to his shirt cuff.  With thehair already in his fingers, he pretends to pluck a hair fromhis head, faking a wince at the appropriate moment.The cop, wearing transparent latex gloves, takes the follicleand places it in a receptacle in his kit.  After a short momentthe hair confirms JEROME's driving ID which appears on the kit'selectronic screen.  As the cop departs, Irene looksquestioningly at Jerome.JEROMEThanks.(answering her unasked question)You never know where those swabs have been.Irene nods, however clearly not convinced.  She shakes the doubtfrom her mind.IRENEI want to show you something.She accelerates away.  We see the road ahead from Jerome's POV.Without his contact lenses, it is a blur.INT.  MICHAEL'S CLUB.  NIGHT.After closing time, suited DETECTIVES vacuum the club in whichJerome and Eugene dined the previous evening.  MICHAEL, theowner, looks on disdainfully.  Waiting in the background, theregular CLEANERS - most likely In-valids themselves - smirk toeach other, enjoying watching the cops do their work for them.EXT.  OCEAN HIGHWAY.  NIGHT.With no place to turn the car around, IRENE parks on the cliffside of the six-lane highway.  In the darkness she dashes fromthe car and, without a second thought, runs directly out intothe heavy commuter traffic.  Easily negotiating the on-comingcars, she emerges safely on the other side of the highway.JEROME, rounding the car from the passenger side, is about tofollow, when he suddenly pulls up sharply at the curb.  We focuson his eyes, deprived of the benefit of their contact lenses.From Jerome's POV, we see that the headlights rushing towardshim are nothing but a series of fast-moving blurs - blurs thatmerge together.  He is unable to distinguish between thevehicles or judge their distance.IRENE(calling back urgently from theother side, mindful of the lightbeginning to leak into the sky)Come on!  We'll miss it!Irene stares expectantly back at Jerome with her 20/20 vision,unaware of his predicament.  Jerome puts a foot off the curb atthe wrong moment and is almost collected by an on-coming car.Irene is taken-aback at his mistiming.  Does she detect a squinton Jerome's face?  To Jerome, the figure of Irene on the otherside of the highway is merely a featureless shape but he feelsher expectation.  He touches the spectacles, still in hispocket, but they are an unthinkable option.He shakes the idea from his head and turns back to the swiftly-flowing highway.  He makes up his mind - he cannot allow himselfto be shamed, even at the risk of life and limb.  Hardly evenglancing at the traffic, he suddenly bolts blindly across theroad.  Headlights hurtling towards him, cars fortuitouslybrushing past his heels, horns blaring.  Jerome makes a finalleap to the haven of the far curb, the rush of air from a large,fast-moving truck blowing him the final inches to the sidewalk.Irene is stunned by the near miss.  She is about to comment butJerome takes her by the arm and ushers her towards the dunes.JEROMECome on.  We'll miss it.EXT.  BEACH.  DAWN.JEROME and IRENE huddle beneath an overcoat as the sun creststhe horizon, staining the sky with an ochre blush.IRENEWhat did I tell you?Jerome nods.  However, to his eyes the rising yolk is nothingbut an out-of-focus, abstract ink blot.IRENEI envy you, Jerome.JEROMEYou'll be next.IRENEI don't think so.  The only trip I'll makein space is around the sun--(letting a handful of sandslip through her fingers)--on this satellite right here.Irene turns to Jerome.IRENE(blurting out what's really on her mind)--Listen, I don't want to waste your timeand I really don't want you to waste mine.I don't know what you're after but I havea feeling I'm not it.Irene suddenly takes Jerome's hand and puts it up hersweater, onto her breast.  Although taken aback, Jerome makesno effort to withdraw his hand.IRENE(enjoying his unease)It's here.  My heart.(adding quickly)I'm careful--weekly check-ups.  I'm on adrug maintenance program, blood thinners,diet--(slowly removing his hand)I just want you to know what you'd be gettingyourself into.JEROMEWhat exactly is wrong?IRENENothing yet.  I'll start experiencingsymptoms in my late-fifties.(matter-of-fact)But unless they come up with something betweennow and then, I won't live much past 67.Jerome's mouth drops a little, betraying his surprise at thestatement from a woman plainly still in her twenties.IRENEOf course I think about it every day.JEROME(still not quite recovered from his surprise)Of course.INT.  POOL.  MORNING.The INVESTIGATOR swims his race with the unseen opponent.  TheInvestigator's ASSISTANT, carrying a phone, tries to attract hisattention.EXT.  JEROME'S POOL.  MORNING.JEROME sits at his own poolside in his robe, feet dangling overthe edge, smoking a cigarette.  EUGENE, from his wheelchair, isapplying bleach to Jerome's hair and eyebrows with glovedhands.At the same time, Jerome plays a sleight-of-hand game with asyringe.EUGENEHow was your evening?JEROMEComplicated.  I couldn't stop her apologizing.EUGENE(teasing)You are a catch.  No doubt she's worried thatshe would lower the standard of your offspring.Everybody wants to "breed up".(idly curious)What's wrong with her?JEROME(trying to be blas)You know how it is with these altered births--somebody told her she's not going to liveforever and she's been preparing to die eversince.EUGENEYou're not thinking of telling her, are you?JEROMEOf course not.  But she's have to know eventually.EUGENE(adamant)She doesn't have to know.  She doesn't want to know.The camera travels down Jerome's scarred legs to find that thepool is completely drained.  We now realize that it nevercontained water.A BARREN WASTELAND.A desolate landscape, resembling the surface of the planet Mars.We pull back to find that we are peering at this forbiddingdesert through a circular aperture.INT.  CRIME LAB.  DAY.The INVESTIGATOR lifts his head from the eyepiece of anelectron microscope through which he has been examining a tinyfragment of skin - the skin is identified as belonging to 20-YEAR-OLD VINCENT.  DETECTIVE HUGO stands at the Investigator'sside - his attitude more respectful in light of the discovery.Detective Hugo points out a location on a computer-generatedmap.DETECTIVE HUGO(chagrined)The skin flake was found in Michael's Restaurant.The employees are all accounted for.INVESTIGATORA customer?  Does this Michael's cater to misfits?DETECTIVE HUGO(shifting the view of the mapto include the Gattaca complex)No.  But one or two "borrowed ladders" haveshown up there in the past.The Investigator understands the significance.  They wander overto a blow-up photograph of the 20-YEAR-OLD VINCENT.DETECTIVE HUGOWe have to consider the possibility that he'splaying somebody else's hand.A smile gradually broadens across the Investigator's face.INVESTIGATOR(taking a perverse pleasure in theslowly dawning revelation)Of course.  He's a "de-gene-erate".(glancing to a photo of theGattaca crime scene)He works at Gattaca.  Why else would we findthe eyelash near the washroom?  Nobody stops totake a leak during a murder.DETECTIVE HUGO(quickly covering himself)It's still possible the eyelash specimen camefrom a janitor, delivery man--it could have blownin through an open window.The Investigator appears not to be listening, his mind made up.INVESTIGATOR(mind racing)He was afraid of being exposed.  That's why he did it.DETECTIVE HUGO(puzzled)It is hard to believe he could be one oftheir elite workers.  You've seen theirsecurity system.  They know who works there.(referring to 20-year-old Vincent's profile)Even if you ignore the man's expiration date,his profile suggests that he doesn't have themathematical propensity let alone the staminato pass their physicals.INVESTIGATORDon't underestimate these imposters.DETECTIVE HUGO(skeptical, referring to a file ofGattaca employee ID photos)None of the ID photos match the enhancement.INVESTIGATOR(smiling to himself)A man can change his face--but blood is forever.Sample every employee within the parameters I gave you.(pause)Intravenous.Hugo's mouth drops open at the mention of "intravenous".DETECTIVE HUGO(immediately protesting)You know their workforce.  Two-thirds atleast fall into the category.  We'll beclosing down their operation for days.(seeking a compromise)At least go with a fingertip sample or urine.INVESTIGATOR(shaking his head)Blood.  From the vein.The Investigator turns on his heel to prevent further protest.The Detective and his ASSISTANTS exchange looks of exasperationbehind the Investigator's back.INT.  GATTACA.  DAY.JEROME, drinking water, stands in front of a large videobulletin board.  Among other things, it displays the electronicmugshot of 20-YEAR-OLD VINCENT alongside the recent computergenerated age enhancement of his face.Some distance away, CAESAR, the elderly janitor, discusses themugshots with a YOUNGER JANITOR.CAESARLook like anybody to you?YOUNGER JANITORNot to me.CAESARUgly sonofabitch though, isn't he?Jerome half-smiles, realizing that the conversation is for hisbenefit.  Having made it clear that they do not intend to exposetheir former colleague, the two janitors continue their rounds.Jerome crushes his paper cup.  Forgetting himself, hedrops the cup into the wastebasket.INT.  CRAFT.  DAY.JEROME familiarizes himself with the interior of a spacecraftunder the supervision of DIRECTOR JOSEF and the MISSIONCOMMANDER.  The screen that Jerome sits at is identical to theone he operates in the computer complex - displaying asteroid951 Gaspra.DIRECTOR JOSEF--Somewhere in the dust of Gaspra is the key.(warming to his theme)Back to the beginning of the book--the life webecame.  With the original building blocks whoknows how far we can take "the godding".MISSION COMMANDER(wry smile)Even someone as advanced as Jerome will belast year's model by the time we're done.JEROME(smiling back)I wouldn't get your hopes up, Commander.Irene enters the craft.IRENEExcuse me, Mr Morrow.  The investigators havebegun their testing.DETECTIVE JOSEFThis is so inconvenient, Irene.  They canmake an exception for Jerome.IRENEI'm afraid not.DIRECTOR JOSEFI apologize, Jerome.JEROMEIt's not yor fault, Director.(afterthought)If your predecessor were still aroundwe may not be going to Gaspra at all.That's what I would call inconvenient.Jerome exits the craft with Irene.INT.  GATTACA CORPORATION - CORRIDOR.  DAY.A line of MALE GATTACA EMPLOYEES snakes out the door and downthe corridor.  The INVESTIGATOR walks slowly down the line,trying to eyeball his suspect.  Concentrating on the shorter,dark-haired men in the line, he looks straight past JEROME.However, as the Investigator ignores him and walks by, we see ahaunted look in Jerome's eyes.INT.  GATTACA - TESTING LAB.  DAY.Every available TECHNICIAN is working to accommodate the testingof the thousand or so PROGRAMMERS.  Twelve testing stationsoperate simultaneously.  A HOMICIDE DETECTIVE supervises eachstation.  JEROME reaches the head of the line.  He notes anexiting COLLEAGUE holding a cotton ball to his arm.A NURSE directs Jerome to LAMAR's testing station.  Lamardeposits the previous patient's labeled vial into a bloodcarousel under the watchful eye of a large DETECTIVE, clearlynot relishing his assignment.  Jerome rolls up his sleeve.JEROME(referring to the table lined with syringes)What's with the plungers, Lamar?  What areyou doing, opening a blood bank?The syringes are clearly not Lamar's idea.LAMAR(sarcastic)The gentlemen of law enforcement are concerned thatmy testing methods may have been compromised.Lamar inserts a fresh syringe into Jerome's arm.  As Lamar drawsthe blood, Jerome suddenly flinches and flexes his armviolently, causing the needle to bend and buckle, exiting theskin from a second puncture point.JEROMEDamn!!Having pulled away from Lamar's grasp, Jerome withdraws the bentneedle himself, blood still squirting from his vein.LAMAR(grabbing a nearby wad of gauze)Jesus--I'm sorry, Jerome.The large Homicide Detective winces and turns away from the redarcing spray, a splash of blood spattering his shoes.  In themidst of the commotion, with his practised sleight-of-hand,Jerome removes the vial from the syringe and replaces it withanother concealed vial.JEROME(unfazed, putting Lamar at his ease)You must be out of practise, Lamar.Lamar hurriedly takes the syringe from Jerome.LAMAR(examining and removing theswitched vial from the bent syringe)I've got enough here.JEROME(regarding the squimish detective,as he holds the gauze to his arm)Need any more, you can always get it off his shoes.The Detective notices the spatter of blood across his broguesand, with a look of disdain, wipes it clean.  He tosses theincriminating tissue down a hygenically sealed garbage shoot.Lamar places Jerome's labelled vial in the carousel where it isimmediately analyzed by the computer.  Jerome's "legitimate"Employee ID code appears on the screen - "VALID".  AnotherEMPLOYEE enters the testing lab.INT.  GATTACA.  DAY.JEROME exits the testing lab with the gauze held to his arm.IRENE is standing outside the door.IRENESo you didn't do it after all.JEROME(joking darkly)I guess somebody beat me to it.INT.  GATTACA - MEZZANINE FLOOR.  LATER IN THE DAY.From above, the INVESTIGATOR and HUGO observe the final EMPLOYEEexit the testing lab.LAMAR, following the employee out of the lab, throws a look ofvindication to the two cops.DETECTIVE HUGOThat's the last.INVESTIGATORSomething's not right.DETECTIVE HUGO(losing his patience)He's not here.  It's a blind alley.INVESTIGATOR(resolute)No, we've missed something.  We Hoover again.DETECTIVE HUGOWe don't have the manpower.INVESTIGATORGet it.  From outside, if you have to.DETECTIVE HUGOFrom what budget?INVESTIGATOR(angered by Hugo's excuses)I'll take it out of your damn pension ifyou question my authority one more time!The INVESTIGATOR turns his back on his subordinate and idlycontemplates the nearby telescope.  Hugo resignedly relays thenews to Director Josef who is standing some distance away.Josef's immediate reaction is to march towards the Investigator,Hugo trailing behind.  DIRECTOR JOSEF collects himself as henotices the Investigator's hand on the telescope.DIRECTOR JOSEFWould you care to look--in the telescope?INVESTIGATORThank you, no.DIRECTOR JOSEF(still referring to the telescope)One look through there and you would know whyI can't possibly allow you to disrupt operationsany further.INVESTIGATOR(unfazed)You're so unconcerned that you have a killerin your midst.DIRECTOR JOSEFRight now, your presence is creating more ofa threat.  I don't think you have any conceptof what we do here--how meticulous ourpreparations must be.  We are about to sendtwelve people through 140 million miles ofblackness to rendezvous with an object the sizeof a house and the color of coal.  So it's rathercritical to point them in the right direction.And we certainly don't need you looking over ourshoulders.  Besides, I don't believe there isany evidence that the killer is amongst us.  Idon't see too many other dead bodies litteringthe place.INVESTIGATOR(surveying the mostly empty facility)No, but since there aren't too many live onestonight either, you won't mind us conducting onefurther sweep.  If he does not work here, thenthere should be no other trace of him.(to Hugo)I think you'd better get some people out of bed,Detective.(a thought occurs)In the meantime we can re-check his favoritehaunt.Director Josef quietly seethes.INVESTIGATOR(to Josef, referring to the telescope)You see, Director, I prefer my microscope.INT.  EUGENE'S CONDOMINIUM.  DAY.JEROME readies himself for an evening out - a bandage around hisarm from the needle puncture.  EUGENE wheels himself in.EUGENEWhere are we going?JEROME(slightly guilty)I'm sorry.  I've got plans.EUGENE(feigning hurt)Again?JEROME(referring to his bandage)She's already got her doubts.  I have to actlike nothing's wrong.EUGENEI'm sure you'll be very convincing.Jerome ignores the remark.EUGENEWhere are you taking her?JEROMEMichael's.Eugene looks at him askance.JEROMEEverybody goes there.EUGENE(incredulous, glancing around the room)You may as well invite her here.JEROME(afterthought as he picks up his jacket)Will you be okay?EUGENEDon't worry about your little pin cushion.To be honest, I'm looking forward to havingthe place to myself.JEROME(seeing through the bravado)We'll still be able to talk when I'm away.The conversation will just keep getting longer.EUGENEHow long?JEROMEBy the time I'm at the Belt, you phone andsay, "How are you?"  Forty-five minuteslater I reply, "Not bad.  How are you?"EUGENEI guess I'd better have something importantto say if it takes that long to get an answer.INT.  MICHAEL'S CLUB.  NIGHT.IRENE and JEROME step off the dance floor of the smoky, decadentdinner club and take a seat at their table.  Irene is agog atthe strange assortment of PATRONS, the cigars, the laden desserttrolleys.  It is all slightly off from the pristine world she isaccustomed to.IRENEWhat is this place?JEROME(wry smile, enjoying her fascination)You've never been here?(a dessert trolley is wheeled up)Let me order for you.Jerome selects a chocolate torte from the trolley.  Jeromesavors a spoonful.  Irene is tempted but then remembers herself.IRENEI'd better not.She reaches for her elegant pill box.  Jerome takes anotherspoonful.JEROMESo sure of what you can't do.  Do you evenknow what it tastes like, Irene?Irene goes to deny it but cannot.MICHAEL suddenly approaches the table with a WAITER in tow.Irene is about to steal a taste of the dessert with her fingerwhen their plates and glasses are whisked away and the tableimmediately hoovered.  Michael whispers in Jerome's ear.MICHAELTake the side door.Jerome looks up in time to see DETECTIVE HUGO coming through thefront entrance with several other DETECTIVES.DETECTIVE(to his colleagues)Check for lenses, hairpieces--A Detective shines a flashlight in the eyes of a MALE PATRON.A SECOND DETECTIVE tugs the hair of a SECOND PATRON.  Jerometakes Irene by the hand and escorts her out of the side exit.Several other COUPLES make for the parking lot.IRENEWhy are we leaving?JEROME(attempting to explain the hasty exit)Those checks take forever.EXT.  MICHAEL'S CLUB - SIDE ALLEY.  NIGHT.Spilling out of the exit, JEROME and IRENE find a burlyplain clothes DETECTIVE barring their way.  Before the Detectivecan say a word, Jerome has wrapped his fist in his jacket sleeveand smashed him in the face.  He continues to beat the Detectiveuntil he lies motionless on the ground.IRENE(stunned)Jerome!Spying other Detectives some distance away in the parking lot.Jerome leads Irene out of a hidden side gate.IRENEWhat about the car?JEROME(grabbing her by the hand)Let's walk.IRENEWho are they?JEROME(holding his bruised knuckles)It's not safe.  I shouldn't have brought you here.Jerome drags Irene across a vast, desolate lot, lit only bymoonlight.  Feeling exposed, he breaks into a run.IRENEI can't.JEROME(anxious)Come on.IRENEMy medication.  I left it back there.JEROMEWe'll get it later.(forcing her to look him in the eye)Irene, please.Irene realizes his seriousness.  She begins to run with him.The clearing is wider than Jerome anticipated.  They are onlyhalfway across - extremely vulnerable if the Detective think yolook in their direction.INT.  MICHAEL'S.  NIGHT.The INVESTIGATOR is grilling MICHAEL, the club's owner.  Theinvestigator suspiciously regards the multitude of mini-vacs inthe kitchen and the incinerator burning the refuse.INVESTIGATOR(an accusing tone)You run a clean establishment.MICHAELAre you a health inspector?INVESTIGATOR(showing Vincent's mugshot)Do you recognize this man?MICHAELMy eyes aren't so good.INVESTIGATORI bet.Hugo calls out from the side door where he has discoveredhis fallen colleague.HUGOSir.The Investigator hurries to him.INVESTIGATOR(to the still dazed Detective,examining his injuries)Did he hit you with his fist?DETECTIVE(head in his hands)More like a hammer.INVESTIGATOR(reprimanding the beaten Detective)Don't touch your face.  Don't swallow.Don't spit.(to Hugo)Quick, clean his teeth.Hugo uses a flashlight and a small dental-like implement to tryto pick skin from Jerome's knuckles from between the Detective'steeth.  The Investigator finds the hidden side door.EXT.  DESOLATE LOT.  NIGHT.JEROME and IRENE continue to sprint across the enormous vacantlot in the moonlight, splashing through deposits of mud andwater.  Just as the gate opens in the distance, Jerome hurlsIrene into the safety of the undergrowth on the other side.Irene, out of breath, desperately feels for her pulse.IRENE(upset, a strangled protest)Are you trying to kill me?  Are you?!Don't you understand, I can't do that!Jerome tenderly removes Irene's hand from her pulse.JEROMEYou just did.Irene looks back across the vast clearing they have justnegotiated, realizing what she has just done.From across the other side of the clearing comes an echoingcry from the center FIGURE.INVESTIGATOR (OC)Vincent!  Vincent!EXT.  MICHAEL'S.  NIGHT.The INVESTIGATOR is about to cry out Vincent's name once againwhen he realizes DETECTIVE HUGO and the other DETECTIVES arewatching him, askance.INVESTIGATOR(to Hugo, covering his frustration)What are you waiting for?DETECTIVE HUGOWhere do we start?INVESTIGATORWe'll vacuum these streets if we have to.DETECTIVE(handing the Investigator Irene's pill box)We caught them trying to flush these, Sir.The Investigator carefully examines the heart pills.EXT.  IRENE'S APARTMENT.  NIGHT.JEROME walks IRENE to the steps of her apartment.  Jerome thinksabout departing but Irene takes him gently by the hand.IRENESo sure of what you can't do.Jerome follows her inside.INT.  IRENE'S BEDROOM.  NIGHT.JEROME and IRENE climb a staircase to her bedroom.  Withoutanother word they begin to make love.LATER THAT NIGHT, JEROME cannot sleep.  He rises quietly so asnot to disturb IRENE.  He silently opens the double-windows ofthe upstairs bedroom.  He carefully gathers his pillow from thebed and shakes it out of the window.Slowly Jerome turns to gaze at the wood floor.  In the moonlightwe see an EXTREME CLOSE UP of a single hair lying on thefloorboards.  Jerome bends and picks up the hair, trying toidentify it in the dim light.  On his hands and knees he triesto clean the floor with a towel.  Irene turns over in thebed.  Jerome freezes but she continues to sleep.  He realizes hemay be spreading even more of his skin and hair over the floor.Overcome with frustration and the enormity of his task, hebegins to quietly weep.EXT.  A FIELD.  DAWN.A light shroud of mist hangs over the trees that encircle agrassy clearing beyond Irene's building.  Something lies in thecenter of the clearing.We jump-cut to an EXTREME CLOSE UP of two or three blades ofgrass.  Bristles rain down on the blades.  Withotu access to hisincinerator, the crouched, naked figure of JEROME disposes ofhis whiskers, skin and hair in an open field.  His clothes sitin a neat pile at his side.  He pours glycolic acid over hisbody and scrubs at his back, feet and hands with a brush.  Thereis a haunted, tortured look in his eyes as he tries desperatelyto rid himself of himself.INT.  POOL.  MORNING.The INVESTIGATOR swims obsessively in his aquatic treadmill.INT.  IRENE'S APARTMENT.  LATER THAT MORNING.Back in the bedroom, JEROME, partially dressed, holds IRENEin bed.  She softly touches the scars on his shins.IRENE(referring to the shins)What happened?JEROMEYou remember the '99 Chrysler LeBaron?It's the exact height of the front fender.(shrugs)Looked right instead of left.IRENE(comforted by the thought)So you're not so smart after all.(awkward about raising the subject)I want you to know--if it ever came to it--I'd be willing to get an ovum from the EggBank.  In fact, I'd rather use a donor egg--(quickly covering herself again)--if it came to it.JEROMEBut "if it came to it" then it couldn't have your--(searching for an appropriate body part)--nose.(stroking her face)How perfect does your child have to be?IRENE(mildly irritated by what sheperceives as his mocking)You hypocrite.  Do you think for one momentyou'd be doing what you're doing if it wasn'tfor who you are--what you are?  Don't you getany satisfaction knowing that your childrenwill be able to live to a ripe old age unlessthey do something foolish?JEROMEThat's precisely what scaresme--that theywon't do anything foolish or courageous oranything--worth a Goddamn.Irene is taken aback by Jerome's passion, regarding him in a newlight.INT.  EUGENE'S CONDOMINIUM.  MORNING.EUGENE urinates into a large plastic container while drinkingbottled water at the same time.  He already has several othercontainers of urine on the table beside him.INT.  GATTACA.  MORNING.The INVESTIGATOR and DETECTIVE HUGO keep a wary eye on theoutfitted DETECTIVES re-vacuuming the empty computer complexwith their mini-vacs.HUGO(reading newspaper)My wife and I--we're thinking of starting a family.INVESTIGATOR(shrugs, ambivalent)Why not?HUGOThese new personality corrections I've beenreading about.INVESTIGATORYou worried about the cost?HUGONot that.INVESTIGATOR(regarding Hugo with a condescending smile)They said the same thing about myopia andobesity.  You think your children would beless human if they were less violent, angry,spiteful?  Maybe they'd be more human.  Fromwhere I sit the world could stand a littleimproving.We dwell on one DETECTIVE in particular, snatching a garbagebag from CAESAR, the janitor.DETECTIVEDon't touch that.  It's evidence.He puts a pile of discarded paper cups aside for later testing.INT.  GATTACA CORPORATION.  LATER THAT MORNING.In the vast, empty Gattaca complex the INVESTIGATOR inspects aspecimen bag containing Jerome's paper cup with DIRECTOR JOSEFand DETECTIVE HUGO.DETECTIVE HUGOPositive saliva match.  The cup wasdefinitely used since the original sweep.INVESTIGATORSo we have two choices.  Either our suspectcame back to the murder scene for a drink ofwater and I don't know anybody that thirsty or...(looking out over the empty complex)...he is here.(resolute)We test again.  You're right, Hugo, this was adesperate act.  Someone had a lot to lose thatnight--perhaps their place in line.(to Director Josef)I'd like the profiles of everyone with anupcoming mission.DIRECTOR JOSEF(nervous)Twelve have a mission within the week.INVESTIGATORThis time I will supervise each test personally.INT/EXT.  GATTACA.  MORNING.JEROME and IRENE walk towards the entrance to Gattaca.  Spyingthe Homicide Investigation trucks parked at the rear of thebuilding and the silhouette of the INVESTIGATOR in the doorway,Jerome pulls up sharply.  Irene notices his unease.IRENEWhat is it?JEROMEI forgot something--something at home.I'll see you later.Jerome kisses her.  Irene, also aware of the trucks,interrogates Jerome with her eyes.IRENEI'll miss you.Jerome is still focussed on the entranceway.IRENE(looking skywards)--when you go away.JEROMEWe could go together one day.Irene considers the idea.  She enters Gattaca alone.INT.  GATTACA AEROSPACE CORPORATION - COMPUTER COMPLEX.  DAY.IRENE prepares a stack of ID photos of CREW MEMBERS for theINVESTIGATOR.  She closely inspects the doctored photo ofJEROME, hesitating before adding it to the file.The camera dwells on JEROME's vacant work station.  TheINVESTIGATOR curiously regards the empty chair.  He isaccompanied by DETECTIVE HUGO, DIRECTOR JOSEF and IRENE.DETECTIVE HUGOHe's the only absentee.DIRECTOR JOSEFA little nausea.  Quite common.INVESTIGATORAt least it's nothing contagious.DIRECTOR JOSEF(unduly agitated)I will not permit any further testing on theeve of a mission.  We're already countingbackwards.The INVESTIGATOR ignores Josef and takes a pocket knife from hisjacket.  He prises out the "ESC" key from Jerome's keyboard,places the key in a specimen bag and deposits it in his jacket.IRENE(picking up a phone)I'll call and let him know.The Investigator gently but firmly removes the phone fromIrene's hand and replaces the receiver in the cradle.INVESTIGATORLet's not spoil the surprise.(to Irene)I understand you can show us the way.The anxious Director Josef calls out to protest one furthertime but the Investigator is on his way out of the door.EXT.  STREET OUTSIDE GATTACA.  DAY.Outside the entrance to Gattaca, trying to hail a taxi, JEROMEis startled to see a car carrying the INVESTIGATOR, DETECTIVEHUGO and IRENE roar out of the driveway.  JEROME calls on hisportable wristphone.INT.  EUGENE'S CONDOMINIUM.  DAY.EUGENE, at his window, filling sachets as usual, hesitatesbefore answering the phone.EUGENEHello?JEROME (OC)How would you like to be yourself for the day?EUGENE(nonchalant)I was never very good at it, remember?INT.  EUGENE'S CONDOMINIUM / HALLWAY.  DAY.With a look of resolve, EUGENE hangs up the phone.He wheels his chair up to the sweeping staircase and regards thefirst of many dozen steps.  The daunting staircase spirals awayabove him.INT.  INVESTIGATOR'S CAR.  DAY.HUGO drives.  The INVESTIGATOR looks to IRENE in the rear seat.INVESTIGATOR(taunting)You don't know who he is, do you, Irene?He hands her the pill box found in Michael's.INVESTIGATORYou think you have problems?INT.  EUGENE'S CONDO/JEROME'S CONDO.  DAY.Having wheeled his chair out of sight, EUGENE eases himself outof his wheelchair and onto the floor.  Using his elbows,commando-style, dragging his lifeless legs behind him, heproceeds to crawl across the floor and up the first step of thelong spiral staircase.  We observe his agonizingly slow progressup a staircase that, from Eugene's point of view, appears tohave doubled in length.EXT.  CONDOMINIUM COMPLEX.  DAY.The INVESTIGATOR and DETECTIVE HUGO emerge from their car withIRENE in tow.  They take in the impressive complex - theInvestigator gets a glimpse of the empty pool.  They approachthe intercom at the entrance.INT.  JEROME'S CONDOMINIUM.  DAY.EUGENE, bathed in sweat, finally crests the landing of thestaircase.  No respite.  As he drags himself across the floorthe internal phone rings.  He frantically stretches up andknocks the phone off its hook so he can talk from his proneposition on the floor.INT.  CONDOMINIUM - LOBBY.  DAY.IRENE is on the phone, closely watched by the INVESTIGATOR andDETECTIVE HUGO.EUGENE (OC)(through intercom, no trace of his distress)Hello.IRENE(a moment's hesitation)Jerome--?EUGENEHello, sweatheart.  Come on up.INT.  JEROME'S CONDOMINIUM.  DAY.With no mean effort, EUGENE finally manages to replace the phoneon its cradle.  He desperately crawls up onto the sofa.However, spying the upright vacuum cleaner in the open closet,he is forced to crawl there and remove the vacuum bag.  Hefrantically crawls back towards the sofa and stuffs the bagbehind a cushion.INT.  JEROME'S CONDOMINIUM.  DAY.IRENE enters the door deliberately left ajar, closely followedby the INVESTIGATOR and DETECTIVE HUGO.  EUGENE is propped up onthe sofa, TV remote control placed in his useless hand to coverhis paralysis.  He has a stainless steel bowl next to him andhas crossed his lifeless legs for a more natural effect.  Eugenecalmy motions the confused Irene towards him.EUGENEWhere's my kiss?The Investigator scrutinizes Irene's reaction.  With only themerest hesitation she takes her cue from Eugene and kisseshim affectionately on the forehead.  She perches herself on thearm of the sofa.  Eugene takes the opportunity to rest hisarm on her leg.IRENEGood to see you're feeling better.EUGENENow you're here.  Who are your "friends"?IRENEIt's about the Director.EUGENE(feigning boredom)Again?The Investigator slowly circles Eugene, regarding him with theutmost scrutiny.  He compares his face to the doctored GattacaID photo - a passable likeness.  Eugene bends towards the bowland dry retches.EUGENEForgive me for not getting up.Irene puts a comforting hand on Eugene's shoulder.IRENE(to the Investigator)Couldn't we do this another time?INVESTIGATORI don't believe so.Detective Hugo takes a seat in the chair beside the sofa andunpacks a syringe from the kit he carries.DETECTIVE HUGOThis won't take a moment.Detective Hugo swabs Eugene's inner arm.  All eyes are trainedon the tip of the needle as it punctures the vein.EUGENE(reassuring to Irene, referring tothe blood flowing into the syringe)It's okay.  Maybe they can find out what I've got.Under the Investigator's watchful eye, Detective Hugo withdrawsthe syringe and immediately inserts a small amount of the bloodinto the portable analyzer he wears.  Naturally, it confirmsthat Eugene is Jerome.Irene does her best to conceal her shock.  Hiding hisfrustration, the Investigator distractedly tours the room whileHugo packs up his gear.  The Investigator idly toys withthe telescope pointed out of the window.Next he wanders towards the closet and reaches for the doorknob.INVESTIGATORMind if I take a leak?EUGENEAs long as you don't do it in my closet.(nodding to the other side of the room)Over there.INT.  JEROME'S CONDOMINIUM - BATHROOM.  DAY.The INVESTIGATOR immediately pulls a specimen bag from hisjacket pocket and closely inspects the stainless steel toiletand sink.  They are both spotless.  The shower stall is alsoscrupulously clean.  He flushes the toilet and exits.Lost in thought, the INVESTIGATOR approaches the closet againand wheels out Jerome's upright vacuum cleaner.  He isdisappointed a second time to find no vacuum bag inside.  TheInvestigator returns the vacuum cleaner to the closet andproduces a mini-vac from Detective Hugo's crime bag.INVESTIGATOR(to Eugene, referring to ther mini-vac)May I?EUGENEClean the whole house if you want.IRENE(taking Eugene's lead)Actually, the kitchen needs doing.The Investigator switches on the mini-vac to take a specimenfrom the floor, then promptly kills the machine.  Looking down,the Investigator notices the trail of Eugene's perspirationon the highly polished floor leading to the spiral staircase.Eugene, reading the Investigator's mind, goes to call out butthe words remain frozen on his tongue.  Hugo follows hissuperior as they start to descend the stairs.  Irene and Eugeneare left staring at one another.INT.  CONDO - STAIRCASE.  DAY.JEROME catches the merest glimpse of the INVESTIGATOR andDETECTIVE HUGO before he slips behind a doorway in Eugene'scondominium.Jerome anxiously regards Eugene's empty wheelchair sittingthere.  On the stairs, Hugo's phone rings.DETECTIVE HUGO (OC)(into phone, increasingly encouraged)Yes?...Yes...yes...The Investigator is already at the foot of the stairs inEugene's condo when the Detective calls to him.DETECTIVE(urgent, to Investigator)Come quickly.  We have him.The Investigator's eyes light up.  He retraces his stepsup the staircase after Detective Hugo.INT.  JEROME'S CONDOMINIUM.  DAY.JEROME, white as a ghost, climbs the stairs, emerging into hisown condominium.  He embraces the beaming EUGENE, still sittingon the sofa.JEROME(numb)How are you, Jerome?EUGENENot bad, Jerome.JEROMEHow the hell did you get here.EUGENE(deadpan)I could always walk.  I've been faking it.Jerome almost laughs, despite the situation.  Only now does henotice Irene on the other side of the room, her mind racing.She looks at Jerome and Eugene together and runs from theapartment.JEROME(calling after her)Irene.Jerome goes to follow but Eugene stops him.INT.  CRIME LABORATORY.  DAY.An EXTREME CLOSE UP of dried blood - brittle and cracking - ona pair of soiled latex gloves.  A latex head mask, suit ofclothes and shoe covers are similarly caked.  The INVESTIGATORand DETECTIVE HUGO watch as a white-coated FORENSIC TECHNICIANfeeds a minute sample of the dried blood into an analyzer.The INVESTIGATOR wanders over to a one-way glass window throughwhich he can observe DIRECTOR JOSEF, sitting numb but strangelyserene in an interrogation room.  The Investigator, in a stateof shock himself, cannot yet bring himself to believe what isplainly obvious.INVESTIGATOR(gazing at the Director, strugglingto come to grips with the turn of events)This can't be him.The Detective regards his superior incredulously, intrigued thathe could still cling so stubbornly to his theory in the face ofsuch overwhelming evidence.DETECTIVE HUGO(intrigued)We found his spit in the dead director's eye.He's signed a confession--supplied us with thesuit he wore on the night.  What more do youwant?INVESTIGATOR(a trace of desperation, grasping at straws)Luca could still be an accomplice.The Investigator turns away, unwilling or unable to accept theexplanation.  Hugo regards the Investigator with a trace ofsympathy.  He furtively retrieves the Investigator's tissuefrom the trash.INT.  GATTACA.  DAY.JEROME sits in a formal briefing room with the other CREWMEMBERS of his mission, receiving their final pre-flightinstructions.  LAMAR looks on approvingly.MISSION COMMANDER--Finally, I'd like to welcome Navigator Morrowon his debut mission--if we get lost out there,nobody has a map of the heavens in his head likeJerome.Jerome looks up bashfully.MISSION COMMANDER(adopting a more serious tone)I'm gratified that there is no longer a cloudhanging over tomorrow's launch.  Now we can putthis unpleasantness behind us and concentrateon the task at hand.  I don't have to tell you howimportant this mission is--the Belt could holdthe key to the origin of life - why we are whatwe are.(injecting a note of levity)I know many of you have been asking thatquestion about me for long enough.(referring to a projected photographof a misshapen asteroid behind his head)Gaspra--how could something so ugly hold somany beautiful secrets?Polite smiles from his colleagues.MISSION COMMANDEREnjoy your final evening with your families.We'll all be a year older when they seeus next.  And don't be late tomorrow.  Youdon't want to miss this.We focus on Jerome.  He appears to have his head in the heavensalready.INT.  CRIME LAB.  NIGHT.The tormented INVESTIGATOR lies on the floor of his lab, staringat the ceiling.  he winces in discomfort.  He is lying onsomething.  He rolls over and retrieves the irritation from hispocket.  It is the "ESC" computer key he prized from Jerome'skeyboard.He gazes at the key for a moment and then gets to his feet.  Heresurrects an old fingerprint kit from a cupboard.  Carefullyremoving the key from the specimen bag - marked, "MORROW,Jerome" - he begins to dust it for a fingerprint.He places the key under a camera.  The enlarged print appearson the lefthand side of his computer screen.  The word "MATCH"blinks onto the screen.  However the face that appears from thecomputer's databank is not that of "MORROW, Jerome" but"LUCA, Vincent".  The Investigator regards the photograph indisbelief.DETECTIVE HUGO casually enters the lab, something odd in hisnonchalant demeanor.INVESTIGATOR(excited)Hugo!  I've found him!HUGOI've found him too.INVESTIGATOR(not listening, referring to his discovery)A fingerprint.  There's something to besaid for nostalgia.(realizing what Hugo has said)What did you find?Hugo puts a specimen bag on the counter.  It contains theInvestigator's discarded tissue.  The Investigator doesnot recognize it.DETECTIVE HUGOIt's not exactly him.INVESTIGATOR(interest piqued)Where did you get this?The Investigator immediately deposits the tissue into ananalyzer.DETECTIVE HUGO(referring to the tissue)But this man does share some commoncharacteristics with your suspect.  Not somany but enough.  It appears the eyelashhas a brother--of a kind.The Investigator realizes the significance and looks guiltilyto Hugo.  Hugo exits the lab, leaving the Investigator to stareat his own FACE in his analyzing machine.INT.  GATTACA - JANITOR'S LOCKER ROOM.  NIGHT.CAESAR, the old janitor, enters the locker room.  He is about towearily open his locker when he senses another presence in theroom.He turns to find JEROME sitting there on a bench.  Althoughclearly delighted, CAESAR tries to disguise his pleasure.CAESARSo you've finally seen sense and come backto your old job, Vincent.JEROMENot yet, I'm afraid.CAESARNo?  What's keeping you?JEROMEI guess I'm a slow learner.CAESARI guess so.(looking up through thesmall window)Well, while you're up there, maybe you couldtidy the place up a bit.JEROMEI'll see what I can do.The two men embrace, Caesar breaking off before Jerome.CAESARAnd don't go getting everybody lost out there.You'll give us a bad name.  You won't haveme to keep an eye on you, you know.JEROME(glancing to Caesar's locker)By the way, I left some trash in your locker.CAESAR(happy to oblige)I'll take care of it.Jerome departs.  Caesar watches him go and turns back to hislocker.  He opens it to find a brand new, high-tech telescopesitting inside.The old janitor gets over his surprise and beams broadly -he looks back in Jerome's direction but he has gone.  Theold janitor cannot help himself and reverently reaches for thetelescope's eyepiece.INT.  GATTACA - COMPUTER COMPLEX.  NIGHT.In the dimly-lit, empty computer complex, JEROME takes a lastlook around.  He sits at his computer, one final time replayingthe graphic representation of his path through the cosmos thathe is on the eve of taking for real.He notices the key missing from his keyboard.  Instantlyrealizing the significance, he rises from his seat to flee.INVESTIGATORVincent--Jerome is stopped in his tracks by the sound of his given nameand the voice that calls it.He makes no further attempt to flee but turns to face hispursuer.  The Investigator steps out of the shadows.INVESTIGATORVincent, what are you running from?JEROME(disturbingly calm)From Vincent.The two men face each other for the first time in a longtime.  The Investigator is transfixed by Jerome's face -scarcely able to believe his eyes.INVESTIGATORHas it been so long, you don't rememberwho I am?JEROME(nodding to the Investigator's badge)Maybe it's you who's forgotten.(meeting his gaze)What are you doing here, Anton?It is finally apparent the Investigator is Jerome's youngerbrother Anton [AS WE SHALL REFER TO THE INVESTIGATOR FOR THEREST OF THE FILM].ANTONI could ask you the same question.(glancing to the impressive complex)I have a right to be here, you don't.Jerome smiles at him condescendingly.JEROMEYou almost sound like you believe that.ANTON(ignoring the remark, extending his hand)Come with me now, Vincent.  You've gone as faras you can go.JEROME(refusing Anton's hand, glancingto the telescope above them)There are a few million miles to go yet.ANTON(adamant)It's over.JEROME(shaking his head)Is that the only way you can succeed, Anton,to see me fail?ANTONIt's for the best.JEROME(increasingly angered)God, even you want to tell me what I can't do.In case you hadn't noticed, Anton, I don'tneed rescuing.  But you did, once.Anton is clearly stung by the memory.JEROME(goading)Well?  You have all the answers.  How is thatpossible?ANTON(resolute)You didn't beat me that day.  I beat myself.JEROMEWho are you trying to convince?ANTON(angry)I will prove it to you.  Come swim withme now, Vincent.  Now--tonight.Jerome regards Anton with a knowing smile.  Somewhere in Gattacaa phone rings.INT/EXT.  IRENE'S CAR OUTSIDE CONDOMINIUM COMPLEX.  NIGHT.IRENE, sitting in her car outside Jerome's condominium, hangs upher portable phone.  In her agitation, her finger involuntarilygoes to her pulse.  She catches herself and removes the fingerfrom her wrist as if it has burned her.  She exits the car.INT.  JEROME'S CONDOMINIUM/EUGENE'S CONDOMINIUM.  NIGHT.IRENE quietly knocks on Jerome's door but there is no response.Trying the handle, the door opens.  Her curiosity takes herinside.  All is quiet.  IRENE calls out.IRENEHello.No reply.  Irene hesitantly ventures further, drawn to thespiral staircase.  She tentatively makes her way down the stairsand into Eugene's dimly lit condominium.  With wonder andreverence, she examines the instruments and samples laid out onEugene's work benches.  She opens the refrigerator in thebathroom and inspects the samples and sachets.  Finally sheregards the empty incinerator.EUGENE (OC)Quite something, isn't it?Irene turns.Eugene has entered through the mirrored door, not at alldispleased by her unexpected visit.EUGENE(referring to the incinerator)That's where we get rid of the traces of himalthough we never truly succeeded.IRENEI've been looking for him.  Do you know wherehe is?EUGENE(unconcerned)He's probably leaving some more of mearound the place before he goes.Eugene idly inspects one of the blood sachets.EUGENEDon't be deceived, Irene.  These arejust the clothes.  He has to wear them.Something I could never do.IRENEWhat's wrong with him?EUGENE(sympathetic smile)You have more in common than you know.Irene's hand involuntarily goes to her heart.EUGENEBut they say hisis already ten thousand beatsoverdue.  I have my doubts.(wry smile)For all my gifts, they could never engineerme a heart like Vincent's.Irene turns back to the incinerator, lost in though.EXT.  BEACH.  NIGHT.JEROME and ANTON walk down a dune together towards the beach notfar from Gattaca - an ocean beach pounded by an angry, blacksea.  Jerome picks up a sharp piece of shell and slices the endof his thumb.  A drop of blood oozes out.  He offers the shellto Anton but Anton does not take it.Both men begin to disrobe.  The brothers stand beside each otheron the sand once again - Anton still the more athletically-builtof the two.Together, they enter the raging surf.  Diving through thebreaking waves, they begin to swim.In the moonlit night, we watch their two bodies swimming side byside.  They swim a long distance, Anton waiting for his brotherto tire.  But the pace does not slacken.  Anton pulls up in thewater.  Sensing his brother is no longer beside him, Jerome alsopulls up.  They tread water several yards apart.ANTON(attempting to conceal his distress)How are you doing this, Vincent?  Howhave you done any of this?JEROMENow is your chance to find out.Jerome swims away a second time.  Anton is forced to followonce again.  Angry now, gritting his teeth, Anton callsupon the same determination we have witnessed during hisconstant swimming in the pool.  He puts on a spurt, slowlyreeling in Jerome.Anton gradually draws alongside Jerome, certain that this effortwill demoralize his older brother.  But Jerome has been foxing -waiting for him to catch up.  Jerome smiles at Anton.  Withalmost a trace of sympathy, he forges ahead again.  Anton isforced to go with him.  They swim again for a long distance.It is Anton who gradually becomes demoralized - his strokesweaken, his will draining away.  Anton pulls up, exhausted andfearful.  Jerome also pulls up.  However his face displays noneof Anton's anxiety.They tread water several yards apart.  The ocean is choppiernow.  The view of the lights on the shore is obscured by thepeaks of the waves.ANTON(panic starting to show)Vincent, where's the shore?  We're too far out.We have to go back!JEROME(calling back)Too late for that.  We're closer to the other side.Anton looks towards the empty horizon.ANTONWhat other side?  How far do you want to go?!Do you want to drown us both?(becoming hysterical)How are we going to get back?!Jerome merely smiles back at his younger brother, a disturbinglyserene smile.JEROME(eerily calm)You wanted to know how I did it.  That'show I did it, Anton.  I never saved anythingfor the swim back.Anton stares at Jerome, aghast.  The two men face each other insilence, treading water several yards apart in the dark, rollingocean.Jerome turns and heads back towards the shore.  Anton is leftalone with the terrifying realization.  The only sound, the windand the water.EXT.  CONDOMINIUM.  NIGHT.JEROME, dishevelled and distressed, arrives back at thecondominium.  He notices IRENE standing at the edge of the pool.She turns.  He approaches her.  They stand several yards apart.Looking into each other's eyes, they do not speak.  Jeromeabruptly pulls a hair from his head - for once one of his own.JEROME(wry smile, offering the hair to Irene)Here, take it.Irene takes the hair, the significance not lost on her.JEROME(echoing Irene's words fromtheir first encounter)If you're still interested, let me know.Irene contemplates the hair in her fingers for a moment, thendeliberately lets it fall to the ground.IRENE(never taking her eyes from him, echoingJerome's words from their first encounter)Sorry, the wind caught it.Once again there is not a breath of wind.  The hair lies,plainly visible on the edge of the pool.From an upstairs window, EUGENE observes the couple.INT.  JEROME'S CONDOMINIUM.  NIGHT.We watch the silhouette of IRENE and JEROME making love inthe bedroom.INT.  EUGENE'S CONDOMINIUM.  NIGHT.EUGENE, sitting in his darkened room, unscrews the cap of aplastic container and places it on a nearby table.  We remainon Eugene's face as he opens his fly.INT.  JEROME'S CONDOMINIUM.  NIGHT.IRENE and JEROME lie in bed together after making love.  Foronce Jerome is able to sleep unconcerned.  It is Irene who liesawake, head against JEROME'S chest, listening to the sound ofhis erratically beating heart.  However it has a soothingeffect on her.She kisses Jerome and reluctantly rises from the bed.JEROME(awakening)A year is a long time.IRENENot so long--just once around the sun.Jerome smiles.  For once Irene seems to be looking forwardto the trip.  She exits the room.INT.  INCINERATOR.  MORNING.Inside the incinerator, JEROME scrapes away at himself - for thefinal time.  He wistfully regards the brush in his hand.INT.  EUGENE'S CONDOMINIUM.  MORNING.JEROME, dressed for his departure, emerges down the spiralstaircase into Eugene's condo.  Jerome notices several suitcasesat the foot of the stairs.EUGENE wheels into the room.EUGENEI have your samples ready.JEROME(confused)Have you forgotten?  I don't need any sampleswhere I'm going.EUGENE(meeting Jerome's gaze)No, but you might need them when you get back.Eugene wheels across the room and opens the mirrored door.  Thewater vapor billows out.  Jerome regards Eugene.Eugene leads Jerome inside for the first time.Inside are two rows of four identical, industrial refrigerators.They contain thousands of blood and urine specimens.Jerome regards them with awe and more than a little unease.EUGENEEverything you need to last you two lifetimes.EUGENE points out an extra specimen of semen in the firstrefrigerator.EUGENEThere's an extra specimen.  I wish Icould give it to her myself.(afterthought)But then, you always were better at being me.Eugene leads the way out of the refrigerator room.JEROME(struggling to come to termswith the discovery)Why have you done this?EUGENE(as he seals the mirrored door)In case you get back before I do.JEROMEWhere are you going?EUGENE(glancing to the suitcases)I'm travelling too.Jerome goes to question Eugene's travel plans but thinks betterof it.  He kneels before his friend and embraces him.JEROMEThank you.EUGENEI got the better end of the deal.  I justlent you my body--you lent me your dream.Jerome smiles and hugs Eugene a final time.  Eugene stuffs anenvelope into Jerome's pocket.EUGENE(referring to the note,glancing heavenwards)Not until you're upstairs.Jerome exits.  Eugene watches him go.INT.  GATTACA - DEPARTURE LOUNGE.  NIGHT.JEROME enters a large holding area along with his other elevenCREW MEMBERS.Jerome's heart sinks as he recognizes LAMAR, greeting the crewfor one final unexpected substance test.  His colleaguesgroan good-naturedly but it is clearly far more than aninconvenience to Jerome.  He looks towards the door he has justentered but there is no way back.  One by one the crew areushered behind a screen.  Before he can think of a way out, itis Jerome's turn.  He enters the cubicle.JEROME(as he takes the plastic cup from Lamar)What's this, Lamar?LAMARNew policy.From behind, we see Jerome unzip his fly.  However for onceJerome does not urinate on cue - unused to operating his ownequipment in front of the physician.LAMAR(intrigued by theout-of-character discharge)Flight got you nervous?JEROMEThere's a problem, Lamar.LAMAR(apparently not listening)Did I ever tell you about my son, Jerome?  He'sa big fan of yours.  He wants to apply here.Jerome realizes he has no choice.  Resigned to his fate, hebegins to fill the cup.JEROME(as he urinates)Just remember, Lamar, I could have gone upand back and nobody would have been the wiser--LAMAR(cutting him off)--Unfortunately my son's not all that theypromised.  But then, who know what he could do.Lamar takes the cup from Jerome in his gloved hand.  Jeromeanxiously watches his sample poured into the analyzer.Confirming Jerome's worst fears, the face of 20-YEAR-OLD VINCENTappears on the computer screen.  However Lamar does not look atthe screen.  He stares Jerome in the eye.LAMARFor future reference--(a brief glance to whereJerome has just zipped his fly)--righthanded men don't hold it with theirleft.  It's just one of those things.Never lookig at the screen, Lamar presses a button marked,"VALID".LAMAR(knowing smile)Have a safe trip, Vincent.Jerome exits up a long enclosed escalator, realizing that Lamarhas known all along.INT.  EUGENE'S CONDOMINIUM.  NIGHT.EUGENE knocks back a vodka.  With a certain reverence he placeshis silver medal around his neck.INT.  ESCALATOR.  NIGHT.At the top of a long escalator, the door to a craft is secured.INT.  EUGENE'S CONDOMINIUM.  NIGHT.Eugene's wheelchair, empty, sits beside the door of theincinerator, also secured.EXT.  LAUNCHPAD.  NIGHT.A CLOSE UP of the flame of a rocket's engines igniting - theball of fire engulfs the launchpad - filling the screen.INT.  EUGENE'S CONDOMINIUM - INCINERATOR.  NIGHT.Inside the incinerator another ball of fire - this timeengulfing the unseen figure of EUGENE.  We glimpse the medalaround his neck, melting in the fierce blaze.EXT.  GATTACA - LAUNCHPAD.  NIGHT.As we have seen so often in the past, a rocket launches intothe sky over Gattaca - however on this occasion it carriesJerome.INT.  SPACECRAFT.  NIGHT.We focus on JEROME's face - seeing little if any of the craft.Jerome's eyes are closed.  His head is still - alarmingly still.Could the launch itself have been too much for him?  He hear thethoguhts in his head.JEROME (VO)We came from the stars so they say, nowit's time to go back.  If I was conceivedtoday, I would not get beyond eight cells,and yet here I am.  In a way they wereright, I don't have the heart for this world.(pause)The question is, why am I having so muchtrouble dying?Jerome's eyes blink open.  He holds the letter from Eugene inhis hand.  It contains no words, merely a lock of EUGENE'S hair- for once preserved solely for its sentimental value.  Thehair, weightless, floats off the page.We focus on a porthole looking out upon a starscape.A STARSCAPEAs we pan across the constellations, a title is superimposedupon the starscape:In a few short years, scientists willhave completed the Human Genome Project,the mapping of all the genes that makeup a human being.After 4 billion years of evolution by theslow and clumsy method of natural selection,we have now evolved to the point where wecan direct our own evolution.The first title is replaced in the heavens by a second title.If only we had aquired this knowledgesooner, the following people would neverhave been born:A succession of portraits and photographs of RENOWNED andHISTORIC FIGURES fades in and out of the constellations - theaccompanying titles list their affliction rather than theiraccomplishments.    HOMER   Blind from birth   NAPOLEON BONAPARTE   Epileptic    COLETTE   Arthritic   LOU GERHIGAmyotrophic Lateral Sclerosis   (Lou Gerhig's Disease)  RITA HAYWORTH   Alzheimer's Disease  HELEN KELLER Blind and deafSTEPHEN HAWKING  Lou Gerhig's Disease   JACKIE JOYNER-KERSEE  AsthmaticCHARLES DARWIN    Chronic invalidThe face of Charles Darwin fades off and another title appearsout of the stars.Even Charles Darwin, the man who told ofthe survival of the fittest, numberedamongst our frailest.The title fades off and is replaced by one final title in thenight sky.Of course, the other birth that wouldsurely never have taken place is your own.CUT TO BLACK