"GATTACA" (1997)

A ~hite title appears on a black screen.

"As night-fal~ does not come at once, neither does oppression ... :t ~sin such twilight that we all must be aware of change in the air - however slight - lest we become victims of

the darkness. • ~ust1~e William 0. Douglas

The title fades off, replaced by a second title.

•1 not only th~nk that we will tamper with Mother Nature, : think Mother wants us to.•

The 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. A wide expanse of wasteland.

Suddenly, without warning, an elephant tusk falls from the sky and crashes onto the parched ground. The earth-shuddering impact causes the tusk to rebound once in slow motion before finally settling to the desert floor in a cloud of dust.

The first tusk is quickly followed by a second, also dropping from the heavens. It lands near the first. Another tusk smashes to earth several yards away. Yet another comes crashing into the foreground.

"Finally the dust settles upon a graveyard of tusks.

A BARREN, EMPTY LANDSCAPE

In another region of the wasteland, a forest of tree trunks suddenly rains down from the sky. The trunks thump to the hard ground, also rebounding in slow motion. Cleanly sawn, branchless, palm-like trunks, they come to rest in the dust onl· to be followed by a second cascade of lumber.

~~en the dust finally clears, the felled tree trunks lie 1n a huge, log-Jam in the desert.

A BARREN, EMPTY LANDSCAPE

Next to descend from the sky, a torrent of firewood. One shower after another, crashing to the plain. Enough chopped lumber to fuel a thousand hearths.

A BARREN, EMPTY LANDSCAPE

Joining the rest of the debris is a deluge of slate - sheets of shale from a great unseen quarry in the sky come slamning to earth. Some. of the pieces shattering, some rebounding into the· j· air until the granite litters acres of· landscape as far as the· eye can see.

TITLES ARE SPACED APPROPRIATELY TiiROUGHOUT TiiE PRECEDING SEQUENCE. THE FINAL TITLE READS:

The camera commences a long, slow pull-back from the pile of elephant tusks. Gradually they are revealed as human fingernails magnified many hundreds of times.

The tree trunks are mere hair follicles. The firewood, _whiskers. The slate, flakes of skin.

A naked MAN, thirties, seen in profile, is crouched upon a metal floor inside a small, brushed stainless steel tank, rubbing his skin raw with a wire brush. JEROME MORROW.

Having completed his scrupulous ablutions, Jerome arches his lean, frame through the small, oval door of the metal room with practised ease.

.. We refocus on a MAGNIFIED CLOSE UP of his exfoliated flesh ~n the incinerator as it blackens, curls and burns.

Jerome covers himself with a silk robe and steps into a pair of backless slippers.

JEROME emerges from the incinerator room into a large, luxurious loft-style condo containing a bizarre assortment of equipment - arranged somewhat like a production line.

Long, scrupulously clean metal work benches are arranged along one entire wall. Laid out on the benches in neat rows are j. dozens of plastic bags - some filled, some unfilled. Instrument, on trays - various types of t·weezers, scissors and other less familiar utensils. Round, stainless steel containers filled with 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 snoring lightly - sleeping off the night before. As JEROME gently prises the bottle out of his hand, we are struck by the similarity of Eugene's face to Jerome's.

Jerome pulls Eugene's chair back from the desk with surprising ease. A wheelchair - a modern, ergonomic design. Jerome wheels ·.Eugene to a bedroom and, with some difficulty, hauls the larger ·-man 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 bathroom containing a surgically-clean stainless steel basin, sink, shower and toilet.

Beside the toilet stands a large, industrial-style stainless steel refrigerator.

Donning protective gloves, Jerome opens the liquid-nitrogen cooled refrigerator. A cloud of condensed water vapor bil.lows out. Revealed inside the fridge are racks of labelled jars and silicon pouches - some containing a yellowish liquid, some a deep, red liquid. (CONTINUEDl

He seals the pouch and checks the apparatus by opening the val·1e on its fine tube and squirting a small quantity of the liquid into the nearby toilet bowl, as one would test a syringe. We remain on Jerome's face as he reaches between his legs and inserts the pouch.

Reopening the refrigerator, Jerome slides out a tray contai.ning neat rows of slim, fingertip-sized plastic sachets filled with a deep, red-colored liquid. He removes his gloves, selects one of the sachets and carefully adheres the sachet to the pad at the end of his index finger. He prepares a second sachet for his middle finger. Jerome then applies skin-colored cover-up makeup to the sachets, blending chem in with the color of his fingers. ·J JEROME, still dressed in his robe, climbs a large,. spiral staircase to the floor above.

He emerges at the cop of the staircase into a similarly targe, loft-style condominium. Through the floor to ceiling window that opens onto a balcony we see that dawn is only just starting co leak into the night sky.

In the bedroom JEROME removes a shirt from a d:rycleaning bag. Printed on the bag - •confidentiality Guaranteed•. He emerges ·.from his bedroom, dressed in a smart albeit unconventionally cut ··suit. He adjusts his tie :n the mirror, careful not to disturb the sachets attached to his fingertips.

A lone MAN swilllS a ferocious lap of freestyle in what appears to be a pool of enormous length - yet he never reaches the pool's end. We pull wider to reveal that the man is swirrming against an artificial current in a pool barely larger than himself.

Abruptly, the man stops and stands up - the fast-flowing currer instantly stilled. We glimpse the face of INVESTIGATOR LUCAS Thirties, he has a youthful yet rigid face. We have the irnpression that he does not swim for pleasure.

:tis still early as JERCME exits the building's underground parking garage in an irranaculate Studebaker Avanti and proceeds down the long straight driveway. He exchanges a wave with a GARDENER trilmling a lawn.

The whir of the car's electric powered engine belies its .. conventional appearance.

JEROME's car exits a highway and turns up the sweeping r~ad leading to the parking lot of "GATTACA AEROSPACE CORPORATION". A sleek, modern, low-rise industrial compound boasting perfectly manicured landscaped gardens.

JEROME strides purposefully up to the entranceway with hundreds 1 of other GATTACA EMPLOYEES. He carries himself wit·h a· certain · I arrogance, a cool detachment. All employees wear similarly · unconventionally-cut suits, short coiffed hair and robust tans. The Gattaca employees are a seemingly equal split of men and women and a diverse range of ethnicities.

They filter through a row of channels supervised by SECURITY GUARDS. Each channel contains a computerized security device, featuring a slim groove in which the employee places a finger under the watchful eye of a Security Guard.

Jerome gives a polite nod to a Guard as he places his index finger in the groove. His fingertip is jabbed with the ·• finestof needles and a minute blood sample taken.

The blood specimen confirms Jerome's identity - an ID photograph appearing on a computer screen.

Out of the corner of his eye, Jerome spies a young woman entering through the adjacent channel. She is also sneaking a glance in his direction - IRENE. Catching each other looking, they both quickly avert their eyes.

As Jerome enters the computer facility of Gattaca Aerospace Corporation he furtively glances at the pin-prick puncture in his fingertip sachet.

SCMEWHERE IN CEEP S?.!,CS.

A GA'M'ACA spacecraft ski=ts an asteroid.Taking advantage cf the rock's gravitational pull, the craftslingshots deeper into the black void. Then abr-..:;:::t ly the craftand the asteroid free~e in mid-space, suddenly reverse directionand proceed fa.Hard again - the spacecraft taking a slightlyadjusted course.

We pull back to reveal that the journey is merely a highly realistic graphic representation on a GATTACA computer screen operated by JEROME.

Appearing simultaneously alongside the computer animation is a seemingly never-ending coL;.mn of computer instructions for this celestial navigation - the incomprehensible language of the computer prograrnner.

140 *x20x08x$$x20x08x$$x20x08x$$x20{ 150 •x00x00x00x00x00x00x00x00x00x00 160 •xfexfexfexfexfexfexfexfexfexfe

Jerome. is transported - plotting a path thr·ough the heavens. J As his fingers fly across the keys he does not once.take·his · eyes from the scree~. ·

His is one of hundreds of ergonomically-designed work stations, arranged in ever-widening circles in a huge, circular, well- appointed if antiseptic room. Each curved desk contains a computer 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 of the room is a donut-shaped cormiand console, chairs facing outwards, from which operations are monitored.

Floor to ceiling smoked-glass curved walls offer the only ·.concession to nature - a t1nted view of a man-made, meticulously ·-landscaped garden.

Jerome tears himself away from his screen and picks up a discreet mini-vac. He vacuums between the keys of his keyboard. DIRECTOR JOSEF, S0's, a shorter, official-looking man approaches. His assistant IRENE stands at his shoulder.

DIREC'roR JOSEF You keep your work station so clean, Jerome.

The Director smiles at the notion and places a computer disc on Jerome's desk. (CONTINUED!

CIREC:DR JOSEF I reviewed your flight plan. Not one error in a hundred thousand keystrokes. Phenomenal. (placing a hand on Jerome's shoulder) It's right that someone like you is taking us to the Belt. (glancing to notification on Jerome's screen) You have a substance test.

The Director briskly departs, Irene in tow. At a nearby work station, a painfully thin programmer, NAPOLEON, perks up at the mention of the test.

Jerome merely shrugs and pretends to reach down and scratch his ankle. However he surreptitiously produces one of Eugene's transparent specimen bags from his sock. An EXTREME CLOSE UP reveals the bag's contents - flakes of skin, hair follicles, eyelashes, a fingernail. Cupping the bag in his hand to avoid detection, Jerome sprinkles the fraudulent body matter over his keyboard, desk surfaces and the floor around his work station.

l·

He opens his desk drawer and casually sc·att·ers the remainder of the bag. Finally he inspects a comb already laced with two hair follicles.

Jerome rises from his work station and makes his way towards the testing lab.

White-coated LAMAR, forties, buzzcut, a man's man, checks JEROME'S eyes with an instrument. Satisfied with his ·.examination, he passes a transparent plastic container to ··JEROME. Standing directly in front of the technician with his back to camera, Jerome opens his fly. A steady stream of urlne begins to flow into the container from Jerome's hidden pouch.

a

CONTINUE!)

Jerome hands the container to La.mar who seals and labels 1t ~s Jerome refastens his trousers.

LAMAR pours the urine sample into a high-tech device where 1t is instantly analyzed. The urine identifies Jerome while also registering a negative drug reading. The computer reads •VALID•.

"

Jerome departs.

JEROME enters the restroom and glances at the toilet stalls. Only three in the bank of twenty is occupied. He tarries at the ·.mirror above the uniform line of basins, unnecessarily ·• reknotting his tie.

A toilet flushes and a COLLEAGUE exits one of the stalls. He and Jerome exhange a nod. When the man has exited the restroom, Jerome enters the man's vacated stall.

JEROME irm1ediately feels around the back of the toilet bowl and detaches a secreted stainless steel container.

(CONTINUED\

CONTINUEp

~ith surprising swiftness and dexterity, Jerome removes an extremely fine contact lens from each eye and drops the pair into the toilet bowl. He inserts two replacement lenses from the container and reattaches it in its hiding place. Jerome flushes the toilet and exits the stall. He checks 1n the mirror that his new contact lenses are properly inserted.

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 tapping of computer keys has stilled.

As Jerome gazes through the glass walled corridor, we see the reflection of his face, deep in thought.

" away from a one year manned mission to 95-1

Gaspra in the Outer Asteroid Belt.· Nothing so unique in thac. Last year over one thousand citizens from evezy walk of life embarked on some space mission er ether. Besides, selection for Jerome was virtually guaranteed at birth. He is blessed with all the physical and intellectual gifts required for such an arduous undertaking, a genetic quotient second to none.

Jerome's gaze drifts to the sky.

A starry sky. The camera tilts down to find palm trees swaying against a setting sun.

,,.....

The camera t.:.lts down furt:1er to find a Buick Riviera parked 1n a deserted beachfrcnt park.:.ng lot on a polluted stretch ct beac:1.

The Detroit variety.

Through the car's steamed windows we see Jerome's mother ~nd father, MARIA and ANTONIO, early twenties, making love.

JEROME /VO) They used to say :hat a child conceived in love, has a greater chance of happiness. They don't say that any mere.

MARIA, wearing a medical gown, lies on an examining table, feet ,,,.... in stirrups. A NURSE, forties, wheels an instrument tray towards her. Maria suddenly disengages her feet from t~e · stirrups and swing:. her legs off the table.

-1.AR:A (shaking her head) I can't do this.

The nurse places a comforting hand on Maria's shoulder.

l-'.AIUA (removing the hand, adaroantl I'm not doing 1t.

(CONTINUED I

:.1

lt~/1'-g :o "'-dKe her see reascnl Honey, you' ·/e :-:-.ade ~ne mistake- -

The remark stings Maria.

•·

lhold1r.g her swollen stomach protectively) Not like th~s cne.

,-.

Honey, look around you. The, world doesn't. want one like that one.

Maria gets off the table and reaches for her clothes laying across a chair.

The nurse watches Maria as she dresses, genuinely bewildered.

·,.e focus on a crucifix dangling on a rosary. Tilting up we find the rosary clasped between MARIA and ANTONIO'S intertwined hands.

:.2

Batr.ed in s·... eat, Maria gives a final push on the deli"lecy tac:e.

't-/hile still attached to his urnbilica~ cord, the heel of the NEWBORN BABY SOY is i:n:nediately pricked by a masked Nu'RSE. minute drop of blood is inserted into an analyzing machine.

Even as the baby is put into Maria's arms, page after page of data begins to appear on a monitor, pulsing warning signals throughout the spreadsheets.

Two assisting NURSES exchange a look. Antonio senses something amiss.

AtlTONIO ,/hat's wrong?

JEROME /VO) Of course, there was nothing wrong with me. Not: so long ago. I would have been considered a p_erfeccly nonnal, healthy baby. Ten fingers,

/I""' te,: toes. That: was all chat: used·t:o rnat:t:er.

But: now my immediate well-bei'rig .was not the sole concern.

Antonio turns his attent:on from his baby to the data appearing on the monitor. We see individual items highlighted amongst the data - ·NERVE CONDITION - PROBABILITY 60t·, ."MANIC DEPRESSION - 42t•, •OBESITY• - 66t•, •ATTENTION DEFICIT DISORDER - 89t•--

JEROME /VO) My destiny was mapped out before me-- all my flaws, predispositions and susceptibilities - most untreatable to this day, Only minutes old, the date and cause of my death was already known.

Antonio focuses on a final highlighted item on the monitor's screen, ·HEART DISORDER - 99t - EARLY FATAL POTENTIAL.•. •LIFE EXPECTANCY - 33 YEARS•.

,-..

With a computer sc.ylus he signs the nurse's handheld screen.

2-YEAR-OLD JEROME (REFERRED TO BY HIS GIVEN NAME OF "VINCE~,7• FOR MOST OF THE FOLLOWING FLASHBACK) running with a c.oy rocker. falls more in clumsiness c.han fac.igue. MARIA suddenly whisks up c.he c.oddler.

Maria frantically listens c.o her young son's heartbeat. For ,-.... his part, Vincent appears surprised by the attention. Mari~ places a pore.able oxygen mask. over Vincent's mouth.

JEROME /VO) I was born Vincent Antonio Luca. And from an early age I came to think of myself as others thought of me - chronically ill. Every skinned knee and runny nose treated as if it were lite-threatening.

·.MARIA and ANTONIO drop off dark-haired, 2-YEAR-OLD VINCENT ac. a ··Day Care Cenc.er.

;.hile HEALTHY CHILDREN play outside on tricycles, clarokler over jungle-gyms and finger-paint, the PRE-SCHOOL TEACHER shows Vincenc. into a room where CHILDREN WITH OBVIOUS DISABILITIES sleep on mats.

Maria wheels around and marches out of the center with Vincent in her arms. Antonio follows close behind, pleading with his wife to see sense.

(CONTINUEDl

CONTINUE::>

~-E.'<.C,'1E (VO) ~hey put orr having any more children until they could afford not to gamble - to bring a chi~d into the world in what has become the •natural• way.

ANTONIO reluctantly shows off his spotless Buick Riviera to a prospective BUYER.

JEROME /VO) It meant selling the beloved Buick.

The two men haggle over the price while MARIA, holding VINCENT in her arms, looks on. Finally money and a pink slip are exchanged.

,...._ JEROME (VO}

My father got a good price. After all, the only accident he'd ever had in chat car was me.

As the BUYER drives away, Antonio shrugs to Maria to hide his disappointment.

ANTONIO, MARIA and 2-YEAR-OLD VINCENT exit a packed commuter bus and enter a Genetic Counselling office building bearing the sign - ·PRO-CREATION".

A GENETICIST stares into a high-powered microscope as ANTONIO, MARIA and 2-YEAR-OLD VINCENT are shown into the office by a NURSE. On the counter beside the Geneticist is a glass-doored industrial refrigerator containing petri dishes arranged on racks several feet high.

(CONTINUED I

CON'!'!}lUED

',ihile .~.ntonio and Maria :ake a seat in front of a televis:.::-. monitor, the Nurse puts a :abelled petri dish under a ·1:.deo- equipped microscope. The Geneticist swings around ~n n~s ::-.a~r to greet his clients.

Four magnified clusters of cells - eight cells on each clus:er - appear on the television screen.

Maria and Antonio exchange a nervous smile.

r-<.ARIA (referring to the toddler on 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 the ·screen.

GE."-IETI CI ST You've already specified blue eyes, dark hair and fair skin. I have taken the liberty of eradicating any potentially prejudicial conditions - premature baldness, myopia, alcoholism and addictive susceptibility, propensity for violence and obesity--

( CONT:::~lUE!::,

I I I !more j~p:::rMt1c)

'lie '"'ere wonder1r.g :: .,..,e should leave some thir.gs to ::har.ce.

SE!""E7ICIST lreassur:ngl You want to -;1·1e your child the best possible start. Bel1eve :ne, we have enough imperfection built-in already. Your child doesn't need any additional burdens. And keep in mind, this child is st:ll you, simply the besc of you. You could conceive naturally a thousand times and never get such a result .

lsquee::1r.g Maria's hand) He's right, Maria. That's right.

Maria-is only half-convinced but the Geneticist swiftly_moves on.

GE."JE':'IC:ST I explaining) Some believe it 1s associated with creativity, although there's no evidence. Also fo_r sports like baseball it can be an advantage.

Antonio beams proudly.

I CONTitlUED I

'

GE:'IETICIST :scanning the data on the screen!

I Anything I've f ergot ten?

-'.ARIA

I . (hesitant about broaching the subject!

We want hi.m--we were hoping he would get married and have children. We'd like grandchildren.

ANroNIO How much extra?

Antonio's face falls.

:-!aria is staring at the four r:'-3.gn.:.fied cl•.irnps en :he screen.

l MARIA

What will happen to the others?

I GENETICIST

ireassur.:.ng) They are not babies, Maria, merely "human possibilities•.

Removing the petri dish from beneath the lens of the microscope, he points out the fcur minuscule specks.

DISSOLVE TO

A red pencil draws a ~ark on a doorway at the height of a child's head. The child moves away and the name, "ANTON 11• is written beside the mark by proud father, AN'roNIO.

There is little physical similarity between 11-YEAR-OLD ANTON and 13-YEAR-OLD VINCENT standing beside him, apart from their

·brother's mark is a fraction of an inch higher than the mark beside his own name, •VINCENT lJ.•. Vincent runs from the room.

13-YEAR-OLD VINCENT and 11-YEAR-OLD ANTON sit together on a windswept beach.

Anton picks up a broken shell and deliberately slices the tip of his thumb with the sharp edge. He hands the shell to 'Jincent who hesitantly follows suit.

__,....ERC!"-!E , ~;o)

[ By the tlxe we were playing at blood

brothers I ~nderscood that there was scmethlng veI"'/ different flowing through my veins.

I

The two brothers press their thumbs together, merging the blood.

_-;c:;:;,CME (VO) And I'd need an awful lot more than a drop if I was going to get anywhere.

While ANTQNIO and MARIA doze under a beach umbrella, ANTON and VINCENT enter the water, diving through the waves. From above we watch their two young bodies swimming beside each other beyond the breakers.

/I""-

Suddenly VINCENT stops swirrrning, pulling up sharply in the water, exhausted and fearf-..l. cie watches ANTON swim on into the distance.

J E:P. Ci'.fE I VO) Of course, it was always me. Anton was by far the stronger swimmer and he had no excuse to fail.

·INT. SCHOOL - CLASSROOM. DAY.

A TEACHER gives a physics lesson. The bespectacled 13-YEAR-OLD VINCENT has his arm energetically raised at each opportunity but 1s never called upon. ~,entually he lowers his arm in defeat.

~3-YEAR-GLD VINCENT star.ds at a cul-de-sac at t:ie end of a lc~.g, straight deserted street. He places a basketball 1n :he midd~e l of the street to represent t:he SUN and begins t:o ·.mwind c.he r,.;ge reel of string attached to the ball. 11-YEAA-OLD ANTON .,,.,alks a pace behind him. Several yards along the trail a bead 1s threaded through the string to represent the planet !1ERC'JRY.

Vincent ignores him and continues to reel out the string.

Vincent stops and regards his younger brother with contempt.

VINCENT has developed into a handsome 17-YEAR-OLD. His spectacles hidden, he and a YOUNG WOMAN are necking in the front seat of a beat-up car, parked overlooking a huge satellite dish.

·-The love-making intensifies. The YOUNG WOMAN moves down ··Vincent• s chest and unzips his fly.

We remain on Vincent's face as he climaxes. The YOUNG WOMAN turns her head away from the spent Jerome and, out of his view, trickles semen from her mouth into a clear specimen 'llal.

,-..

::1 t:he ~~-,~:-:g rocm o:: ::-.e~:- :c.cdest home, the dark-haired, :- - ·;ear-o~j. ::espectacled ·:::;:::::.rr sits opposite his PARENTS. -:-:-.e l c:-est::al~en •:i:1cent :-.as a beck en his lap entitled ·:AREE?.S ::1 SPACE" .

1:r11:-:; :c break it gently) Vincent. you ~ave to be realistic. A heart ccndit:~cn "1ke yours--

·:::;csvr --I don't care. :·11 take the risk.

·~C':':iER It's net Just ycu they have to be concerned about. Perhaps we could get you one of those new pace:c~kers. They're not perfect but--

F.!.T:tER llet:~ng his frustration show) For God's sake. 'iincent, don• t you understand. The only way ycu'll see the inside of a space ship is if ycu·:-e cleaning it!

Vincent looks at his fat~er in disbelief.

On a dinner table on t~e ether side of the living room, 15-YEAR- OLD ANTON, looks up frcm :he biological specimen he is studying with a magnifying glass.

~ITT. PERSONNEL OFFICE - ~AITING ROOM. DAY.

· 17-YEAR-OLD VINCENT hides his glasses in his pocket as he enters a WAITING ROOM. He ga=es around at other APPLICANTS.

~·EROME (VO) My father was right. It didn't matter how much I lied on my resume, my real C.V. was in my cells. ;.;J-iy should anybody invest all chat money co crain me, when there are a thousand ocher applicants with a far cleaner profile? Of course, it's illegal to discriminate - •genoism• it's called - but no one takes the laws seriously.

As Jerome enters the of:ice, we focus on the doorhandle !",e r.as Just touched. I CONTINUED I

JERC.'!E (VO) If you refuse co disclose, chey can always cake a sample from a doorhandle ...

Vincent hesitates before shaking the PERSONNEL OFFICER's .. outstretched hand .

JEROME /VO)· ... or a hands.'iake ...

We focus on Jerome's envelope attached to his application for.n sitting on the Manager's desk. I t ~-E.",OME I VO I

.. . even the saliva off your application form.

' Sitting opposite the manager, Jerome's face falls. The manager puts a clear, plastic cup in front of Jerome.

Vincent saves the Manager the trouble and exits the office, leaving the cup where it sits.

17-YEAR-OLD JEROME walks up the beach to find 15-YEAR-OLD ANTON sitting with the YOUNG WOMAN Vincent had previously dated.

JEROME !VO/ I didn't blame Anton for his free ride. You can't blame scmeone for winning the lottery.

The Young Woman hastily departs. LATER the two brothers face each other on the sand. Anton is the more statuesque of the two.

Vincent's answer is to walk towards the water. Anton smiles mockingly at his brother's grim •game face• and follows. {CONTINUED!

fr::m a:. aer~al '✓ 1ew ·,1e wat::h ·:rNCENT and younger br::i:~.er, ,:__:;:-::~;, 3~lm teyc~d the breakers.

~EF.OME I VO) It was the last time we swam together. Out into the open sea, like always, knowing each stroke cowards the horizon was one we had to make back co the shore. Like always, the unspoken contest.

We watch the two young men swimming stroke for stroke, The·· swim far out. beyond the point. Suddenly ANTON starts to s •• w, his strokes becoming labored until he becomes motionless 1n ::~.e water. He begins to sink ~ike a stone. VINCENT, realizing Anton is no longer beside him, turns back to lend support. Vincent takes him in a lifeguard hold and begins to nurse him back to shore. Finally the two boys are coughed up into the shallows. They collapse, Just beyond the waterline, exhausted, gasping for air. ANTONIO and MARIA arrive on the scene. ANTON is the: first. to recover while VINCENT clutches his side, his face screwed up 1n pain. •Maria· kneels down ·and starts to adrninster to Vincent but his ·father. Antonio. is unable to conceal his anger and conta~pt. for Vincent.

AN'!'CNIO Vincent, you damn fool! You could have killed Anton with your ridiculous contest! Why should he risk his life to save yours?! When are you going to get it :hrough your thick head--you can't compete with your brother! Why try?!

Maria takes Antonio aside. Anton and Vincent exchange a look.

ANroN Why didn't you say anything?

V!~<CENT Why 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 of my parents - that they had taken the right course with my younger brother and the wrong course with me. It would have been so much easier for everyone if I had slipped away • at day. I decided to grant them that wish.

::::;r. HCME. !JIGHT.

A.\JTCN stands at the ~ntlepiece in the dimly-lit living room. He ga::es at a framed :amily portrait: - 'Jincent: 's face has ~een t=r:1 out of lt. :le suddenly spies \tINCENT exiting :he f::-or.t gat:e, carrying a su:.:case. Ar.ton goes to shout '/incer.t 's name but: the words don't get out.

A pick-up truck, packed with a C:.EANING CREW, pulls into ::he rear of the building. They are no longer strictly the migrant workers we have come to expect but rather a mixture of ethnicities - all me.'Tlbers of a genetic underclass that does not discriminate by race.

As VINCENT exits the truck and turns towards the camera, we discover that he has now matured into the man we have come to know as JEROME. The only visible differences are the glasses he wears and his hair, still naturally dark.

JEROME /VO) Like many others in m'/ situation, I moved· around a lot in the next few years,' getting work where I could. I must have cleaned halt the toilets ~n the state.

We follow VINCENT through the course of a day. Cleaning restrooms, toilets, picking up litter, sweeping, washing windows - gazing at the AEROSPACE WORKERS below. The building is part of the Gattaca facility, located near a shuttle launch site. Throughout the day, with the regularity of 747's, Vincent spies rocket ships in the distance, launching into the sky. Jerome's is the only head that turns and looks up. Long after • the sun has set, Vincent is still working. Another rocket ship ·:lights up the darkness. Vincent gazes forlornly into the heavens.

VINCENT cleans a window from tr~ outside, staring in at the arrogant GATI'ACA EMPLOYEES entering the security channels - a sample taken from their fingertips. Jerome, in a trance, constantly cleans the same spot of glass. He fails to notice an Older Janitor, CAESAR, appear beside him.

:s

coNT:!fUED

(confused) .......nat do you mean?

(glancing to the Gattaca workers) You might get ideas.

Caesar smiles at Vincent's cockiness.

I

VINCENT empties garbage into a dumpster adjacent to Gattaca. His attention is drawn to something in the trash. A discarded

residue off the corner. ·

A forest of telescopes en tri.pods in an astronomy shop. '✓ INCE~r. enters the store with a bucket and squeegee and immediately gees to clean the storefront window. The STORE OWNER looks up from his tabloid - •STAR• magazine.

Ow'NER Where's Earl?

The owner nods and returns to his magazine. When he looks up again one of his tripods is missing its telescope and Jerome 1s nowhere to be seen.

JEROME returns to his bare apartment. He removes the cloth covering the bucket to reveal a dumpy-shaped telescope snugly wedged inside. He starts to pour over his collection of textbooks. Other tac:t ered space paraphenalia adorns the ·,,;al. l.

(CONTINUED I

Jf cou:-se t.~e tes: :es~ sccre i.'1 the wcrld ·.-w·asn I t: gc1..r:g =~ :;e: ,'7':e .:n c..'"'1e front deer r...:.nless :. .~ad :.':e t.:.:cd :esc: :o go wic:.11 1t .

..

While his fellow 'tiCRKERS sit on the steps at the service entrance to Gattaca, ;::ass1ng around an unlabeled bottle of ciear liquor, VINCENT si:s sc::-e j1st.ance away studying his text book. In the absence of a c:::::-.;::c::er. he practises typing commands en a keyboard handdrawn en :~e ::ap of a cardboard box.

A tiny seedy-looking ::-.an. GERMAN, forties, appears from nowhere and takes a seat tes1de him.

GE:?_'W'J (offering his hand) Vincent, I'm Gerrnan-- lantic1pat1ng Vincent's response) That· s my name. ·

He looks the apprehensive '!lncent up and down.

'1: ~C EN':' ;,Jhat do ycu th1nk?

G::?~V.A..'-.J ( shrugs) I think I could jo something (glancing to the text book) provided you knew what you're doing and you can meet :he terms.

Vincent pulls a plastic e-mcney card from his overalls.

•:1ncent produces a snapshot of himself - torn from the farni ly portrait. Gennan feeds the snapshot into the pocket-sized computer he carries. ,he picture is instantly scanned and appears on the computer's small color screen. Gennan returns the photograph and hastily departs.

I CONTI~nJE!'.J I

::NTINUED

:~.ESA.R, :~e elderly ~an~:=~. notices German's ex~t.

:.!...ESAA I to V1ncent I I thought I told you not to get any ideas .

..

High up the side of a building, washing windows, "/INC!::~IT pauses occasionally to practise typing commands on his cardboard keys - viewing a screen in his i:nagination - or the nightsky :tselE. He hears his name being called.

'/INCENT lstaring·through his glasses) Ge=~n, is that you?

GERMAN leads VINCENT through a maze of corridors .

..,-EF.OME (VO! For the genetically superior, success is easier to attain but is by no means guaranteed. After all, there is no gene for fate. And when, for one reason or another, a member of the elite falls on hard times, cheir genecic identity becomes a valued corrrnodi:y for che unscrupulous. One man's loss 1s anocher man's gain.

He gives a conspiratorial nod to another passing DNA BROKER, both men carrying their palm-top computers.

CCNTINt.:E:J

........ .- ..... -

I ~ope he's ~ct :~st a bcdy.

,3ER..~~ No problem. Before he dropped out he was

•· an honor student, the ~~ght majors--

'IINCEN:' How do I square the accident?

GER.'-lAN still reading data from his palm-top computer) It happened ~n Australasia. He checked in yesterday. No family complications, no record he ever broke his neck. As far as anybody's concerned, he's still a walking, talking, fully-productive member of society. You Just have to get him off the pipe and fill in the last two years of his life. (correcting himself) Excuse me, your life.

German has stopped walking as i: they have arrived.

'lINCENT (looking around for a likely candidate but finding none) Where is he?

German reaches towards a PARAPLEGIC sitting in his wheelchair in the stairwell directly in front of them, his head slumped, an incriminating bong nestled in his lap. German pulls the man's · head up by the hair. EUGE.1\/E. Despite the patchy, unkempt ·:beard and thick glaze over his eyes he bears a striking similarity to Vincent. Vincent holds a mirror beside the face of the lethargic Eugene to compare his own reflection.

VINCE:NT (still not fully convinced) That's the hair color in his profile?

German checks an entry in his computer: "HAIR: BLONDE".

CONTINUED l

·,eah.

ltouchi~g his own dark strands! I'd have to bleach :ny hair.

'JINCENT (a thought occurs, addressing the paraplegic for the first time) How tall are you?

EUGENE

,,__

(deadpan) Four foot six.

Vincent grins, realizing that Eugene is referring to his seated height. There is an instant connection between the two men.

.. VINCENT

(to German, disappointed) He's too tall.

GER."'.AN :-here's a way.

1:NT. BACKS":"REET .S\...'?,GERY. ~::GHT.

r::1 a. p::-i:nit.:.•,e operatir-.g t~eat.re, V~NCENT lies on a -:able. f:.:..s tower :egs masked off fer surgery. The SURGEON switches c~ a surgi::al saw and l:nes it •~p with handdrawn inc:s1on :narks. Metal struts are =eady to e:ongate his legs.

GER.'1.i\N wheels the dazed EUGENE into the apartment, c~uttered with space paraphenalia. One wheel of his rusting wheelcha1r :a flimsily held on ·,nth wire. VINCENT follows behind on crut:::--.es, both lower legs in casts and cross-braces. Vincent signs the contract German puts in :rent of him.

EUGENE, glassy-eyed, strides out of a bar, past camera and into the street. We hear a squeal of brakes and a sickening thud. ,-...

EUGENE awakens with a scream, bathed in sweat, arms bound to a bed - the only real piece cf furniture in the room. 'IINCE."IT, sitting on a crate beside him, soaking a towel in a bowl of water, is taken by surpise. Eugene continues to scream and thrash, fighting against his bindings. Vincent stuffs the towe: into Eugene's mouth and holds onto his arms.

VINCENT holds EUGENE's head over the toilet bowl as he vomits violently. Eugene's paralysis and Vincent's broken legs make the operation doubly difficult.

Finally Eugene has nothing left in his stomach to vomit. He drops to the floor in exhaustion. Vincent, also exhausted £rem the effort of holding Eugene over the bowl, joins him on the broken linoleum. Both men stare up at the ceiling that carries a map of the constellation.

'.'INCENT You okay, Jereme? (CONTINl.:E:: l

thel:::- ::-,ut,_.al 1:rmobili.ty) Yeah. You ~ar:: :c ~o dancing ccnight?

'hncent smiles.

EUGENE turns his ncse ..:;:: ac ::he plate of boiled meat and potatoes thac v:;::JCE~;-:" ;::·..::s 1n :ront of him. Vincent catches ::-1e look.

·:::!CENT i-/hat's wrong ·.-11:h it?

:::·..:3E:IE I think I'd bec::er choose the menu. After all, you're learn.ng how to be me, I'm not learning how to be ycu.

'./:~JCENT shrugs) Suit yourself.

German.

I coNT::rcED I

I I C'.)NT!NUED

Jereme :nerely stares back as l.f the thought cf fa ... L.:re r:as :-.e·:er sc=ur=ed to him.

v:~lCENT ,shrugs and states it simply) I don't know exactly, Jerome.

I EUGE.'$ I I laughing)

At least you're honest. la thought occurs)

I

Call me by my middle narne--Eugene--If you're going to be Jereme, you may as well start getting used to it.

NB: FOR THE REMAI!lDER OF :-HE SCREENPLAY "VINCENT" IS REFERRED TO AS •JEROME• .

JEROME loci-,·., through Eugene's person~],. effects, . including a photograph album. He is drawn· to a swimming medal inside the album at a page displaying a photo of a wealthy, austere MOTHER - Eugene evidently comes from money.

Even as he wheels 1nto tl",e room in his rickety wheelchair we see that EUGENE has the bear1ng of someone of good breeding. He has a bag of blood on his lap. More blood is being drawn from his arm through an IV. Eugene catches Jerome looking at the albl.ll'(\.

ICONTINUEDl

,,.....

Et:GE:srE ltcssing the bag of blood to Jerome! :t·s not easy liv:ng up to this.

Eugene wheels away.

JEROME practises writing with his right hand, trying to replicate Eugene"s signature.

EUGENE· Noone orders southpaws anymore,

A pair of spectacles lie on the bed. JEROME, still wearing his twin casts, sits behind an optcmetrist·s portable examining device. GERMAN hovering :n the background, an OPTOMETRIST custcm-fits JEROME with gossamer thin contact lenses.

JE:."1.0ME /VO) Myopia is a dead giveaway - one of the earliest and most justifiable of the quality-of-life corrections. Anybody with impaired vision is certain to be suffering from all the other deficiencies of a •nonadvantaged• birth.

The Optometn.st has been replaced in the livi.ng room ·.iith a SLACK MARKET DENTIST who bonds JEROME' s small, gapped t:eet:i :o match EUGENE'S perfect:y straight, white picket :ences.

Hair already bleached and cut to match Eugene's hairstyle, JEROME sits in a chair against a hastily erected white paper backdrop. From his wheelchair, EUGENE puts the finishing touches to Jerome's hair. He wheels himself out of the way. The final accomplice in Jerome's deception, a BLACK MARKET COMPUTER GRAPHICS DESIG~'ER, takes Jerome's photo with a video camera. Manipulating the captured image, the Designer morphs Jerome's face into the :ace of Eugene. The resulting photo that spits out of a printer is neither one nor the other but an acceptable combination of the two.

EUGENE is starting to prepare Jerome's specimen bags for the first time. He winces in pain as he plucks several hairs from his head. JEROME, new out of his casts, prepares Job applications.

EtiGENE (still grimacing, referring to the follicle3l You really need that much?

.. EtiG E."ffi

(yanking out another hair) God, what wouldn't you do to leave this planet?

Jerome ignores him. Having learnt his lesson, he hands the envelopes to EUGENE to lick the flaps.

t:-ie ~ate 1990's. C::ecki:-.g ::-.e time, Jereme hurriedly pl::k.s -'P ~~e s~irt that EUGE~!E r.as been i=oni~g f~om a prone pcs~::=~ :~ the floor.

Jerome contemplates the question for a moment.

Jerome hurries to the bathroom where, with some difficulty, ::e inserts his urine device for the first time. The new improved Jerome emerges into t!"le living room ready for his interview.

JEROME emerges from a bathroom and hands a TECHNICIAN his plastic cup full of fraudulent urine and inserts it into the analyzer.

,..._

::6

'::""/:.r.g ;.ot to sc.a:-e at :he Sl,;.per-b spec:.:nens ·..,.rho are r.o·n1 !1:.3 • ::Q l: eagues • .

...-=F.C, ..'-!E ; '/CJ 'Z"he :najcr:..:y cf people are now :nade-co-crder. ,/hat began as a :r.eans co rid society of inhericab..'.e d:..seases has become a way co design your offspr:..:-:g--:.':e ..'.:..ne between healch and enhancemer.c t1~rred forever. Eyes can always te brighter, a vc:..ce purer, a mind sharper, a body stronger, a ~:..fe ~onger. E'✓ eryone seeks co give cheir chi~d :.':e besc c.'1ance but the most ski~led geneticiscs are cnly accessible to the pr:..veleged few.

In a nearby park MCDEL ~~ILOREN from MODEL PARENTS play together.

~-ERCME /VO/ Anyone who is :he product of an altered DNA is proud..'.y referred co as a •oAN•, •self-made ::-.an or wcincln •, •man-child•.

JEROME wheels EUGENE out of their housing project. He take~ in the neighborhood :or che ~ast t1~e. We focus on a POOR COUPLE cradling an INFANT.

....""ERCME i'VOJ Those parents who, for moral or, more likely economic reascns, refrain from tampering wich their offspring's genetic makeup or who fail to abort a deprived fetus condemn their children to a life of rcutine discrimination.

We glimpse other PEOPLE 1n the neighborhood. They appear poor but, for the most part, physically nonnal. However a pall of gloom hangs over them.

"•£ROME /VO! Officially they are called •In-Valids••. Also known as •godduldren•, •men-of-god•, •faith births•, •blackjack birt."Js•, •deficients•, •defectives•, •genojunk•, •ge-gncmes•, •the fucked-up people•.

[• "IN-VALID• pronounced as in •an invalid license•]

(CONTINUED\

CONT:::tr-.:ED

,..7£..:Z.C,.""fE 1' ~;o J :-1,ey are the •.'leal thy ill•. They den' t actually have anything yet - they may never. But since few of the pre-conditic.ns can be cured or reversed, it is easier to treat them as if they were already sick.

As they enter a car, driven by GERMAN, Jerome spl.es a beaut i. :•.11 young GIRL, 11, sitting on the steps of the housing proJec:. staring forlornly into space. While there is no outward sign sE any deficiency, she is somehow aware that she is damaged gocds.

Jerome glances in the rea~,iew mirror.

Jerome looks to Eugene, also lost .in hi's _own thoughts.

Jerome wheels Eugene into the palatial condominium complex where the two men now resl.de.

·:we return to JEROME's reflection in the glass. Other GATTACA EMPLOYEES are gradually gathering behind him.

JEROME /VO) In the guise of Jerome Morrow I have risen quickly through the ranks of Gattaca. Only one of the Mission Directors has ever come close to discovering my true identity.

We now see what Jerome has been gazing at through the window the whole time - the sight that has brought a hush to the complex. Through an open office door lies the body of a large man - the MURDERED DIRECTOR, lying where he has just been discovered, in a pool of his own blood.

(CONTINUED\

CCNTINUE:J

..,-EP.C.'!E ·.·o ! Strange to c:unk, he :nay have :nore success exposing ,:11e i.~ death ::han he did in ~ife.

Jerome wipes his eye and also goes to investigate. tie fcc•.. s en an extreme close up of his EYELASH. Loosened by Jerome's hand. it breaks free and floats gently down to the floor where it comes to rest.

DETECTIVE HUGO, late-forties, wearing a crime-scene hygenic suit and gloves and a full clear mask - looking more like a surgeon or a toxic waste worker than a detective - places a blood- spattered computer keyboard alongside the Director's shattered skull. The indentations match the blunt corner of the keyboard. Hugo detaches the dangling keyboard from its parent computer and seals the likely murder ·-,eapon in a marked, transparent plastic bag.

A CREW cf similarly-suited homicide detectives systematically vacuum the surrounding office area with metallic, industrial- looking mini-vacs, Once each work space has been vacuumed, the transparent plastic vacuum bag is detached, sealed and labelled.

OTHER DETECTIVES video the scene with camcorders. Video prints spit out of the cameras for instant inspection.

A silicon police tape cordons off the crime scene, From the

·:proceedings through the glass walls.

EMPLOYEE l (staring at the Director's body) Awful,

Nervous smirks from nearby employees. We focus on JEROME. Standing slightly apart from the others, he does not appear to share 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 cleaner ~asses over his desk. (CONTINUEDl

Jerome is distracted by a smear on the window, obstructing h~s view. Without thinking, he breathes on the glass and rubs che smear away w1 th h:s elbow. Nearby, elderly : ani tor, :.~SA.'l notices Jereme's fastidious act and reads the panic in Jereme's eyes. DIREC:'OR JOSEF suddenly appears at Jerome's shoulder. Standing a pace behind the Director, computer notepad in hand, is IRENE.

He glances towards a group of Detectives headed by HUGO.

As the pair depart, Jerome and Irene exchange a glance. Irene is also aware of Jerome's unease.

We focus on JEROME's eyelash, still lying on the floor. A huge crescent-shaped hair that fills the screen. Suddenly there is a roar of a mini-vac and the eyelash is sucked up. We follow the eyelash's Journey, down the throat of the cleaner into the specimen bag where it is sucked against the bag's clear, plastic wall.

The DIRECTOR'S corpse is sealed in a plastic bodybag and wheeled away on a gurney. The blood and other body matter from the murder scene is sucked up by a portable wet-vac and the sample bag appropriately labeled.

,,,....._

A chime sounds over the ? ..; . :allowed by an announcement.

;.1~·:CtJNCER \ OC) Thank you :or your co-operation. ?lease return to your work stations 1mmediately.

•· The PROGRAMMERS get to t:ieir feet en masse and begin fil1r.g 1:-.~o the work room.

A WOMAN ASSISTANT whose keyboard was used in the attack has to pause as a MAINTENANCE ~ORKER gives her work station a final spray to return it to its former pristine condition. A new ,,,....._ keyboard is plugged into her monitor to replace the one taken as evidence.

JEROME opens his desk drawer to check his comb, now plucked completely clean. He carefully places two of Eugene's hairs to the comb and scatters another bag of fraudulent matter around his work station.

In a large, bare room a simulator does a slow dance back and ·:forth on its hydralic legs, miming the path of the space craft Jerome will soon be aboard. The simulation ends and JEROME exits the simulator through a small door. IRENE hesitantly approaches, carrying a slim electronic tablet.

Jerome turns, not displeased by the interruption.

lreferri~g to her notepad) I've been asi<ed ::; ::::::r.p1le a :og for :he investigators- -::-.ey ·... ant to know everyone's whereabouts lase ~1ght .

Last night? ~ ·,.;as at home.

Irene makes a note with her stylus.

Can that be, er, -;erif::.ed? :-Jere you alone?

Irene makes another ~oce.

I was at home.

IRE.."-XE wary, wondering where the conversation is headed) No.

-.::::?,C!-!E I have better ~hings to do this week than answer the foa:~sh questions of some flatfQct, don't you?

Irene contemplates the question . ..

Irene is still unsure whether or not Jerome is serious.

Irene turns and departs: Jerome watches her go.

,,.._

The paraplegic EUGENE. seated by the window, meticulously cuts a long fingernail into numerous clippings. He places the clippings in small plastic bags and seals them. He then begins to fill tiny sachets with blood. He turns as he hears. JEROME enter down the spiral staircase with the groceries.

E:JGENE You didn't forget the truffles?

JEROME places the items in the refrigerator in the bathroom and retrieves a bottle of vodka - the vodka incongruous-looking beside the blood and urine specimens. Joining Eugene at his ·:workbench, he pours them both a drink.

ICONTINUEDl

,hey found him in his office this morning-- beaten so bad they had to check his narnetag.

Eugene takes in the news, a smile broadening across his :3ce.

Jerome shoots him a glance for the inappropriate remark.

..

you'll be slightly out of their jurisdiction . (gently chiding) Come on, we've got to get drunk irrmediately.

Jerome wheels Eugene's chair to a specially constructed platform that allows the wheels to spin in mid-air. Jerome tapes an electrode to Eugene's chest and attaches the wire to a slim recording device. Eugene begins to spin the wheel of the chair _faster and faster. Jerome monitors Eugene's steady heartbeat through a set of headphones.

,.....

The complex is virtually empty - cnly a handful of the hundreds of PROGRAMMERS working late into the night. IRENE approaches JERCME's work stat~cn on the pretext of delivering some documents. Trying to act casually, she looks under the papers on his desk, then cpens the tcp desk drawer.

We see an EXTREME CLOSE UP of the comb lying there - the two hairs trapped between the teeth of the comb. Irene removes one of the follicles and drops it into an envelope she is carrying.

·sEQUENCING-WHILE-U-WAIT·. Similar to a 1-hour photo lab, the store - little more than a booth - displays a price list on the wall. •FULL SEQUENCE - sao•. IRENE waits in line with a cross- section of other CUSTOMERS. She checks the contents of the envelope that contains the hair.

The YOUNG WOMAN in line ahead of her allows the TECHNICIAN to ,..... take a swab from her full lips with a Q-tip.

Overhearing, several PEOPLE in line snicker.

':'ECHNICIAN (long-suffering) I'll see what I can do.

The technician hands the swab to an ASSISTANT. The Young Woman

is handed a number and takes a seat. Irene hands her envelope

over the counter. She too is handed a number. We follow Jerome's follicle as another TECHNICIAN places it in an analyzing machine.

The TECHNICI.!..N returr.s t:--.e envelcpe to IRENE along wi'::.h a miniature compact disc.

Irene does not appear to share the technician's enthusiasm. She emerges from the sequencing lab and enters her car. Tak:ng a palm-top computer from her purse, she inserts the disc :nto the computer. Jerome's counterfeit genetic profile appears on the screen. The details confirm her worst fears.

JEROME and EUGENE, dressed to the nines, pull up in the car to a darkened doorway in a poorly lit street. A VALET appears out of the shadows. Familiar with the car, he goes itm1ediately to the trunk to retrieve Eugene's collapsible wheelchair. ,..._ Jerome tips the valet - a credit card wiped through a device.

The chic, elegant establishment inside belies its dark.ened exterior. JEROME wheels EUGENE into a decadent dinner club full of an odd assortment of people. They are itm1ediately greeted respectfully by MICHAEL, the owner and maitre d'. Jerome and Eugene are obviously regulars.

..

Not long now, Sir. You'll be upstairs before you know it. We're going to miss you.

In a secluded booth JEROME and EUGENE toast from a bottle of 1999 vintage Bordeaux. Eugene drinks longer than Jerome. Jerome dabs his mouth with a napkin. He fails to notice a minute FLAKE OF SKIN dislodged from his chin. We follow the flake as it comes to :rest beneath the table. ICONTINUEDl

C:JNT!i1UED

:..ATER, Eugene and Jereme •,;atch COG?LES dancing a samba on :he ::iance f :oar. A WAITER •:ac·.i\.:rns the table with a discreet. handheld miniature •:ac.it:rn wr.:le a WAITRESS clears :he places. She accidentally drops a Kn:fe onto Eugene's leg.

~·JAI:-RESS (aghast at the sight cf his lifeless ~egs1 I'm so sorry. :O:d: hurt you?

(smiling. a trace cf bitterness) Heney, if you· d hurt me. I'd be cured.

Eugene, the worse for dr:nk. gropes for the waitress's leg but she easily avoids his cl~-nsy pass.

::UGE:JE You want to meet a real-life spaceman?

Jerome, always aware, scanning the club, suddenly spies NAPOLEON, his Gattaca colleague, en the other side cf the room. Napoleon is taking ·a hit· from a vial ·concealed in his· hand. Jerome abruptly turns his back to avoid being recognized.

EUGE."<E knocking back his drink, misinterpreting the hasty departure) You're right, there's more atmosphere where you're going.

·., INT/ EXT. CAR. NIGHT.

Driving along the freeway, Jereme's car suddenly dives down an escape road. EUGENE looks sideways at JEROME.

The car careens around and around a small circular building - a cloud of dust billowing up behind the car. We focus en a BRICK wedged against the car's gas pedal.

EUGENE is at the w:r.eel, .:-:::?.CME in the passenger seat.

The hard t'-lrn is repeated with increasing recklessness, s-~:;er,e fighting to control the bucking car.

EUGE.'<E (screaming in both fear and exhilaration! I gotta stop!! I gotta stop!.

Finally the car spins to a halt in a cloud of dust. When the dust settles it is revealed that they have been circling :he base of a huge satellite dish in a desolate location.

EUGENE lies on the hood of the car, leaning against the windshield.- :irinking from a bottle of vodka. In the background; the unmanned satellite dish.· JEROME relieves himself against the building at the base· of the satellite.

Eugene spies a spacecraft launching from Gattaca city.

: (smiling ~t the thought)

You'll all be showering in it, right?

Jerome doesn't bother to look in the direction of the craft but merely glances to his watch. He joins Eugene on the hood of the car. (CONTINUED)

I""'

CCNTINUEb

-.:-"::ROME looking at.his wat.chl 11.15 t.o t.he port..A maint.enance crew.

-.:-EROME A day or so.

Eugene laughs to himself and passes the bottle to Jerome.

Jerome taps Eugene's lifeless legs with his foot.

·: The body and clothing of the MISSION DIRECTOR, lying on a metal examining table is scanned with a blue-light magnifying instrument. Fingernail specimens are taken for analysis. In another area of the laboratory, the labelled vacuum bags are attached to analyzers and the contents sucked out and automatically identified. ID names and photographs of GATTACA EMPLOYEES begin appearing on a computer screen at high speed along with other personal details - all data automatically logged for later review.

The photographs and personal details of JEROME and IRENE flash past, amongst the faces of other en;iloyees.

we focus on a magnified close up of JEROME'S EYELASH, still clinging stubbornly to the side of its specimen bag. We continue to Eollow its journey as it is finally sucked into the analyzer.

Inside the machine, a minute, cell-thin sliver is sl~ced :rom JEROME'S EYELASH and analyzed.

A severed HUMAN TONGUE sits on a tray in a sterile, sealed chamber. Using gloves that protrude through the chamber's glass wall, face buried in a binocular eyepiece, the INVESTIGATOR takes a swab from the tongue.

A FEMALE ASSISTANT, looking on, hardly has time to smile at the remark before information begins to appear on a nearby computer terminal. The computer gradually builds a portrait of the owner of the tongue using genetic predictors. The Investigator wanders over to the window as his Assistant reads the information from the screen.

: 5'11 and 6'1. Pronounced Caucasian nose.

Thin lips. Weak chin. Lobeless ears. Prematurely balding. Slightly bow-legged. Broad shoulders. Barrel chest ... lpausel Blind.

INVEST::GATOR I shrugs l Someone who is mindful that the blind still speak.

The INVESTIGATOR is alerted by the chime of his nearby computer. On the screen, he discovers the face of 20-YEAR-OLD VINCENT and the accompanying flashing message: TRACKING IN-VALID 883000181105-10 - NEW DATA -

Having plugged his car into an overnight charger, JEROME pushes EUGENE in his wheelchair to the elevator. Bottle in hand, Eugene leans over and vomits on the ground. Jerome shakes his head resignedly. Eugene looks drunkenly up at Jerome.

Jerome meets Eugene's gaze. There is a trace of bitterness in Eugene's drunken smile.

Eugene bends down to scoop up some vomit with his hand but the elevator arrives and Jerome quickly wheels him away. Eugene's : head flops to the side as he passes out.

JEROME unlocks EUGENE's condo and wheels his chair inside. We see their reflection in a full-length mirror as Jerome pushes Eugene to the bedroom. After rezooving Eugene's soiled clothing, he heaves the tall man from the chair and onto the bed.

(CONTINUED I

cmrr:::~mED

JERC:1E lattempti:-.g to comfort) It's okay, Eugene.

--I walked r:ght in front of it. I was never more sober :n my life.

Jerome looks at Eugene's lifeless legs, tcying to cover his shock at the revelation.

Eugene's head falls back onto the pillow.

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 wall 'on the far side of the room. Approaching the wall, near Eugene's mirrored closet, he detects a faint mechanical whir coming from inside the adJacent condominium. Jerome contemplates investigating but exits the condominium instead - climbing the spiral staircase to his own condominium.

JEROME fastidiously vacuums with an upright cleaner. Using a hose attachment he cleans around a picture frame that contains Jerome's original computer keyboard handdrawn on the flap of a cardboard box.

In the vast room of COMPUTER PROGRAMMERS we pull-focus to discover that we have been filming the complex through the transparent 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. The lead homicide detective, DETECTIVE HUGO, finishes interviewing a GATTACA SECURITY GUARD and approaches the Investigator. A large telescope in the background.

Although Hugo is deferential to his more youthful superior, his body language betrays his displeasure. Hugo clearly does not relish the Investigator's involvement in his case.

,....

Hugo refers to a print-out of 20-YEAR-OLD VINCENT'S profile including his Genetic Quotient. (The fifteen-year-old photo of Vincent now bears little resemblance to his assumed identity.I ..

Detective Hugo goes to corrment further, then revises his remark in his head before speaking. ,....

The Investigator's tone suggests that the identity of the culprit is no longer a matter for debate. There is an awkward pause before the Detective falls into step with his superior.

The Investigator merely shrugs.

(CONTINUEDl

CE7ECTrJE HUGO (trying to appear co-operative! I'll run a crossover en the eyelash for any family or associate ccnnections--

::JETECTIVE HUGO What a pity.

It<VESTIGATOR I irritated, glancing to the sample bag) Detective Hugo, it's a simple case of lost and found. All we have to do is locate the man who's minus an eyelash and this murder will solve itself.

We focus on JEROME at his work station. Although he continues to work, he clearly feels the presence of the INVESTIGATORS on the mezzanine floor behind him.

A MEDICAL DIRECTOR approaches the progra=er in the neighboring work station - NAPOLEON, the progral!IT\er Jerome encountered in the nightclub the previous evening.

Napoleon looks up, ashen-faced. Jerome intervenes.

·The Director regards both men suspiciously.

The Medical Director departs. Napoleon, stunned by the reprieve, approaches Jerome's work station and pretends to study the program on his computer screen.

from behind we observe JEROME standing in front of LAMAR, issuing :orth his steady stream of fraudulent urine.

.. '!'wenty GATTACA EMPLOYEES. identically-outfitted men and women, run in a perfectly straight line towards the tranquil lake oE the picturesque grounds, never getting any closer to their goal. They run at a steady l0rrph on twenty identical state-of-the-ar: treadmill ma.chines sunken into the floor and arranged in a uniform row facing a floor to ceiling window. The strain is beginning to show on many of the :aces. The heartrate of each employee is monitored via a wireless electrode attached to the chest. ,. Outside in the sunshine the next batch of twenty EMPLOYEES limbers up in readiness for their physical. JEROME'S only preparation consists of dragging thoughtfully on a

cigarette while staring out at the man-made lake. His nonchalant attitude disheartens nearby colleagues, including IRENE who is amongst ·a group of workers· ·exc.used from the run by benevolent, over-protective TRAINERS.

On the way into the work-out facility Jerome·stubs out his cigarette in a stainless steel ashtray. Only we are aware of the slim credit card-sized recording device that he furtively slips out of his cigarette pack and secrets in his hand. As he takes his place on one of the treadmills and adheres the cordless electrode to his chest, Jerome surreptitiously attaches ·• his device to the underside of the running machine's control · · panel.

From a mezzanine floor above the work-out room, LAMAR, the medical officer, monitors computer read-outs displaying the pace and pulse of the runners on each treadmill machine.

One by one the GA'I'TACA EMPLOYEES drop out until JEROME is the sole remaining runner. Several of the other employees stand around and watch Jerome run as they towel off. (CONTINUED)

,,.....

He appears under little s:ress, staring directly ahead, seemingly in a trance. As ·,;e focus on his chest, only we are aware of ::he sound of his :·..:.riously pounding heart making a l~e of his calm exterior.

Jerome's heart registers a far more measured beat on the computer in the observation room. The DIRECTOR is at LAMAR's shoulder, beaming proudly.

The INVESTIGATOR and DETECTIVE HUGO enter the observation room, ,,..... escorted by IRENE.

Director Josef, :his is our lead Investigator.

The two men exchange a polite handshake. However the Investigator is irrmediately taken with the SOLE RUNNER.with his back to him, on the treadmill below.

I}r./ESTIGATOR How often do you test, Director?

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, he finally presses the "WARM-DOWN" button, slowing the treadmill.

~'iAR still marveling at Jerome) I swear if I went to lunch and came back, he'd still be there.

We focus on Jerome's recording device attached to the bottom of the control panel. It clicks to a stop, indicating that the bogus heartbeat recording has ended before the workout.

The heartbeat monitor in the observation room suddenly races from 80 to 250 beats per minute. Lamar catches the discrepan~1 out of the corner of his eye but before he can take a second look, Jerome has whipped the electrode from his chest. The physician shrugs it off as a glitch in the machine.

The Investigator has turned his back on Jerome to face the Director.

In the room below, Jerome nonchalantly steps off the treadmill, stealthily retrieves the recording device from beneath the control panel and returns it to his cigarette pack.

·• He casually wipes off drops of sweat from the machine with a towel, briefly glances to Irene with the Investigators and exits to the locker room.

The Director idly regards the image of VINCENT on Hugo's handheld screen. He does not recognize the face.

sa

JEROME wears his assured smile all the way along the corridor and into the now empty locker room. He exchanges a cheery greeting with an exiting COLLEAGUE, enters a shower stall, · closes the door behind him and promptly collapses en the shower stall floor.

The effects of the gruelling work-out are only now apparent. No longer sucking up the pain, he gulps air into his oxygen-starved lungs, his heart looking for a way through his tightened chest. He writhes in agony on the white-tiled floor - a brutal reminder of the physical frailty he seeks to disguise

In Gattaca's perfectly landscaped gardens JEROME, dressed and recovered from his ordeal, joins his COLLEAGUES for lunch at one of the umbrella-covered tables. While most of the others pick at 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 frbm his colleagues. Jerome pretends not to notice and rubs it in by liberally sprinkling salt onto the meat.

However when Jerome looks over towards IRENE, she avoids eye contact. When she abruptly gets up and leaves, Jerome follows - thinking twice before depositing the napkin in the nearby trashcan. A janitor reaches for the napkin. It is the Old Janitor, CAESAR, from Jerome's former life.

• The two men exchange a conspiratorial smile.

A forest of wind turbines, supplying energy to the aerospace complex. However the blades of the turbines are motionless in the still afternoon. JEROME finally catches up with IRENE. She turns, unsurprised by his appearance. Standing beside her, he looks out over the complex as if he too has come for the view.

CONTINUE;O

Irene, also keeps her gaze ahead.

:?-E~'E I'm sorry. I didn't ~ean anything .

(shrugging as if it makes no dif:erence ta him) We were Just looking.

,

• Jerome turns to her, startled, trying to read her face. Irene takes a deep breath and abruptly plucks a long, dark hair from her head. t

Jerome, confused, takes the hair - more in reflex than intent.

Jerome contemplates the hair in his fingers for a moment, then deliberately lets it fall ta the ground.

• Irene meets his gaze. There is not a breath of wind. The hair lies, plainly visible on the ground.

As JEROME and IRENE walk between the wind turbines, Jerome

pretends not to notice that Irene keeps furtively checking the pulse on her wrist. They pause in the shade.

CONTINUE'tl

Jerome turns away to disguise his alarm. He quickly .recovers.

• INT. EUGENE'S CONDO. NIGHT.

EUGENE talks irritably on the phone, examining a container from a newly opened case of hair bleach.

JEROME descends the staircase, taking the steps two at a time. He i11111ediately goes to the refrigerator, removing trays of samples. Eugene abruptly hangs up the phone.

[ CONTINUED

J'ERGME iOCI Call Gennan.

•· JEROME

(collecting up sample bags from the work bench) We can't stay here.

Et:GENE What are you talking about?

They think I offed the Director.

Eugene wheels himself over to Jerome, unconcerned.

They found my eyelash.

Jerome half-smiles despite the situation.

(CONTINUED I

They'll recognize me.

,,,.... !referring to the torn photo of

20-year-old Vincent or:i the wall) r don't recognize you. Anyway, you don't ·have a choice. 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 is a minor inconvenience is all it is. We"ve taken worse heat than this. (angry now) Jesus, if I'd known you were going to go belly up on me at the last fucking gasp, I wouldn't have bothered. You can't quit on me now. 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've have rented myself out to somebody with a spine. You want me to wheel in there and finish the job myself? (meeting Jerome's gaze) We'll take off all right, from pad 18 just like we planned.

Jerome slumps down in a chair, Eugene's tirade starting to get to him.

,-...

Eugene is uncomfortable at the notion.

Jerome shrugs awkwardly and pours them both a drink.

,-... INT. CONDOMINIUM - INCINERATO!'.. NIGHT.

The naked JEROME scrapes away at his skin with even greater ferocity than usual. After exiting the incinerator, he deposits all the incriminating trash he has collected during the day into the furnace and ignites the gas.

from outside, a car horn sounds. JEROME, in a formal suit and spectacles, abruptly enters the condominium. He goes to a closet and starts searching through Eugene's clothes.

EUGENE is more interested in the car parked outside the condominium. IRENE sits in a convertible Citroen DS, dressed in a classic but provocative black suit. Unaware that she is being obsenred she touches up her lipstick in the reanriew mirror.

CONTINUE;D

Jerome fumbles with the knot. From his chair, Eugene knots Jerome's tie for him. Jerome is intrigued that for once Eugene is abstaining - he has not touched his drink.

~ JEROME.

Not thirsty? (referring to the fridge) We've got enough virgin samples to last us the week.

Jerome pockets the spectacles and enters the bathroom for his contact lenses. The horn sounds outside the window a second time and Jerome hastily exits. We stay with Eugene. Irene catches a glimpse of him before he moves away from the window. Jerome emerges from the building.

t As the couple drive away, Eugene wheels himself to the full length mirror. He regards his own reflection for a moment and opens the mirror - a disguised door opening into the adjacent apartment. 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 his computer.

r

EUGENE

r

{looking away) You got it, German.

JEROME and IRENE step over feet, apologizing as they go, eventually finding their seats in a box in a sold-out concert hall.

On the stage below, a YOUNG PIANIST - a teenage prodigy - has already taken his place at the keys of a grand piano. The ·.pianist removes his white gloves and begins to play - an ··extremely complex and beautiful piece we have never heard before. IRENE looks to JEROME. He is clearly caught up in the music.

The music from the piano recital continues under the following contrasting action. A huge, brooding housing project. PEOPLE hang around on street corners. Menace in the air - a feeling of impending violence.

Suddenly unmarked police cars appear from all directions, blocking any escape route. Dozens of PLAINCLOTHES DETECTIVES p·our out of the cars and onto the street. {CONTINUED)

People scatter, many running straight into the arms of the Detectives. OTHERS, sp:ll:ng out of the houslng proJect, are also immediately apprehended.

The Detectives quickly weed out those suspects not fitting Jerome's description - WOMEN, OLD MEN and TEENAGERS. They are •· shepherded off the street. A line of IN-VALIDS is formed several hundred yards long. Detectives begin to laboriously move along the line, taklng finger-prick blood samples from each suspect - instantly conf:r.ning their identities with portable analyzers worn on their hlps.

As if having the ldea at the same time, '!WO SEPARATE MEN suddenly bolt from the llne, knowing that their blood will incriminate them. Other Detectives, watching for such escape attempts, easily apprehend them and escort them to a waiting police van.

With the raid under control, DETECTIVE HUGO indicates to the INVESTIGATOR that it is safe to exit his car. The Investigator appea:-s irritated, only half-glancing at the '1-WO MEN already. in custody, apparently certain that neither one is his suspect.

The Investigator clearly does not share Hugo's enthusiasm. The Detective offers the Investigator an age enhanced photograph, computer-generated from the last existing photo of VINCENT as a 20-year-old.

The Investigator ignores the photo, preferring instead to trust his own eye as he wanders along the line of suspects.

The MEN they scrutinize are hardly mutants - the differences between an IN-VALID and a DAN are subtle at best. Some shorter, some wearing glasses, some with receding hairlines or bald, many with no discernible physical difference at all. The Investigator is only halfway down the line before he turns and starts walking back to his car. (CONTINUED)

The mystified Detective Hugo follows his superior.

::,J\lES:'IGATOR We're in the wrong place. We're wasting time.

The Investigator wheels on Hugo, suddenly angry, clearly unused to having his judgement questioned.

INVES:'IGATOR --There's that word again. I have a feeling this man doesn't play the odds, Detective. Not exactly a slave to probability. Is it •likely• that a man who has successfully eluded authorities for fifteen years--a brutal killer--is going to come to us now like a· lamb?

A standing ovation. 7he YOUNG PIANIST on the stage bows deeply, soaking up the applause of the AUDIENCE. The pi~nist tosses one of his white gloves into the front row where it is caught by an adoring FAN. The second glove he tosses up to the box where JEROME and IRENE are standing. Jerome snares the glove out of the air and ill'lllediately hands it to Irene. She promptly slips the glove on her own hand.

The glove fits snugly over her five fingers. However one finger of the glove remains unfilled. Jerome is stunned to realize that it is a six-fingered glove.

RENE (catching his look of astonishment) You didn't know?

I"' IRENE

( picking up a resentment, confused·) You're angry--

He quickly turns away to lead the applause. On stage, the pianist raises his hands to acknowledge the crowd. Both his hands contain a perfectly formed extra finger.

-From an upstairs window we observe the INVESTIGA'roR's car cruise slowly back into the squalid housing project. A MAN is buckling his pants at the window.

A prostitute, VALERIE, a slender, sylphlike beauty, joins him at the window.

Her client looks at her askance. Despite her assurances, he hurries into his clothes anyway. (CONTINUED)

•

CONTINUE;D l

.. The INVESTIGATOR, sits up in the bed, glass in his hand. VALERIE lies on the tangled sheets, naked, making no effort to cover herself. She regards the Investigator curiously.

The Investigator glances idly in her direction.

The Investigator .smiles and rejoins her on the bed:

The Investigator tries to laugh off her assertion but his tight-lipped smile betrays his displeasure.

,,,,,....

He roughly forces himself on top of her but she remains defiant.

IRENE drives, JEROME at her side. Cars are being flagged down by uniformed POLICE OFFICERS. Irene slows down behind the car in front. Spying an OFFICER shine a flashlight in the eyes of the MALE DRIVER up ahead, Jerome wipes the contact lenses from his eyes and flicks them out of the passenger window when Irene is not looking.

An OFFICER approaches Jerome and, without a word, opens an electronic testing kit worn on his hip. He. rE!IIIOves a sterilized Q-tip and motions for Jerome to -open his• mouth so he can scrape a culture. Jerome waves his hand in front of his mouth, feigning embarrassment.

IRENE plays along, shrugging coyly at the cop.

·:we see an EXTREME CLOSE UP of Jerome's hand as he furtively retrieves a hair follicle attached to his shirt cuff. With the hair already in his fingers, he pretends to pluck a hair from his head, faking a wince at the appropriate moment.

The cop, wearing transparent latex gloves, takes the follicle and places it in a receptacle in his kit. After a short moment the hair confirms JEROME'S driving ID which appears on the kit's electronic screen. As the cop departs, Irene looks questioningly at Jerome.

:rene nods, however c~early ~ot convinced. She shakes the dcubt f::-om her mind.

:RE.'IB I want to show you something.

She accelerates away. ~e see the road ahead from Jerome's ?OV. Without his contact lenses. it is a blur.

After closing time, suited DETECTIVES vacuum the club in which Jerome and Eugene dined the previous evening. MICHAEL, the owner, looks on disda~nfully. Waiting in the background, the regular CLEANERS - most likely In-valids themselves - smirk to each other, enjoying watching the cops do their work for them.

With no place to turn .the car around, IRENE parks on the cliff side of the six-lane highway. In the darkness she dashes from the car and, without a second thought, runs directly out into the heavy co!lllluter traffic. Easily negotiating the on-coming cars, she emerges safely on the other side of the highway.

JEROME, rounding the car from the passenger side, is about to follow, when he suddenly pulls up sharply at the curb. We focus on his eyes, deprived of the benefit of their contact lenses. From Jerome's POV, we see that the headlights rushing ~awards him are nothing but a series of fast-moving blurs - blurs that merge together. He is unable to distinguish between the vehicles or judge their distance.

Irene stares expectantly back at Jerome with her 20/20 vision, unaware of his predicament. Jerome puts a foot off the curb at the wrong moment and is almost collected by an on-coming car. Irene is taken-aback at his mistiming. Does she detect a squint on Jerome's face? To Jerome, the figure of Irene on the other side of the highway is merely a featureless shape but he feels her expectation. He touches the spectacles, still in his pocket, but they are an unthinkable option. (CONTINUED)

CONT!NUE,D

He shakes the idea from his head and turns back to the swift:y- f :awing highway. He makes up his mind - he cannot al low h~::1-Sel f to be shamed, even at the risk of life and limb. Hardly even glancing at the traffic. he suddenly bolts blindly across the road. Headlights hurtling towards him, cars fortuitously brushing past his heels. horns blaring. Jerome makes a f~nal •· leap 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 corrment but Jerome takes her by the arm and ushers her towards the dunes.

JEROME and IRENE huddle beneath an overcoat as the sun crests the horizon. staining the sky with an ochre blush.

Jerome nods. However, to his eyes the rising yolk is nothing but an out-of-focus, abstract ink blot.

~EROME You'll be next.

Irene turns to Jerome.

:RENE (enjoying his unease)

(adding quickly) I'm careful--weekly check-ups. I'm on a drug maintenance program, blood thinners, diet-- (slowly removing his hand) I just want you to know what you'd be getting yourself. into.

~ symptoms in my late-fifties. _

matter-of-fact) But unless they come up with something between now and then, I won't live much past 67.

Jerome's mouth drops. a little, betraying his surprise at the statement from a woman plainly still in her twenties.

:RENE Of course I think about it every day.

J"EROME (still not quite recovered from his surprise) Of course.

The INVESTIGATOR swims his race with the unseen opponent. The Investigator's ASSISTANT, carrying a phone, tries to attract his attention.

JEROME sits at his own poolside in his robe, feet dangling over the edge, smoking a cigarette. EUGENE, from his wheelchair, ~s applying bleach to Jerome's hair and eyebrows with gloved hands. (CONTINUED>

At the same t:me, ~ercme ~lays a sleight-of-hand garne with a syr1nge.

EUGE."lE How was your evening?

,,,,.....

You know how it is with these altered births --somebody told her she's not _going to li~e · forever and she· s been preparing t9 die ever since.

·The camera travels down ~erome's scarred legs to find that the pool is completely drained. We now realize that it never contained water.

The INVEST:GATOR li:~s his head from the eyepiece of an electron microscope through which he has been examining a t~ny fragment of skin - the skin is identified as belonging to 20- YEAR-OLD VINCENT. CETECTIVE HUGO stands at the Investigator's side - his attitude more respectful in light of t:he discover;.

Detective Hugo points out a location on a computer-generated map.

:NVESTIGATOR A customer? Does this Michael's cater to misfits?

,-.. No. But one or two •borrowed ladders• have

shown up there in the pas.t.

The Investigator understands the significance. They wander over to a blow-up photograph of the 20-YEAR-OLD VINCENT.

A smile gradually broadens across the Investigator's face.

':'he ::nvest igator appears ~.ot :::, be listening, his mind :rade up.

:!iVESTIGATOR lmi:.d ::ac:ngl He was afraid :,f being exposed. That's why he did ~t.

CE-:'ECTI'VE HUGO (puzzled) It is hard to believe he could be one of their elite workers. You've seen their security system. They know who works there. lreferr:ng to 20-year-old Vincent's profile! Even if you ignore the man's expiration date, his profile suggests that he doesn't have the mathematical propensity let alone the stamina to pass their physicals.

:NVESTIGATOR Don't underestimate these imposters.

DE':'ECTIVE.HUGO (skeptical, referring to a file of

.. Gattaca employee ID photos)

None of the ID photos match the enhancement.

Hugo's mouth drops open at the mention of •intravenous•.

CE':'ECT!'\TE HUGO (irrmediately protesting) You know their ·,.;orkforce. Two-thirds at least fall into the category. We'll be closing down their operation for days. (seeking a compromise) At least go with a fin.gertip sample or urine.

The Investigator turns on his heel to prevent further protest. The Detective and his ASSISTANTS exchange looks of exasperati.cn behind the Investigator's back.

JEROME, drinking water, stands in front of a large ,,ideo bulletin board. Among other things, it displays the eleccronic mugshot of 20-YEAR-OLD VINCENT alongside the recent compucer generaced age enhancement of his face.

Some discance away, CAESAR, the elderly janitor, discusses the mugshots with a YOUNGER JANITOR.

Jerome half-smiles, realizing that the conversation is for his benefit. Having made it clear that they do not intend to expose their fernier colleague, the two Janitors continue their rounds.

Jerome crushes his paper cup. Forgetting himself,· he drops the cup into the wastebasket.

JEROME familiarizes himself with the interior of a spacecraft under the supervision of DIRECTOR JOSEF and the MISSION COMMANDER. The screen that Jerome sits at is identical to the one he operates in the computer complex - displaying asteroid 951 Gaspra.

~ISSION COMMANDER (wry smile) Even someone as advanced as Jerome will be last year's model by the time we're done.

:rene enters the craft.

:RENE Excuse me, Mr Morrow. The investigators have begun their testing.

.. DIRECTOR JOSEF

This is so inconvenient, Irene. They can make an exception for Jerome.

~!RECTOR JOSEF I apologize. Jerome.

Jerome exits the craft '"'ith Irene.

A line of MALE GA'T'!'ACA EMPLOYEES snakes out the door and down the 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 a :.haunted look in Jerome's eyes.

Every available TECHNIC:AN is working to acco11111odate the testing of the thousand or so PROGRAMMERS. TWelve testing stations operate simultaneously. A HOMICIDE DETECTIVE supervises each station. JEROME reaches the head of the line. He notes an exiting COLLEAGUE holding a cotton ball to his arm.

A NURSE directs Jerome to LAMA.R's testing station. Lamar deposits the previous patient's labeled vial into a blood carousel under the watchful eye of a large DETECTIVE. clearly not ::elishing his assig:-..~ent. Jerome rolls up his sleeve.

(CONTINUED\

CONTI!ruED

-IERCME lreferr~ng to the table lined with syr~~gesl ',/hat's with the plungers, Lamar? ·,lhat are you doing, opening a blood bank?

The syringes are c~early not Lamar's idea.

Lamar inserts a fresh syringe into Jerome's arm. As Lamar draws the blood, Jerome suddenly flinches and flexes his arm violently, causing the needle to bend and buckle, exiting the skin from a second puncture point.

,-.... Having pulled away from Lamai;:-'s grasp, Jerome withdi;-aws. t:he bent needle himself, blood still .squirting from his vein. ·

The large Homicide Detective winces and turns away from the red arcing spray, a splash of blood spattering his shoes. !n the midst of the commotion, with his practised sleight-of-hand, Jerome removes the vial from the syringe and replaces it with another concealed vial.

Lamar hurriedly takes the syringe from Jerome.

..AMAR (examining and removing the switched vial from the bent syringe) r•ve got enough here.

,-...

CONTINUE!)

The Detective r.ot:ces -:he spatter of blood across his brcgues and, with a look o: j:sda1n, wipes it clean. He tosses the incriminating t:ssue down a hygenically sealed garbage shoot.

Lamar places Jerome's :abelled vial in the carousel ·,1here :t i.s immediately analyzed by the computer. Jerome's •1eg1t1:nate• Employee ID code appears on the screen - •VALI.'J•. Another EMPLOYEE enters the testing lab.

JEROME exits the testing lab with the gauze held to his ann. IRENE is standing cutside the door.

:RENE So you didn't do it after all.

From above, the !N'lEST:~ATOR and HUGO observe the final EMPLOYEE exit the testing lab.

LAMAR, following the err.ployee out of the lab, throws a look of vindication to the two cops.

..

::NESTIGATOR Something·s not right.

:NVESTIGATOR lresolutel No, we've missed something. We Hoover again.

:!J'\'ESTIGATOR Get it. F~~m cutside, if you have to.

From what budget?

The INVESTIGATOR tur~s his back on his subordinate and idly contemplates the nearby telecope. Hugo resignedly relays the news to Director Josef ·.. ho is standing some distance away .. Josef's irranediate react:on is to march towards the Investigator, Hugo trailing behind. DIRECTOR JOSEF collects himself as he notices the Investigator's hand on the telescope.

DIRECroR JOSEF Would you care to look--in the telescope?

,,,,..._ :NVESTIGATOR

Thank you, no.

CONTINUEp

~;'VESTIGATCR (surveying the mostly empty facility) No, but since there aren't too many live ones tonight either, you won't mind us conducting one further sweep. If he does not work here, then there 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 favorite haunt. Even murderers have to eat.

Director Josef quietly seethes.

JEROME readies himself for an evening out - a bandage around his arm from the needle puncture. EUGENE wheels himself in.

_;"ERCME (referring to his bandage) She's already got her doubts. I have to act like nothing•s wrong.

Jerome ignores the relT'ark.

:1:.c:-:ael' s.

Eugene looks at ~im askance.

JEROME

..

Eve~1 body goes there.

afterthought as he picks up his Jacket) Will you be okay?

I""

NT. MICHAEL' S CLUB. ~lIGHT.

IRENE and JEROME step off the dance floor of the smoky, decadent dinner club and take a seat at their table. Irene is agog at the strange assortment of PATRONS, the cigars, the laden dessert trolleys. It is all slightly off from the pristine world she is accustomed to.

RENE iihat is this p~:1.ce? I CONTINt:ED I

Jerome selects a chocolate torte from the trolley. Jerome savors a spoonful. Irene is tempted but then remembers herself.

She reaches for her elegant pill box. Jerome takes another spoonful.

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 finger when their plates and glasses are whisked away and the table il!l!lediately hoovered. Xichael whispers in Jerome's ear.

Jerome looks up in time to see DETECTIVE HUGO coming through the front entrance with several other DETECTIVES.

A Detective shines a flashlight in the eyes of a MALE PATRON. A SECOND DETECTIVE tugs the hair of a SECOND PATRON. Jerome takes Irene by the hand and escorts her out of the side exit. Several other COUPLES make for the parking lot.

Spilling out of the exit, JERCME and IRENE find a burly plain clothes DETEC-:-:·1E barr :ng their way. Before the C:etect: •,e can say a word, Jerome r:as ·.irapped his fist in his Jacket sleeve and srra.shed him :n the face. He continues to beat ':he Cetect: •,e unt:..l he lies motionless on the ground.

:i:RENE stunned) Jerome!

Spying other Detectives some distance away in the parking lot, Jerome leads Irene out of a hidden side gate.

,-...

RENE Who are they? .

Jerome drags Irene across a vast, desolate lot, lit only by moonlight. ~eeling exposed. he breaks into a run.

Irene realizes his seriousness. She begins to run with him. ~e clearing is wider than Jerome anticipated. They are only halfway across - extremely vulnerable if the Detectives think to :·ook in their direction.

NT. MICHAEL'S. NIGHT.

The :NVESTIGATOR is grilling MICHAEL, the club's owner. 7he :nvestigator suspiciously regards the multitude of mini-vacs in the kitchen and the incinerator burning the refuse.

rNVESTIGATOR (an accusing tone) You run a clean establishment.

:~NESTIGATOR ( showing Vincent's mugshot l Do you recognize this man?

Hugo calls out from the side door where he has discovered his fallen colleague.

The Investigator hurries to him.

:NVESTIGATOR (to the still dazed Detective, examining his injuries) Did he hit you with his fist?

Hugo uses a flashlight and a small dental-like implement to tr/ t.o pick skin from Jerome's knuckles from between the Detec-::i•,e' s teeth. The Investigator finds the hidden side door.

2,7

JEROME and :RENE conc.:.nue to sprint across the enormous vacant lot inc.he moonlight, splashing through deposits of mud and water. Jusc. as the gate opens in the distance, Jerome hurls

Irene, ouc. of breath, desperately feels for her pulse.

:RENE (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.

Irene looks back across the vast clearing they have just negotiated, realizing •,;hac. she has just done.

,,,,,.... From across .~he other side of c.he clearing comes an echoing cry from the center FIG~'RE.

The INVESTIGATOR is about to cry out Vincent's name once again when he realizes DETEC'":'I'lE HUGO and the other DETECTIVES are watching him, askance.

I!NESTIGATOR We'll vacuum these streets if we have c.o.

The Investigator carefully examines the heart pills.

about ~eparting but Irene takes him gently by the hand.

RE."lE So sure of what you can't do.

Jerome follows her inside.

JEROME and IRENE climb a staircase to her bedroom. Without another word they begin to make love.

LATER TI!AT NIGHT JEROME cannot sleep. He rises quietly so as not to disturb IRENE. He silently opens the double-windows of the upstairs bedroom. He carefully gathers his pillow from the bed and shakes it out of the window.

Slowly Jerome turns to gaze at the wood floor. In. the moonlight;. we see an EXTREME CLOSE UP of a single -hair lying on the· · floorboards. Jerome bends and· picks up the hair, ti:ying to identify it in the dim light. On his hands and knees he tries to clean the floor with a towel. Irene turns over in the bed. Jerome freezes but she continues to sleep. He realizes he may be spreading even more of his skin and hair over the _floor. Overcome with frustration and the enormity of his task, he. begins to quietly weep.

A light shroud of mist hangs over the trees that encircle a • grassy clearing beyond Irene's building. Something lies in the ·:center of the clearing.

We jwnp-cut to an EXTRE."1E CLOSE UP of two or three blades of grass. Bristles rain down on the blades. Without access to his incinerator, the crouched, naked figure of JEROME disposes of his whiskers, skin and hair in an open field. His clothes sit in a neat pile at his side. He pours glycolic acid over his body and scrubs at his back, feet and hands with a brush. There is a haunted, tortured look in his eyes as he tries desperately to rid himself of himself.

:NT. POOL. MORNING.

The :NVESTIGATOR swims obsessively in his aquatic treadmil~.

Back in the bedroom. JEROME, partially dressed, holds IRENE in bed. She softly touches the scars on his shins.

referring to the scars) What happened?

:RENE comforted by t:he t:hought) So you're not so smart after all. awkward about raising t:he subject) I want:you to know--if it ever came t:o it:-- I'd be willing _to get: an ovum from the Egg Bank. In fact, I'd rather use a donor egg--

,-... lquickly covering herself. again)

--if it came to it:.

RE."-IE (mildly irritated by what she perceives as his mocking) You hypocrite. Do you think for one moment you'd be doing what you're doing if it wasn't for who you are--whac you are? Don't you get any sat:isfaction knowing that your children will be able to live to a ripe old age unless they do somet:hing foolish?

Irene is taken aback by Jerome's passion, regarding him in a new light.

NT. EUGENE'S CONDCM!~H::.--:,i. !-!OR.NI~lG. .

EVGENE urinates into a large plastic ccntainer whi:e drink1'"q bottled water at the same ti~e. He already has several other containers of urine on the table beside him.

The INVESTIGATOR and DETECT:::'/E HUGO keep a wary eye on o:he outfitted DETECTIVES re-vacuuming the empty computer complex with their mini-vacs.

We dwell on one DETECTIVE in particular, snatching a garbage bag from CAESAR, the janitor.

DE':'ECTIVE Don't touch that. It's evidence.

He puts a pile of discarded paper cups aside for later testing.

:NT. GAT':"ACA CCRPCRA7:C!J. LA7ER 7:-!.A.7 MCRNING.

In c.he ·,as c.. ernpc.y Gae. :aca complex i:he I:-NESTIGATOR inspec-::. s a specimen bag coni:ainir.g Jerome's paper cup wii:h DIRECTOR JOSEF and ::ETE:C'TI'/E HUGO.

JEROME and IRENE walk towards the entrance to Gattaca. Spying the Hom1.cide Investigation trucks parked at the rear of the ·:building and the silhouei:te oft.he INVESTIGATOR in the doorway, Jerome pulls up sharply. Irene notices his unease.

Jerome kisses her. Irene, also aware of the trucks, interrogates Jerome wii:h her eyes.

:RE.'IB :'11 miss you. I CONTINUED l

CONTINUE!;)

Jerome is st~ll :ccussed en the entranceway.

IRE.."'JE looking skywards) --when you go away.

Irene considers the idea. She enters Gattaca alone.

IRENE prepares a stack of ID photos of CREW MEMBERS for the INVESTIGATOR. She closely inspects the doctored photo of JEROME, hesitating before adding it to the file.

The camera dwells on JEROME'S vacant work station. The. ·INVESTIGATOR curiously regards the empty -chair. He· is accompanied by DETECTIVE HUGO, DIREC'roR JOSEF and IRENE.

DIREC':'OR JOSEF A little nausea. Quite co!llllon.

The INVESTIGATOR ignores Josef and takes a pocket knife from his Jacket. He prises out the ·Esc• key from Jerome's keyboard, places the key in a specimen bag and deposits it in his Jacket.

ICONTINUEDl

:RE!IE (picking up a phone) I'll call and let him know.

The Investigator gently but firmly removes the phone from Irene's hand and replaces the receiver in the cradle. •·

:NVESTIGATOR Let's not spoil the surprise. Ito Irene) I understand you can show us the way.

The anxious Director Josef calls out to protest one further time but the Invest:gator is on his way out of the door.

Outside the entrance to Gattaca, ti:ying to hail a taxi, JEROME is startled to see a car carrying the INVESTIGATOR,. DETECTIVE HUGO and IRENE roar out of the driveway. JEROME calls .on his I"" portable wristphone.

EUGENE, at his window, filling sachets as usual, hesitates before answering the phone.

JEROME IOC) How would you like to be yourself for the day?

With a look of resolve, EUGENE hangs up the phone.

He wheels his chair up to the sweeping staircase and regards the first of many dozen steps. The daunting staircase spirals away above him.

HUGO dr~ves. The ::NES:-::;;.TcR looks to IRENE in the rear seat.

:!-1',"::STIGATOR (':.aunting) You don't know who he is, do you, Irene?

He hands her the pill box found in Michael's.

IN\/c:STIGATOR You think you have problems?

Having wheeled his chair out of sight, EUGENE eases himself out of his wheelchair and onto the floor. Using his elbows, cotrmando-style, dragging his lifeless legs behind him, he proceeds to crawl across the floor and up the first step of the long spiral staircase. We observe his agonizingly slow progress up a staircase that, from Eugene's point of view, appears to have doubled 1n length.

The INVESTIGATOR and DETECTIVE HUGO emerge from their car with IRENE in tow. They take in the impressive c.omplex - the Invest1gator gets a glimpse of the empty pool. They approach the intercom at the entrance.

·:staircase. No respite. As he drags himself across the floor the internal phone r1ngs. He frantically stretches up and knocks the phone off 1ts hook so he can talk from his prone position on the floor.

:NT. CONDOMINIUM - LOBBY. DAY.

RENE is on the phone, closely watched by the INVESTIGATOR and DETECTIVE HUGO .

:?.E!,;E la :ricment' s r.esitationl ..;ercrne--?

Hello, sweetheart. Come on up.

With no mean effort. E'..:GENE finally manages to replace the phone on its cradle. He desperately crawls up onto the sofa. However, spying the ~pright vacuum cleaner in the open closet, he is forced to crawl ::iere and remove the ·1acuwn bag. He frantically crawls back towards the sofa and stuffs the bag behind a cushion.

IRENE enters the door deliberately left ajar, closely followed. by the IN'✓ESTIGA'roR and :lETECTIVE HUGO. EUGENE is propped up on the sofa, TV remote control placed in his useless hand to cover his paralysis. He has a stainless steel bowl next to him and has crossed his lifeless legs for a more natural effect. Eugene calmly motions the confused Irene towards him.

E'..:GE.."lE Where's my kiss?

The Investigator scrutinizes Irene's reaction. With only the merest hesitation she takes her cue from Eugene and kisses him affectionately on the forehead. She perches herself on the

·:hand on her leg.

:RENE Good to see you're feeling better.

:RENE It's about the Director.

,he Invest~gatcr slowly c~rcles Eugene, regarding him with the utmost scrutiny. He corr.pares his face to the doctored Gattaca :J photo - a passable likeness. Eugene bends towards the bowl and dry retches.

Irene puts a comforting hand on Eugene's shoulder.

Detective Hugo takes a seat in the chair beside the sofa and unpacks a syringe from the kit he carries.

Detective Hugo swabs Eugene's inner arm. All eyes are trained on the tip of the needle as it punctures the vein.

Under the Investigator's watchful eye, Detective Hugo withdraws the syringe and i11111ediately inserts a small amount of the blood

·: that Eugene is Jerome.

Irene does her best to conceal her shock. Hiding his frustration, the Investigator distractedly tours the room while Hugo packs up his gear. The Investigator idly toys with the telescope pointed out of the window. Next he wanders towards the closet and reaches for the doorknob.

The INVESTIGATOR irranediately pulls a specimen bag from his Jacket pocket and closely inspects the stainless steel :oi~et and sink. They are b::h spotless. The shower scall .s also scrupulously clean. He flushes the toilet and exits.

Lost in thought, the INVESTIGATOR approaches the closet again .. and wheels out Jerome's upright vacuum cleaner. He is disappointed a second time to find no vacuum bag inside. The Investigator returns the vacuum cleaner to the closet and produces a mini-vac from Detective Hugo's crime bag.

,-.., Actually, the kitchen needs doing.

The Investigator switches on the mini-vac to take a specimen from the floor, then promptly kills the machine. Looking down, the Investigator notices the trail of Eugene's perspiration on the highly polished floor leading to the spiral staircase.

Eugene, reading the Investigator's mind, goes to call out but the words remain frozen on his tongue. Hugo follows his superior as they start to descend the stairs. Irene and Eugene are left staring at one another.

JEROME catches the merest glimpse of the INVESTIGATOR and DETECTIVE HUGO before he slips behind a doorway in Eugene's condominium.

Jerome anxiously regards Eugene's empty wheelchair sitting there. On the stairs, Hugo's phone rings.

DETECTIVE HUGO IOCl (into phone, increasingly encouraged) Yes? ... Yes ... yes ...

The Investigator is already at the foot of the stairs in Eugene's condo when the Detective calls to him.

lurgenc, to Invescigacor) Come quickly. ~e have him.

The Invescigacor's eyes light up. He retraces his seeps up Che staircase afcer Detective Hugo.

JEROME, white as a ghost, climbs the stairs, emerging into his own condominium. He embraces the beaming EUGENE, still siccing on the sofa.

,,,,,...._

EuGE."XE Ideadpan) I could always walk. I've been faking it.

Jerome almost laughs, despite the situation. Only now does he notice Irene on the other side of the room, her mind racing. She looks at Jerome and Eugene cogether and runs from the apartment.

Jerome goes to follow her but Eugene stops him.

An EXTREME CLOSE UP of dried blood - brittle and cracking - on a pair of soiled latex gloves. A latex head mask, suit of clothes and shoe covers are similarly caked. The !WESTIGATOR and DETECTIVE !!UGO watch as a white-coated FORENSIC TECHNICIAN feeds a minute sample of the dried blood into an analyzer.

ICONT!NUEDI

The It~"EST:GATCR wanders over to a one-way glass window thrcugh which he can observe DIRECTOR JOSEF, sitting numb but strangely serene in an interrogation room. The Investigator, :n a s~ate of shock himself, cannot yet bring himself to believe what :s plainly obvious.

:NVESTIGATOR (gazing at the Director, struggling to come to grips with the turn of events! This can't be him.

The Detective regards his superior incredulously, intrigued that he could still cling so stubbornly to his theory in the face of such overwhelming evidence.

The Investigator wipes the perspiration from his brow with a tissue and drops the tissue into the trash. ·

·:The Investigator turns away, unwilling or unable to accept the explanation. Hugo regards the Investigator with a trace of sympathy. He furti;ely retrieves the Investigator's tissue from the trash.

:NT. GATTACA. DAY.

JEROME sits in a formal briefing room with the other CREW MEMBERS of his mission, receiving their final pre-flight instructions. LAMAR looks on approvingly.

(CCNTINUEDI

: J Q

CONTINUE~

•- Jerome looks up bashful:y.

11"" (referring to a projected photograph

of a misshapen·asteroid behind his head) Gaspra--how could something so ugly hold so many beautiful secrets?

Polite smiles from his colleagues.

·: already.

The tormented INVESTIG~TOR lies on the floor of his lab, staring at the ceiling. He winces in discomfort. He is lying on something. He rolls over and retrieves the irritation from his pocket. It is the •ESC• computer key he prized from Jerome's keyboard.

He gazes at the key for a moment and then gets to his feet. He resurrects an cld fingerprint kit from a cupboard. Carefully removing the key from the specimen bag - marked, •MORROW, Jerome• - he begins to dust it for a fingerprint. (CONTINUED)

He places ::-.e key '..::oder a camera. The enlarged print appears on the lefthand side of his computer screen. The word •MATCH· blinks onto the screen. However the face that appears from the computer's databank :snot that of •MORROW, Jerome• but •LUCA, Vincent•. The Investigator regards the photograph in disbelief.

DETECTIVE HUGO casually enters the lab, something odd in his nonchalant demeanor.

:::N'{ESTIGATOR not listening, referring to his discove:r:y) A fingerprint. There's something to be saij for nostalgia. · (realizing what Hugo has ·said) What did you find?

Hugo puts a specimen bag on the counter. It contains the Investigator's discarded tissue. The Investigator doe_s not recognize it.

The Investigator ilmlediately deposits the tissue into an analyzer.

The Investigator realizes the significance and looks guiltily to Hugo. Hugo exits the lab, leaving the Investigator to stare at his own FACE in his analyzing machine.

CAESAR, the old janitor, enters the locker room. He ~s about :o wearily open his locker when he senses another presence in the ~oom.

He turns to find JEROME sitting there on a bench. Although clearly delighted, CAESAR tries to disguise his pleasure.

The two men embrace. Caesar breaking off before Jerome.

: You'll give us a bad name. You won't have

me to keep an eye on you, you know.

Jerome departs. Caesar watches him go and turns back to his locker. He opens it to find a brand new, high-tech telescope sitting inside.

11""' :. J]

In the dimly-lit, empt.y computer complex, JEROME takes a last look around. He sits at his computer, one final time replaying the graphic representation of his path through the cosmos that he ·is on the eve of taki:1g for real.

He notices the key missi:1g from his keyboard. Instantly realizing the significance, he rises from his seat to flee.

Jerome is stopped in his tracks by the sound of his given name 11""' and the voice that calls it.

He makes no further attempt to flee but turns to face his pursuer. The Investigator steps out of the shadows.

(disturbingly calm) From Vincent.

The two men face each other for the first time in a long

·~ scarcely able to believe his eyes.

It is finally apparent the Investigator is Jerome's younger brother Anton [AS WE SHALL REFER TO TiiEINVESTIGATOR FOR -:;-!E REMAINDER OF TiiE FI!..'1] . (CONTINUED I

Jerome smiles at condescendingly.

AN'roN

,,,..._ . I adamant)

It's over.

Anton is clearly stung by the memory.

AN'roN (resolute) You didn't beat me that day. I beat myself.

CONTINUE!:l

't/ho are you tr1 ir.g to convince?

~""'-rcN (angr/1 I will prove it to you. Come swim with me now, Vincent. Now--tonight.

Jerome regards Anton with a knowing smile. Somewhere in Gattaca a phone rings.

IRENE, sitting in her car outside Jerome's condominium, hangs up her portable phone. In her agitation, her finger involuntarily goes to her pulse. She catches herself and removes the finger from her wrist as if it has burned her. She exits the car.

IRENE quietly knocks on Jerome's door but there is no response. Trying the handle, the door opens. Her curiosity takes her inside. All is quiet. IRENE calls out.

No reply. Irene hesitantly ventures further, drawn to the spiral staircase. She tentatively makes her way down the stairs and into Eugene's dimly lit condominium. With wonder and reverence, she examines the instruments and samples laid out on Eugene's work benches. She opens the refrigerator in the ·· .. bathroom and inspects the samples and sachets. Finally she regards the empty incinerator.

EUGENE IOC) Quite something, isn't it?

Irene turns.

Eugene has entered through the mirrored door, not at all displeased by her unexpected visit.

:J6

CONTINUE:l

:RENE I've been looking for him. Do you know where he is?

around the place before he goes .

Eugene idly inspects one of the blood sachets.

,-..

You nave more in common than you-know.

Irene's hand involuntarily goes to her heart.

Irene turns back to the incinerator, lost in thought.

JEROME and AN'roN walk down a dune together towards the beach not far from Gattaca - an ocean beach pounded by an angry, black sea. Jerome picks up a sharp piece of shell and slices the end of his thumb. A drop of blood oozes out. He offers the shell to Anton but Anton does not take it.

Both men begin to disrobe. The brothers stand beside each other on the sand once again - Anton still the more athletically-built of the two.

Together, they enter the raging surf. Diving through the breaking waves, they begin to swim. (CONTINUED!

CONTINUE,D

In the moonlit night. ·,;e watch their two bodies swi!mling side by side. They swim a long distance, Anton waiting for his brother to tire. But the pace does not slacken. Anton pulls up in the water. Sensing his brother is no longer beside him. Jereme also pulls up. They tread water several yards apart.

Now is your chance to find out.

Jerome swims away a second time. Anton is forced to follow once again. Angry now, gritting his teeth, Anton calls upon the same determination we have witnessed during his constant swimming in the pool. He puts on a spurt, slowly- reeling in Jerome.

Anton gradually draws alongside Jerome, certain that this effort will demoralize his older brother. But Jerome ha_s. been. foxing· - waiting for him to catch up. Jerome smiles at Anton. With· almost a trace of sympathy, he forges ahead again. Anton is forced to go with him. They swim again for a long distance.

It is Anton who gradually becomes demoralized - his strokes weaken, his will draining away. Anton pulls up, exhausted and fearful. Jerome also pulls up. However his face displays none of Anton's anxiety.

They tread water several yards apart. The ocean is choppier now. The view of the lights on the shore is obscured by the peaks of the waves.

Anton looks towards the empty horizon.

AJ."ITON Whac 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 disturbing:y •· serene smile.

Anton stares at Jerome, aghast. The two men face each other in silence, treading water several yards apart in the dark, rolling ocean.

Jerome turns and heads back towards the shore. Anton is left alone with the terrifying realization. The only sound, the win~ and the water.

JEROME, dishevelled and distressed, arrives back at the condominium. He notices IRENE standing at the edge of the pool.

She turns. He approaches her. They stand severalyards apart. Looking into each other's eyes. they do not speak. Jerome abruptly pulls a hair from his head - for once one of his own.

Here, take it.

Irene takes the hair, the significance not lost on her.

Irene contemplates the hair in her fingers for a moment, then deliberately lets it fall to the ground.

(CONTINUED I

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.

We watch the silhouette of IRENE and JEROME making love in the bedroom.

EUGENE, sitting in his darkened room, unscrews thecap of a plastic container and places it on a nearby table. We remain. on Eugene• s face as he opens hi_s fly. ·

IRENE and JEROME lie in bed together after making love. For once Jerome is able to sleep unconcerned. I-tis Irene who lies awake. head against JEROME'S chest, listening to the sound of his erratically beating heart. However it has a soothing effect on her.

She kisses Jerome and reluctantly rises from the bed.

Jerome smiles. For once Irene appears to be looking forward to the trip. She exits the room.

l:. 0

Inside the incinerator. JEROME scrapes away at himself - fer :he :inal time. He wistfully regards the brush in his hand.

JEROME, dressed for his departure, emerges down the spiral staircase into Eugene's condo. Jerome notices several suitcases •· at the foot of the stairs.

EUGENE wheels into the room.

Eugene wheels across the room and opens the mirrored door. The water 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.

EUGENE points out an extra specimen of semen in the first refrigerator.

Eugene leads the way out of the refrigerated room.

CONTINUEiD

(struggling to come to terms with the discovery) Why have you done this?

Jerome goes to question Eugene's travel plans but thinks better of it. He kneels before his friend and em.braces him.

Jerome smiles and hugs Eugene a final time. Eugene s·tuffs an envelope into Jerome's pocket.

'. Jerome exits. Eugene watches him go.

JEROME enters a large holding area along with his other eleven CREW MEMBERS.

Jerome's heart sinks as he recognizes LAMAR, greeting the crew for one final unexpected substance test. His colleagues groan good-naturedly but it is clearly far more than an inconvenience to Jerome. He looks towards the door he has just entered but there is no way back. One by one the crew are ushered behind a screen. 3efore he can think of a way out, it is Jerome's turn. He enters the cubicle. (CONTINUED)

From behind, we see Jerome unzip his fly. However for once Jerome does not urinate on cue - unused to operating his own equipment in front of the physician.

Jerome realizes he has no choice. Resigned to his fate, he begins to fill the cup.

• --Unfortunately my son's not all that they

promised. But then, who knows what he could do.

Lamar takes the cup from Jerome in his gloved hand. Jerome anxiously watches his sample poured into the analyzer. Confirming Jerome's worst fears, the face of 20-YEAR-OLD VINCENT appears on the computer screen. However Lamar does not look at the screen. He stares Jerome in the eye.

For future reference-- (a brief glance to where Jerome has just zipped his fly) --righthanded men don't hold it with their left. It's just one of those things. (CONTINUED)

llJ

Never looking at the screen, Lamar presses a button marked, •VALID•.

Jerome exits up a long enclosed escalator, realizing that Lamar •· has known all along.

EUGENE knocks back a vodka. With a certain reverence he places his silver medal around his neck.

At the top of a long escalator, the door to a craft is secured.

Eugene's wheelchair, empty, sits beside the door of the incinerator, also secured.

A CLOSE UP of the flame of a rocket's engines igniting - the ball of fire engulfs the launchpad - filling the screen.

• Inside the incinerator another ball of fire - this time engulfing the unseen figure of EUGENE. We glimpse the medal around his neck, melting ln the fierce blaze.

As we have seen so often in the past, a rocket launches into the slcy over Gattaca - however on this occasion it carries Jerome.

,,.....

~e focus on JEROME's face - seeing little if any of the craft. Jerome's eyes are closed. His head is still - alarnungly still. Could the launch itself have been too much for him? He hear the

thoughts in his head.

Jerome's eyes blink open. He holds the letter from Eugene in his hand. It contains no words, merely a lock of EUGENE'S hair - for once preserved solely for its sentimental value. The hair, weightless, floats off the page.

We focus on a porthole ·1ooking out upon a starscape.

In a few short years, scientists will have completed the Human Genome Project, the mapping of all the genes that make up a human being.

After 4 billion years of evolution by the slow and clumsy method of natural selection,

• we have now evolved to the point where we

can direct our own evolution.

The first title is replaced in the heavens by a second title.

If only we had aquired this knowledge sooner, the following people would never have been born:

A succession of portraits and photographs of RENOWNED and HISTORIC FIGURES fades in and out of the constellations - the accompanying titles list their affliction rather than their accomplishments.

1:s

:,A?OLECN BONAPARTE Epilept:~c

..

STEPHEN HAWKING

The face of Charles Darwin fades off and another title appears out of the stars.

Even Charles Darwin, che man who told of the survival of the fit:test, numbered amongst our frailest:.

, ~e title fades off and is replaced by one final title in the night sky.

Of course. che other birth that 1¥0uld surely never have taken place is your own.

CUT TO BLACK