“Freedom” written by Megan Reilly original story concept by Ryan Thomas TEASER INT. SOPHIE'S HOUSE - NIGHT Sophie, lying in bed. Twisting and turning. She throws the sheets off as her nightmare reaches a crescendo. SOPHIE Tom... She rolls over, her eyes open now. In the darkness, THREE SHADOWS. Sophie blinks, looking at them. SOPHIE Tom? She sits up. It's not Tom. The three men are COMMANDOs, dressed in black, with kevlar vests and night vision goggles obscuring their identitites. SOPHIE TOM@!!! Despite her struggling, they carry her easily out of the bedroom. Off the closed door of the apartmemt, we: CUT TO: EXT. GOVERNMENT HOUSE - NIGHT Santiago's palace lighted up, limosines parked outside. Elegantly attired people moving into the house. A party's going on. Beyond that, in the bushes, cold and dirty , we find: PINOCCHIO, HOBBES and FLORENCE Guns at the ready self-protectively, not taking aim at anyone or anything. Hobbes shoots Pinocchio a grin. HOBBES We're close. Pinocchio allows him a nod. PINOCCHIO Yeah, we're close, kid. There is something troubled in his sigh as he returns his gaze to the government house. PINOCCHIO (low) Won't be long now. On the balcony of the house, a banner of Santiago's face twists and billows in the wind. INT. SOPHIE'S HOUSE - NIGHT The rumpled bed with sheets torn from it the only sign of a disturbance. The door opens soundlessly. A SHADOW creeps past the clock, the photographs on the nightstand. He stands over the bed, fists clenched, then moves to the window and RAKES the blinds out of the way. A dark car is waiting, its lights off, an occupant sitting inside. The shadow shakes his head, motions: no good. SHADOW (whisper) They got to her first. ACT ONE EXT. GOVERNMENT HOUSE - NIGHT Everything has grown still. The limosines sit empty, the guards nodding at their posts. Florence looks anxiously to Hobbes, who flicks Pinocchio a quick glance. Pinocchio's nod in return is just as quick. Florence is up, darting with light feet toward the House. Pinocchio and Hobbes cover her with their weapons. EXT. GOVERNMENT HOUSE STEPS - NIGHT Florence sneaks up behind the GUARD, smacks him hard in the back of the head with her gun. Without a sound, he slumps and hits the ground. She doesn't look back as she picks supplies from him - ammunition. Then she draws her knife and pulls open the man's shirt, quickly slicing the ID chip from his chest. EXT. GOVERNMENT HOUSE - NIGHT Pinocchio looks to Hobbes. It's his turn to move. He runs after Florence. Pinocchio holds his weapon, ready to fire. Hobbes disappears into the night. Pinocchio squints, unable to see what's going on. A RUSTLING in the bushes behind him. He whirls around, gun drawn, finger on the trigger. His wry, irritated reaction as he relaxes his grip on the gun a fraction. REVERSE ON INGA FOSSA Wearing an evening gown, her hair styled, a delicate strand of diamonds at her throat. INGA You're coming with me. Pinocchio chuckles, and tenses his finger on his gun again. INGA Unless you want them to be caught. Pinocchio's look changes. She's got him. He barely glances in the direction Hobbes and Florence went, and lowers the gun to his side. Giving in. INT. GOVERNMENT HOUSE - NIGHT Buffet tables line the grand foyer. From deeper inside, the sound of classicial music, champagne glasses, laughter. HOBBES One hell of a party. He and Florence stop at the unattended buffet tables, helping themselves to something to eat. A SOUND warns them someone is approaching. Florence darts out of sight. Hobbes remains by the table, looking out of place in his newly borrowed Republican Guard uniform. The Republican Guard stops short, surprised to see him. Florence pops out of the doorway where she was hiding, and Hobbes takes advantage of the distraction to knock the guard out. Hobbes leans over the Guard, fingers working at his buttons. HOBBES He's more your size, isn't he? Florence flashes a tight, serious imitation of a smile. INT. SANTIAGO'S OFFICE - NIGHT Inga leads Pinocchio inside. He glances around the room. PINOCCHIO Been a while. Her face is white, her breath shallow - almost as though she's afraid of him. PINOCCHIO Why the sudden reunion? He looks toward the door. PINOCCHIO Or is the man himself going to come blow my head off? He crosses his arms, waiting for an answer. Inga leans against the desk, paging through a slim file folder. It captures her full concentration, allowing Pinocchio to move close to her without her noticing. She looks up as he slides one finger underneath the diamond necklace she wears. PINOCCHIO He can give you the best. He lets the necklace go, his fingers lightly brushing her collarbone and tucking back a curl of her hair. PINOCCHIO Good for you. INGA You might want to hear what I have to say before you strangle me. PINOCCHIO If I wanted you dead, darling, you would be. They face off, neither of them willing to give in. Inga has found what she was looking for in the file. INGA You know who this is? Pinocchio's hand closes tightly on her shoulder as he looks at the photograph. SOPHIE. He nods gravely, returning his gaze to Inga. INGA I need your help. Pinocchio laughs. INGA Tom needs your help. PINOCCHIO What makes you think I care? She raises an eyebrow: don't you? INGA He might stop fighting if the one thing waiting for him at home was taken away. She holds his gaze, having gained power over him. INT. BALLROOM - NIGHT Filled with the elegantly dressed elite of Santiago City. Some men wear full dress uniforms, although most are in civilian tuxedos, the women in ballgowns. Hobbes and Florence, in Republican Guard gear, slip in through the doors. There is a Guard contingent present around the edges of the room, silently keeping watch. At the far end of the ballroom, a platform draped with white streamers. HOBBES Where is he? They move to slip back out of the party, to find Santiago. A GUARDSMAN moves to block their path out of the room. GUARD Where do you think you're going? INT. DARK ROOM - NIGHT Sophie, bound to a chair, still wearing her nightgown. Her hair is mussed; she looks exhausted, but there's still fight in her as she struggles against the ropes holding her. VOICE You won't escape. Sophie starts, looks around. But it's dark. SOPHIE Who's there? No answer and she pulls more frantically at her bonds. SOPHIE Who are you? Why are you doing this to me? You've made a mistake, a terrible mistake! No response. She slumps in the chair with a long sniffle. Trying not to cry; failing miserably. SOPHIE Please. No one responds. INT. BALLROOM - NIGHT GUARD I've never seen you before... His eyes search Hobbes' uniform for his name. GUARD ...Wilson. HOBBES I've been in the field. Please, let me pass. GUARD No one comes in or out. You heard the briefing. Hobbes squirms a touch uncomfortably. HOBBES Gotta use the john. Florence edges away, but the Guard looks at her, a frown crossing his face, realizing something's not quite right there. GUARD Both of you? Hobbes looks at him blankly. GUARD You. Stop right there! Florence pushes through the crowd, disappearing into it. The Guard looks at Hobbes, one hand raised, his mouth open to call for help. Hobbes socks him, knocking the man down. Several Guard respond immediately. Hobbes tugs his beret down, as though it will disguise him. HOBBES (bold) This man is a traitor! The guardsmen merely stare at him. HOBBES Take him away! Immediately! The guardsmen do as he says. Hobbes surveys the room. Looking for Florence. Suddenly he glances behind, a frown deepening on his face. INT. FOYER - NIGHT Hobbes slips out through the door to the ballroom. Takes a few steps down the brightly shiny hall. HOBBES (whisper) Pinocchio? He takes three more steps, toward the exterior door. HOBBES Pinocchio? No response. The hall is empty. Hobbes pushes his way back into the ballroom, looking for Florence. INT. SANTIAGO'S OFFICE - NIGHT Pinocchio shoves the photo of Sophie back into the folder. PINOCCHIO This got nothing to do with me. INGA You'd let them kill an innocent woman? He has no reaction. PINOCCHIO Why not send him? He'd give anything to see her again - even for a minute. Their eyes meet. PINOCCHIO I guess that's why. He runs a hand through his hair. PINOCCHIO Look, she's in the real world. I'm here. I can't help you. He turns to go. INGA You'd let them hurt innocent child? PINOCCHIO No. INGA You were always too soft-hearted. Pinocchio chuckles ever so bitterly. INGA I need someone I can trust. (beat) Someone who will come back. PINOCCHIO No. She's moved close to him and there's attraction there, on both their part, as she reaches up and swirls her fingers down the side of his face. Pinocchio grabs her hand, stopping it. He twists it, his face expressionless. He's hurting her, but she says nothing, makes no sound. He casts her a petulant, angry look PINOCCHIO How could you. INGA I'm sorry, Michael. With her other hand, she produces a SYRINGE and STABS Pinocchio in the back of the neck. He gasps with pain and his eyes close. He drops her hand. She lets out a hard breath of relief, her hand dropping limply to her side as he sags toward the floor. INT. DARK ROOM - NIGHT SOPHIE Someone will...people will be looking for me. You won't get away with this. They'll send someone for me. She's nowhere near as confident as she sounds. INT. HARSH REALM PROJECT WARD - NIGHT The warehouse with endless rows of soldiers lying on gurneys, their bodies draped with white sheets. Find Inga Fossa, a white robe wrapped around her like a lab coat, standing next to one of these gurneys as Pinocchio's eyes open. Blinking. Bewildered. His mouth working, dry. He looks up at Inga, pleading. PINOCCHIO (raspy) Send me back. Lumberously, he rolls to one side and sits up. As the sheet falls away, we see the extent of the burn scars down the side of his body as he glares at her with his one good eye. Inga holds a gun to the back of his neck - a gun that looks very much like the SKULL BUG GUN from "Reunion." Pinocchio closes his eyes as she pulls the trigger, his body jerking in response. Inga lowers the gun and closes her hand over the nape of his neck. INGA You have 4 hours. He snaps away from her, shifting on the gurney. A pair of doctors are standing at the ready. INGA If you haven't returned, the device will activate. It won't be pleasant. He glares at her - same Pinocchio spirit - as though the condition in which he finds himself is pleasant. INGA Find her. She holds his gaze, and then begins to walk away, winding her way through the maze of gurneys. ACT TWO INT. MILITARY OFFICE - NIGHT The Man in Charge sits at a desk, papers spread before him, as Inga is escorted in by Army personnel, who step outside the door, which remains open. The Man in Charge looks up at her, then glances to the chair opposite him. Inga remains standing. MAN IN CHARGE She must be found. INGA Yes, sir. MAN IN CHARGE He must not fail. INGA Yes, sir. He returns to his paperwork, and Inga leaves through the open door. INT. GOVERNMENT HOUSE - NIGHT Hobbes moves through the crowd until he finds Florence. She is staring through the windows, an odd, faraway expression on her face. She turns to look at Hobbes a second before he touches her shoulder, which startles him slightly. HOBBES Pinocchio's not here. She nods. HOBBES Where is he? She shrugs, disturbed. HOBBES I want you to find him. I'll take care of things here. He passes a handgun to her and she accepts it. They move off in opposite directions. INT. COUNCIL ROOM - NIGHT SANTIAGO, decked out in a superior military outfit, including a long decorative sword, pacing in the small space. The door opens. WATERS enters. SANTIAGO Where the hell is she? WATERS I haven't located her, sir. Waters continues quickly. WATERS I have men scouring the grounds. She'll be found. She's probably off...powdering her nose, sir. SANTIAGO I thought she might be with you. WATERS Me, sir? His surprised act doesn't quite cut it. SANTIAGO I want her here, Major. Now. He goes to stand before his glass map of the States. Waters doesn't move and after a moment Santiago looks at him, to see why he hasn't yet gone. WATERS There are some other issues - disturbances -- He's unnerved by Santiago. Recoups. WATERS Your safety might be at stake, sir. SANTIAGO Find Inga Fossa. I'll worry about my safety. This time Waters goes. REVERSE on Santiago, through the frosted glass states. EXT. GOVERNMENT HOUSE - NIGHT Florence retraces her steps, down the steps, into the bushes where they'd hid. Pinocchio isn't there. Florence looks around, trying to see where he might have gone. A frown worrying her face. Then she notices SCUFFMARKS in the dirt. Following them, they lead to the unmistakable impressions of high- heeled shoes. A SHOT RINGS OUT and Florence ducks. INT. GOVERNMENT HOUSE - NIGHT Hobbes moves stealthily through the halls, his gun drawn. He points it around a corner, then looks. It's clear. He rounds the corner just as ELEVATOR DOORS swish closed. Inga Fossa stands there, back in her ballgown. Hobbes doesn't lower his gun. INGA Tom. She takes a couple of steps toward him, then looks at his gun. HOBBES Where is he? A flash across Inga's face. INGA Sophie's in danger, Tom. Terrible danger. HOBBES You're lying. INGA No, Tom. I've sent him to help her. HOBBES What? The realization they've misunderstood each other. HOBBES Who? But he knows. HOBBES (voice rising) Where's Santiago? He points the gun at her more forcefully. HOBBES Where is he?! Behind him, a door opens silently. SANTIAGO I'm right here. Hobbes whirls around and points his gun directly at Santiago's head. INT. SOPHIE'S HOUSE - NIGHT The door swings open. A flashlight beam cuts through the darkness, swinging from side to side, cloaking its bearer. It catches: The painting hanging inside the door of George Washington crossing the Delaware. Photographs along a bookcase. A ball of yarn and half-knitted baby boot on the couch. The bedroom door, standing open. INT. SOPHIE'S BEDROOM - NIGHT The flashlight beam catches a WOMAN, sitting on the bed. In her lap lies DEXTER. She strokes his head gently and looks into the flashlight beam. PINOCCHIO (OS) Sophie. The woman glares into the flashlight beam. WOMAN No. She's gone. Who the hell are you? PINOCCHIO (OS) A friend. Who're you. WOMAN Her sister. She shakes her head, trying to escape the flashlight beam and we see it's SARAH GREEN. SARAH Turn on the light. A long moment. The light goes on. Her reaction to: Pinocchio, standing there. Tucked under one arm is a crutch. His dark grey pants are pinned up where his leg should be. He turns his head slightly so she gets the full effect of his burns. SARAH Good god. Pinocchio shakes his head. PINOCCHIO What's in your hand? Sarah looks down, as though she's forgotten. Then she raises her hand. A long silver chain dangles from it, dog tags clanking at the end. SARAH These were by the bed. Might belong to the guy who took her. She'd been investigating him, maybe she found something she shouldn't have. Mike Pinocchio. He flinches at the name. SARAH You know him. He says nothing for a moment. PINOCCHIO Investigating him why? SARAH She thought he had something to do with her fiance's disappearance. Tom Hobbes. You know *him*? PINOCCHIO I know him. SARAH Thought so. Military. PINOCCHIO What did she find out? Sarah picks up a notebook and tosses it in his direction. It lands softly on the bed, closer to him. SARAH It's all there. Pinocchio sways slightly against his crutch. She gets up, leaving Dexter lying on the bed. She speaks as she passes Pinocchio. SARAH Sit down before you fall down. I'll make some coffee. He sits down heavily on the bed as she exits. He looks at Dexter, pets him lightly. Then he picks up the notebook, opening it. INT. GOVERNMENT HOUSE - NIGHT Santiago faces Hobbes over the barrel of his gun. SANTIAGO You won't do it. HOBBES I wouldn't be so sure. SANTIAGO Are you sure what would happen if you pulled that trigger? Absolutely sure? INGA You don't want to do this, Tom. Waters comes around the corner. WATERS Hobbes. Hobbes looks at him, not lowering the gun. HOBBES Don't do it, Waters. But Waters already has his gun pointed at Hobbes' head. His eyes on Inga. Inga slips between Hobbes and Santiago, tugging gently at Santiago's arm. INGA They're waiting for you. Santiago's eyes remain on Hobbes as Hobbes grimaces and lowers his gun. HOBBES This isn't over. WATERS I think it is. He faces Hobbes over the barrel of his own weapon. INGA Mel. Don't. Waters looks at her, surprised. She slinks off with Santiago. Waters gestures at Hobbes with the gun. WATERS Let's go. INT. JAIL - NIGHT The cell door clanks closed, separating Waters and Hobbes. WATERS Home sweet home for you, Hobbes. But don't get too comfortable. Santiago likes to hold his executions at dawn. HOBBES What makes you think he'll kill me? WATERS What makes you think he won't? Silence as Hobbes stubbornly refuses to answer. Waters leans in close to the bars. WATERS You're in over your head here, Hobbes. You'd better stay out of it. HOBBES (sarcastic) Am I going to ruin your plans? WATERS Yeah. You might. He turns and walks away, leaving Hobbes to look up at the small, barred window. No way out except to wait for sunrise. EXT. GOVERNMENT HOUSE - NIGHT Florence, waiting for more shots. None come. She gets up cautiously, looking in all directions. Her gaze fixes on something. MAN Right there. She stops. MAN Put it down. Carefully, Florence does as he says, putting her rifle down on the ground. Two men in dark green uniforms approach her. One of them grabs the rifle. The other pats her down, then nods to the man who spoke. The Man approaches her. He's military, confident. MAN What're you doing out here? No response. He glances at her Republican Guard uniform, taking in the poor fit. MAN You're not Republican Guard. She shakes her head. MAN You're not alone. She shakes her head. MAN (to the two soldiers) Watch her. We've got work to do. He heads off toward the government house. Florence looks to the two soldiers, but they're stone-faced, stoic. There will be no answers from them. INT. SOPHIE'S HOUSE - NIGHT Pinocchio, bent over the notebook, turning the pages. Sarah appears in the doorway, a steaming mug of coffee in her hands. Pinocchio glances at her. PINOCCHIO What happened to the dog? SARAH Drugged. She scratches Dexter's ears. SARAH He'll be okay. She looks at Pinocchio curiously as she hands him the coffee, which he accepts and drinks. SARAH So, you said you're a friend. Who are you? PINOCCHIO This man... He indicates the notebook of Sophie's research. He picks up the dog tags, his glance a second too long and familiar. PINOCCHIO Where did she get these? SARAH They were given to her. She says. It's part of this conspiracy she believes in, that Tom's not dead, that the government is covering something up. Something big. You wouldn't know anything about that, would you? Pinocchio shakes his head, balling his fist around the dog tags. SARAH She seems to think this man - Pinocchio - was a traitor to his country. PINOCCHIO Why? SARAH I was hoping you could tell me...Mike. He looks at her. She knows. But how much does she know? INT. GOVERNMENT HOUSE BALLROOM - NIGHT The crowd parts as Republican Guard in dress uniform march down a path from the doors, carrying flags with great ceremony. They are followed by Santiago. On his arm, Inga. But she releases his arm once they enter the room and blends into the crowd. Santiago walks slowly to the podium. The crowd applauds. SANTIAGO Thank you. He motions with his hands for them to be quiet. Inga watches, something cold in her eyes. SANTIAGO We're here tonight to celebrate good fortune. My good fortune, to be standing here before you - but mostly the good fortune of the people asleep in their beds outside these walls. People who are safe, protected by a strong military. Who have enough food to eat, and jobs to go to, and clean streets. A wonderful way of life. Thanks to you. Hushed murmurs from the crowd. Santiago looks at Inga, trying to catch her eye. She won't look at him. SANTIAGO You're here tonight for the unveiling of the second phase, to which you've contributed the in the most important way - with your financial assets. He gestures, and a couple of the Dress Guards move in with a scale model, draped with a white silk cloth. SANTIAGO Every nation, after all, needs support from good people like you. He reaches out and picks up a corner of the white cloth, unveilling the model - clean white cities stretch not only across the eastern seaboard, but into the Midwest. With a flourish, he lets the white cloth go. A startled hush falls over the room. The green-uniformed army is at the doors of the ballroom, infiltrating the crowd. The Man who spoke to Florence is in the center of the parted crowd, a smoking sniper's rifle in his hands. Inga begins taking steps backward, toward the door, to escape. As the cloth hits the ground, SHOTS RING OUT. ACT THREE INT. GOVERNMENT HOUSE BALLROOM – NIGHT RESUME: The shots ring out. Santiago falls. There is no flash of light. The REBEL LEADER dashes across the room, jumping over the podium. Santiago has disappeared. The Rebel leader raises his hands and his gun in triumph and the other rebels cheer. In the noise and confusion, Inga slips out through the door to the ballroom. INT. GOVERNMENT HOUSE HALL – NIGHT Inga moves toward the exit doors. Behind her, the doors to the ballroom slam and we hear the locks being secured. She turns and looks back, while continuing to move. She runs smack into Florence. Florence takes Inga’s arms, steadying her. Inga looks at Florence with an expression of horror on her face. INGA Wait. You need my help. Otherwise Pinocchio will die. Florence looks at her doubtfully, but willing to listen. INT. SOPHIE’S HOUSE – NIGHT Pinocchio and Sarah glare at each other a moment. SARAH It’s all in there. You thought I wouldn’t recognize you? Pinocchio closes the book, leaves his hand resting against the cover. SARAH I want to know what you did to my sister. I want to know where she is. And if you’ve hurt her, by god, I’ll – Pinocchio puts his hands up. PINOCCHIO I’m here to find her. Just like you. SARAH Why? PINOCCHIO Hobbes. SARAH Where is he? PINOCCHIO He’s trying to get home. SARAH Not trying hard enough. PINOCCHIO Look, I didn’t ask to be sent here… He breaks off. It’s no use. He tosses the book aside, gets up with some difficulty, aware that Sarah’s watching him. PINOCCHIO You coming? Sarah looks him up and down and grabs her keys. SARAH I’ll drive. INT. SANTIAGO’S OFFICE – NIGHT Inga pulls Florence into the room, gestures to the chair. Pushes a pad of paper and a pencil toward Florence, who looks at them without touching. INGA You don’t trust me. I know. I’m sure Michael’s told you lots of things about me, and he probably wasn’t very flattering. Florence really doesn’t care. INGA But your little rebel friends have blown years of planning. Florence’s eyebrows go up. INGA They’re not your rebel friends. Florence shakes her head. Inga nods, thinking. Florence gestures: What? INGA Hobbes is in jail. You have to get him out. Bring him to me here. Florence doesn’t move. INGA Hurry. Inga leaves the office. INT. HALLWAY – NIGHT More gunshots thunder from the ballroom. Inga starts in a different direction. INT. BALLROOM – NIGHT The Rebels have people lined up, frightened men and women. They’re beginning to execute them systematically. There are no Republican Guard left in the room. INT. HALLWAY – NIGHT Waters, running. He stops as he encounters Inga. WATERS Where is he!?! INGA He’s in there. WATERS Then he’s dead. His shoulders sag. WATERS This wasn’t in the plan. INGA No. She keeps walking, taking slow, measured strides as her high heeled shoes click against the polished floor. Waters runs outside. INT. BALLROOM – NIGHT More executions. Women are crying now. Some of the men are, too. Yet no one makes any move to stop it. Close on the platform. There is a table on it, its tablecloth sweeping the floor. UNDER THE TABLE: Santiago, lying on his back, perfectly still, the tablecloth forming walls around him. A thin ribbon of blood from his shoulder staining his dress uniform. But he’s alive. His hand is on the hilt of the decorative sword – the only weapon he has. INT. JAIL – NIGHT A COMMOTION outside. Hobbes goes to the window, looking up, trying to see outside. WATERS (VO) (yelling) Come on, come on! We’re under attack! The thunderous sounds of troops running in formation. Hobbes sees their boots pass close to his barred window. But then they stop. SOLDIER (VO) Word is, Santiago’s dead! What’re we fighting for then? A gunshot, close. WATERS (VO) Anybody else? Hobbes turns around, pressing his back to the wall as the soldiers run past and silence settles. The looks in his eyes is wild, crazed. HOBBES Dead? INT. DARK ROOM – NIGHT SOPHIE Please… She doesn’t even know what she’s asking for any more. A change in the air, and she looks up. The sound of footsteps. A hand reaches from the darkness into the spotlight on her. The hand brushes back her hair, then holds a glass of water to her lips, letting her drink it. Sophie looks up, but she can’t see the man in the darkness. SOPHIE Thank you. The hand retracts. SOPHIE Why…are you doing this? There’s no answer. SOPHIE Why won’t you answer me? I haven’t done anything. I don’t have any money. Please, just let me go. VOICE You have something we need. SOPHIE I don’t have anything. Footsteps receding. SOPHIE Let me go. But he’s gone. And the light that was shining on Sophie goes out, leaving her in complete and total darkness. SOPHIE (to herself) I don’t have anything. INT. CAR – NIGHT Sarah drives, recklessly, speeding. SARAH Where is he? Hobbes? PINOCCHIO I can’t really… SARAH They told her he was dead. How could he let her believe he was dead? PINOCCHIO Nothing he could do about it. SARAH Then he’s alive. PINOCCHIO Yeah. For the time being. SARAH According to you. He looks at her. SARAH Why should I trust you, after the things I read? PINOCCHIO The information your sister found isn’t any more true than Hobbes being dead. She’s being manipulated. SARAH Why? He sighs, looks away. SARAH You’re not at liberty to say. He nods, not speaking. SARAH That’s the same line of crap they’ve been giving Sophie. PINOCCHIO You wouldn’t believe me if I told you. SARAH Where are we going? PINOCCHIO I’ll tell you when we get there. INT. JAIL – NIGHT Scuffling at the window. Hobbes looks up. Florence’s face appears. HOBBES Get me out of here. She nods, digging at the bars. HOBBES Is Santiago dead? Florence looks at him. INGA (VO) No. She pushes in next to Florence. HOBBES Florence – run - ! Inga gives Hobbes a “give me a break” sort of look. HOBBES What’s going on? Inga uses a device – a sort of combo Digiwand (“Cincinnati”) and garage door opener (“Reunion”) and ERASES the bars. INGA There’s no time. She reaches down for Hobbes, as does Florence. Hobbes gets his feet against the wall, grasping their arms, and they help him climb out. EXT. GOVERNMENT HOUSE – NIGHT Inga has mud smeared on her formal gown. Florence is equally dirty. INGA Now is your chance, Tom. Listen to me carefully. They’re going to be storming the ballroom. Santiago is in there. You have to get him out alive. HOBBES Why? INGA The fate the real world hangs in the balance. Hobbes looks at her, cold-eyed. INGA Sophie. HOBBES I’ve heard that from you before. INGA This time it’s urgent. She’s been kidnapped. In the real world. She’s in danger, Tom. Your child is in danger. HOBBES Take me to the portal. INGA No. HOBBES I’m going to the real world. You can send me there. INGA It’s being taken care of. Hobbes looks at Florence, who nods. HOBBES You sent Pinocchio into the Real World? INGA Save Santiago, and you save yourself. She meets Florence’s eyes now. INGA Go. Florence pulls at Hobbes’ arm, and he reluctantly follows her. A moment later, the Rebels surround Inga. REBEL LEADER You’re going to help us. Two of them seize her and begin to haul her away. Florence happens to look back and sees this. She leaves Hobbes’ side, following Inga and the rebels. Hobbes looks after her, then decides to let her go. Focused, determined on his mission. INT. BALLROOM – NIGHT Santiago, waiting. There is sweat on his brow; it’s hot underneath the tablecloth. The executions have stopped now. There is only silence. Stillness. Santiago rolls out from under the table. The fancily decorated room is now tattered, the decorations destroyed. He stands, surveying the empty room. Hobbes appears in the doorway, and the two men face each other. SANTIAGO They killed them all. Is that what you wanted? HOBBES I’m not responsible for this. SANTIAGO Aren’t you? Even if not directly, aren’t you still to blame, for giving those people hope that a different sort of world could exist? A world obviously filled with violence? HOBBES I have orders to make sure you’re safe. SANTIAGO Orders from whom? HOBBES Your friend. Inga. Santiago’s look darkens. SANTIAGO You do as she says. HOBBES Don’t ask why. I’d just as soon blow your head off and end this game, but – SANTIAGO You trust her. His words linger in the silence between them. Then he nods, and follows Hobbes, who makes sure the hall is clear before they emerge from the ballroom. INT. COMPUTER ROOM – NIGHT A clean white, florescent lit room. Humming mainframes line the walls, wires snaking everywhere. A plain table in the center of the room, a cheap computer chair, and an open laptop. The Rebel Leader shoves Inga inside and two of his men secure the door. He shoves her into the chair. LEADER Type in your access codes. She looks at the screen. INGA You don’t want to do this. She looks at him. INGA You’re going to destroy the world. LEADER That’s the point. He pushes his rifle against the bare skin exposed at the top of her dress. LEADER The access codes. INGA I don’t have them. LEADER You’re lying. INGA Only Santiago had them. And he’s dead. LEADER The access codes. Now. Inga just looks coolly at him. Not going to participate or help him. His comrades raise their guns and Inga just looks at the Leader, who’s sweating his decision as time ticks toward… END OF ACT THREE ACT FOUR INT. COMPUTER ROOM – RESUME LEADER Where’s the portal? Inga says nothing. The Leader shoves her again with his gun. LEADER The portal to the real world. Where is it? INGA Central Security. Fourteenth floor. You’ll need clearance to get inside. The leader pulls at his shirt, revealing an ID chip. LEADER I got clearance. And I know the Central Security location’s bogus. Where’s the real portal? Where does Santiago come in and out? INGA He doesn’t. The Leader reacts, a second before one of his overzealous followers gets off a shot. The man DIGITIZES. Inga appeared unperturbed. LEADER Lock her in here. We need her alive. He tosses a set of keys to the remaining soldier, and stalks out. The remaining soldier eyes her. INT. GOVERNMENT HOUSE HALL – NIGHT Hobbes stops, pulls Santiago into a doorway as the Rebel Leader passes, walking swiftly. The Leader doesn’t notice them. SANTIAGO Well timed. So that’s him. HOBBES I told you, he doesn’t work for me. SANTIAGO I know. He works for me. Hobbes looks at him, surprised. SANTIAGO I have many double agents in my operation. HOBBES You knew. You set this up. All those people – you let them die. SANTIAGO Sometimes a true leader must choose. That’s what you haven’t yet learned. Fire flashes through his eyes and he raises his decorative sword, slicing Hobbes’ arm. Hobbes steps back with a painful gasp. Drops of his blood splash onto the floor as Santiago moves away. SANTIAGO We aren’t finished yet. There’s a promise in those words. Hobbes stands there, horror on his face. He looks down at his arm in immense pain. The blood has already soaked through the stolen Republican Guard uniform. He starts to fall. Florence is there to catch him. She eases him down, drags him out of the main hallway. He looks at her, astounded and she rips open the sleeve of his jacket. The wound is deep, to the bone. She closes her hands over it and Hobbes’ eyes close in relief. When he opens them, his arm is better, and Florence is gone. HOBBES Florence – He gets to his feet, but he is alone in the hallway. INT. CAR – NIGHT Pinocchio makes a quick gesture. PINOCCHIO Here. The car screams to a stop, swerving off the road. SARAH This is a rental, you know. PINOCCHIO She’s here. SARAH Where? She peers into the darkness, but Pinocchio is getting out of the car. EXT. WAREHOUSE – NIGHT Pinocchio struggling through the dirt and uneven terrain. Sarah puts a hand against his arm to steady him. He glares at her and she removes her hand as though she’s been burned. The warehouse is now visible in the darkness. SARAH How do we get inside? EXT. WAREHOUSE DOOR – NIGHT Pinocchio examines the door closely, then withdraws tools from the pocket of his shirt. He picks the lock quickly as Sarah watches. He glances up at her: What’re you looking at? And pushes the door open, one hand on it. PINOCCHIO Ladies first. SARAH Is it safe? He nods gravely, and pulls his gun. Sarah seems surprised to see it. He nudges her inside and pulls the door closed behind him. INT. COMPUTER ROOM – NIGHT The ticking sound made by the movement of the hands of the wall clock. Inga looks at it, then at the man guarding her. INGA Get your leader back here. The guard looks at her, surprised. INGA I’ll take him to the portal. It’s some distance away. We have to hurry. The rebel guard doesn’t move. INGA Now. INT. HALLWAY – NIGHT Hobbes, at a crossroads. He can go look for Santiago – but what’s the point? He’s been ordered not to kill him. He looks the other way. He should find Florence. Pinocchio. He starts in that direction. The door to the ballroom is open, and Republican Guard troops stand inside, confused. Waters, their leader, in the center of the room. He sees Hobbes. WATERS Hobbes. Hobbes bursts into a run, and Waters comes after him. Waters corners him and Hobbes faces his former friend. WATERS Where’s Santiago? Hobbes shakes his head. He doesn’t know. WATERS Give me one reason I shouldn’t kill you right now. HOBBES You need me. To save the real world. To save this one. INT. COMPUTER ROOM – NIGHT The Rebel guard has a radio transmitter and pushes the button on it, giving Inga a hard look. There is a light knock at the door. The Rebel guard looks surprrised by the quick response, but he turns the handle, opening it. Florence stands behind the open door and she shoots the Rebel guard, her eyes casting to Inga, who rushes to her feet. INGA I have to get the portal. Quickly. She looks at Florence, deciding whether to trust her. Florence is giving her the same sort of look. INGA You have transportation. Florence doesn’t move, holding her gun on Inga. INGA Pinocchio will die. That decides her. The two women head out together. INT. HALLWAY – NIGHT Inga and Florence come upon where Waters has cornered Hobbes. INGA Let him go. Waters is surprised to see her. WATERS Where’s Santiago? INGA He’s safe, for the moment. He needs your protection. WATERS But Hobbes – INGA Forget him. Keep the Rebel leader from reaching Santiago. He must not succeed. Waters hesitates. INGA Go. Hobbes is a little surprised to see that Waters takes orders from Inga. He looks to Florence, wondering where she stands on this. But Inga is moving again, and they follow her. INT. WAREHOUSE – NIGHT Pinocchio following Sarah in the darkness, his weapon drawn. SARAH Sophie? They round a corner. PINOCCHIO She’s here. He finds the light switch and turns it on, revealing Sophie tied to the chair. She blinks, blinded by the sudden bright light. SOPHIE Who’s there? Sarah is at her side instantly, untying her. SARAH It’s me, Sophie. It’s your sister. Sophie is crying now. SOPHIE How did…how did you…? SARAH IT doesn’t matter. You’re safe now. She turns to Pinocchio, having finished untying Sophie. SARAH Where are they? PINOCCHIO Gone. They’ll be back. Sophie is staring at Pinocchio. SOPHIE You’re him. Mike Pinocchio. She gets to her feet. SOPHIE I thought…I was told…you were dead. Pinocchio is looking at Sophie’s stomach. Then he meets her eyes. PINOCCHIO I’m not. Neither is Hobbes. SOPHIE Tom? Where is he? She reaches for Pinocchio, curling her fingers around his hand, desperate for information. SOPHIE IS he all right? IS he safe? There is a long, long hesitation. PINOCCHIO Yeah. He’s safe. He doesn’t quite believe the words. Sarah moves in, puts her arms around Sophie. SARAH (quietly) Did they hurt you? Sophie shakes her head, ready to cry again. Pinocchio edges off. He’s got to go. EXT. WAREHOUSE – HARSH REALM – NIGHT Inga gets out of Pinocchio’s car, looking out of place next to it and in this industrial section of town. Hobbes is out of the car in a second. INGA This is far as you can come. HOBBES You can send me home. INGA You’re needed here, Tom. You have work. Important work. HOBBES No. INGA Yes. She takes several steps, but Hobbes is at her heels. INGA Don’t try to stop me, or Michael will die. Hobbes looks into her eyes. HOBBES You still love him. INGA Of course not. This time when she starts walking, Hobbes lets her go, leaning against the car with Florence at his side. He looks at Florence, as though wondering if they can trust Inga. But they have no choice. INT. SANTIAGO’S OFFICE – NIGHT The Rebel leader finds Santiago at his desk, waiting for him. A gun lies on top of the desk, but Santiago doesn’t touch it. SANTIAGO It wasn’t supposed to happen this way. REBEL You botched your end of the job, not mine. SANTIAGO You dare to blame me for your errors in planning? The Rebel leader glances at the gun on the table, but Santiago doesn’t seem to be aware of its existence. SANTIAGO (dismissive) You’ll get half your usual fee. The Rebel Leader doesn’t move. SANTIAGO Close the door on your way out. EXT. PORTAL ROOM – NIGHT Inga stands before the identification machine, anxious. It takes several seconds to bring up her information. The door slides open and she goes inside. The second hand sweeps on the clock as she sits down in the dentist- like chair. INT. GOVERNMENT HOUSE – NIGHT The Rebel Leader emerges into the hallway, his hand on the doorknob, pulling the door tightly closed behind him. Waters and his troops come down the hallway at the same moment. REBEL LEADER Wait – They shoot him and he digitizes. INT. PROJECT ROOM – NIGHT The sea of gurneys with men lying on them. Pinocchio is alone in the midst of them, prepared to re-enter the realm or to die. He sits on one of the gurneys, a white robe wrapped around him. He puts a hand to his neck where the implant went. He turns his head and looks at the man lying on the next bed, sheet tucked tightly around him. It’s Hobbes. Pinocchio sighs and straightens the sheet, fussing with it even though it has no need of being straightened. When he turns, Inga is standing beside him. He looks up at her with eyes almost pitiful. INGA You have to go back. PINOCCHIO I want to go back. He meets her eyes. PINOCCHIO He doesn’t know. INGA No. Pinocchio nods and lowers his head, offering his neck to her. A gesture of tremendous trust. She removes the implant from his neck. A doctor in a white labcoat appears with a wheelchair to take Pinocchio away. Inga stands and watches them as slowly they wind their way through the aisles between the gurneys. INGA Michael. He turns his head. INGA You did a good job. He looks away. EXT. INDUSTRIAL AREA – HARSH REALM – NIGHT The door opens and Hobbes and Florence start, picking up their heads with anticipation. Pinocchio walks out of the building slowly, maybe a little unsteadily. He tries to hold back the grin from breaking on his face when he sees them. HOBBES You made it back. Pinocchio takes in Hobbes’ bloody sleeve and Florence’s Republican Guard outfit. PINOCCHIO What’ve you two been up to? HOBBES Not a thing. He moves to get in on the passenger side, slipping the keys to Pinocchio. They get into the car. HOBBES (VO) My dearest Sophie. The car doors close, the brake lights come on. HOBBES (VO) What I wouldn’t give to spend another hour with you. To have just one minute to look at your face, to tell you I love you one more time. The car speeds away. HOBBES (VO) Sometimes our efforts here seem futile and I wonder what it is we’re fighting for. INT. PROJECT ROOM – NIGHT Pinocchio’s body lies on the gurney, his eyes closed, as though he’d never left. HOBBES (VO) Who we’re fighting against. Inga stands over him. HOBBES (VO) But then I’m reminded that there is a higher power, one that exists in this world as well as any other. Inga leans down close over Pinocchio, her hair falling down to brush against his skin. HOBBES (VO) Something more powerful than any of us. Something I believe will win out in the end, my darling, and bring me home to you. Inga kisses Pinocchio’s scarred cheek. HOBBES (VO) And that’s love. The end.