HARSH REALM "Insertion 1x00" Written by Chris Carter Directed by Daniel Sackheim Original Air Date: 8 October 1999EXT. WARTORN STREET Shot in grainy documentary fashion, we see a decimated wall, from behind which a soldier, Major Melvin Waters, leans out and fires. He ducks back, calling to the rest of his platoon. WATERS Sniper's got us, one o'clock, top floor! CAPTAIN (into radio) Romeo-7-3, you're to hold your fire, over. Romeo-7-3, we're locked in our position and in the building have Fields, Gradsky and Eliza, over. Gunfire strikes the wall that protects them. VOICE OVER RADIO Copy that 7-3, over. More gunfire, as a pair of soldiers tend to a fallen comrade. Cut to a war-torn street, lined with hollowed-out buildings and a trail of debris. SARAJEVO 1994 Within this ACT Is a platoon of American soldiers. WATERS Remind me why we're here… HOBBES Peacekeeping mission. WATERS Helluva job we're doin'. Hobbes uses a hand-held mirror to see around the corner. WATERS You got something, Hobbes? HOBBES Go back...no...see `em Waters? Six kids. WATERS Six kids, I got `em. From the mirror, they watch as the last girl falls down and stops. HOBBES Stay there kid... Waters gets up and prepares to make a dash for the girl. WATERS Hobbes, got me? Hobbes is up. HOBBES Got you Waters. Hobbes fires around the wall at the sniper inside the building, giving Waters the necessary diversion to make a run for the girl. Waters flashes across the street and grabs the girl, ducking inside a building for cover. Hobbes, meanwhile, ducks back behind his cover and reloads. INT. ABANDONED BUILDING Waters tries to calm the girl down. In a moment, though, the other five kids emerge from the shadows, the oldest one fashioning a K7-Soviet rifle. Waters prompts the girl back to the group. WATERS Here, take her. The boy brandishing the rifle yells at Waters in Israeli. EXT. THE STREET Outside in the street, Hobbes watches the building that Waters ducked into. After a moment, the flashes of gunfire fill the doorway. HOBBES Shots fired! Waters! We got a man in trouble! VOICE OVER RADIO Romeo-7-3, stay put Captain, you got air support coming in, we're gonna hit the building, over. CAPTAIN Roger. HOBBES Captain, you gotta call off that air strike. CAPTAIN We're gonna die in here, Corporal. Hobbes, not willing to let a friend die, grabs his rifle is sprints from his shelter. SOLDIER Hobbes! Hobbes dashes across the street, miraculously dodging enemy fire, and makes his way into the building. INT. ABANDONED BUILDING Quick and calculated, he surveys the interior, searching. HOBBES Waters! Where are you! WATERS oc Hobbes... Hobbes finds a segment of fallen-through floor, through which he can see Waters on the floor of the level below. Hobbes drops through the hole to find Waters severely injured. WATERS Kids got me Hobbes...you believe that...last time I do them a favor... Hobbes removes Waters outer jacket to find a bloody bullet-wound in his gut. HOBBES Take it easy Waters. Hobbes applies pressure to the wound to slow the bleeding, putting Waters in a bit of pain. HOBBES They're gonna bomb the building. I've gotta get you out. WATERS Save yourself, buddy, go on. Hobbes looks back to his entrance, the whole in the ceiling, and realizes there is no easy escape. He looks around for protection, and finds none. So pulls Waters to a doorway and scours the room until he finds a mattress, which he pulls over top of himself and Waters. On the ground, he removes his helmet and puts it on Waters. Suddenly, the image drops into SLOW MOTION. Hobbes looks off and finds a drawing of the Crossed Swords on the wall HOBBES vo I never believed in Fate or destiny of that stuff about your path already being chosen. Who could believe it, when a choice made in the space of a heartbeat can change your life. But here I am, dearest darling, wondering what force put me here, brought me to this moment. A fate I never wished for, but have now certainly attained. How could I know this moment would change our lives forever? Overhead, Hobbes hears the sounds of the air-strike jets, after which the screen flashes white as they drop their bombs to level the building. HARSH REALM COMMERCIAL I EXT. SUBURBAN STREET (DAY) FORT DIX, NEW JERSEY PRESENT DAY Hobbes, in Army fatigues, pilots a red GMC truck past a church as he returns to his home. He pulls up the driveway and exits the car with a pack of mail in hand. INT. THE HOBBES RESIDENCE Hobbes enters the house and removes his hat. HOBBES Sophie, hey hun... SOPHIE In the bedroom...*don't* come in. HOBBES Why? SOPHIE Cause I said so, Tom, now don't. HOBBES leafing through mail There's something in the mail from the county clerk's office, Sophie. Maybe they decided not to give us our marriage license. SOPHIE Then I won't need the dress. Hobbes turns to see his fiancé, Sophie, holding her dress in front of herself. Hobbes is stunned. SOPHIE Well? Whatayou think? Hobbes, not answering, averts his eyes. SOPHIE Tom? Hobbes refuses to make eye contact. HOBBES Whatayou doing, Sophie? SOPHIE It's my wedding dress, stupid. HOBBES I know, I'm just...I'm not supposed to see it until the wedding day. SOPHIE Thomas F. Hobbes, I swear, sometimes... HOBBES It's tradition, Sophie, ya know. SOPHIE Well, tradition and all, maybe you shouldn't see this either. Sophie drops the dress to the floor to reveal her completely naked body. Hobbes is equally stunned. HOBBES Well, *that's* one of those traditions I could overlook. SOPHIE You wanna overlook it right now? HOBBES Yeah, right now... They kiss. FADE TO... INT. THE BEDROOM (NIGHT) Later that night, in the darkened bedroom of the soon-to-be-married couple. We pass a row of pictures, showing: Hobbes and Sophie in front of the Eiffel Tower in Paris; Waters, Sophie and Hobbes at a restaurant; and Hobbes with his dog, Dexter. HOBBES I'm thinking California. SOPHIE California? S'that what you want? HOBBES I wanna get as far away from here as possible. Start a life; get a little house, another dog. SOPHIE No kids? Hmm? Hmm? HOBBES Well, first things first. SOPHIE I love you Tom Hobbes, but first thing; we gotta go get some sleep. Sun's comin' up. From outside, they hear a knock on the front door. SOPHIE Well who could that be at this hour? INT. FRONT DOOR Hobbes answers the door to find two military soldiers. SOLDIER Lieutenant Hobbes, d'we wake you sir? HOBBES No, I was... SOLDIER Your CO wants to see you, asked you pack an over- night bag, sir. HOBBES For what? SOLDIER Didn't say. moves to attention Asked us to wait. SOPHIE (coming out of bedroom) Tom? Whatathey want? Hobbes looks back to his wife, then back to the soldier. EXT. MILITARY INSTALLATION (DAY) Later that morning, Hobbes is driven to a building placed in a clearing surrounded by woods. INT. MILITARY INSTALLATION Hobbes enters to find a group of five military personnel awaiting his arrival. HOBBES Lieutenant Tom Hobbes, reporting as ordered MAN IN CHARGE. MAN IN CHARGE (turns to face Hobbes) Lieutenant Hobbes. You look tense, son, at ease. You're CO tells me we're losing you from the Army next month. [Neonote: Nice to see Lance "Frank Black" Henrickson back from the shadows.] HOBBES Yes, sir. MAN IN CHARGE Too bad. I hear you were once a true believer. A man of caliber and resource, decorated for an act of extraordinary bravery overseas. That resourcefulness saved your friend's life. Hobbes remains silent. MAN IN CHARGE You want to know why you're here. INT. DINING HALL Hobbes sits among the five people who seek to recruit him. MAN IN CHARGE That's damn good food, Hobbes, eat. You know a class- ified project called HARSH REALM, Lieutenant? HOBBES HARSH REALM? MAN IN CHARGE It's a simulated war game. A virtual reality game used to teach situational war strategy. Pentagon developed it. Kept it under wraps. Cold War came to an end. You know the rest. HOBBES Pardon me for asking, sir, but...what does that have to do with me? LT. COL. GILOVITCH You're here to play the game. MAN IN CHARGE We've got it on-line looking for a crackerjack soldier who can beat our high scorer; Sergeant Major Omar Santiago. MUSTACHE MAN You know Santiago, Lieutenant? HOBBES Most decorated combat veteran to serve in Southeast Asia. Retired. MAN IN CHARGE But not before beating the reigning Lord of the Realm. A title which he's defended from all players since. HOBBES What's the objective? INGA FOSSA Take out Santiago. HOBBES (stunned) Ma'am? MUSTACHE MAN Remove his virtual character. Eliminate him from HARSH REALM. Hobbes looks back to the MAN IN CHARGE. MAN IN CHARGE It's just a game, Lieutenant. Make high score, leave the military a winner. CLEAN-SHAVEN MAN We pull a few strings for you and your new wife in California. INT. DEBREIFING ROOM Hobbes sits in a red padded chair with a pair of headphones in his hand. The MAN IN CHARGE enters. MAN IN CHARGE The video will explain how the game is played. Every- thing you'll need to know about HARSH REALM. The soldier who picked Hobbes up the night before enters to drop off his overnight bag and a hard-shelled case. HOBBES How long is the game gonna take? MAN IN CHARGE All in the video, Lieutenant. Shouldn't be any ques- tions. HOBBES I do have one...question. How'd you know I was thinking about moving to California? MAN IN CHARGE (moments hesitation) Who wouldn't move there, who's lived here? The MAN IN CHARGE exits. After a moment, Hobbes puts the headphones on and awaits the beginning of the video. He notices, carved into the left armrest, the word SIEGE. On the right armrest, he then finds the word PERILOUS. A moment later, the video starts. A dramatic score to what looks like the beginning of a standard Army recruitment video. The narrator begins. [Neonote: Gillian "Dana Scully" Anderson was a welcome addition. Nice to see Carter hasn't forgotten the people who made him famous.] NARRATOR Technology, and the threat of nuclear annihilation in the last half of the 20th Century have changed the world forever. They've changed war, and its consequences, as they have forever changed the battlefield, and the war- riors who must still fight on it. It's been estimated that a nuclear device the size of a small suitcase, smuggled in and detonated in New York City, would kill several mil- lion people instantly, and many times that amount with radioactive fallout. This scenario compelled the DoD to create the project, codenamed HARSH REALM. Using the 1990 census, satellite cartography and other classified data, the creators of HARSH REALM have simulated a virtual reality, where landscapes and people are identical to our world, down to every man, woman, and child. By putting players in this simulated crisis scenario, we could protect national... Suddenly, the video cuts out. Hobbes, confused, removes the headphones and ventures out of the room. INT. DINING HALL He finds the rest of the building empty. INT. MAIN ROOM Back in the main room, he still finds no one. HOBBES Hello?! He finds his way to the front door and opens it. In a flurry of gunfire, a bullet chips off the doorframe, sending him to the floor in surprise. He looks out the door to find a group of ragged civilians heading for the building. A moment later, a stone-faced man with a machine gun, Corporal Mike Pinocchio, pounds through the door to find an empty room. As he ventures further into the building, we find Hobbes in the rafters of the main room. After a few more moments, the group of civilians enter the building as Pinocchio returns with Hobbes' overnight back and hard-shelled case. The civilians charge him for the bags. PINOCCHIO Back off! BACK OFF! (throws the overnight bag at them) Take it! The civilians take the bag and leave the building. Pinocchio opens the hard-shelled case to find a handgun, which he loads and cocks, heading back out of the building. Alone again, Hobbes drops back to the floor and begins examining the hard-shelled case when suddenly, a voice is heard behind him. PINOCCHIO BOOM! Hobbes wheels around to see Pinocchio, gun pointed at Hobbes' head. PINOCCHIO You're dead. Let's have the watch. Hobbes doesn't move. PINOCCHIO Just as happy to take it off a dead man. Let's go. Hobbes takes his watch off and gives it to Pinocchio. PINOCCHIO Pockets. Empty `em. Hobbes removes his wallet from his pants pocket and hands it to Pinocchio. Pinocchio slaps the wallet to the floor. PINOCCHIO Shirt pockets, Dick. Hobbes feels into his chest pocket and removes a small object. HOBBES It's my wedding ring. It's for my girl. [Neonote: Then why show it to him at all?] PINOCCHIO Well I'm touched. Hobbes slowly extends the ring to Pinocchio. As Pinocchio takes it, Hobbes moves quickly to grab Pinocchio's gun, taking the sidearm from him as Pinocchio grabs for the machine gun hung from the left side of his belt. Hobbes points the handgun at Pinocchio while Pinocchio returns the sentiment with the larger and more powerful machine gun. Hobbes opens his hand. HOBBES Just the ring...it's all I want. PINOCCHIO I coulda killed you...shoulda... The standoff continues until, after a few moments, the intermittent thumping of an approaching helicopter is heard overhead. PINOCCHIO And now we're both gonna die! Pinocchio makes a break for the door. EXT. MILITARY INSTALLATION Pinocchio exits the building with Hobbes on his tail. [Neonote: The music from here on out is simply mind-blowing. The soundtrack is on my wishlist. Incredible work here, Mark.] HOBBES Hey! HEY!! Pinocchio sprints away from the building with Hobbes in hot pursuit. As they exit, a helicopter levels a few yards off the ground and fires a missile at the building. Hobbes is sent sprawling on the ground from the force of the exploding structure. From the ground, Hobbes spots an entourage of military vehicles heading for what remains of the building, firing hundreds of rounds at the fleeing civilians. A man a few yards ahead of Hobbes is hit, but before the wounded man even has the chance to hit the ground, Hobbes is to him, hoisting him up on his shoulders to carry him to safety. Another moment later, though, the man is shot in the back by one of the gunman in the military vehicles. The man fazes out and completely vanishes, leaving a disoriented Hobbes now running alone. Hobbes makes the treeline and disappears into the woods, surveying the scene as his attackers convene on the site where the building used to be. He watches closely as the pilot of the helicopter gets out to brief the rest of the men on their next action. The man is Major Melvin Waters. Hobbes, confused, stands and calls to his friend. HOBBES Waters! Hey, Waters! It's me, Hobbes! Tom Hobbes! In the next instant, a bullet pierces Hobbes left shoulder, knocking the bewildered soldier to the ground. As he lay on the ground, bleeding and in pain, he suddenly sees a woman, Florence, hovering over him, with short-cropped hair and battle fatigues. She quickly looks around, then pulls him to safety. Hobbes lay wounded on the ground as Florence removes his jacket to tend to his injury. HOBBES Who are you? What's going on? Florence produces a bandage. HOBBES Are you military? Florence begins to clean Hobbes' wound. HOBBES Is this the game? Am I in HARSH REALM? Florence places her hand over the bullet puncture and holds it for a moment, after which she removes her hand. The wound closes up and completely heals. Florence then hurries away. Hobbes sits up, Florence no where in sight, and examines his shoulder, which has no sign of a bullet wound. Hobbes stands and leaves. EXT. FORT DIX - HARSH REALM Hobbes runs home, passing through a war-torn version of reality full of hollowed-out cars and buildings, scarred landscapes and desiccated neighborhoods. HOBBES (vo) My dearest Sophie. I know it can't be, but it all seems too real. Is this what the world will become? Is this nightmare I'm in only a mistake away? INT. THE HOBBES RESIDENCE Hobbes finally reaches what's left of his house, now vacant and defaced. HOBBES Sophie? Sophie? looking around the house What the hell is this place? A sound emanates from the bedroom. HOBBES Sophie? INT. BEDROOM Hobbes reaches the bedroom, and the sound finally becomes distinct; it's a dog whimpering. He leans down to look under the bed, and finds his dog. HOBBES Dexter? How can this be? You're here. Hobbes pulls Dexter out from under the bed. EXT. FORT DIX Later, Hobbes walks the desolate streets of this sick version of his neighborhood. HOBBES (vo) What are we, that we would need to create such a place as this? How do I get out, Sophie? How do I get back to you? All I can think is I must finish the game. I must find Santiago. EXT. QUONSET HUT (NIGHT) After a night of walking and finding nothing, Hobbes chances upon a bar, the Quonset Hut. INT. QUONSET HUT He ventures inside with Dexter to find a dark and seedy place full of equally dark and seedy patrons. He makes his way toward the bar, where he finds Pinocchio holding his wedding ring. PINOCCHIO (to Keefe) Carat, at least. Sparkles like a virgin's teardrop. [Neonote: Now he's a poet?] KEEFE Where'd you get it? Hobbes cocks his gun, pointing it into Pinocchio's left cheek. HOBBES He stole it from me. And I'd like it back please. PINOCCHIO I swear I just heard someone cock a gun in your bar, Keefe. Keefe pulls out and cocks a sawed-off shotgun, to the tune of which every low-life scum-bag in the joint whips out whatever he happens to be packing that particular night. PINOCCHIO But one rule in this cesspool and you done broke it, Dick. HOBBES I just want what's mine. PINOCCHIO Lose the gun, and it's a conversation. Don't, and it's a bloodbath. I get to eat your dog. Hobbes glances around the bar, quickly assessing his dwindling options. Looking back to Pinocchio, he uncocks the gun, flips the safety on and reholsters the weapon. The patrons of the bar follow suit by putting away their armory as well. PINOCCHIO Ruined my dinner plans. HOBBES I'm not leaving without that ring, I'm telling you now. PINOCCHIO That's fine, but you best be talking to the man who owns it. Hobbes looks at Keefe, who defiantly slips the ring into his chest pocket. PINOCCHIO Welcome to HARSH REALM. (beat) Run along GI, maybe you'll get lucky and find Santiago. HOBBES (surprised, quietly) How'd you know I was looking. PINOCCHIO (to patrons) GI asked how I knew he was looking for Santiago. Everyone in the bar laughs. PINOCCHIO Everybody here's looking for Santiago one time or another. HOBBES You can't find him? PINOCCHIO Oh, I know where he is. HOBBES Take me to him. Pinocchio snorts with a "get real" aire. Hobbes realizes the futility of pushing, and picks up Dexter to leave. On the way out, he stops and turns back. HOBBES I'll give you my dog. Pinocchio just stares into his shot glass. EXT. QUONSET HUT Hobbes leaves the bar and heads for God-knows-where, when Pinocchio calls to him from the door. PINOCCHIO Hey! For the dog. EXT. THE FENCE Down a muddy street, we see the meanest hardcore GTO, complete with chicken-wire windows and roll-bars around every door, approaching before it pulls off the road at a huge fence topped with razor-wire. Hobbes and Pinocchio spill out. HOBBES So this is Santiago's fence... PINOCCHIO His fence, his military, his gas, his food, his world. And it just keeps getting bigger. HOBBES How do I get over it. Pinocchio picks up a rock and finds a particular portion of the fence. PINOCCHIO Right through here. He tosses the rock into the fence, where it disappears, seemingly bending space before vanishing into some unseen wormhole. A second later, it drops out the other side in the same manner. PINOCCHIO Glitch in the software. Hobbes turns to the fence in front of him and is about to walk through when Pinocchio stops him. PINOCCHIO Not there a-hole. He picks up another rock, throwing it at the portion of the fence in front of Hobbes. The rock bursts into flames and drops in a dozen pieces. PINOCCHIO You gotta know where the glitches are genius. Hobbes heads for the specific portion of fence that Pinocchio pointed out, but is stopped again. PINOCCHIO Uh, we had a deal. The dog. HOBBES Welcome to HARSH REALM. Hobbes starts away, but Pinocchio grabs his gun as he steps through the fence with the same effect as the rock, seemingly pulling space with him until he snaps through the wormhole and emerges on the other side. PINOCCHIO I will shoot you in the back. Pinocchio points the gun and pulls the trigger, hearing the hollow crack of an empty chamber. PINOCCHIO You're gonna die anyway. Hobbes pulls out Pinocchio's car keys. HOBBES Least I know where you'll be. Hobbes starts away. PINOCCHIO Hey, I got travel plans! HEY!! SANTIAGO CITY PERIMETER HARSH REALM EXT. SANTIAGO CITY PERIMETER A bright city hides inside the fenced perimeter. After a moment, a guard, wearing a patch with the Crossed Swords, passes on his watch route. He turns to see Dexter, trotting along up to him and sitting on the grass. GUARD Now what are you doing out here? Dexter barks at him. GUARD Who do you belong to, boy? In the next instant, the guard is tripped and sent to the ground with an arm over his windpipe and a gun to his temple. The face of Tom Hobbes looms over him. HOBBES Where's your CO? EXT. SOLDIER'S RESIDENCE A Humvee pulls up to a hotel and Waters steps out of the passengers seat. He enters the building. DOORMAN Evening Major Waters. Waters nods and continues up to his room. INT. SOLDIER'S RESIDENCE, ROOM 2301 Upstairs in room 2301, Waters enters his apartment, closing the door. A few steps later, the barrel of a gun is poking his in the neck. HOBBES Sergeant Waters. Ten-hut. WATERS Hobbes, s'that you? (turns to face Hobbes) Oh Lord, they sent you too. HOBBES Thought you'd be happy to see me buddy. WATERS Stupid, Hobbes, you gotta get outta here. HOBBES Where's Santiago? WATERS Oh, mother of Mary, you don't get it. The game; get in, get out, get Santiago. It's all a freakin' lie, Hobbes! It's no game. No gettin' out, no goin' home, I got the same mission. HOBBES (suspicious) Then what the hell are you doing here? WATERS Whatayou think I'm doin', I'm trying to save my ass, so I don't have to live like some dog in the bush. HOBBES Army's got a name for that. WATERS There's no other way! Now go, Hobbes. You stay and you're a dead man. HOBBES Why am I a dead man? WATERS Because my orders are to kill all new players. And I don't follow my orders, I'm a dead man, you get it Hobbes? Hobbes lowers his gun. HOBBES Yeah, I think I do. WATERS You saved my life. Now I'm saving yours. Go, leave, before my wife gets home. I'll come find you Hobbes, I'll help you, I will, but not now. Not now. Suddenly, the apartment door opens and a woman enters. Emerging from the shadows, the woman turns out to be VC-Sophie. HOBBES Sophie... RESUME SCENE Waters sees the mixture of anger and pain in Hobbes' face and tries to calm him. WATERS Listen to me, Hobbes, it's not her. She's V.C. HOBBES You married her? WATERS She's not real, she's a virtual character, it doesn't matter. HOBBES The hell it doesn't. Hobbes pushes past Waters to get to VC-Sophie. VC SOPHIE Who are you? HOBBES I'm Tom Hobbes. Hobbes pulls his gun on Waters again. HOBBES Your fiancé. EXT. SANTIAGO CITY STREET Leaving the hotel, Hobbes, wearing Waters' military jacket, escorts VC-Sophie away. HOBBES I don't like doing this Sophie, but I don't see another way. VC-SOPHIE Just don't hurt me. (beat) Where are you taking me? HOBBES I don't know. I'm not leaving you here with Waters. VC-SOPHIE What do you have against my husband? Hobbes stops and grabs VC-Sophie's arm. HOBBES He's NOT your husband. Hobbes produces his wallet, in which is a picture of Sophie. HOBBES Your middle name is Anne. You've got two sisters and a brother, Sam. In the REAL world, they were gonna be in our wedding. VC-SOPHIE (beat) I think you need help. Down the street, a group of Humvees with flashing sirens speed toward Hobbes and VC-Sophie. As they pass, the pair has ducked behind the side of a building to hide. Finally clear, the two of them leave, as a bus passes reading "One People, One Nation, One Santiago." EXT. SANTIAGO CITY PERIMETER Nearing the fence, Hobbes escorts VC-Sophie back to the fence. VC-SOPHIE Will you just let me go. HOBBES It's not much further. You gotta trust me. As soon as VC-Sophie sees the fence, and that Hobbes is taking her to it, she protests. VC-SOPHIE Hold it. No. Let me go. Inside his car on the other side of the fence, Pinocchio is still trying to hotwire his own vehicle. VC-SOPHIE You can't take me over there. You don't understand. Pinocchio jumps out of the car and starts toward the glitch in the fence. VC-SOPHIE You're gonna get us both killed. HOBBES I'm not. I'm trying to save you. PINOCCHIO Let her go. VC-SOPHIE You're insane! PINOCCHIO Let her go! HOBBES You stay out of this! PINNOCHIO She can't come past this fence. HOBBES She's coming with me. PINOCCHIO She can't come past this fence! His words are too late and too unimportant to Hobbes, who pushes VC-Sophie through the glitch and quickly follows, both of them passing out the other side. Pinocchio is carefully watching the fence. PINOCCHIO Gimme the keys. Suddenly, a piercing alarm sounds as the lights mounted along the top of the fence glare on. PINNOCHIO Gimme the keys, come on! Come on! COME ON!! KEYS!! The trio dashes for Pinocchio's car. EXT. WOODED AREA Somewhere hidden in the woods is a secluded underground bunker. INT. BUNKER Pinocchio, Hobbes and VC-Sophie, Pinocchio opens the top of VC-Sophie's blouse to reveal a barcode tattoo. PINOCCHIO She set it off comin' through the fence. It's an implanted tracking device. HOBBES Just get it out of her. PINOCCHIO Who is she? HOBBES What difference does it make to you? PINOCCHIO No difference to me, hell. HOBBES She's a virtual character, isn't she? She means nothing to you, so just get it out of her. Pinocchio retrieves his bag from a workbench. Dexter barks at him. PINOCCHIO I'm gonna eat that dog yet. He returns to the others with his equipment. PINOCCHIO Have a seat. We gotta shake a leg, they're tracking us right now. Pinocchio removes a switchblade and a lighter from his bag and begins burning the blade to sterilize it. Hobbes, having nothing else to do, looks around the bunker. He finds a box containing a chain on which are hung two dogtags. HOBBES Pinocchio...your name's Pinocchio? Pinocchio is up in a flash and presses the switchblade to Hobbes' jugular. PINOCCHIO Forget that name, wipe it from memory. There're people who think I'm dead; I'd like to keep it that way, you under- stand? Pinocchio backs off, confident he's made his point clear. PINOCCHIO We're not like her, like the VC, we have consciousness of who we are; we know this isn't real. HOBBES Then why does it matter? PINOCCHIO It's ALL that matters; because HARSH REALM is all that matters. HOBBES Why, if it isn't real? PINOCCHIO You're stuck here GI, don't you get it? There's no going back, no going home. And if they kill you here, it's not just some character they zap, it's you. Your brain, your consciousness, your head; whatever. You're lying on some slab back in the Real World. HOBBES There's gotta be a way out. PINOCCHIO Not for you, not for me. Only Santiago. Santiago con- trols the game. And he who controls the game controls everything. HOBBES Then why don't they just take Santiago out in the Real World? PINOCCHIO They can't find him, they don't know where he is, where he comes in and out. He's hijacked the whole damn pro- gram. Pinocchio swabs the tattoo on VC-Sophie's chest that marks where the tracking chip is. EXT. WOODED AREA Outside the bunker, a dozen heavily armed soldiers quietly converge on the opening in the ground, ready to arrest the trio. INT. BUNKER Back inside the bunker, Pinocchio sterilizes the switchblade with a lighter, preparing it for the procedure. HOBBES There's only one thing to do. There's only one choice. Kill Santiago. PINOCCHIO (laughs, to VC-Sophie) He's gonna get you BOTH killed. HOBBES (quietly, to Pinocchio) What about her? If she dies here? PINOCCHIO (watching the flame) Never see her again in HARSH REALM. Pinocchio gives Hobbes a look of finality before heading over to VC-Sophie and making his first cut. EXT. WOODED AREA Outside the bunker, the soldiers await their final order, after which one of them drops into the bunker to find it empty. INT. BUNKER On the ground, he finds the tracking chip, removed and coated sporadically in blood. EXT. WOODED ROAD On the road beyond the woods, Pinocchio's GTO spins out and takes off. EXT. DOCK A ship, packed with people, awaits permission to leave. At the gate, the GTO pulls up and pulls to a dusty halt. Pinocchio is out of the drivers side as Hobbes hurries to catch up with VC-Sophie in tote. HOBBES Hey. Hey, where're you going? PINOCCHIO Far away. From you, and Santiago. Pinocchio hurries up the dock to find Keefe and the ship's captain. PINOCCHIO I'm late, but I'm here. (captain says something to Keefe in Spanish) We good? KEEFE They take one more. HOBBES Wait. One more where? PINOCCHIO South America. So long and adios GI, it was nice knowing ya. HOBBES She's getting on this boat. PINOCCHIO No more room. HOBBES She's going on this boat. (pulls his gun, aims at Pinocchio's head) You let her take your place. PINOCCHIO (stops) Now you're starting to piss me off. Hobbes escorts VC-Sophie to the gangplank and ushers her onto the boat while Pinocchio stands by, gun pointed at his face. HOBBES You paid with her ring, you let her on. It's the right thing to do. PINOCCHIO (patronized) The right thing to do? All at once, Pinocchio, Keefe, and finally Hobbes see the entourage of military vehicles that converged on the exploded building earlier, now heading for the dock. Keefe takes off. KEEFE Adios to you all, man. HOBBES (to VC-Sophie) Get on the boat, go. (she doesn't move) Please, Sophie. Trust your heart. What it feels. Some- where inside you gotta know...who your heart was meant for. Go now. I promise, I'll find you. VC-Sophie finally gets on the boat. PINOCCHIO Happy? Pinocchio heads for his car, leaving Hobbes on the dock, watching VC-Sophie leave, for Santiago's men to arrest. INT. MILITARY JAIL Hobbes sits in a cell for a few moments before his cell door is opened and Major Waters steps in. WATERS On your feet, Hobbes, lets go. (Hobbes stands) General Santiago. SANTIAGO Mr. Hobbes, welcome to the Realm. I hear that you intend to kill me. HOBBES I had orders to win the game. SANTIAGO Well you've lost the game, sir. To make certain your loss is my victory, I should kill you, would that not be advisable? Kill your enemy dead, lest he rise up, strong with spite? Santiago looks around to his men, who make no movements to answer. SANTIAGO Spite, Mr. Hobbes, is not what drives me, but my enemy, the men who sent you here to destroy all this. HOBBES All this? SANTIAGO I provide for my people. A beautiful way of life, free of strife. Could you find such a true thing in the real world? HOBBES What about outside the fence? SANTIAGO Those people are just on the wrong side. As you were, you must be able to see that now. You've been sent on a mission from which you can't return. Outside the cell, the exterior doors to the facility are heard opening and Hobbes looks to find the passengers of the ship filtering in, among whom is VC-Sophie. She meets Hobbes' gaze before looking to Waters, her husband in the Realm. GUARD Keep moving! Hobbes looks back to Santiago, half for an explanation and half to say, "so there." SANTIAGO A man can have it all here. EXT. GOVERNMENT HOUSE We see a huge white building. GOVERNMENT HOUSE SANTIAGO CITY HARSH REALM INT. HOLDING ROOM Inside the building, Hobbes is gruffly ushered into a room in which he finds a large feast laid out before him. Hungry and tired, he grabs a chicken wing and bunch of grapes and digs in. INT. INTEROGATION ROOM In another room, VC-Sophie receives a slap across the face for her troubles. Her husband, Waters, is the deliverer. WATERS Who helped Hobbes. His name. VC-SOPHIE I don't know him, or his name. Waters, frustrated, administers another slap. SANTIAGO That's enough. We don't want Mr. Hobbes to think that she's been mistreated. She knows the man's name, and she's going to get it by whatever means necessary. Santiago starts out, but VC-Sophie catches him. VC-SOPHIE I never believed the stories, but I believe them now. About another world. And the man who's coming to save us. Santiago, enraged, crosses the room in one step and unleashes a violent backhand. SANTIAGO I am your savior! He quickly calms down, checking VC-Sophie's face to make sure he didn't wound her. SANTIAGO I am that man. (to Waters) Get someone in here to see to her. INT. QUONSET HUT Pinocchio takes a shot of whiskey as Florences approaches the bar next to him. In the dust on the bar, she finger-writes the words "It's Him." Keefe nervously backs away from the conversation. PINOCCHIO I knew it the moment I saw him. Pinocchio brushes away the dust to erase the words and takes another shot. PINOCCHIO I should be in South America. (Dexter barks at him) What are you looking at? Dexter slinks away as Pinocchio gives a defeated look to Keefe, then turns and heads out of the bar determined. INT. GOVERNMENT HOUSE HALLWAY Back inside the Government House, a group of guards heads down a corridor that passes a small foyer. After they're gone, a glitch suddenly opens up and Pinocchio and Florence step through. They quickly make their way down the hall. INT. HOLDING ROOM Inside his room, Hobbes is resting on the couch. After a moment, he spots a tiny light from under the door. He gets up to examine it and finds that it is only the tip of an optical wire, through which he is being watched. In the next second, the door flings open to reveal Pinocchio and Florence. PINOCCHIO Hey. Let's go, move it out. HOBBES What are you doing here? PINOCCHIO Saving my ass. HOBBES Why? PINOCCHIO Because he'll torture you, just to get my name. (Hobbes doesn't move) Look, I know what he's capable of... Pinocchio opens shirt to reveal scar from where tracking chip was removed PINOCCHO (Cont'd) ...I was sent here just like you. Now come on. HOBBES Not without Sophie. She's here. She knows your name too. Hobbes takes off down the hall and Pinocchio gives a pushed-to-the-brink look before following. INT. INTEROGATION ROOM In her room, VC-Sophie is lying in bed when the door bursts open and Hobbes and Pinocchio barrel through. HOBBES Sophie. I want you to come with me. PINOCCHIO Let's go, Hobbes. VC-SOPHIE It's you, isn't it... PINOCCHIO Let's go! VC-Sophie takes Hobbes' hand and the trio heads out of the room. INT. HALLWAY The trio dashes down the hall, turns a corner and continues away. [Neonote: Unbelievably phenomenal camera-work here Dan. You get my eternal praise for this final hallway sequence.] After a few seconds of running, though, they are abruptly stopped by Waters, who has them at gunpoint. WATERS Stop right there!! Weapon on the floor!! Pinocchio drops his machine gun. WATERS Well, well. Mike Pinocchio. Alive and well. Suddenly, a barrage of gunfire erupts from the machine gun of Florence who entered with Pinocchio. Waters ducks behind a dresser for cover as Florence unloads, giving Pinocchio, Hobbes and VC-Sophie time to escape. Down a new hallway, she quickly follows after them. Free of attack, Waters is up and chasing them, turning down the new hallway and dropping into SLOW MOTION as he lines up his gun to fire. He pulls the trigger, sending a bullet into VC-Sophie's back. Pinocchio stops at the sound of the discharge, turning to see who got hit. Hobbes is slowed down as VC-Sophie drops to her knees, looking up to him with pleading eyes. In the next second, she fazes out and completely vanishes. Waters looks on with shock in his eyes, unable to believe or come to grips with the act he's just committed. Hobbes, infuriated, starts back toward Waters, who makes no move to fire at Hobbes. Pinocchio, knowing the restraints on their time, runs to Hobbes and pulls him to run. Pinocchio fires at Waters and the half dozen men who rush around the corner behind Waters to hold them off. Hobbes finally gives in, taking off with Pinocchio and Florence. BACK AT REGULAR SPEED, another four soldiers barrel around a corner, and Florence unloads on them, sending them to the floor. The trio escapes down another hallway and the soldiers are back on their feet, running after them. They turn down the next hallway and the small foyer, empty, as Pinocchio, Hobbes and Florence slipped away through the glitch. Santiago trots down the hall. SANTIAGO Waters. WATERS It's Mike Pinocchio, he was here. SANTIAGO For who? Hobbes? WATERS (nods affirmatively) My wife...I killed her... Santiago drops his eyes, then leans in and holds Waters' shoulder. SANTIAGO You have made a terrible mistake. (starts away) Hobbes'll never stop now. FADE TO: EXT. WOODED AREA A platoon of soldiers scours the area in search of Pinocchio, Hobbes and Florence, who we find hiding in a ditch behind the large exposed root structure of a tree. HOBBES (vo) Who's destiny is this? It can't be mine. What is this trial I'm being put through? Is this a test of my love for you? These people are afraid. They are the hunted, and I count myself as one of them now. Though they look at me strange, as if I know a secret or something. I know only this; I love you, dearest one, and will fight my war here. No my heart, and please don't worry. I will be home. I will be home. We zoom out with our focus still on Hobbes until we reach a height from which all seems black, only to zoom out further to find that we are looking into a human eye. INT. HARSH REALM PLAYERS BAY A doctor passes a flashlight over it, then over the other, and we see that he is checking up on Hobbes, laying on a table in the real world, wires connecting him to the simulator, in a room with hundreds of other soldiers, all hooked into HARSH REALM just as he is. THE END