"Betrayal" written by Megan Reilly August 26, 2000- September 2, 2000 TEASER EXT. DESOLATE COUNTRYSIDE (HARSH REALM) - DAY A long, black train with a column of white smoke rising from the top. As it rounds the bend, we see the cars are cattle cars. EXT. WORK CAMP - DAY WATERS, in his Republican Guard uniform. A slightly pissier look on his face that usual. Several Republican Guard stand near him. Their uniforms are shabbier than those in Santiago City, their faces thinner. One of them claps Waters on the arm. GUARD Congratulations on your "promotion." A helicopter is waiting. As the departing Guard jogs over to it, its rotors begin to circle, kicking up a powerful wind. WATERS Yeah. Some promotion. He surveys his new outpost. HIS POV: EXT. WORK CAMP - DAY - Establishing High rows of double chainlink fences, like those outside Santiago City. A tall wooden tower in the center with a box-like room at the top and speakers on all four sides: the watchtower. It looks like something out of a prison movie. And there are barracks, hastily built wooden rows of housing, stretching as far as the eye can see. The train tracks run directly parallel to the fence. A WHISTLE lets us know the train is approaching. RESUME: EXT. WORK CAMP - DAY The helicopter has gone, the wind died down. Waters withdraws a remote device from his belt and considers it as the train slides to a halt. Waters clicks the device. A section of the fence ripples and disappears. At the same moment, the boxcar doors on the train also disappear, revealing their cargo: PEOPLE. INT. SANTIAGO'S OFFICE - DAY SANTIAGO leans far back in his executive chair. INGA is perched on the desk, legs crossed almost provocatively. SANTIAGO With the spy gone from our midst, now we can focus on the issue at hand. He flips open a manila file on the desk, nudging Inga with it. Her eyes are on him. SANTIAGO The spy is gone from our midst, isn't he? It's a challenge. Inga nods coolly. SANTIAGO Then we have nothing to worry about by beginning phase one immediately. INGA I thought this was phase one. Harsh Realm. Santiago's smile is mysterious and disturbing. SANTIAGO A change is in the air, my dear. He touches her lightly under the chin. SANTIAGO Are you sure you're ready for it? Inga's look is defiant. And oh, so ready. INGA What about 'the one'? SANTIAGO Like our spy, he's been taken care of. CUT TO: HOBBES's face We are: EXT. FOREST - DAY Hobbes leans against Pinocchio's car, his hand out. He accepts a pair of binoculars, brings them to his eyes. PINOCCHIO (VO) That's it. Santiago's final solution. Hobbes lowers the binocs, hands them off to Florence, who doesn't look. Her back is turned to the camp. HOBBES I thought his final solution had to do with the real world. PINOCCHIO It does. Hobbes raises the binoculars again. HOBBES I don't understand. What's his plan, then? PINOCCHIO You're looking at it. HIS POV: The work camp ACT ONE EXT. WOODS - DAY Hobbes lowers the binoculars, sets them on the car. PINOCCHIO All this is just practice. For what he's gonna do in the real world. HOBBES No. It can't be - PINOCCHIO Believe it, kid. Santiago's learned from the best. HOBBES I don't believe that. He's got some kind of god complex, but I thought he was trying to recreate America. A better America than America, in his twisted view. PINOCCHIO Who do you think the best warriors were? He points at the work camp. PINOCCHIO California, 1942. You think we didn't have concentration camps? We're the only nation who's ever used the bomb, and we dropped two of them. (beat) Can you be so sure we're the good guys? Hobbes' expression is horrified. HOBBES That was fifty years ago! PINOCCHIO What makes you think that's changed? Hobbes is angry; he doesn't have any words. Pinocchio's smug manner doesn't put him at ease. HOBBES And he's going to do that in the real world? PINOCCHIO If he hasn't already. (beat) HOBBES How do you know? PINOCCHIO I used to work for the guy. HOBBES What's to say he hasn't changed his plan? Pinocchio gestures at the work camp again. Hobbes' tenacious look doesn't subside. PINOCCHIO You're right. The Whos in Whoville finally invited him to Christmas dinner and his heart grew three sizes and now he's not going to destroy the world -- HOBBES How can you talk about it like you don't even care? PINOCCHIO I care. He takes a few steps away. Hobbes and Florence exchange a look, and Florence turns her head to look at Pinocchio. HOBBES I want you to be straight with me. Pinocchio doesn't move. HOBBES Pinocchio. Pinocchio brushes past him to get in the car, slams the door. Hobbes yanks it open again. PINOCCHIO Get in the car, Hobbes. HOBBES No. Not until I get some answers. PINOCCHIO What good are answers if you get caught out here? He reaches for the door, but Hobbes doesn't budge. HOBBES No. I've followed you blindly long enough, on half-truths and sarcasm. I want to hear all of it. Now. INT. SANTIAGO'S OFFICE - DAY Santiago is standing now, looking over Inga's shoulder, almost breathing down her neck as she finishes turning the pages in the folder. SANTIAGO So. She can't turn to look at him because they would be nose to nose. INGA It's very thorough. She edges slightly away, and then looks at him. They're still very close and she uncrosses her legs, leaning back slightly, a pose that is designed to be very inviting. Santiago nods appreciatively, his eyes hungry. He makes just the slightest move toward her as we: CUT TO: INT. GOVERNMENT HOUSE HALLWAY - DAY Inga emerging from Santiago's office. Smoothing her palms down her skirt, even though her appearance is immaculate as always. She rounds a corner. INT. OUTSIDE THE PORTAL ROOM - DAY Inga stands still for the reader to scan her barcode. Her face and information appear on the small screen, and the door clicks as it unlocks. She pushes the door open. As she disappears inside, we catch a glimpse of the portal chair, so there's no doubt about where she's headed. As the door swings closed, we find Santiago in the hallway, having followed her. EXT. WOODS- DAY Pinocchio gets out of the car. Crosses his arms sullenly. HOBBES Santiago's plan. PINOCCHIO Destroy the real world, so Harsh Realm is all that's left. HOBBES Why? Pinocchio shoots him a "why do you think?" look. HOBBES How? Pinocchio points, again, to the work camp. Florence turns away, irritated by their macho infighting. She finds something else to do. HOBBES So all this is just practice for what he's gonna do to the real world? (beat) HOBBES Then why not take over the real world? PINOCCHIO Why should he, when he has all this? HOBBES All this. He looks at Pinocchio. HOBBES What's your place in all this? PINOCCHIO My *place*? Hobbes is earnest. PINOCCHIO As far away from all this as possible. HOBBES But you don't want to go back to the real world. Pinocchio's look is dark; self-absorbed. He raises his eyes to glare at Hobbes. HOBBES Then let's talk about the one. PINOCCHIO Florence. Let's go. Hobbes puts his hand on Pinocchio's arm. Pinocchio looks at it, a warning, but Hobbes doesn't let up. HOBBES I want to know the whole story. PINOCCHIO If you want me to tell you you're some kind of savior to Harsh Realm, I can't do it, kids. HOBBES Why not? His question takes Pinocchio by surprise. PINOCCHIO Is that really what you want to hear? (half-sarcastic) Saving the world takes a lot of work. You sure you're cut out for it? HOBBES You'd know about that, wouldn't you? PINOCCHIO What's that supposed to mean? HOBBES I think you don't want to talk about it because you think you're the one. Off his confrontational stance: CUT TO: INT. PROJECT HARSH REALM - DAY A dark, shadowy room with a large conference table in the center. The furniture is stark, military issue. Sitting at the table is the Man In Charge, the man who initiated Hobbes into Harsh Realm in the pilot. And across from him is Inga Fossa. INGA You need to call them together. He's going to move. MAN IN CHARGE When? INGA Soon. The Man in Charge's expression is veiled. INGA Do you know the risk I'm taking, bringing you this information? Still his expression does not change. Inga's furious, she stands and pounds on the table, hard, and it makes a hollow clanging sound. The Man in Charge looks at her enigmatically, calmly. INGA Do you want him to succeed? The Man in Charge looks seriously at her a beat. MAN IN CHARGE Do you? She frowns, accused. The faintest tint of fear in her eyes. MAN IN CHARGE I think it's time for you to go back. INT. SANTIAGO'S OFFICE - DAY Santiago at his desk with his "laptop" before him. As we saw in "Palingenesy" there is no real keyboard and the display is a holographic screen floating in the air above the desk. The image is of Hobbes and Pinocchio, in the woods, present time, wide angle. Santiago could be watching television. Voices from the screen, tinny, as Santiago watches: PINOCCHIO What makes you think that? HOBBES You spoke the language. With the monks. PINOCCHIO I don't know what you're talking about. Santiago is smiling. DISSOLVE from the screen to: EXT. WOODS - NIGHT Florence is similarly watching the two men, the expression on her face letting us know she's considering this possibility for the first time. HOBBES There've been other signs. Other lies you've told. PINOCCHIO Hobbes. HOBBES I want the truth. The whole story. PINOCCHIO It's getting dark. He glances at Florence, who nods. PINOCCHIO We have to find cover. Hobbes swallows hard, looks up at the darkening sky where the sun has already set. Suddenly Florence raises her weapon, ready to fire. The two men look at her and she nods into the distance. At first, nothing. Then the shapes of two Republican Guard in the distance. They haven't spotted our trio yet. Pinocchio gets into the car, and Hobbes jumps in the back. The car starts as Florence, covers them, and then gets in herself. The Republican Guard's attention is drawn by the noise. They fire, but the car is already in motion, speeding away. EXT. WOODS - NIGHT Hobbes, Pinocchio, Florence, hunkered down in a camp close to the car. Eating bread or MREs. HOBBES That was a little too close. PINOCCHIO Had closer. Hobbes shoots him a significantly distrustful look. HOBBES Exactly. PINOCCHIO Even I'm not that paranoid. (beat) Look, Hobbes. You need to get some sleep. Get your head in order. Trust me or don't, makes no difference to me. Hobbes catches Florence's frown and shares a signficant glance with Pinocchio. Then he nods, and tosses down the end of his dinner, stretching out to sleep. Florence looks to Pinocchio, but he avoids her eyes. TIME CUT TO: EXT. WOODS - NIGHT Full darkness. Hobbes sleeps where we left him. Florence is curled on one side, breathing evenly. That leaves: Pinocchio. Sitting up, awake. Almost seeming to wrestle with his thoughts. He sighs and gets to his feet, leaving the camp. Hobbes' eyes open, following Pinocchio. The next moment, he's on his feet, silently tracking him. EXT. EDGE OF WOODS - NIGHT A man, waiting in darkness. Pinocchio stands apart from him. REVERSE ON: Hobbes, observing. A cloud moves from in front of the moon. The face of the man Pinocchio is meeting with is revealed: Santiago. Pinocchio is nodding. Then he turns and seems to look directly at Hobbes. Hobbes startles, and heads quickly back through the woods. EXT. WOODS - NIGHT Hobbes can't move quickly enough. The HEADLIGHTS OF A HUMVEE, careening through the forest after him. HOBBES Florence! She's up, alarmed, when he reaches the camp. HOBBES Pinocchio's turned. Come on. She hesitates. The Humvee roll to a stop. WATERS (OS) Hobbes. Right there. Hobbes and Florence stop. Waters has his gun on them. A pair of Republican Guard grab them, handcuff them. EXT. THE FIELD - NIGHT Between the woods and the work camp. The Humvee caravaning back to camp. CLOSE ON: Florence and Hobbes in the back of the Humvee. The car rolls past Pinocchio and Santiago, still standing together in the field. Hobbes' and Pinocchio's eyes lock. Santiago puts his hand on Pinocchio's shoulder. SANTIAGO You made the right choice. END OF ACT ONE. ACT TWO INT. REPUBLICAN GUARD HOUSING - DAY PAN up along the form of a Republican Guard in full uniform - the high sheen of the boots, neatly pressed trousers... HANDS yanking the hem of a Republican Guard jacket, smoothing it down. The insignia, the ranking on the collar. Up to the face. Pinocchio. As he scowls into the mirror, the look on his face is akin to that of a cat dressed up in baby clothes. He turns and surveys the bland, barren room. Picks up his gun from the neatly made bed. And sets off. INT. COUNCIL ROOM - DAY The Advisors, seated around the table. Santiago also seated. They're waiting. The door opens. Pinocchio enters, startled to see everyone gathered. He flashes a cocky grin to cover when he realizes they've been waiting for him. SANTIAGO Always late. PINOCCHIO But worth the wait, isn't that how the bumper sticker goes? Santiago raises an eyebrow, and Pinocchio sinks into his seat. The Advisors are staring at him, and it's not a pleasant surprise to see him again. SANTIAGO Why don't you begin by reporting on the intelligence you gathered in the field? Pinocchio nods. PINOCCHIO The rebel factions are fragmented. It undermines their power. It's hard to organize when there's no food. He stops, but Santiago says nothing. PINOCCHIO They will be easily defeated. Santiago lets him dangle there another moment. SANTIAGO Good. He gets up and goes to the map, ready to begin the meeting. INT. WORK CAMP BARRACKS - NIGHT Wooden bunk beds, three high. Prisoners sleeping. The door slams open. SOLDIERS with bright flashlights storm in. The prisoners rouse from their beds. Hobbes, lying on a lower bunk, opens his eyes as the soldiers grab him. He is now dressed in a cotton homespun uniform, almost like pajamas. He squints under the brightness of their flashlights. The other prisoners lie back down, with the soft sighs of relief that it's not them. EXT. BARRACKS - NIGHT The soldiers conveying Hobbes toward the watchtower. HOBBES Where are you taking me? Across the open field, from another barracks, another set of soldiers, with another person, this one struggling madly. It's Florence. She stops struggling when she sees Hobbes, her face lined in a deep frown. The soldiers stop with them. Hobbes looks up at the height of the watchtower. WATERS Look who's here. HOBBES Waters. The soldiers begin to back off, disappearing into the night. HOBBES You gonna kill me now, Waters? He holds out his arms. HOBBES Go ahead. Florence grabs at his arm, trying to push it down, to get him to control himself, but Hobbes pays no attention. WATERS Let's take this inside. He pressed a button and elevator doors slide open. Waters waits for the two of them to enter, then follows. INT. WATERS' OFFICE - NIGHT A desk, one leg sagging, and a chair. Hobbes eyes the place. WATERS Not exactly the lap of luxury. HOBBES Yeah, what happened to the lap you were sitting in? WATERS I'm here for the same reason you are: Pinocchio. HOBBES He's a traitor. WATERS (carefully) But to whose side? HOBBES You think Santiago would take him back if he wasn't sure? You think Pinocchio would go back on a lark? (beat) WATERS No. I don't think so. Florence has gone to the window and is looking out at the barracks. Hobbes walks over and takes a quick look out before turning back to Waters. HOBBES Where's your gas chambers? Waters shakes his head. WATERS I didn't ask for any of this. HOBBES Why'd you bring us up here? WATERS I wanted to find out what you know. HOBBES Heard enough? Another beat as Waters considers this man who used to be his friend. Waters nods, pushes the elevator button for Hobbes and Florence to be taken back to their bunks. INT. COUNCIL ROOM - NIGHT Santiago taps a spot on the map. SANTIAGO Here. This is where it all begins. The final phase. The Advisors sit silently, waiting. Pinocchio's expression is still, though far from calm. SANTIAGO Most of you will be needed here. A very few will be needed for trips into the real world. Pinocchio looks around quickly, eyes wide, scanning the faces of the other advisors. Looking for someone. But he doesn't find her. SANTIAGO Now is the time for us to gather our strength. Every man will be called upon in the coming days. If any of you have doubts... Now Santiago studies the faces of his men. Locking eyes with Pinocchio. Santiago moves in, puts his hands on the table. Addressing his men intimately. SANTIAGO We are here because we share a vision. A promise. A lust for a proper way of life. We have yearned for utopia, for a life of peace. Because we know that peace is worth fighting for. It is worth everything. We are joined together in this quest. Nothing shall rip us apart. Nothing will make us fail. Nothing will undermine our power! After a moment of silence, the advisors burst into punctuated applause. Santiago nods, and they file out of the room. Pinocchio rises from his chair, smacking his hands together sarcastically. PINOCCHIO Good show. SANTIAGO I never did appreciate your attitude. Pinocchio shrugs. PINOCCHIO Yes sir. Santiago half-smiles at him, indulgently amused. SANTIAGO You more than they know what we're fighting for. Not just against the horrors of the real world, but against what's out there. Beyond the fence. Pinocchio nods gravely. SANTIAGO I have a very special job for you. INT. BARRACKS - NIGHT The soldiers stand by the door as Hobbes returns to his bed. He lies down quietly and the door closes behind them. In the silence of the barracks, we hear it latch. Hobbes tucks his arms behind his head, staring at the bunk above him. Troubled. His neighbor whispers to him. NEIGHBOR What happened? Hobbes turns and looks at him. The Man is ordinary looking, dressed in the same uniform Hobbes wears. NEIGHBOR New boss man. Hobbes nods. NEIGHBOR Someone you used to know? HOBBES How did you - ? NEIGHBOR You know the right people, you learn things. Hobbes nods. NEIGHBOR Were you one of them? Hobbes shakes his head, not quite understanding. NEIGHBOR Republican Guard. Work for Santiago? HOBBES No. NEIGHBOR Military. Hobbes nods, half-sits up. HOBBES You have an accent. The Neighbor nods. NEIGHBOR I am Swiss. HOBBES How'd you end up here? NEIGHBOR I think you know. Hobbes looks at him in horror, the words sinking in. NEIGHBOR This is wrong. He gestures to the barracks, all of it. NEIGHBOR They didn't mark our arms with numbers, but this is no different. HOBBES Have they killed? The Neighbor nods grimly. NEIGHBOR We must stop them. HOBBES What makes you think I can help you? NEIGHBOR I told you. I know people. He reaches beneath his pillow, brings out a hard roll of bread. He gives it to Hobbes, who looks at it. Hungry but not wanting to accept it. The Neighbor nods, and Hobbes rips into it. INT. WOMENS BARRACKS - NIGHT The room is identical to the one where we left Hobbes, with women in long nightdresses asleep in beds. At the far end of the room there is a small window and standing near it, we find Florence. Her POV: The field, barren. And the fence, with the train tracks beyond it. She's looking hard for something, and doesn't notice the WOMAN who approaches her. WOMAN (whisper) You're one of them, aren't you? Florence looks at her. Startled. WOMAN The ones who don't speak. Florence blinks, then nods. To her surprise, the woman breaks into a smile. WOMAN We knew you would come. INT. COUNCIL ROOM - NIGHT SANTIAGO I need someone who will not flinch. Your knowledge that we must not fail will give you strength. Pinocchio stands at attention. SANTIAGO If anything goes wrong, Harsh Realm will end. The millions who live here in perfect harmony will be plunged into something beyond death, into nothingness. And you...you'll go straight back to hell. He considers Pinocchio a moment. SANTIAGO But I know you. You'd die before you'd let that happen. He leaves the room. PINOCCHIO Yeah, well. You don't know me as well as you think you do. ACT THREE INT. GYM - NIGHT Clean, brightly lit. Deserted. Pinocchio, in running shorts and a loose t-shirt, bench pressing like there's no tomorrow. Sweat soaks his clothes and his hair; he's pushing himself too far. Inga enters silently, in loose black pants and a sleeveless shirt, her hair in a ponytail. She stops when she sees him, for a second not sure what to do. Pinocchio groans as he sits up and looks directly at her before she can turn and leave. INGA A man only works out that hard -- PINOCCHIO What are you doing here. INGA -- when he's trying to forget something. She looks at him with a striking compassion. PINOCCHIO Come here. She doesn't move. He gestures with his hand, and she reluctantly moves closer. PINOCCHIO I'm not going to hurt you. He gets to his feet and reaches for her. She is very still as he very innocently pulls the end of her ponytail from where it's caught under the collar of her shirt. She lets out a tiny breath of relief and shifts to move away, but his hand closes at the back of her neck and he leans in close. PINOCCHIO Now that's I'm his second in command, you'll want to pick up where you left off. (beat) Isn't that right? He glares at her. PINOCCHIO Why are you trembling? INGA Don't. She raises her eyes to look up at him, and then makes a move like she's going to kiss him. Pinocchio shoves her, hard. PINOCCHIO (an order:) You don't. I don't want to see you, I don't want to hear your voice, I don't want to smell your perfume. Stay the hell away from me. He stalks toward the door. INGA When are you going to stop running? Her words hit between his shoulderblades like an arrow, but he doesn't even pause. The door shuts behind him with a powerful slam. Inga sinks down on the weight bench. INT. WOMENS BARRACKS - NIGHT The woman turns and there are several other women, also smiling at Florence. Florence looks from them to the first woman, worried. WOMAN It's all right. From the group of women, the Woman takes a BOOK, and holds it out to Florence. It's small, bound between a pair of Acco folder covers. Florence looks at it warily. WOMAN You know what this is. Florence's eyes snap to her. The Woman nods, and puts the book into Florence's hands. The group begins to dissipate, leaving the two of them standing there alone. WOMAN When you're ready. The woman moves away. Florence looks down at the book, and then returns to her post at the window. EXT. WORK CAMP - DAY The Guards are assembling the prisoners into neat lines for roll call. Waters emerges from his quarters, surveying. WATERS This is stupid. GUARD Sir? Waters turns to him. WATERS Do you think they're going to escape? Over that fence? He waits for the Guard's response. WATERS You're wasting time. Put those prisoners to work. As he turns, he catches Hobbes' eye, leaving Hobbes to stare after him, wondering what that was about. The Guards begin to round the prisoners over to an half-constructed frame for another building. NEIGHBOR You know that guy. Hobbes nods, his eyes lingering on Waters, who moves into a conversation with the one of the guards. HOBBES Yeah. NEIGHBOR He's up to something. HOBBES Yeah. He tears his eyes from Waters at least, and he and the neighbor get to work on construction, hauling the wooden beams to the work area. NEIGHBOR You're worried for your friend. Hobbes looks at him. NEIGHBOR I saw you last night. (beat) I told you. We need your help. INT. SEWING ROOM - DAY The women at row after row of sewing machines. Florence has found one by the window, and she is keeping an eye on Hobbes. The Woman flips a switch on Florence's machine, which grinds to a stop, getting her attention. WOMAN You know what it says. Florence looks at her, pained. WOMAN He has to know. The woman looks past Florence to Hobbes, through the window. WOMAN You're the only one who can tell him. Florence focuses her attention on her sewing, determined not to hear her. WOMAN (urgent) Not just for you and me. For all of us. INT. COUNCIL ROOM - DAY Santiago, in a private meeting with ADVISORS. We've seen him before. They're more scholars than soldiers, with reams of paper spread across the table. ADVISOR We've conducted extensive research and interviews, studies, polls -- SANTIAGO But you still don't know what the book says. I need that book. The door opens a crack, then wider. Inga walks in. Pale. She hasn't slept. SANTIAGO You're late. She offers no apology, just takes a position a few steps back from the table. An observer. ADVISOR The book doesn't -- SANTIAGO It does exist. I've seen it. INGA It doesn't matter what the book says. Santiago looks at her, as does the very surprised Advisor. INGA Use what they think it says. They haven't read it. If they believe you have the book... ADVISOR Yes, yes. Nodding, he exits to go do his work. Inga casts a longish look at Santiago, then moves to follow the Advisor. SANTIAGO You know what they say about those who refuse to learn from the past. INGA I've learned. EXT. WORK CAMP - CONSTRUCTION SITE - DAY The Neighbor and Hobbes have moved off to one side, into shadow. NEIGHBOR The time is growing close. HOBBES What? NEIGHBOR They sent me here. The army. HOBBES The *Swiss* army? The Neighbor shushes him. NEIGHBOR They had information, from a high ranking official. One who would betray not only his country, but mankind. HOBBES Santiago's supporters. In the Real World. NEIGHBOR You have to stop them. HOBBES Me. GUARD What're you two doing over here? He approaches. HOBBES (trying to find a lie) He...ahh... Two more guard approach to see what's going on. One of them raises his gun and points it at the Neighbor. INT. SEWING ROOM - DAY Florence jumps up from her sewing machine. The other women stir. A guard who is lounging in a chair in a corner of the room gets to his feet, but Florence is out of there, running. EXT. WORK CAMP - DAY Florence, running across the open field. EXT. CONSTRUCTION SITE - DAY The Neighbor's body digitizes, and the Guard turns his gun on Hobbes. WATERS What's going on here? GUARD He was planning something. Waters shoves the Guard aside. WATERS Hadn't we better find out what he was planning? He reaches for Hobbes, who stares at him, defiant. WATERS What is this woman doing out here? He gestures to Florence. SEWING ROOM GUARD She got away from me... WATERS You know what Santiago would do with incompetent soldiers such as you. HOBBES Send them to guard a prison camp in the middle of nowhere? Waters punches Hobbes. WATERS Take them both to my office. I'll deal with them. INT. WATERS' OFFICE - DAY Hobbes and Florence stand before Waters, who is angry. WATERS Do you know how close you've come? HOBBES What do you care? WATERS You don't understand anything. HOBBES Explain it to me then. WATERS Everything is at stake here. Everything. He looks at Florence. WATERS You know. She nods, reluctantly, drawing Hobbes' eyes. WATERS (yelling) GUARD! A guard appears at the door. WATERS Put these two in the chamber. GUARD Sir? WATERS You heard me! INT. CELL - DAY Darkness inside a small wooden cell. Hobbes and Florence are pushed inside and the cell door closes. HOBBES Damn it. Florence puts her hand on his arm, calming him. A thin shaft of light streams into the cell. HOBBES What? He raises his hand, trying to trace the source of it. Florence gets up on her knees and pushes at it. It's a loose board. In a matter of seconds, the board is gone and a hole gapes in the roof of the cell, letting light inside. Florence grins at Hobbes. HOBBES It's a trap. She shakes her head - it's freedom. HOBBES (absolutely sincere) It's a trap. Florence. He's waiting for us to slip up. That's got to be it. He had his chance to kill us...why would he set us free? She sits back down next to him. To wait. A pensive look on her face. After a moment, she produces the book the Woman gave to her and passes it to Hobbes, turning her eyes away guiltily. HOBBES What is this? He opens it. It's different than we expected...not handprinted, not old. The pages stiped with green and white, printed with rows of 1s and 0s. HOBBES Some kind of code. Florence nods miserably as Hobbes shifts, holding the book into the light. HOBBES You can read this. She nods again, and he puts the book into her hands, looking at her expectantly. HOBBES Tell me what it says. His gaze is steady on her, knowing she can somehow comply with his request. INT. SANTIAGO'S OFFICE - DAY The Advisor standing nervously before Santiago's desk as Santiago goes over some papers. Santiago looks up from the papers to him. SANTIAGO You believe this? ADVISOR It's why you had him brought here, isn't it? SANTIAGO These are the twisted beliefs of a misinformed people. Don't you see? I've failed them. ADVISOR This is such a crucial time...wouldn't it be better to deal with all challengers? SANTIAGO Any challenger will be dealt with swiftly. I have nothing to fear from Pinocchio. The door opens in time for Pinocchio to hear his name. Santiago and the Advisor fall silent, and the Advisor scurries out. Pinocchio looks to Santiago, who makes no move to cover or gather the papers on his desk. PINOCCHIO What's that? SANTIAGO You might find it interesting. Pinocchio begins to gather the papers. SANTIAGO It has to do with the prophecy of the one. Pinocchio stops as though burned and looks at Santiago. PINOCCHIO You don't believe in that? SANTIAGO I am their savior. Pinocchio nods. SANTIAGO Prepare yourself for action. The time is near. ACT FOUR INT. PINOCCHIO’S APARTMENT – NIGHT Pinocchio arrives home from a long day in the trenches. Inga waits for him, sitting in the living room chair. PINOCCHIO I thought I told you to stay away from me. Inga gets to her feet. INGA Mike – That’s as far as they get, because the next moment they start kissing passionately. He shoves the chair out of the way and backs her up against the wall. She begins unbuttoning his jacket, wrapping one leg around his. He slides one hand up her thigh, breaking away to kiss her jaw and her neck. She tugs on his earlobe with her teeth. INGA (whispering) We have to talk. His lust turns instantly to rage, fingers tightening on her thigh, keeping her off balance. PINOCCHIO You’re not going to use me. Not this time. INGA (softly) Listen. This is important. And she begins to whisper into his ear. INT. CELL - DAY Hobbes stares at Florence, waiting for something to happen. Every confidence in her. She closes her eyes and picks up his hand. She holds it for a second between both of hers, and then presses his palm to the book. Hobbes's eyes widen. Sunlight rushes in as the door to the cell is torn open. A guard is silhouetted there. WATERS In my office. Now. The spell over Hobbes breaks slowly. HOBBES Wait - there's so much more - His eyes focus as Waters' men pull him bodily out of the cell. Waters grabs Florence's arm. The book falls to the ground. WATERS Who gave that to you? When she doesn't answer - makes no move to give any sign of reply - Waters' arm snakes back, ready to hit her. HOBBES Don't. His order is strong enough to make Waters stop. The two men look at each other, jailor and prisoner, and the power subtly shifts between them. WHIP PAN TO: INT. WATERS' OFFICE - DAY The Guards tossing Hobbes and Florence into chairs. The door pulls solidly closed as they leave them there with Waters, who remains standing over them. He holds up the confiscated book. WATERS You know what this is. Defiant stares from his prisoners. WATERS You *think* you know what this is. Hobbes looks almost smug. WATERS What if I told you it was true? Every word...every line of code. Is embedded. Into this program. He seems more worried by the concept than they do. He tosses the book down on his desk, takes the chair behind it, leaning across. Facing them as equals now. WATERS This is the playbook for Harsh Realm. HOBBES Then who's the quarterback? WATERS I think you know. (beat) Why didn't you escape when you had the chance? I told you I owed you. I meant that, Hobbes. You saved my life... He breaks off, as overcome by emotion as we will ever see Waters. HOBBES If we escaped, you'd be held responsible. Not a reason. A statement of fact. WATERS Do you know what he's going to do to the real world? Where our bodies are lying on tables somewhere, hooked up to this machine? Where Sophie - Hobbes springs out of his chair in a heartbeat, ready to kill Waters for the mention of her name. Florence gets to her feet, but she's not going to interfere. But the act of her standing draws Hobbes' attention away. Reminds him what's at stake. WATERS He's going to do it soon. And he doesn't realize it's going to backfire. A long beat. HOBBES I'm waiting. WATERS How do you think this all works? HOBBES When'd you become Bill Gates? WATERS I'm not. But I've learned a few things. From the people who got me this book. HOBBES Your book. WATERS I knew you wouldn't take it if it came from me. HOBBES You're a liar. And a murderer. And a coward. What makes you think I should listen to a word you say? He paces, like a caged tiger. WATERS The program doesn't just exist in some computer. Don't you get it? It exists in our heads. There's only one computer in the world capable of as much memory, as much processing as Harsh Realm needs. He glances at Florence. Hobbes has stopped pacing. WATERS The human brain. INT. PINOCCHIO'S APARTMENT - DAY Inga's hand lingers against Pinocchio's shirt as she pulls away slightly. His eyes follow her. She switches on the bookshelf stereo and soft music fills the room. She turns and looks at him, smoldering. And turns the CD up before returning to his arms. WIDER ANGLE AS: The scene transforms to a black & white surveillance camera image. We are: INT. SANTIAGO'S OFFICE - DAY Again, the image hovers above his desk, as a computer monitor screen without the rest of the hardware. Santiago's fingers tap the keyboard, and a green bar stretches across the image. The sound control. The MUSIC louder as on the monitor, Inga leans in to whisper to Pinocchio once more. Their words are lost in the music, but what can there be to hear? Their body language makes clear what sorts of things they're saying. A hint of a smile plays beneath Santiago's mustache. SANTIAGO Good girl. INT. WATERS OFFICE - DAY HOBBES Even if it's true, what do you want, Waters? You're loyal to Santiago. WATERS I want the same thing as you. To go home. To have a world to go home to. A long beat. WATERS Try the door. You can walk out of here. Free and clear. Hobbes' eyes flash onto him. WATERS Just stop Santiago. Hobbes' expression changes. HOBBES No. Waters is stunned. He can't possibly be hearing this. Even Florence gives Hobbes a bit of a sidelong glance, surprised, but she trusts him implicitly. HOBBES Not just me. All of them. All the prisoners here. Set them free. Then I'll go. WATERS Hobbes - But Hobbes is serious. WATERS I can let you escape. He knows about you, Hobbes. You've eluded capture this long. But everyone...he'd kill me for that. Hobbes raises his chin. Maybe that was his intention. Maybe it's what Waters deserves. To sacrifice himself. WATERS I'm on the inside. I can be useful to you, Hobbes. Think about what I'm saying. INT. SANTIAGO'S OFFICE - DAY The Advisor knocks and opens the door. The monitor disappears with the wave of Santiago's hand. ADVISOR I need to know what you intend to do. SANTIAGO The plan is to go forward. ADVISOR He is to be executed. SANTIAGO He must be. A hint of uncertainty crosses the advisor's face. ADVISOR Are you certain? SANTIAGO Do you doubt me now? ADVISOR They say the One cannot be killed. SANTIAGO They do not say the same thing about you. He lets the threat hang in the air. SANTIAGO But I anticipated your weakness. Pinocchio's been taken care of as we speak. And when he dies, you will see that he is not the one your folktales speak of. ADVISOR You are. Santiago snarls an imitation of a smile at his submission. The Advisor backs out of the room. INT. HALL - DAY Republican Guard seize the Advisor before the door to Santiago's office swings closed. We won't be seeing him again. INT. WATERS OFFICE - DAY Hobbes gets up and opens the door. Florence follows him with a half- glance back at Waters. We see Waters' satisfied face through the open doorway. The elevator doors open, revealing 2 Guards. HOBBES (to the Guard) He said to return us to the barracks. The Guard react, seizing them as prisoners. The elevator doors close. Waters puts his head into his hands. He's just lost the war. INT. SANTIAGO'S BEDROOM - NIGHT The room is spare, spartan. A reading lamp with an uncovered bulb is mounted on the wall above the bed where Santiago sits, reading a newspaper from the real world - the International Herald Tribune (or something like that). But the bedding is a deep burgundy color, soft, expensive. As are Santiago's pajamas. The door opens softly. He doesn't look up from his paper. SANTIAGO Is it done? There is no response, causing him to look up. Inga stands near the door, dressed only in a black slip. She nudges the door with her foot, closing it almost all the way. And then she smiles. INGA Did you think I wasn't coming? He sets aside the paper as she curls up onto the bed with him. He strokes a hand against her hair, brushing it back, as he contemplates her. SANTIAGO Inga. INGA It's done. She makes a move to unbutton his pajama shirt, but Santiago becomes seemingly overcome with lust, kissing her hungrily. DISSOLVE TO: INT. SANTIAGO'S BEDROOM - NIGHT - LATER The bedclothes mussed. The light turned off. The lovers asleep. The bedroom door isn't all the way closed and now it nudges open, slowly, silently. One combat-booted foot appears, and then a second. Treading carefully on the hardwood floor. The feet plant themselves beside the bed. We pan up enough to see the familiar camouflage pattern on the soldier's pants. Close on Inga, lying against Santiago's chest. The sleeping Delilah. As we hear the click of a weapon being readied. Santiago's eyes pop open. He's instantly awake, sitting, up reaching for his weapon, looking into the eyes of Mike Pinocchio and his trusty MP5K. Pinocchio fires. INT. WATERS' OFFICE - NIGHT Waters in the dark, sprawled against his desk. Lights from the camp perimeter in the distance filter through the window behind him. The RING of a telephone rouses him and he picks it up, sleepy. WATERS Hello? Through the phone, a tearful voice: INGA Santiago is dead. The crackle of cell phone static in the silence. Off Water's stunned expression, we go to darkness. Slowly letters appear on the darkened screen: T O B E C O N T I N U E D