HARSH REALM VIRTUAL SEASON
"La Morte Viene Dall'alto" (Death is coming from above)
By Daniel S. Vieira (raamthodol@earthlink.net)
TEASER
EXT. PRAIRIE -- NIGHT
Our POV opens with a panorama of stars twinkling, a truly beautiful
shot. The POV wheels down to earth, revealing a prarie dotted with
well tended farmland and small homes, lit up in the night, with the
sound of children running and playing. A few children are visible
chasing a ball. POV moves toward one home, very cozy looking,
with an OLD MAN (70s) sitting in a rocking chair, smoking a pipe.
The Old Man rises from the chair,walks down the steps, and looks
thoughtfully up at the stars. He thencontinues walking past us, as
a caption comes up reading "Southern Italy, HARSH REALM."
CUT to door of home, which opens revealing a CHILD (about 8)
who runs after the Old Man.
CHILD
Nonno! Nonno!
(subtitle: Grandpa! Grandpa!)
The Old Man wheels around, puts his pipe in his mouth, and opens his
arms as the Child runs into them. He picks the Child up, holding him
in one arm, takes his pipe back in his free hand, and begins walking.
OLD MAN
Potresti essere in letto, piccolino. Che fai qui?
(subtitle: You should be in bed, little one. What
are you doing here?)
The Child ignores what the Old Man says, but looks up at the sky
instead.
CHILD
Quante stelle esistono, nonno?
(subtitle: How many stars are there,
grandpa?)
The Old Man smiles.
OLD MAN
Troppo che noi possiamo contare.
(subtitle: Too many to count.)
CHILD
E personi vivono qua?
(subtitle: And do people live there?)
OLD MAN
Nessuno sa, ma credo che sia possible. Allora,
'e volta per t'e di andare in casa e dormire. Domani
discuteriamo ancora, va bene?
(subtitle: No one knows, but I think it's possible.
Now, it is time for you to go inside and sleep. We
will discuss this again tomorrow, ok?)
The Child kisses the Old Man.
CHILD
Va bene, nonno. Buona notte.
(subtitle: Ok, grandpa. Good night.)
The Old Man puts down the Child, who runs off to the house.
OLD MAN
Buona notte, piccolino!
(subtitle: Good night, little one!)
The Old Man chuckles to himself, and then continues walking, smoking
his pipe. He looks up at the stars and smiles. Suddenly, a light shoots
across the sky. The Old Man looks up, puzzled, but then with terror as
the begins to spin, the stars forming a vortex with a light growing in the
middle. From the light in the center comes a strong shaft that hits
the ground not twenty feet from where the old man stands. The Old Man
staggers back from the shaft.
OLD MAN
Maddona mia! La morte viene dall'alto!
(subtitle: My Lady! Death is coming from
above!)
Out of the shaft of light steps THE CREATURE. It is around ten feet
tall, anthropomorphic (head, body, two arms, two legs, bipedal) with
black metalized skin and no discernable features. The old man, scared,
begins running backward, not wanting to takes his eyes off the creature.
Suddenly on the creature's head two giant red lights/eyes appear, shaped
much as the large eyes of "grey" aliens. It looks at the old man, and
starts walking toward him. The old man trips and falls backward, and
as the creature comes upon him, it holds out its arm which morphs into a
shape resembling a spinning circular saw blade. He hits the old man
with it who screams in pain, then digitizes out. People step out of their
homes, and begin panicking when they see the creature. The creature
holds out its other arm, which morphs into a cannon. The creature then
begins shooting homes with the cannon that explode into flame. As it
strides forward, any people who come near it are cut down by the
spinning blade, also digitizing out.
As the carnage continues, blasts of static shoot over the scene, obscuring
vision. There are several blasts of static, then the scene is gone,
replaced only by static. POV change as we pull back to see a monitor
embedded in a console of computers, dials, and other monitors also
showing static. As we pull back further, we see a MAN dressed in
camouflage sitting at a keyboard, typing in commands.
MAN
We've lost the signal sir. Apparently the satellite has lost
the link.
POV change to the person to whom the Man is speaking. It's GENERAL
SANTIAGO.
SANTIAGO
Good work for now, solider. Keep me informed.
Santiago turns and walks away with his back to the camera. We see that we
are in Republican Guard headquarters, with soldiers walking back and forth
in the room. Santiago walks through the door which closes behind him.
Fade out.
ACT I
EXT. COUNTRYSIDE -- DAY
We see PINOCCHIO'S car go driving by on a very wooded dirt road. The
caption reads "WESTERN OHIO, NEW FRONTIER, HARSH REALM."
INT. CAR -- DAY
PINOCCHIO is driving, with FLORENCE in the passenger seat, and in back
are HOBBES and DEXTER. Florence is looking at a map.
HOBBES (V.O.)
Dearest Sophie. We are continuing our work to put a brake on
Santiago's progress. Pinocchio heard of a freedom fighter with a
small but well armed militia out here in Ohio, and we are hoping
to recruit them for the army. Only by defeating Santiago's army
can we hope to reach him. Only by reaching him can we end this
game, and so get home to you.
Florence touches Pinocchio's arm, pointing to the map. He shakes his head
and scowls.
PINOCCHIO
No, I didn't make the wrong turn!
Florence shakes her head.
PINOCCHIO
Look, I didn't.
Hobbes looks at Pinocchio, smiling.
HOBBES (V.O)
Why is this man helping me, Sophie? He says he doesn't want to
leave Harsh Realm. What's his angle? Maybe he's just lonely.
The loneliness gets to you here.
Pinocchio looks in the rear view mirror, and notices Hobbes smiling.
PINOCCHIO
What are you smiling about, snapperhead?
HOBBES
Nothing.
PINOCCHIO
Then wipe that stupid grin off your face. I don't like people
that smile for no reason.
Florence looks back at Hobbes and smiles. Pinocchio grunts.
PINOCCHIO
That goes for you too.
He concentrates on the road again.
HOBBES (V.O.)
The man we are looking for is named Gordon Sym. Apparently
he also came into Harsh Realm under the same orders I did
-- to kill Santiago. I think, Sophie, he may be able to help us.
Maybe I can get home to you sooner rather than later.
Florence points to the left. Pinocchio nods and makes a turn.
EXT. WOODS -- DAY
We see the car make a turn off the dirt road onto a larger one. POV
changes to the car traveling down the road. The camera pulls up to reveal
a clearing in the woods filled with smoke.
EXT. BURNED TOWN -- DAY
The car stops in the center of the burned town. The entire area is destroyed
with several of the burned buildings still smoldering. The trio open the
doors and climb out carefully, their weapons in front of them and ready to
fire.
HOBBES
What happened here?
PINOCCHIO
Do I look like a psychic, Hobbes? How should I know?
Santiago, probably.
Dexter runs toward one of the buildings that is still in reasonable shape.
HOBBES
Dexter! Dexter, come here!
PINOCCHIO
Shut up, Hobbes! Whoever did this probably isn't far off!
Hobbes runs after Dexter, who has entered the building.
HOBBES
Then it's too late already. They must know we're here.
PINOCCHIO
That's what I'm afraid of. (to himself)
He gestures to Florence after Hobbes.
PINOCCHIO
Keep an eye on him. I'm gonna look around here a bit.
Florence nods and runs after Hobbes, who has entered the building after
Dexter.
INT. BURNED STORE -- DAY
This was a small store for the town. Cans and barrels lied toppled
everywhere. A counter with all kind of goods scattered over it runs
along the east wall. Dexter runs in and goes behind the counter, barking.
Hobbes enters the room and follows him.
HOBBES
Come here boy! There's too much glass around here for you.
Dexter keeps barking, and Hobbes hears a noise like something moving
behind the counter. He puts his gun up in a defensive position and moves
slowly behind the counter. POV changes to Hobbes' view as he slowly
works behind the counter to see Dexter barking at a pile of boxes. The
boxes move to reveal a WOMAN (30s) with a bad scalp wound covered
with dried blood. She has a look of terror in her eyes. She moves back to
reveal the BABY (about 10 months) in her arms. She moves her body
backward with her legs, pressing against the boxes, sobbing uncontrollably.
POV changes to Hobbes' face, with a mixture of relief and concern.
HOBBES
It's ok, it's ok. We're not here to hurt you.
The woman makes some incomprehensible sounds, sobbing. Hobbes gets
down on one knee to get to her level.
HOBBES
No, really, it's ok now. You're safe.
Florence enters the room. Hobbes jumps up from behind the counter with
the gun ready. Florence points her weapon at him, then they both lower
their rifles as they recognize each other.
HOBBES
Florence! We have a hurt woman back here! Help me.
She nods and moves toward Hobbes.
CUT to:
EXT. BURNED TOWN -- DAY
Pinocchio is waiting by the car, still surveying the damage of the town. He
glances over to the store, and sees Hobbes helping the woman out, with
Florence and Dexter right behind.
PINOCCHIO
What happened?
They reach the car, and sit the woman down with her child, her back
to the chassis.
HOBBES
We just found her in there. Are there any others?
PINOCCHIO
No one. No sign of Sym either. According to our info,
this is the town he used as a base.
Florence runs her hand over the wound on the woman's head. A glow comes
off her hand, and when he removes it from the woman's head, the wound is
gone. Florence smiles at the woman, who is looking at Florence with wonder.
Florence reaches for the child, but the woman holds the baby closer.
WOMAN
He's fine, thank you.
Pinocchio and Hobbes kneel down to face the woman.
PINOCCHIO
What happened here?
WOMAN
Last night...this..thing...came down from the sky. There was a
bright light, and we all ran out to see what was happening, and
this..thing was there in the light.
HOBBES
A "thing?"
WOMAN (becoming frantic)
I don't know what it was! It was big, and black, and had big
red glowing eyes. Its arms shot bullets, and fire....and....oh
God.....
She breaks down crying.
HOBBES (to Pinocchio)
Have you heard of anything like this?
PINOCCHIO
No. And guess what -- I don't want to be around for the encore.
(To the woman) Do you know Gordon Sym? Is he here?
WOMAN
Uh...yeah...I think he ran off with a few people into the woods.
The thing followed them. That's when I hid in the store.
Pinocchio stands up.
PINOCCHIO
We gotta get out of here.
Hobbes stands as well.
HOBBES
Wait a second. What about Sym?
PINOCCHIO
Whatever it was that did this probably had him for dinner, Hobbes!
Didn't you hear her? It chased them into the woods! How were
they gonna get away?
HOBBES
We have to look. We didn't come all this way for nothing.
PINOCCHIO
Fine. You look, Charlie. I'm taking Florence and this woman and
getting the hell out of here before that thing comes back for
dessert.
He walks around the car and opens the door, looking right at Hobbes.
PINOCCHIO
Everyone who's goin', get in now.
EXT. WOODS -- DAY
The POV is something looking straight ahead, walking through the woods.
It stops at a bush, and a black hand comes up to move the bush aside. We
can now see the group standing or sitting by the car, arguing.
FADE OUT.
ACT II
INT. SANTIAGO'S OFFICE -- DAY
INGA FOSSA is seated at the table, looking at papers that are spread out
all over the large table. The camera pans over these papers, revealing
diagrams of the creature and several sheets with computer programming
code. CLOSE UP of Inga's face, showing a mix of puzzlement and wonder.
A hiss off a door opening causes Inga's face to go up.
CUT to:
Santiago enters the room. He looks at Inga and smiles.
SANTIAGO
Well, what do you think of my latest experiment?
INGA
Impressive. I'm not exactly sure how this works, though.
Santiago struts around the table, his hands behind his back, obviously giving
a lecture.
SANTIAGO
We have tapped into an Internet game that is all the rage on
college campuses across America. It's one of those "3D"
shoot 'em up games that are poisoning the minds of our
youth. With the machine we only recently finished work on,
we are able to make a bridge, a "wormhole" if you like,
between Harsh Realm and a computer on one of these
campuses.
Santiago comes up right behind Inga, looking fondly at the picture of the
creature.
SANTIAGO
The creature you see is one of the villains in the game, one
of the things you need to shoot to win. In this case though,
we bring the creature through the wormhole to Harsh Realm,
and we can use it to crush all resistance on the Frontier.
Inga turns in her chair to face him.
INGA
Fascinating, Omar. Is there an external computer?
SANTIAGO
No, we completely control it from here. The only
external link is the software control. It gives the creature a
rather interesting side effect -- it can't be destroyed here.
INGA
It can't be hurt at all?
SANTIAGO (smug)
No, you can shoot it, or do anything to it, and you can only
slow it down. The only way to send it back is to turn it off
from here.
He grabs her shoulders with his hands.
SANTIAGO
Imagine it, Inga. An army of these creatures that cannot be
stopped! The entire New Frontier be ours!
Inga shrugs off his shoulders and stands up, facing him.
INGA
Just remember, Omar, innovation can also turn on those
that bring it about. As a military man, I would think that
you would realize the dangers of your scheme.
SANTIAGO
It's nothing we can't handle. Trust me.
INGA
Maybe. Watch how you play with this toy, though. It may
come back to bite you.
She walks out. SANTIAGO scowls after her, then looks down at the
papers and smiles.
EXT. BURNT TOWN -- DAY
The trio is still standing at the car, with Pinocchio staring defiantly
at Hobbes.
PINOCCHIO
Are you getting in, or not, Hobbes?
HOBBES
Look, all I'm saying is that we came all this way to find
Sym. I don't think we should just --
Pinocchio's eyes dart away and his face shows alarm.. Hobbes turn to look
in the direction that Pinocchio is facing, and POV changes to the creature
walking out of the wooded area. The woman looks over and starts
screaming. Hobbes and Pinocchio run to the back of the car, the furthest
point from the creature.
PINOCCHIO
Shut up lady!
HOBBES
What should we do?
PINOCCHIO
Let's see how it likes 7.62 millimeter lead.
Pinocchio opens fire at the creature. Hobbes looks at him like he's crazy,
then also starts shooting the creature. Florence tries to pull the woman
down to the ground, but she runs off in the opposite direction from the
creature, screaming. Hobbes stops firing and looks back at her.
HOBBES
Hey! Get back here! You'll be killed!
PINOCCHIO
Forget her Hobbes, we have a bigger problem. We aren't
hurting this thing at all.
HOBBES
What?
POV on the creature that is still walking like nothing has happened. It is
not walking towards them but perpendicular to their position, toward the
woods on the other side of the town.
HOBBES
That's impossible.
PINOCCHIO
After a while, you tend to believe a lot of things here. Any
ideas, bright guy?
Hobbes looks back at the woman, who has run into the woods on the far
side of the town.
HOBBES
We need to get her.
PINOCCHIO
Forget her. Let's get in the car and go.
HOBBES (angry)
What is it with you? Have you been in here too long? Don't you
any humanity left at all?
Pinocchio reaches over and grabs Hobbes' jacket.
PINOCCHIO
Look, get this straight -- in Harsh Realm the only thing that
matters is YOU. Not some stupid VC or anything else.
Florence comes around to the back and glares at Pinocchio. She heard
what he said.
PINOCCHIO
Oh, c'mon Florence....you know what I mean.
Hobbes looks over at the creature.
HOBBES
Hey, it stopped.
The others look over. The creature has indeed stopped dead near the
center of the burned out town.
PINOCCHIO
What is it doing?
HOBBES (smirking)
Do I look psychic?
Pinocchio glares at him, and then takes a few shots at the creature. They
bounce off as if nothing happened, and it doesn't move.
PINOCCHIO
I don't know what that thing is, or how it works, but it's a lot
more than we can handle.
Florence looks toward the direction the creature is facing, and points.
HOBBES
What, do you hear something?
She nods her head.
PINOCCHIO
Great, it's probably the whole friggin' family.
She shakes her head. Hobbes cocks his head to one side, then follows her
gaze.
HOBBES
No, that's an engine.
They look over at the creature which has now started to move in the
direction of the noise. From around a corner on a path in the woods
comes a humvee which accelerates right toward the creature. The
creature raises its left arm which morphs into a machine gun, and starts
firing at the humvee. The driver ducks down and guns the engine, and
the humvee crashes full speed into the creature, which goes flying across
the town into a half burnt building. The humvee stops, and a face looks
but the driver's window. It is GORDON SYM.
SYM (screaming)
Get out of here, now!
The humvee accelerates toward the road they used to drive into the town.
PINOCCHIO
Let's go!
Hobbes picks up Dexter while Florence opens her door. Hobbes throws
the dog in the back seat and climbs in himself. Pinocchio and Florence
follow, close the doors, and the car drives off down the road following the
humvee. POV changes to the burnt building in which the creature landed.
Some of the rubble moves, and the creature rises, looks around, and starts
to walk after them.
CUT to:
INT. SANTIAGO'S OFFICE -- DAY
Santiago is sitting at the conference table, looking at some papers. A
buzzer goes off.
SANTIAGO
Enter!
MAJOR WATERS enters the room in full Republican Guard attire.
WATERS
Good afternoon, sir.
SANTIAGO
Good afternoon, Major. What is the latest word on
the creature?
WATERS
We sent it after the rebel Sym, as you directed. We
were able to verify that the town was destroyed, and
that most of Sym's men were killed.
SANTIAGO
(not looking up)
What about Sym?
WATERS
Eh...well sir, we could not verify his liquidation.
Santiago sighs, rubs his eyes, and for the first time looks at Waters.
SANTIAGO
Very well...send in a squad or two to do any necessary
mopping up of the area. If possible, find Sym. If he's alive,
I want a summary execution, right there.
WATERS
No questioning, sir? He may have some valuable
information about activity in that area of the New
Frontier.
A beat.
SANTIAGO
You have your orders, Major. Do you wish to discuss
them?
WATERS
Oh, no sir. Not at all.
SANTIAGO (nodding)
Good. Where is the creature now?
WATERS
We are tracking it going east, back toward this part
of the country. We believe, since it was programmed
to follow Sym, that it's on his tail. However, it seems
to be walking.
SANTIAGO
And what's so odd about that?
WATERS
Well sir, we thought it could fly.
Santiago chuckles, and stands up, walking to a map hanging on the wall of
the area east of the Mississippi.
SANTIAGO
No, Major. It "lands" when we bring it in on the
energy beam. From that point on it relies on whatever
transportation it can find.
WATERS
But then...couldn't Sym get away, sir?
Santiago turns to face Waters again.
SANTIAGO
You forget, Major Waters, that this is not human. It
doesn't eat, drink, or sleep. It doesn't ask for any kind
of directives, it just does what it's told. Sym must sleep
sometime, which gives the creature plenty of time to
find him.
He turns back to the map, and places his fingers on the New Frontier.
SANTIAGO
Think of it Major! Soon the manned army will become
a thing of the past! When we perfect the code to
control an army of these creatures, we won't need any
army. We won't need any men at all!
He turns to face Waters. A beat.
SANTIAGO
I may not even need you, Major. Keep that in mind.
(A beat). Dismissed.
Waters salutes, turns and walks out.
CUT to:
INT. LOBBY -- DAY
Waters walks out of the office, closing the door behind him. He sees Inga
waiting outside.
INGA
How's our leader?
WATERS (snarling)
Just fine. Although I think he's putting too much faith into
this digital nightmare of his.
INGA
I warned him not to get arrogant. But since when does
Omar Santiago listen to anyone but himself?
Waters looks at her, his eyes narrow and his face dark.
WATERS
That's exactly what I'm afraid of.
He strides off. Inga watches him, then walks to the door and pushes the
buzzer on the wall next to it.
SANTIAGO
(off screen)
Enter!
She opens the door.
CUT to:
INT. SANTIAGO'S OFFICE -- DAY
Santiago is still standing in front of his map, looking intently at the New
Frontier. He turns his head just slightly to see who is entering.
SANTIAGO
What is it, Inga?
She walks up to him.
INGA
I have some concerns about this creature, Omar. What
if there is some kind of tracer from the university server
to Harsh Realm?
SANTIAGO
Impossible. It looks like a simple Internet connection to
any outside computer. No one would know.
INGA
Perhaps, but it still worries me.
Santiago turns to face her.
SANTIAGO
Trust me, Inga. I have every corner in sight. Soon we
will have the entire New Frontier under our grasp. This
creature is the key.
INGA
Yes, Omar, but --
He puts a finger on her lips, silencing her.
SANTIAGO
That's enough. And,
(a beat)
don't call me Omar.
He walks to the door and exits, leaving Inga behind. She turns, and
making sure he's gone, picks up a large book laying on the table which she
throws at the map. It hits the map and falls to the floor. POV changes
to Inga, her arms crossed, and her face worried.
FADE OUT.
ACT III
EXT. CAMPFIRE -- NIGHT
Hobbes, Pinocchio, Florence, Dexter, and Sym are sitting around a
campfire with the cars nearby.
SYM
It came down on some kind of beam from the sky.
We shot at it, but our bullets had absolutely no effect.
Then it started trashing the town, killing everyone,
even women and children. When we realized that we
couldn't stop it, we told everyone to evacuate the
town. We ran out to the woods, and it followed. It
killed most of my men, the rest running further out.
HOBBES
Why did you come back?
SYM
I wanted to see if anyone was left alive. The thing
must have circled back. I saw you sitting there, and
came down when I saw the thing walk out.
(a beat)
I think it's after me.
PINOCCHIO
Great. Is this Santiago's work?
SYM
Who else would have the technology to do it?
HOBBES
What do we do? We can't let this thing just run
around.
PINOCCHIO
What do you think we should do? Ask it to go home?
HOBBES
Why do you have to get like this? Why --
SYM (interrupting)
Hey! Gentlemen, this won't help. If this thing is after
me, maybe we can draw it into a trap.
Florence shakes her head, smacking a fist into an open hand.
PINOCCHIO
Yeah, that's right. We can't hurt the thing, we can't
stop it.
Hobbes is looking away toward the cars. Suddenly he grabs his gun
and crouches.
PINOCCHIO
What?
HOBBES
There's someone by the cars.
The four grab their weapons and start moving slowly over toward the
cars. As they get closer, a woman in a long dress steps forward. It's
Inga.
HOBBES
Stop! Are you armed?
INGA
Do you see a weapon?
The four move up to her.
PINOCCHIO
She could be packing, or have a wire.
INGA
In this dress? Where would I hide it, Michael?
PINOCCHIO
Don't start that. (to Florence) Check her.
Florence walks over and frisks Inga.
INGA
You don't have much time. You need to listen.
Florence shakes her head.
HOBBES
Ok, then talk fast. What are you doing here?
INGA
I came to warn you. Santiago has brought some kind
of creature in from a 3D game that's played on college
mainframes.
PINOCCHIO
I know...we met already.
INGA
Then you know it can't be hurt or stopped. And
Santiago plans to bring in an entire army of them.
HOBBES
An army?
INGA
Yes. The ultimate army. He'll pour over the New
Frontier without any resistance.
Hobbes looks at PINOCCHIO, as if for guidance.
PINOCCHIO
I don't trust her. (looking at Inga) You don't have a
good track record.
SYM
Is there any way to stop it?
Inga looks at Sym with surprise, but makes no other sign of
recognition.
INGA
Santiago has a console in the control room at
headquarters. That's where he controls the creature.
If you can destroy the console, this will be taken care
of. But you have to act quickly.
HOBBES
But what's your angle? Why are you telling us all this?
INGA
Santiago is a maniac. His master plan of world
destruction is lunacy. Someone has to stop him. I
think it's you, Hobbes. You can finish Santiago and
save both Harsh Realm and the real world.
PINOCCHIO
Don't trust her Hobbes. She has her own agenda.
(to Inga) Playing both sides, right?
INGA
I think you have bigger problems than me.
PINOCCHIO
What do you mean?
Inga points down the road, where a figure is walking a good distance
away. Florence pulls out a binoculars with night vision and looks
down the road. She glances at Pinocchio, and hands the binocs to
him. He looks through them. POV changes to the sight through the
binocs. We see the creature walking up the road at them.
PINOCCHIO
Company's coming. Let's get out of here!
They start piling into the cars. Inga shouts at them.
INGA
You have to get to the console, do you understand?
PINOCCHIO
Oh we get it, believe me.
Hobbes stops at the car door. Inga is not moving toward the cars.
HOBBES
You have to come with us!
INGA
Don't worry about me, just get to that console!
PINOCCHIO
Forget her! Get in the car!
Hobbes hesitates one more second, glances at Inga, then piles in the
car. A missile shoots right overhead, exploding as it hits a tree. The
cars drive away. leaving Inga behind. She watches them go, then
moves toward the trees. She walks into a glitch and disappears.
CUT to:
INT. SANTIAGO'S HEADQUARTERS -- NIGHT
We are in Santiago's control room at headquarters. We see Santiago
standing over the console which is being manned by two men.
SANTIAGO
Do you have the video feed from the creature?
MAN #1
Yes sir.
SANTIAGO
Play back what we just captured.
A short burst of static comes on one of the screens, which is replaced
by a video image of the confrontation that just occurred between
Inga and the others. We see Inga speaking to the group who drive
off, then walking into a glitch. Santiago's eyes narrow, but his face
betrays no other emotion.
MAN #1
Any orders, sir?
SANTIAGO
Keep the creature tailing them. Report to me when
we make contact again.
MAN #1
Yes sir.
Santiago stares at the screen one more moment, then turns and walks
out of the control room.
EXT. FENCE BY SANTIAGO CITY -- MORNING
Hobbes, Pinocchio, Florence, Dexter, and Sym are standing by a
deserted section of fencing at the perimeter of Santiago City. Sym
and Hobbes are checking their rifles and supplies.
PINOCCHIO
There's a glitch right here, so you can get through, but
I still don't think this is a good idea.
SYM
You heard Fossa. The only way to get rid of that
thing is to get to that console.
PINOCCHIO
It's a trap. You two are walking right into Santiago's
jaws. Right Florence?
Florence has a look of concern on her face, but shrugs and shakes her
head.
HOBBES
Look, if we don't stop this, we can just kiss the New
Frontier goodbye, along with any chance of winning
the game and getting out of here.
Pinocchio comes up to face Hobbes
PINOCCHIO
I already told you that's not a priority of mine. And
you're trusting "Inga" (sarcastic stress on her name).
I don't buy anything she's saying.
SYM
If this was a trap, why wouldn't have Santiago just
grabbed us last night? It doesn't make sense.
PINOCCHIO
Nothing about this makes sense.
HOBBES
I trust Sym, and I think Inga is on the level with this one.
It's the only way Pinocchio. Wait here for us.
Sym and Hobbes walk to the glitch and look at each other.
SYM
After you.
PINOCCHIO
Hey!
They look over at him.
PINOCCHIO
Good luck... (looking away.)
Hobbes smiles and steps through the glitch, with Sym right behind.
They start running toward Santiago City. POV change to show
Pinocchio and Florence watching them leave, then turn around back to
the car.
CUT to:
INT. OFFICE BUILDING, SANTIAGO CITY -- DAY
We see Inga walking through the building that contains the portal back
to the real world. She approaches the closed door, puts in her id
card, and the door opens. She enters and we see the chair that acts
as the portal, with Santiago sitting on it. Inga looks surprised and
somewhat fearful.
SANTIAGO
Well, hello Inga.
INGA
Hello....sir.
Santiago stands up and slowly strides toward her.
SANTIAGO
Going back already?
INGA
Yes, I have some business with the military.
SANTIAGO
Do you? Facinating. So...
(a beat)
what exactly were you discussing with Hobbes and
Michael Pinocchio?
A beat.
INGA
I'm bringing them here to you.
Santiago comes up to Inga and looks her right in the eyes.
SANTIAGO
Of course. I wouldn't expect someone so..close...to
me to betray me, would I?
INGA
Do you think I would?
SANTIAGO
I'm not saying you did or didn't at this point, but just
remember this --
He grabs her shoulders roughly.
SANTIAGO
If I ever thought you were betraying me, I would
guarantee that when the Plan is enacted, you would
be left behind to die with the rest of them. Do you
understand?
INGA
Yes...sir. (looking down)
Santiago releases her.
SANTIAGO
I'm going to deal with our guests. Next time be sure
to tell me about any plans you have.
He walks to the door, turns back, and gives Inga a look of distrust,
then continues walking. Inga takes a deep breath, then sits on the
table, putting her head in her hand.
FADE OUT
ACT IV
EXT. FENCE BY SANTIAGO CITY -- DAY
Florence and Pinocchio are sitting on the car chassis looking around,
waiting for Hobbes and Sym.
PINOCCHIO
I don't like this Florence. This is a trap, I can feel it.
Florence looks ahead at the fence and sighs. She shrugs.
PINOCCHIO
You're too friggin' optimistic.
She silently chuckles and looks down the road, then hits Pinocchio on
the arm.
PINOCCHIO
What?
She points down the road. POV change to the direction she is
pointing, where we see the creature walking fairly quickly toward
them.
PINOCCHIO
Wonderful! Get in the car.
The pair jump into the car and start driving. POV change to the rear
view mirror of the car which Pinocchio is looking through. In the
mirror, we see the creature walks up to the fence and walks through.
PINOCCHIO
What the....oh, great!
He spins the car around and drives back to the glitch. Florence and
Pinocchio jump out. POV change to their view of the fence and
beyond. The creature is nowhere in sight.
PINOCCHIO
Where the hell did it go?
Florence thinks for a moment, then points to the glitch. Pinocchio
considers for a moment.
PINOCCHIO
You think it can travel through the glitch?
Florence nods.
PINOCCHIO
Sssh...so where did it go?
CUT to:
INT. CONTROL ROOM -- DAY
We see two men sitting at the console in the control room. On of the
men is looking at a screen with the POV of the creature walking to the
fence. It comes to the glitch and then the screen goes to static.
MAN #1
What the....?
MAN #2
What?
MAN #1
We just lost the signal. Where did it go?
The second man looks at the screen, and then the two look at each
other, with concern on their faces.
CUT to:
EXT. SANTIAGO CITY -- DAY
Hobbes and Sym and dodging through Santiago City, avoiding people
and Republican Guards. They are trotting down a deserted street,
when around the corner in front of them comes a Republican Guard
jeep. Sym grabs Hobbes and they duck down a corner. They jump
behind some trashcans. POV change to their view of the street, where
we see the jeep drive by, apparently missing them.
HOBBES
I think they missed us.
SYM
Yeah...lucky.
Hobbes looks over at Sym
HOBBES
I don't know if we're going to make it.
SYM
We only need to go a bit further. A few blocks from
here we'll find a glitch in an alley that should take us
fairly close to the control room.
Sym rises and creeps up to the alley entrance.
HOBBES
How do you know that?
Sym waves to Hobbes to follow.
SYM
I worked for Santiago for a while. I know my way
around here.
He runs around the corner. Close up on Hobbes, his face a wash of
emotions. Then he gets up and follows.
CUT to:
EXT. ALLEY, SANTIAGO CITY -- DAY
Sym and Hobbes run around the corner into the alley. Sym trots
down to the alley and starts feeling around the wall. Hobbes comes
up behind him.
HOBBES
You worked for Santiago too?
SYM
Uh..yeah, for a while.
HOBBES
Why?
Sym looks at Hobbes with an annoyed look on his face, then keeps
feeling for the glitch.
SYM
I was sent to win the game. I thought if I got close
to him, I might have a better chance.
HOBBES
What happened?
SYM
I quit. Come on, there's no time for this!
HOBBES
I can't believe this! Has everyone worked for
Santiago?
Sym's hand suddenly goes through the wall. He has found the glitch.
SYM
Look, we can talk about my previous employmemt later! We have
a job to do.
He jumps through the glitch. Hobbes grunts, shakes his head, and
follows Sym.
CUT to:
INT. SANTIAGO'S HEADQUARTERS, OFFICE -- DAY
Hobbes comes through the glitch into a small office in Santiago's
Headquarters. He sees Sym at the door which is open, looking out.
Sym looks back at Hobbes.
SYM
C'mon. It's clear.
CUT to:
INT. SANTIAGO'S HEADQUARTERS -- DAY
Sym and Hobbes are carefully moving through Santiago's
headquarters. They stop at an intersection, Sym looks both ways,
waves and then turns the corner, with Hobbes following. As they pass
a small alcove with a chair and table, a light flashes and the creature
steps through a glitch.
SYM
Damn it! Run!
Sym and Hobbes run down the alley. POV change to the creature,
which morphs one of its arms into a machine gun. It raises it and fires.
POV change to the creature's perspective as Hobbes runs around the
corner, narrowly missing the hail of bullets.
CUT to:
INT. SANTIAGO'S HEADQUARTERS, CORRIDOR -- DAY
Sym and Hobbes turn a corner, and run right into a group of ten
Republican Guards, weapons out.
GUARD #1
Stop!
Sym stops and looks at the Guards.
SYM
It's back there! Hurry!
GUARD #1
What is?
The creature turns the corner, machine gun bearing down on the men.
HOBBES
That!
Sym and Hobbes press forward as the creature opens fire. They
dodge down to the ground as the creature fires a hail of bullets into the
group of Republican Guards, two of whom fall down. The Guards
open fire on the creature. Sym and Hobbes stand up at the back of
the group, look back, and continue running. The creature fires again,
and another four guards fall. The rest start running behind Hobbes and
Sym.
CUT to:
INT. CONTROL ROOM -- DAY
POV is the doorway behind the console, with the two men sitting at it.
The door opens and Sym runs in, looking around.
SYM
Get down!
The guards at the console, along with the other four in the room, draw
their weapons and point them at Sym.
MAN #1
What? Drop that weapon!
Hobbes runs in, looks around, and grabs Sym as he falls to the
ground. Into the room run two Guards, screaming. Right behind them
comes the creature. POV change to Sym and Hobbes, crawling away
from the door.
POV change to the creature. The Guards in the room open fire, with
of course the bullets going right through it. The creature fires at one of
the Guards, who is blown to the ground by the hail of bullets. The
guards in the room start ducking for cover as the creature unleashes a
hail of bullets through the room.
POV change to Sym and Hobbes, behind a table and chair, being
ignored as the Guards try to deal with the creature.
SYM
That thing is going to kill us along with everyone else!
HOBBES
What do we do?
Sym considers for a moment.
SYM
It wants me, there's only one way to deal with this.
He gets up. Hobbes grabs at him.
HOBBES
Hey! Get down! Sym!
Sym looks back at Hobbes.
SYM
Just get ready to run! Be seeing you!
Sym runs over to the console, ducking behind it and firing at the
creature.
SYM
Hey! You want me! I'm right here!
The creature snaps its head over and fires a hail of bullets at Sym, who
ducks behind the console. The console starts to spark. Sym gets up
again, firing.
SYM
C'mon you freak! I'm here! Get me!
The creature raises it's arm/weapon again, and the gun morphs into a
rocket launcher. The creature shoots a rocket at the console which
explodes. POV to the creature which flickers and then goes out.
POV to Hobbes, who is on the ground with his hands over his ears.
He gets up and runs over to the console, which is totally destroyed.
He looks at Sym, who is laying near death, horribly burned by the rocket.
Hey opens his eyes, looks at Hobbes, then spasms, and his body
digitizes out.
HOBBES (reverently)
Thanks....be seeing you.
Hobbes turns and runs out of the room and the Guards start getting up
and recovering.
CUT to:
INT. SANTIAGO'S HEADQUARTERS, CORRIDOR -- DAY
Hobbes is running through the headquarters, looking for the way out.
He turns a corner, and the POV change down the corridor shows a
group of Republican Guards running right at him. POV change back
to Hobbes, who turns and starts backing up. He runs up the camera,
looking around wildly, a grimace of panic on his face. Suddenly he
hears a voice as a hand grabs his shoulder.
VOICE
Hey!
He whips his head around, to see Pinocchio.
PINOCCHIO
I figured you needed a hand. Get in here.
Pinocchio disappears into a door, with Hobbes right behind him.
CUT to:
EXT. FENCE -- DAY
Hobbes and Pinocchio jump through a glitch in the fence. Hobbes
looks to his right and sees the car and Florence about 100 feet away.
He starts walking towards the car with Pinocchio.
PINOCCHIO
Good thing I knew about that glitch, partner.
Hobbes glares at him.
HOBBES
That's not all you knew about. You worked with
Sym, didn't you? You both worked for Santiago.
Pinocchio doesn't look at him.
PINOCCHIO
Yeah...so what?
HOBBES
So what? Why didn't you tell me? Why am I left in
the dark about this stuff?
They reach the car. Pinocchio turns around and faces Hobbes.
PINOCCHIO
Look, slicko, you're the one with the messiah
complex. I don't want anything to do with this. I'm
just tagging along. Yeah, I knew Sym. What does that
have to do with your army, or anything else?
HOBBES
That doesn't make sense! You keep helping me. You
have something in mind.
Pinocchio jabs his finger into Hobbes' chest.
PINOCCHIO
What I do, I do for myself, and no one else. Don't
get your hopes too high about me, pal. When I want,
I'll leave, and you'll be on your own. Don't push it.
Now get in the car!
CLOSE UP on Hobbes' face, angry.
HOBBES (V.O.)
What is it Sophie? What makes this sick game work?
Why is it the people we think we can trust seem to be
the most untrustworthy?
DISSOLVE to:
INT. MILITARY MEETING ROOM -- DAY
Inga Fossa in a meeting with top military brass. The brass seem to be
arguing among themselves. As Hobbes continues his monologue, the
camera slowly closes in on Inga, obviously oblivious to the commotion
around her, lost in her own thought.
HOBBES (V.O.)
These people are enigmas, Sophie. I don't understand
how they think. I don't know which ones can be
trusted, or which ones are ready to betray me. How
can I win this game when I have no idea who my allies
are?
Inga puts hand to her forehead and leans on the table.
DISSOLVE to:
EXT. BURNED TOWN -- DAY
We see the woman holding her child, looking over the burned town,
tears coming down her face. The child is crying, hungry.
HOBBES (V.O.)
How many more must die to feed the ego of Santiago?
What can I do to stop him? There is so much
suffering going on here because of this one man.
When I don't know who I can trust, how can I help
them?
DISSOLVE to:
INT. MILITARY BASE -- NIGHT
We see row after row of medical cots with men and women lying on
them, asleep, covered with white blankets. The camera pans down a
row until we come to a table surrounded by medical personnel. On
the table lies Sym. The medical personnel are disconnecting wires and
sensors from his body.
HOBBES (V.O.)
And the ones who can give me some clue as to what
to do -- what path to take -- never seem to have
that chance, Sophie. How can people live here
without going mad? There doesn't seem to be any
hope, or caring, or human concern. Death strikes and
it is looked at as if we are just taking out the garbage.
The medical personnel pull a sheet over Sym's face.
DISSOLVE to:
INT. CONTROL ROOM -- DAY
We have a close up of Santiago's face, angry, looking down at the ruined
console. POV change to Santiago, full body, standing at the rubble.
HOBBES (V.O)
I'm no closer to winning the game than before. No
closer to getting home to you, Sophie. Santiago still
stands between me and the real world. I want to help
the people here, but I want to get home to you more
than anything. Wait for me, Sophie. I only pray that
you somehow know that I'm alive.
Santiago turns and walks out of the destroyed control room.
DISSOLVE to:
EXT. FENCE -- DAY
CLOSE UP of Hobbes' face, awash with emotion. He hears a bark,
looks down, and sees Dexter wagging his tail. He smiles, bends
down, and picks him up.
Pinocchio is in the car, and starts the motor. He looks over at
Hobbes.
PINOCCHIO
Come on! You wanna stay here?
POV change to Hobbes, who turns and looks at the car. Florence is
standing by the passenger door, waving. Hobbes walks over, puts
Dexter in, and looks at Florence, who smiles and pats his shoulder.
Hobbes gets in the car with Florence behind him, who closes the door.
HOBBES (V.O.)
Don't give up hope, Sophie. If I can stay sane and
alive here, I will come back to you, I promise.
All my love, Tom.
The car turns and accelerates down the road.
FADE OUT.
END.