"Lilliputian"
by Fernando Frias
thechaosfactor@hotmail.com
For Jennifer Ngan and Flora Wong without whose stupidity this episode of
Harsh Realm could not have been written. *Big* thanks to Jen!
Special thanks to The Inimitable Pooh_Bah for inspiration, humor, and
brutal honesty on some of my other works.
TEASER
INT. TECHNO CLUB - NIGHT
Very loud heavy metal music pulses with the electric lights seething
through the rather seedy joint. Various people - rogues, soldiers of
fortune, hit men, and crimelords - are gathered here.
Numerous shots around the place to show just what kind of people come
here. A grim soldier with a shaved head lights a cigar. A group of men
howl drunken flirts with a barmaid. The BARTENDER serving drinks to a
particularly mean-looking soldier with a worried look in his eyes.
Suddenly, the Bartender turns. Two men behind him are pushing each other
roughly against the wall.
THOMPSON
What are you trying to pull?
MARISOLA
I told you, that was fair and square!
You lost the game! I want my money!
Marisola tosses down five cards; they were playing poker.
THOMPSON
You cheated! Liar!
MARISOLA
You wanna rumble?
Thompson's eyes narrow.
THOMPSON
Let's go.
Marisola walks up to the Bartender, who's been watching the whole
incident, and slaps a few bills on the table with Santiago's face on
them.
MARISOLA
This joker wants to throw down.
Scan me one.
The Bartender grins, and pulls out an electronic board. He puts it on
the table and taps a few keys. On the center of the board, the words
'Data Override in Progress' appear.
With a flicker, a tiny minature of Marisola appears, flickering in static
irridescence. We've seen it before. A Zip File, from 'Inga
Fossa'. Marisola examines it.
MARISOLA
Now that's what I'm talking 'bout.
The Bartender grabs a small microphone out of his pocket and calls to his
customers.
BARTENDER
Gentleman, tonight, we have a special treat
for you!
The rogues cheer.
TIME CUT TO:
Less than a few minutes later. The Marisola minature is poised at one end of
a pool table. A minature of Thompson, also a Zip, is on the other
end. Their taller counterparts are behind them, staring arrogantly at
each other.
Everyone cheers as the Bartender begins.
BARTENDER
Gather 'round now for the digital bloodsport
we call the Zip Fights! Here for your
entertainment, two of our rowdiest customers
are ready to duke out in the ring with these
digitally compressed files, their likenesses
scanned in to allow us to see who will be
mercilessly be beaten down! They are about to
settle a problem in the most vicious way
possible because they couldn't do it peacefully!
He grins even further as Marisola flexes his biceps.
BARTENDER
For all you here who'd like to place bets, our
waitress Ms. Antoine will be taking them down!
And don't forget, our special tonight is
the most mind-bending mixture of cocktails we
call the Dataflow!
(beat)
Let's get ready to rumble!
The crowd throws the loudest cheer yet as the hypnotic techno-rock
changes beat, to become even more loud and thrilling.
The Marisola Zip leaps out after the Thompson Zip. It grabs the TZ and
puts it in a headlock. The TZ pushes himself back on his legs and sends
the MZ reeling back. Before the MZ can get up, the TZ is already on him,
giving him a left hook, then a right, then a left again. The MZ tries to
get up, only for the TZ to drive his face into the table with his foot.
MARISOLA
Stupid Zip!
The MZ digitizes, but instead of disappearing, it's sucked into the
board it was created from like a vortex.
Thompson grins triumphantly.
TIME CUT TO:
INT. DUNGEON - NIGHT
A shining Zip, still in the likeness of Marisola, is thrown inside the
makeshift dungeon. He looks incredibly beat up. The Bartender grabs him
by his tiny legs and pulls the Zip upside down.
BARTENDER
Someone's slacking.
>From the Zip's POV: a monstrous Bartender above him. He puts his hand
up, then puts his index finger behind his thumb. He grins sardonically.
BARTENDER
Don't be BS-ing in the ring next
time.
And with sharp abruptness, he flicks the Zip in the face.
FADE TO BLACK
RESUME:
The Bartender gets up, and turns around, beginning to walk out back to
the humming enthrallment of the bar. As he puts his fist around the
knob, he hears a gun click.
He turns.
Bartender's POV; the silvery barrel of an automatic pistol, complete
with a padded silencer.
It goes off.
FADE TO BLACK
RESUME
>From out of the shadows, the owners of the gun step out; two shimmering
Zips, both with indistinguishable low-resolution faces. The taller of
the two claps, and jumps down toward the fallen body of the Bartender.
It begins to speak, but we only hear something that sounds like static.
As it nears the camera, we finally hear words.
ZIP FILE
-o's laughin' now?
He jumps on top of the Bartender's forehead and begins to do an Irish
jig.
END OF TEASER
ACT ONE
EXT. ROAD - DAY
Pan into a forest clearing. A dirt track divides the forest into two neat
sections.
As soon as we see that everything is calm and peaceful, a black Chevelle
swerves on screen and spits dust in its wake. A strange ticking is coming
from its innards. Obviously an engine problem.
A legend on the screen reads REPUBLIC OF SANTIAGO BORDERLAND
NEW HAMPSHIRE FRONTIER
HARSH REALM
The Chevelle continues barrelling down the road.
INT. CHEVELLE - DAY
MIKE PINOCCHIO sits rather awkwardly at the wheel, watching carefully at the
road ahead. He coughs. Sitting next to him, in the passenger's seat is
FLORENCE.
In the back seat is HOBBES. He doesn't seem too happy. After all, this is
the
first time we've seen him sit in the back.
After staring out the rear window, Hobbes leans forward to Pinocchio.
HOBBES
How come you didn't let me sit in
the front like I always do?
Pinocchio grunts.
PINOCCHIO
You lost your priveleges the moment that
damn dog of yours decided to piss all
over my upholstery.
Hobbes is taken aback.
HOBBES
How was I supposed to know he wasn't
housebroken in Harsh Realm?
PINOCCHIO
Was he housebroken in the Real World?
Hobbes pauses. An uncomfortable look crosses his face.
PINOCCHIO
(to himself)
I thought so.
Florence cracks a wry smile. Pinocchio reaches over to turn on the car radio
just as Hobbes sits back with a defeated expression.
HOBBES
Where we off to?
PINOCCHIO
Shut up, Hobbes. I'm trying to listen to the
radio.
HOBBES
Why?
Florence shoots Hobbes a look that seems to make him back off. Pinocchio
doesn't see this, and answers anyway.
PINOCCHIO
So that you aren't left in the dark, genius, this
is the limits of Santiago's empire. Place is
probably stinkin' with Republican Guard.
He pauses as he makes a left turn.
PINOCCHIO
(cont'd)
There's no public radio station in the Republic
besides WSCR, but we can get the military channels
on this. Maybe we can figure out where the army's
at and steer clear of them.
He fiddles the dial on it. The bar moves back and forth until it settles
along
the numbers. Pinocchio wipes his face of sweat as a voice filters through
the
static.
Pinocchio visibly cringes when he recognizes the voice.
RADIO
Good morning, this is Jose Chung, of Santiago
City Broadcasting . . .
Florence smacks the radio, even quicker than Pinocchio is about to.
Pinocchio
looks shaken for a moment, then relaxes. The radio changes to a new
bandwidth,
and Pinocchio waits for the static to clear.
RADIO
Unit two-o-three, this is Central Base. General
Hawkins wants a report from your CO on your
scouting mission findings. Please reply with your
coordinates. Over.
The radio hisses. Pinocchio motions to Florence.
PINOCCHIO
Quick, take it out, take it out, take it out.
Florence nods and takes out a huge road map. She unfolds it, and it almost
completely envelops the windshield. Pinoccho gruffly pushes it out of
the way before they can swerve into a tree trunk standing in the middle of
the road.
PINOCCHIO
Dammit, Florence! Keep the map out of my
view! Do you wanna kill us?
Florence shoots Pinocchio a dirty look. Pinocchio recoils.
PINOCCHIO
(muttering)
Sue me for living.
ZOOM IN on Florence's hands on the map. Her fingers are over the lines for
longitude and latitude.
RADIO
(new voice)
This is the CO of Unit two-o-three, Lt. Major
Atkins. Our current coordinates is at . . .
(beat as static hisses)
. . . lat 45 east, 35 north. Over.
Pinocchio reaches over and switches the radio off.
PINOCCHIO
(to Florence)
You got that?
Florence nods. Her fingers move into the heart of the maplines until they
meet at one spot. Pinocchio's watching intently.
Florence looks at Pinocchio, and points her finger at the spot; of course,
it's the spot where the Republican Guard unit is.
EXT. ROAD - DAY
The Chevelle turns to the right, and barrels further down into the foliage.
TIME CUT TO :
EXT. ROAD - DUSK
A different location on the road. It's the late afternoon by now, the sun's
lower in the horizon. The Chevelle comes out from a corner and grinds to a
halt. The cacophony of rattling under the hood fades as the headlights shut
off.
The trio step out of the car.
HOBBES
I think there's something wrong with
your car's engine.
Pinocchio rolls his eyes.
PINOCCHIO
Naw, you think?
Hobbes exhales, with only the shadow of contempt emanating from it.
>From Hobbes' POV: Past the greenery and dirt mixing into a drab green
panorama, a building stands. It looks like an abandoned weapons depot. On
its side walls, graffitti advertising defiance to Santiago is scrawled
about.
HOBBES
Where are we?
PINOCCHIO
Zip Fights. Got a friend of mine here, owes
me a favor. He deals in spare auto parts.
Hobbes looks confused.
HOBBES
Wasn't it taken down by the Republican
invasion?
PINOCCHIO
There's more than one Zip Fight show outside
the fence. They're sprawled out across the frontier.
Only three Zip File compressors were made, and
only three guys had their mitts on 'em.
Pinocchio looks at Florence.
PINOCCHIO
Keep your eyes peeled.
Florence shoves a new ammo clip into her M16.
INT. ZIP FIGHT CLUB - DUSK
A different club from the one in the teaser. This one's more stylish, a bit
less crowded. More like a fancy pool hall. Soldiers-of-fortune-type men are
all over. Drinking, trading supplies, picking up on the barmaids.
Pinocchio appears, Hobbes and Florence behind. He shifts his eyes to Hobbes.
PINOCCHIO
Stay here.
(to Florence)
Keep your eye on him.
Hobbes scowls.
HOBBES
I don't need a babysitter.
Pinocchio's already walking away. Out of hearing distance from Hobbes.
PINOCCHIO
(re: Hobbes)
The hell you don't.
RESUME:
Hobbes and Florence. Hobbes doesn't seem to happy about being ignored.
Almost
as if he resents Florence's presence.
>From Hobbes' POV: Pan around the bar. One man is beside a stereo set, gives
the bartender a dollar bill, and then presses a button on the stereo's CD
player. He disappears from view, walking away form the set, just as some
more
techno music spews from the device.
Hobbes looks in another direction.
The song is barely into its first measures. A man stands, drunkenly eyeing
a barmaid. He smiles wanly at her. She returns with a dirty look enough to
make him slink back into the corner he was in.
Finally, Hobbes's POV settles on the main bartender. He pulls out an
electronic board. Exactly like the one from the teaser.
Hobbes walks toward the bartender. Florence reluctantly follows.
CUT TO:
A seperate table in the bar. Four men are sitting, playing a game of poker.
They eye each other suspiciously before returning to their own cards. One of
them, THICKE, takes a drink of a small shotglass of vodka next to his chips.
Almost immediately, he starts coughing terribly.
The other men start laughing.
POKER PLAYER ONE
Whatsa matter, Thicke, can't hold your
liquor?
This causes even more chuckles to run through the group.
VOICE
(oc)
Sorry to interrupt the party, Ernst . . .
One man turns around to the sound of his name. He's ERNST. He stands to face
Mike Pinocchio. He sniffs the air, pleased.
ERNST
Mike Pinocchio.
Pinocchio cracks a grin.
PINOCCHIO
Vincent Igor Ernst.
ERNST
Haven't heard from you in ages, buddy.
I owe you, remember?
PINOCCHIO
Sure do. Exactly why I'm here.
Ernst pauses.
ERNST
Give me a moment, would you?
He turns back and sits with his poker group. He eyes his cards, then winces
in
displeasure. From his POV: the cards. A two of hearts, a jack of clubs, a
nine
of spades, and a five of diamonds. Nothing he could possibly use.
Ernst looks at Pinocchio, who grins even more wryly.
With no reluctance, he tosses them on the table.
ERNST
I fold.
A grunt of satisfaction emanates from one of the men.
ERNST
Don't think it'll be this easy to
beat me next time.
He gets up, picks up his coat, and faces Pinocchio again.
ERNST
You were saying?
PINOCCHIO
Outside. Where we can get some privacy.
They walk away.
Another bar customer slides into frame, and smiles. He's SKINNY.
>From his POV : Across the bar, past all the hubbub, he eyes Hobbes's wallet
sticking from his back pocket.
CUT TO :
Hobbes. He's talking to the Bartender. Florence stands warily by his side.
HOBBES
What's that supposed to do?
He's looking at the electronic board in the bartender's hands. On the
bartender's shirt are dog tags that say 'DeFarge'.
DEFARGE
It's a Zip File storage cell. We keep
them out most of the time, but when we
have a busy night like now, we like to
have them inside the cell. Makes it look
a lot more high-tech. There's only three
of these babies in existence.
He pauses as he lets the words sink in. Hobbes looks intrigued.
DEFARGE
Ever seen a Zip Fight, boy?
HOBBES
Once.
DEFARGE
One of the most spectacular sports ever
designed. Layers and layers of digitally
compressed testosterone just kicking the
crap out of each other to prove a point:
violence isn't something we can live
without.
HOBBES
How do you make a Zip File?
Florence smacks Hobbes on the arm. Hobbes shifts his attention to her as she
bobs her head. She's pointing toward Pinocchio, who's exiting the bar with
Ernst. Hobbes nods his head.
HOBBES
(to Florence)
In a minute.
(back to DeFarge)
You were saying?
DEFARGE
Zip Files are small digital beings. What
you do to make them look like their larger
versions is override their format. Make 'em
look just like mini-people. And they're trained
from the start to fight. And that's what they
do best.
HOBBES
Mind if I see one?
DeFarge grins. There's a glint of greed in his eye.
DEFARGE
It'll cost you.
Hobbes puts his hand at his waistline, the side not adjacent to Florence.
Confusion crosses his face suddenly.
HOBBES
My wallet's gone . . .
Almost as soon as the words come out, Florence dashes toward Skinny, who's
hobbling away, trying to avoid being noticed. She grabs him by his shoulder,
whirls him around, and gives him a right hook. Then a left hook.
He stands motionless, upright for a moment, before collapsing.
Next to his hand, Florence picks up Hobbes's wallet. She picks it up as if
it
were a dead bird, and walks plaintively back to Hobbes.
He's got a look of befuddlement on him.
She drops the wallet in front of him, and has a smile of her own on her
face.
It almost seems to say, "Now what did you say about not needing a
babysitter?"
HOBBES
Uh . . . thanks.
He takes out a dollar bill, stamped with Santiago's face, and hands it to
DeFarge.
DeFarge graciously takes it, and flips a few switches on the board. It
clicks
and hums for a moment, then dies down.
Nothing happens. DeFarge arches an eyebrow. He flips the same switches off
then on. The same results come. He taps some keys on the side of the board.
On a small screen on the board, words appear.
ON THE SCREEN:
"FILE BANK EMPTY"
EXT. OUTSIDE THE BAR - NIGHT
Pinocchio and Ernst a standing between the trees outside.
ERNST
Well, well, well, Michael Pinocchio.
What brings you back into this part of
the frontier?
PINOCCHIO
I need parts. Something's up with the
engine of the old Chevelle. I need a
mechanic, and I need parts.
(beat)
And you owe me a favor.
Ernst sniffs and exhales sharply. His breath makes a vapor in the cold New
Hampshire air.
ERNST
Guess I do. If you hadn't busted me out
of the Santiago City Detention Center on
your way out the door of His Royal Highness's
realm, I wouldn't be here.
PINOCCHIO
Well?
ERNST
Give me a bit to look under the hood. We'll
see how much it'll cost and what we need.
What are you paying in, Pinocchio?
PINOCCHIO
Ammo, information . . . you name it.
ERNST
Good.
He turns from Pinocchio back toward the bar.
ERNST
Find me here tomorrow morning. We'll
make a deal.
Without much else, he stalks back toward the bar. Pinocchio watches him
closely as he opens up the back door, walks in, and vanishes.
Pinocchio remains standing for a while, unmoving. Like he's calculating his
next movie. Finally, he turns, and begins walking toward the Chevelle about
forty meters away.
Cicadas start to buzz.
He's within twenty meters of his car.
All of a sudden, he falls face-first into the ground. He lands with a
resounding thump on the dirt, then clutches his leg in pain. He exhales
sharply, spraying the grit on his jaw off.
PINOCCHIO
What the hell . . .
He rolls himself over on his back. From his POV : a shoelace, tied to the
roots of two skinny tree trunks. Obviously a trap.
Pinocchio's about to get up when suddenly sparks fly from the back of his
neck! His head convulses violently, and he screams! It carries on for a
few seconds before the sparks die out.
Pinocchio goes limp.
Out of nowhere, a Zip File hops on top of his chest.
Next to Pinocchio, a dozen or so more of them are all holding up a metallic
device: a small tazer. For a normal-sized person, it's handheld. But for
them, it's as heavy as a huge steel block. With relief, they let it drop
to the floor, and crowd around Pinocchio's limp body.
The one Zip on his chest kicks him in the chin. He lifelessly sags to the
side, but beyond that there's no response.
The Lead Zip File clicks his tongue.
LEAD ZIP FILE
This one will fetch us a good ransom.
The other Zips nod in agreement.
INT. ZIP FIGHT CLUB - NIGHT
A short while later. The Club is a lot emptier now. Hobbes and Florence are
sitting on barstools. Florence looks rather annoyed.
Hobbes attempts to strike up a conversation, forgetting Florence is mute.
HOBBES
Place seems empty after they called off
tonight's Zip Fight. What do you think
happened to the files in that compressor
of his?
Florence doesn't respond.
HOBBES
Florence?
Florence frowns, then writes something in the dust on the bar's counter.
ON THE COUNTER:
"Where's Pinocchio?"
Hobbes nods in comprehension. He gets up from the bar and looks around.
Eventually, his gaze settles on:
ERNST. He's sitting on another table, pouring liquor into a small shotglass
rather nonchalantly.
Resume Hobbes. He gets up, and begins to push through the crowd. Florence
knocks aside a few dazed drunkards lying on the floor.
Hobbes stops a few feet from Ernst. He looks up at Hobbes.
ERNST
You're Pinocchio's friend. Hobbes,
right?
Hobbes nods.
HOBBES
Where's Pinocchio?
ERNST
I talked to him outside the bar. You saw me.
He didn't follow me back in, but we made a deal
to swap some supplies for a parts for his
Chevelle. After that . . .
Ernst shrugs.
Florence appears next to Hobbes. She looks very worried. Hobbes only stares
back at her, unable to speak.
EXT. FOREST - DAY
Hobbes has his gun drawn, scanning the millieu for any sign of Pinocchio.
Florence has her M16 out, and is guarding Hobbes' back.
Hobbes is looking from side to side. Finally, his gaze rests on a particular
site.
>From Hobbes' POV: a long mini-trench in the dirt. Obviously the traces of
Pinocchio's being dragged along it. Next to the trench are small footprints,
each the size of a fingertip.
Hobbes' POV cranes upward, and we see that the trench and the footprints
end abruptly a few meters away.
They've vanished, replaced by tire marks.
Hobbes' has a look of complete disbelief. He looks back at Florence, who
stares back, understanding.
HOBBES
(to himself)
Not again . . .
END OF ACT ONE
ACT TWO
INT. BASEMENT - DAY
The first crack of sunlight filters onto the rather grimy face of Pinocchio.
He groans just as his eyes begin to flutter open. We realize he's lying down
on his back.
PINOCCHIO
Hobbes . . . Florence . . . Obi-Wan.
He says them as if they're his only hope.
>From his POV: the ceiling above him is beginning to form, but rather
vaguely. Just as it comes into focus, his eyes snap shut.
Resume on him. Water begins to pour onto him from above. He jerks his body
to avoid the drops that slide across his nose and temples like acid, but
without much luck. Finally, he opens his eyes fully.
Above him, from his POV, a Zip File stares rather blankly down at him. The
low-resolution of his file obscures any facial features. He wears small
cargo pants, boots, and leather vest.
Pinocchio groans.
PINOCCHIO
(realizing)
You . . . what the hell's going on
here?
The Zip just hovers above him. Saying nothing. Pinocchio doesn't look to
pleased. Then, off-camera, a door opens and closes.
A second Zip appears. This one's wearing small military-style pants and a
black t-shirt. On his head is a green beret. He approaches the first Zip
and both begin to make small squeaking noises, similar to that heard in the
teaser. The second Zip is the LEAD ZIP FILE.
Pinocchio suddenly interjects.
PINOCCHIO
Sorry to interrupt the midget convention,
but . . .
Almost immediately the second Zip runs up to him and kicks him on the chin.
Pinocchio's head jolts. The blow seems to wound the pride more than the
body.
Pinocchio swings his head back to face his tiny attacker, a look of
annoyance
rather than pure anger, and tries to sit up.
He doesn't budge an inch.
As we pull back, we see that his arms, hands, torso, and legs are all bound
tightly to the floor with thick ropes.
Now Pinocchio looks pissed.
He swings his head to face the Zip.
PINOCCHIO
You stupid little bugger, what the hell do you
think you're doing to me?!
The Zip's face still shimmers blankly at him. Then, the Zip points away from
himself, toward the direction of the first.
Behind the first, a troop of Zip Files open the basement's door and march in
holding the tazer used on him earlier.
LEAD ZIP FILE
We're keeping you here. You'll fetch us a good
price. And if you don't . . .
Pinocchio looks rather surprised to hear the Zip's voice. It's a man's
voice.
Deep. Resonant.
PINOCCHIO
Great. And who are you, James Earl Jones in
Tiny Tim's body?
The Zip File looks nonplussed. With a casual stride, he and all of the other
Zip Files exit the room, leaving Pinocchio, still bound, lying alone.
Pinocchio lies his head back and rolls his eyes.
PINOCCHIO
Great. Just freaking great.
INT. ABANDONED HOUSE - DAY
The Zip Files are all crowded around the board we've seen used to activate
them. More Zips than we have ever seen before, about six dozen. Finally,
they
organize into a complete ring around it, and the Lead Zip File comes in the
center, on the board.
LEAD ZIP FILE
Do you see what we've done, men?
There's a bragging tone to his voice.
LEAD ZIP FILE
For once, we have triumphed against our
normal-sized oppressors! Our days of being
sold into slavery are numbered! And it's
a small number, too! One digit, I think . . .
The other Zips nod in agreement.
LEAD ZIP FILE
This hostage we have is a bargaining tool.
There were others with him. Our contact
has given us this information. They'll try
to get him back. Bargain, most likely. And
when they do, our plan will go into effect.
He then steps on a few keys on the board. It whirs to life. Blue energy
swirls around its center.
ON THE BOARD:
"File Resolution Upgrade In Progress"
The energy suddenly erupts in a whirlpool of light. The entire screen is
engulfed in a white flame.
When it clears, every Zip appears more solidified, the features of the
Zips' bodies more discernable.
A shadow falls across the circle.
VOICE
(off camera)
You're welcome.
The Lead Zip looks up. From his POV:
ERNST.
ERNST
You like the adjustments I made?
The Lead Zip File, who now has a face, smiles in recognition.
EXT. ROAD - DAY
The Chevelle cruises speedily down the forest highway etched into the
scenery.
INT. CHEVELLE - DAY
Florence is sitting in the driver's seat, keeping a cautious eye out at the
road ahead. Hobbes is sitting, rather awkwardly, in the backseat. The
passenger's seat is vacant, almost an echo of Pinocchio's abscence.
Hobbes leans forward.
HOBBES
You know, Pinocchio's gone. Can I,
uh . . . sit in the . . .
Florence shakes her head. Hobbes sits back, defeated.
Up ahead, a beat-up Suburban appears on the road. The road is too narrow for
both cars to go through, so the 'burb comes to a stop. Florence reaches down
for the gear shift, and also brings the Chevelle to a halt.
>From the Suburban emerges Ernst. He plaintively walks in front of the
Chevelle and smiles rather quaintly.
Florence unbuckles her seatbelt and gets out. She pulls the lever on her
seat
and Hobbes steps out next to her. He has his gone warily on his pistol.
Florence grips her M16.
Ernst doesn't seem a bit worried about their open display of hostility.
ERNST
You're the Healer. And Tom Hobbes.
Right?
Both don't say anything.
HOBBES
You're Ernst. Pinocchio's old friend.
We're out looking for him -
Florence shoots Hobbes a look that seems to say "Be quiet". It doesn't look
like she trusts Ernst all that much. Still, Ernst continues.
ERNST
That's what I'm here about. Pinocchio.
HOBBES
We didn't know what deal he made with
you. We're not going to give anything-
ERNST
(interrupting)
It's about his disappearance.
Hobbes looks surprised. Florence, however, doesn't change at all.
ERNST
One of the bar patrons saw a car drive
off with him in it. Didn't bother to tell
me, either, just thought he'd mind his own
business. A bit later he was leaving, he saw
the same car, and followed it. All the way
to a cabin out in the frontier.
HOBBES
Where?
Ernst's grin grows a little bit too broad.
TIME CUT TO :
EXT. FOREST - DAY
A while later. The Chevelle appears from beyond a dirt mound and grinds to a
stop on the roadside. A few seconds later, the engine dies down.
INT. CHEVELLE - DAY
Florence is checking the ammunition clip on her M16. Hobbes clicks a new
one into his own gun, and then pats Florence on the back.
HOBBES
Let me take this one . . .
Florence shakes her head.
HOBBES
Please . . . for Pinocchio. I owe
him my life.
Florence exhales sharply, rolls her eyes in a way that imitates Pinocchio,
and reluctantly lets him get out of the Chevelle.
EXT. FIELD - DAY
The yellow-gold grass of the field criss-crosses almost perfectly until a
boot steps in it. Hobbes' boot.
Pan up on Hobbes, who holds the gun in his hand like insurance. He stops,
and
looks out into the horizon.
>From his POV: a cabin. He takes one further step.
Without warning, gunfire shatters the silence! Hobbes is already on the
dirt,
trying to avoid getting hit. He rolls over a time as the shots spew in
almost
every direction.
CUT TO:
INT. CHEVELLE - DAY
Florence simply sits, nonplussed and certainly not worried. The shooting is
audible enough for her to hear.
RESUME:
EXT. FIELD - DAY
With the same suddeness it started, the gunfire ends. Hobbes jerks his head
up off the ground, and spits some dust from his lips. His breathing is
heavy.
>From his POV: the cabin again. A gun barrel, something that looks a lot like
an AK-47, slides inside a window.
Hobbes considers this for a moment, then puts his gun in its holster. He
stands up in full view of his unseen assailants, his hands in the air.
>From his POV: the cabin's front door opens. About two dozen Zip Files pour
out along with two automatic pistols it takes about ten to mount.
Back on Hobbes. Confusion washes his face, then amusement, then something
that looks like both.
He begins to walk toward the Zip Files, his hands still in the air.
The Zips cock the gun, and he stops. One Zip breaks off from the rest, and
courageously walks toward the monstrous figure looming above him.
He stops a few feet from Hobbes. Hobbes looks down at him. After a few
awkward
moments of silence, he starts.
HOBBES
I'm Tom Hobbes . . . I'm looking for-
He starts to move toward the Lead Zip File, but is stopped in his tracks
again by the sound of the second gun's hammer clicking.
HOBBES
(cont'd)
. . . Mike Pinoccho. I heard you had
him. What do you want?
LEAD ZIP FILE
Brob . . . ding . . . nang.
The Lead Zip File's voice is broken up by defective programming. He sighs,
and motions for Hobbes to lean closer. He does.
LEAD ZIP FILE
Yes, we have him.
HOBBES
Where?
LEAD ZIP FILE
You want him? Let's make a deal.
Hobbes doesn't look too happy.
TIME CUT TO:
EXT. FOREST - DAY
Hobbes is walking back toward the car.
INT. CHEVELLE - DAY
Florence looks out the window to see Hobbes approach. He circles the car,
and
comes to the side of the passenger's seat. Florence reaches over and pulls
the
seat up for Hobbes to sit in the back. He does. As if he's finally given
up and gotten used to his new seat.
HOBBES
You're not going to believe what
they want.
Florence arches an eyebrow, ready to listen.
Hobbes produces a paper from his pocket, and unfolds it. On the paper, we
see arrows. Directions to a square marked "Zip Fight Club".
HOBBES
They're Zip Files. Revolutionaries,
managed to escape the fights and start
a new community. They've broken into two
of the three sites that have the Zip File
boards, and they want me to break out the
last ones. In exchange for Pinocchio.
Florence looks hesitant. Hobbes notices.
HOBBES
They're fighting for freedom, Florence.
How is that any different from what we're
doing?
Florence sits back on the driver's seat, obviously ready to do as she's
told. Even if it is from Hobbes. For Pinocchio's sake.
EXT. FOREST - DAY
The headlights turn on to the sound of the engine. The Chevelle drives off.
INT. BASEMENT - DAY
Pinocchio is lying flat on the ground, still tied to the floorboards. His
head
is tilted toward the ceiling.
Angle on the door away from him: it opens, and a Zip File walks in. This
one is the BLACK-BERET ZIP FILE, for his hat. He walks in with his tiny
arms supporting a tin plate of food. Pinocchio turns to face him.
PINOCCHIO
Great. As if staring at the ceiling wasn't
entertaining enough.
The Black-Beret Zip sets down the food. Pinocchio notices the once vague
features of his face have now solidified.
PINOCCHIO
Where'd you get the face? Carved it off a
potato?
The BB Zip throws him a dirty look. Then he pulls a wire from his belt and
ties if around Pinocchio's wrist.
Pinocchio's POV: the wire runs from his wrist, past the BB Zip's belt, and
under the door. He looks back up at the Zip, who takes out a small razor
blade. It's like an ax in his hand.
BLACK-BERET ZIP
I'm cutting your arms loose so you can eat.
Try to pull anything, that wire's hooked up
to an electrical outlet. We'll fry you.
PINOCCHIO
Thanks for the warning.
The BB Zip cuts him loose. Eagerly, Pinocchio takes the tin plate and
begins to scrape mashed potatoes into his mouth without a spoon. The Zip
only watches him.
BLACK-BERET ZIP
Your friend came.
This catches Pinocchio off-guard.
PINOCCHIO
Who?
BLACK-BERET ZIP
A tall one. He called himself-
Pinocchio grimaces.
PINOCCHIO
Hobbes. Crap. I'm so screwed.
BLACK-BERET ZIP
Why?
PINOCCHIO
You've just talked to the most idealistic
moron in this entire world.
BLACK-BERET ZIP
We made a deal with him. For your return.
He's going to get the last of us.
PINOCCHIO
The last of you? There's more brainless
midgets out there?
The BB Zip points at the wire. Pinocchio gets the hint.
PINOCCHIO
What do you want with me?
BLACK-BERET ZIP
You're a bargaining tool. Your friend'll
capture the rest of us and then we'll
release you.
(beat)
We're enslaved. We want our freedom.
PINOCCHIO
Freedom? You're nothing but artificial
creations! And not really all that smart
creations either!
BLACK-BERET ZIP
Have you ever been a slave?
Pinocchio doesn't say anything.
BLACK-BERET ZIP
Bet you weren't. Yeah, it's hell. 'specially
where I'm coming from. The Zip Fights . . .
god. It's torture.
Pinocchio stops eating. He begins to listen.
BLACK-BERET ZIP
We're all created like a family. Keeps us
together, the board-owners say. Well that's
crap. They have us stay together, but at the
same time we have to beat each other into a
pulp. And if we don't we get beaten by the
board-owners. So we have to practically kill
each other just to stay alive.
(beat, as he looks Pinocchio straight
in the eye)
Do you know what it's like to destroy someone
you care about just for your own survival?
A long pause takes place.
PINOCCHIO
Yeah. I do.
The BB Zip is taken aback.
PINOCCHIO
I've been there.
Suddenly the Zip Files' native tongue-clicks emanate from beyond the door.
The rather shaken BB Zip still looks at Pinocchio as he runs to the clicks.
Then, he exits.
Leaving Pinocchio alone, lost in thought.
EXT. CLUB - DUSK
Legend on screen - MONTPELIER ENCAMPMENT
HARSH REALM
Hobbes slides into frame in front of a door. The door is part of a building
littered with graffitti, like the last Zip Fight Club. One can already hear
the sound of music blaring from inside.
Hobbes knocks, and the door slides open.
INT. CLUB - DUSK
Hobbes enters, and looks around the place. This is practically ten times
more
crowded than DeFarge's Zip Fight Club, and is only two-third's the size.
Everyone's packed like sardines. A few of the seedy barflies carry glass
bottles of hard liquor, and stumble around in a drunken stupor. One almost
collides with Hobbes.
Hobbes approaches a man. This guy looks seriously tough.
HOBBES
I'm looking for the Zip File . . .
He hesitates, not knowing what he's called.
HOBBES
Board . . . owner . . . guy.
The man sniffs in amusement, and points to a door at the far end of the
club. An office.
Hobbes walks toward it.
EXT. PARKING LOT - DUSK
Inside the Chevelle, Florence peers out, scanning the outside of the club as
people walk in an out.
Suddenly her attention is caught. She leans over the steering wheel and
looks intently.
>From her POV: Ernst. He looks around suspiciously, then enters the club.
Florence gets out of the car.
INT. OFFICE - DUSK
Hobbes walks in, expecting to see the owner of the Zip File board. Instead,
the office is deserted. Nothing but a desk, some pictures on the wall, and:
THE ZIP FILE BOARD
Hobbes grins. This is going to be easier than he thought. He reaches down,
snatches it, and exits with it between his arms.
INT. CLUB - DUSK
Ernst is sitting at a table. He's got a cigarette lit in his hand.
A man sits down across from him. He has an ugly scar running down his right
cheek, and an eyepatch.
ERNST
Well, shiver me timbers . . .
The man's eyes narrow as Ernst smiles calmly.
ERNST
Where's your peg leg, Teach?
EDWARD TEACH doesn't like that too much.
TEACH
You wanted to talk to me.
ERNST
Yeah. I do. You're the local bounty
hunter, right?
Teach nods.
ERNST
What if I told you I could make you
a rich man?
Ernst reaches into his pocket, and pulls out two sheets of paper. He unfolds
both, and lays them on the table.
Angle on the papers: Both "Wanted" posters. One with Pinocchio's face on
it, and another with Hobbes' face. Both declaring a reward for the capture
of these traitors to the Republic of Santiago.
Teach looks interested.
EXT. PARKING LOT - NIGHT
Hobbes is walking back toward the Chevelle, the Board still grasped tightly
in his hands. He stops suddenly, an expression of befuddlement on his face.
>From his POV: the Chevelle. Empty.
Behind him, the sound of a gun's hammer being pulled back softly shatters
the
silence.
VOICE
Hey!
Hobbes turns around to face a man, WILLIAM KIDD, pointing a pistol straight
in his face.
KIDD
Where do you think you're going with my
Zip File Board?
END OF ACT TWO
ACT THREE
Resume: Kidd, not exactly amiable, with his gun trained on Hobbes. Hobbes
stares back rather blankly, like a deer caught in the headlights of a
car. He opens his mouth a couple times, but no sound comes out.
KIDD
You some kind of theif? Thought you could
jack my board?
Beat as Hobbes doesn't reply.
KIDD
I heard about the rumors. Someone's got the
other two from the other owners.
He smiles.
KIDD
I wonder how much DeFarge and Walken would
pay a good price to get you back one . . .
Angle on Kidd's gun. His finger is twitching dangerously against the
trigger.
Kidd sneers at Hobbes.
Suddenly, from out of nowhere jumps Florence! She punches Kidd against the
jaw, knees him in the stomach, and finally uses her feet to throw him off
his
balance.
On the ground, Kidd clutches his side in pain and then aims his gun at her.
Almost instinctively she grasps his wrist and squeezes it, pointing it away
from her and towards the sky. It goes off twice. Kidd screams as Florence's
grip tightens, until finally he loses his own grip and lets it fall
harmlessly
on the ground.
Florence kicks him in the stomach. He flops over.
But he's still not done. He pulls a small metal device out, so fast that it
obscures whatever it is. Florence grabs his wrist again and lifts an eyebrow
as if to say "Again?". She kicks his stomach again, and wrests the device
from his pocket. She points it at him, and suddenly a gleam appears from it.
Kidd's body suddenly glows blue. He's PAUSED.
Florence tosses the pause device next to him. She turns back to look at
Hobbes.
Hobbes picks himself off the ground, looking rather dazed. The Zip File
Board
is still clutched protectively in his arms.
Florence rolls her eyes, and the two start walking toward the Chevelle.
INT. ABANDONED HOUSE - NIGHT
>From someone unknown's POV. The inside of the house controlled by the Zip
Files. All is quiet, nothing stirs. Everything is shrouded in the brooding
darkness. The POV holds still.
Then it starts to move. With every shift in POV comes the sound of
footsteps.
Men's footsteps. They walk toward a small table on the ground. On it is the
Zip File board.
A laptop appears next to it, placed by human hands. Also taken out by this
unknown person is a link-up cable. One end is placed in the back of the
laptop, the other in a small outlet on the Zip File board.
The laptop whirs to life. A command prompt appears on the screen. The
hands type in the words "Link Networked Systems." A pause as the
computer takes this. After a minute or so comes "Systems Linked." The
hands type "Encode Signal", which is replied with "Signal Encoding . . .
Please wait."
Finally comes. "Signal Encoded." The hands type on more word. "Transmit."
Replied to it is "Signal Transmitting."
Reverse on the unknown person. Ernst smiles slyly as he always has.
EXT. ROAD - NIGHT
The headlights pierce through the darkness as the Chevelle cruises by.
INT. CHEVELLE - NIGHT
Florence, still at the wheel, guiding the Chevelle along the road. The
curious
sounds from the engine are a bit louder now, making her rather uneasy.
Hobbes
is sitting in the front seat next to her. First time he's done it through
the
entire episode. He grins, feeling quite happy.
The Zip File Board is in the backseat. It whirs softly.
In the driver's seat, Florence hears the whir. She looks at Hobbes, then
quickly back at the road. Clearly, she senses something not right.
Hobbes, on the other hand, is bubbly with joy.
HOBBES
Great, Florence, we got it! We'll have
Pinocchio back with us soon enough.
(beat)
By the way, thanks for letting me sit up
front finally.
She doesn't respond to his glee. Instead of acknowledging this, he looks
at the window, still grinning.
HOBBES
Yeah, it looks like things are finally
looking up.
No sooner have those words escaped from his mouth than about TWO DOZEN ZIP
FILES pour from the backseat all over the two! About eighteen of them get
on Hobbes, the remaining ones attack Florence. Quite unlike Hobbes, Florence
manages to wrestle them off. They only return in another swarm.
Somehow in the fray, the radio comes on.
RADIO
(voice of The Beatles)
All you need is love . . .
All you need is love . . .
All you need is love, love . . .
Love is all you need . . .
EXT. ROAD - DAY
The Chevelle swerves on it side, coming to a halt that is one unit of
momentum
away from overturning the car. Both doors fly open. Hobbes thuds out rather
awkwardly from the passenger's seat. He's covered in clinging Zips.
Florence manages to throw the tiny attackers off and get out of the
Chevelle.
She starts toward Hobbes, only to get tripped backwards on a shoelace by the
attacking Zips.
She rolls to the side of the road, only to roll further as the roadside ends
in a sharp hillside. After a few meters and numerous cuts and bruises, she
comes to a stop.
Immediately she's on her feet, and running back up toward the light still
streaming from the Chevelle.
When she finally gets to the top, an eerie silence has replaced the echoes
of
the fray. She runs up to the car. The back seat is empty. She looks back out
around the car in worry.
Hobbes is gone.
TIME CUT TO:
EXT. ROAD - EARLY MORNING
The first shimmering whips of light riddle the early morning darkness with
the sun's rays. Pinocchio's car cruises into frame. We can see Florence
inside
the driver's seat, cautiously maneuvering the car through a copse. She looks
rather calm for a lone woman now. No Hobbes or Pinocchio to tell her what to
do or who to shoot or who to heal.
The Chevelle comes to a halt, much smoother than we have seen it come to
when
driven by the men. Florence steps out, a look of dogged determination
crossing
her face.
>From her POV: The house Pinocchio is being kept in.
She begins toward it.
EXT. HOUSE - MORNING
As she nears it, the familiar click of a gun hammer beats the air. From her
POV, she can see the gun nozzle pointed out one of the broken windows. But
unlike Hobbes, this doesn't stop her at all.
A second nozzle appears from the right just as the Lead Zip File appears at
the top of the porch. He looks rather confident in face of the Sister before
him. Almost arrogant.
Florence comes to a stop inches in front of him and drops to her knees in
order to come face-to-face with the Lead Zip File.
A tense moment of silence passes.
LEAD ZIP FILE
Your his other friend, right?
Florence blinks as the silence is broken.
LEAD ZIP FILE
Our hostage. Pinocchio.
She nods her head.
LEAD ZIP FILE
You're quite brave, lady, just show
up here with two guns ready to blow
you away and not stop. Your friend Hobbes
sure didn't. You want him back? You know
the demands.
Another tense moment of silence. Florence doesn't respond.
LEAD ZIP FILE
Well aren't you gonna say anything?
Florence points to her throat, indicating her muteness.
LEAD ZIP FILE
Why the hell can't you?
Florence puts out her palm to face the Zip. Somewhere between looking in her
eyes and then at her open palm, he loses his arrogant look. He puts out his
tiny hand to touch her palm. Then, his eyes widen with astonishment.
LEAD ZIP FILE
You . . . you're one of them . . . a
Sister.
Florence puts her palm down.
The Lead Zip File turns to the guns.
LEAD ZIP FILE
Put the guns away . . .
He gives Florence her a strange look, a cross between reverence and fear.
LEAD ZIP FILE
. . . and bring out the prisoner.
FADE TO BLACK
INT. SHACK - DAY
Everything, cloaked in a pall of black. Somewhere in the black comes a
voice.
HOBBES
(vo)
Florence . . .
FADE IN as we see this is from Hobbes' POV. The ceiling of a shack.
Reverse on Hobbes. He sits up suddenly. As he does, he comes face to face
with
a gun pointed right at his chest. Surrounding it are a dozen Zip Files
holding
it up, with two ready at the trigger. At either side of him are the
remaining
dozen from the Zip File Board, all poised to attack.
Hobbes coughs rather dumbly.
HOBBES
Please . . . I have to go.
The Zip Files make no attempt to acknowledge what he said.
HOBBES
Please, I have a friend to help. My friend
is in danger, I need to get to him.
Nothing.
Hobbes stays silent for a moment. Then he sighs.
HOBBES
I'm human too. You don't have to do this, keep
me hostage. You could let me go. It's the right
thing to do. You could all help preserve a life.
I know you all have some common human good in
yourselves, even though the light may have dimmed
a little in those fights.
His voice grows a bit stronger.
HOBBES
I know what happened. I've seen and heard enough
to know. I'm sorry for that. No one has the right
to treat any creature so cruelly. The trainers, the
way you were forced to fight each other almost to
the death just to survive. That disgusts me. Please,
let me go. I'll return and help you. I can't do it
trapped here. I can help you attain your freedom.
(beat)
I can only beg for your mercy so much.
After finishing this grand plea, Hobbes stops, letting the words sink in.
The Zips all look at each other. They don't possess the digitally solidified
faces, so it comes off as an expressionless group stare. Whether they
understand or don't understand at all, we don't know.
Then, one steps out from the crowd and walks toward Hobbes. This Zip is
dressed in blue jeans and a black muscle shirt. He comes to a stop at
Hobbes'
feet and motions for Hobbes to lean over.
He does. He can almost sense the effectiveness of his words. He seems
confident that he will be released.
The Zip File and Hobbes exchange a long stare.
Then the Zip spits in his face and kicks him in the nose.
Hobbes reels back, clutching his nose. It's more in surprise than in pain.
HOBBES
Hey . . .
Almost immediately, he's knocked over the head with a broken-off floorboard.
He goes out cold, his body crumples over. Behind him we can see four Zip
Files
holding up the floorboard. They drop it.
The Zip who spat at him kicks Hobbes to make sure he's out. Then, he makes
motions with his hands. The other Zips produce shoelaces. Very slowly, they
begin to tie him up.
EXT. HOUSE - DAY
Florence sits on the porch, a wariness in her eyes.
Behind her, tiny rattles accompanied by large bootsteps abruptly fade in.
The Zips appear, all closely circling the feet of PINOCCHIO.
Pinocchio looks rather ill-tempered as he's being led out. It all melts
off the moment he sees Florence.
PINOCCHIO
Florence!
Florence looks at him.
PINOCCHIO
You gotta get me out of here.
Florence shakes her head.
PINOCCHIO
What do you mean you can't . . .
He stops.
PINOCCHIO
How did you get them to do this?
INT. HOUSE - DAY
The lead Zip File is stooping by the window to eavesdrop on the
conversation.
As he listens, he looks away from the view outside and nods to someone off-
screen.
>From his POV: a dozen Zips surrounding a gun pointed out a tiny knothole in
the wall.
EXT. HOUSE - DAY
Resume the two "talking", if that's what you call it.
PINOCCHIO
You can't talk. They don't know you.
How could you possibly have convinced
them to untie me?
Florence holds out the palm of her hand. Pinocchio looks at it, not knowing
its meaning. Finally, it sinks in.
PINOCCHIO
You're a Sister . . . they can sense that.
(beat)
There's some kind of connection between
your two groups . . . virtual brethren, huh?
Florence nods.
PINOCCHIO
What connection is that?
Florence points to her throat. Again, it would take the gift of speech to
explain everything right now.
PINOCCHIO
You can't explain . . .
Abruptly he realizes something.
PINOCCHIO
Where's Hobbes?
Florence buries her face in her hands in disgust for a few moments. Then,
she
grabs a stick from the ground and begins to write. Eventually she spells
out:
PINOCCHIO
(reading)
"The Zips have him." Damn it, I should
have known better than to think he could
possibly get me out of this mess without
falling into the mud himself.
(beat, as he thinks)
Where is he?
Florence shrugs.
INT. SHACK - DAY
Angle on Hobbes' face as he begins to regain consciousness. His eyes
flutter,
and he groans as he readjusts to the light streaming through the shack
window.
He coughs, rather melodramatically, and tries to sit up.
Pull back on him. He's tied up like Pinocchio was.
Sudden squeaks and squeals catch his attention coming from beyond the door.
In the midst of the cacophony of garbled squeaks are thuds and clangs, the
sound of a myriad of tiny feet all thundering across the floor.
Hobbes drags his body toward the door.
And then the squeals come to a stop.
The door opens. A man steps in.
HOBBES
You . . .
Angle up on: Ernst. Smiling, really quite pleased.
ERNST
Good to see you looking well, Hobbes.
He clobbers Hobbes on the head. Hobbes goes out cold AGAIN.
Ernst reaches down, and pulls Hobbes by his binds off the ground, dragging
him across the floor. Eventually he gets past a room, a second room, a small
living room, and finally onto a porch.
He dumps Hobbes' form next to a small metal cage, all filled with Zip Files.
They all stare at the giant lying unconscious next to them.
EXT. HOUSE - DAY
Resume: Pinocchio
PINOCCHIO
Well, hell. I hope he's having a fun
time wherever he is.
Florence doesn't respond in any way. Pinocchio suddenly looks increasingly
uncomfortable all of a sudden.
PINOCCHIO
I got to get out of here, Florence, we
got to go!
Behind them, the Zip File platoon emerge carrying a pistol aimed at
Pinocchio.
Pinocchio looks at Florence, then at the Zips.
LEAD ZIP FILE
That's enough. We want him back.
Pinocchio explodes into motion, grabbing the pistol from the group, yanking
out the ammo clip, and slamming it back at them. The pistol clatters against
the floor, knocking a few Zips down.
The Zips are in a flurry of motion now. They're squeaking, and we can tell
they're rallying their legions inside. The Lead Zip File is trying to
maintain
order in the fray, but without luck. Without thinking, he jumps up and
attaches himself to Pinocchio's leg.
Pinocchio kicks him off. The Lead Zip File goes flying, landing against the
wall and then on the floor. The Zips see their fallen leader, and through
the squeals and clicks roars a gunshot.
The edges of on of the house's foundations splinters into pieces. Before a
second shot goes off, Pinocchio and Florence are already running toward the
Chevelle.
Pinocchio takes the lead, hoisting Florence by her shoulder. He yanks her
along the path to freedom just as a barrage of gunshots bite into the
ground,
spewing dust where their newly-laid footprints are engrained.
Pinocchio never wavers from his gaze on the Chevelle. From the left, a tiny
batallion of Zips charge toward him. He doesn't hesitate to continue running
as more gunfire erupts from behind.
Florence leaps over the tiny army. They ignore her, and go for Pinocchio. He
lifts his right foot and stomps on two of them. The others squeal in anger,
and try to yank him down by his ankles. He manages to kick them off and
continue to the car.
Florence is already there. Pinocchio has a few more feet to go.
More gunfire.
The desperate sound of running feet.
Angry squeals.
Pinocchio slams his body against the Chevelle, flings the door open, and
climbs inside.
Florence is already sitting on the passenger's side. A look of horror is on
her face.
Another round of bullets rip through the air.
Pinocchio starts up the car.
The Zips march and form a line in front of the car.
Pinocchio steps on the gas, then the accelerator.
The car screams forward full force.
The tires crush Zips underfoot.
Florence looks even more horrified.
PINOCCHIO
What's your problem?
Florence turns away quickly from Pinocchio's face. She's utterly disgusted
with his gratuitous murder of the Zip Files. Pinocchio doesn't look like
he's sorry for killing the Zips, just sorry for making Florence angry.
PINOCCHIO
For crying out loud . . . you didn't promise
that I wouldn't squash those little parasites,
did you?
Florence nods. Pinocchio exhales sharply. Then, he tries to change the
subject.
PINOCCHIO
We gotta find Hobbes. Who knows what trouble
that idiot's gotten himself into?
END OF ACT THREE
ACT FOUR
EXT. ROAD - DAY
Hold camera on the road as Ernst's Suburban drives into frame.
INT. SUBURBAN - DAY
On Ernst, as he sticks a piece of chewing gum in his mouth while watching
the road ahead. He tosses the foil wrapper behind him to the backseat. Next
to him, the Zips chirp in anger up at him, but hardly enough to make him
respond with any sort of look.
The foil lands plaintively on Hobbes, still out. His hands and feet are
bound
together, and he's lying down in the backseat, his face pressed against the
leather upholstery.
He begins to stir. His eyes flutter.
HOBBES
(weakly)
I love you, Sophie . . .
He grins. It's perhaps the goofiest look he's ever given.
ERNST
(oc)
Damn, Hobbes, that's the fourth time you've
said that in your sleep. Don't you damn think
about anything else?
Hobbes' eyes snap open. He wakes up.
HOBBES
Ernst . . .
ERNST
No, Hobbes, it's Mary, mother of God.
HOBBES
What the hell's going on?
ERNST
What does it look like?
Hobbes looks at himself. He tugs at the ropes, trying to get out. Then, he
tries to lift his face off the cushion. It comes off, but a bit of drool
lines
its way from Hobbes' cheek to the seat.
HOBBES
You've got me tied up.
ERNST
(under his breath)
Simple Man's right, hell.
(louder)
You've got a date with someone you've
been looking for as long as you've been
in Harsh Realm.
HOBBES
Who?
Ernst smiles the same sly smile we've seen a dozen times.
ERNST
Santiago.
This doesn't settle well with Hobbes.
ERNST
(cont'd)
You're quite an idiot Hobbes. Just for the
sake of making things nice and cliched, I,
the evil villian, am gonna tell you, the
incredibly stupid hero, exactly what I've
been doing all along.
He chuckles with a raspy air. Hobbes listens.
ERNST
I'm a well-traveled man, Hobbes. I figured
out a way to get some money, and then some
more money when your buddy Pinocchio walked
up to me in the bar.
FLASHBACK
INT. TECHNO CLUB - NIGHT
The same one from the teaser.
The same Bartender from the teaser, walking back from the tiny dungeon the
Zip Files are kept in. Putting his fist on the knob, then turning around.
ERNST
(vo)
It took me a while to convince myself
this was the way to go, but eventually
I did. I knew Zip Files wanted freedom,
and so I helped them break out.
The pistol going off. The Bartender's body going down. The Zip jumping on
top
of the Bartender's face and dancing.
ERNST
(vo)
I'd stay allied with them, helping them
to break their other brethren out until
all of them where "free".
When the Zip stops, it looks up at a new figure emerging in the door. It's
Ernst.
ERNST
(vo)
After that, I'd get 'em all, sell them
back to their owners, and get a nice profit
off of it.
RESUME
INT. SUBURBAN - DAY
He coughs politely.
ERNST
And things just got better.
FLASHBACK
INT. ZIP FIGHT CLUB - NIGHT
Defarge, standing there, holding the Zip File Board to Hobbes.
ERNST
(vo)
You have no idea how much money Santiago
has out for you, do you?
Pinocchio walking up to Ernst at the table, smiling. Two old companions
meeting after a long time.
ERNST
(vo)
When Pinocchio came up to me, I knew the
price. I got after the deal, I contacted
the Zip Files, explained to them what to do,
and in less than a minute after leaving Mike
in the back, he became a hostage.
RESUME
INT. SUBURBAN - DAY
ERNST
I told the Zips to bargain with you, to
get you to do my dirty work for them. You
did. I knew it. That's when I rerouted some
circuits in the Board the Zips allowed me to
use and sent a new source code to the Board
you retrieved. That's when they attacked you,
remember?
Hobbes looks incredibly astonished.
ERNST
Then I got both of you. I'm on my way back
to the Zip Files' main base, to pick up Pinocchio
and the last of my package o' Zips. And then it's
back to the Zip Fights for your little friends and
off to Santiago City for you and Pinocchio.
Hobbes grits his teeth. He looks angry.
HOBBES
You backstabbing son of a-
ERNST
Don't act all surprised, Hobbes. You act like you've
never done something like this in all the time you've
lived in Harsh Realm.
HOBBES
Never.
ERNST
Never? Well, aren't you just a little Boy Scout. What
else do you do, help little old ladies across the
street?
This gets Hobbes even angrier.
HOBBES
The Zips will never give up! You can't win in this!
They'll come right back, this whole thing is gonna
come right back in your face! Once the feeling of
freedom is engrained in you, you never let it be
taken away!
Ernst gives an arrogant snort.
>From Ernst's POV: the road ahead. Clear. Tranquil.
Out of nowhere roars the Chevelle!
Ernst's eyes go wide in panic. He slams his foot on the brakes, and the
Suburban skids to a stop, its right side facing the Chevelle.
EXT. FOREST/ROAD - DAY
The Chevelle stops too, and out hops Florence, with her M16 ready.
Pinocchio jumps out as well, angry, his hands flashing down to his waste to
bring his MP5K to bear.
Back on Ernst. He quickly unlocks the driver's side door and heaves himself
out, leaving his bounty behind. He lands on the side of the Suburban,
outside
of the car, and then, like a coward, begins to run.
Bullets rip through the air from Florence after him. Sparks fly off his
hood,
some landing on his head, burning some hair. Ernst smacks it down, then
continues charging full speed for his life into the foliage ahead.
Pinocchio races toward him, lifts up his gun, and lets the bullets rip
across
toward Ernst. Still, he manages to evade these, and disappears among the
trees.
Florence starts to go after him.
PINOCCHIO
Florence!
Florence stops, turns to Pinocchio.
PINOCCHIO
Forget about him. We've got Hobbes.
Nodding, she runs off to the driver's seat, still hanging open, and unlocks
the back door where Hobbes is. She flings it open, and pulls Hobbes' bound
form out the door.
Pinocchio keeps a watchful gaze out where Ernst was until he finally quits
it
and produces a military-issue knife. He works the blade into the ropes
and gradually cuts them away. When he finishes, Hobbes stands up.
HOBBES
Thanks.
PINOCCHIO
Someone had to save you. Sure as hell
couldn't have done it with your wits
alone.
Florence stares at the short exchange. Abruptly a loud, desperate cacophony
of clicks, chirps, and squeaks break her gaze on the two men.
>From her POV: in the Suburban, the cage-full of Zip Files, all begging in
their own tongue for Florence to free them from bondage.
Resume: Florence. Now, in slow motion, she walks to the passenger seat,
unlocks the door, and brings out the cage.
Pinocchio and Hobbes stare, mesmerized.
HOBBES
(vo)
My dearest Sophie, if only you can see
what goes on in this cruel world that
sheds light in the unbeareable darkness.
Florence begins to unlock the cage. One by one, the Zip Files begin to
flow from the cage.
HOBBES
(vo)
Where the thirst for freedom, quenchable
only by its acquisition, is felt by all
beings living here. Large, small, real,
VC, love-filled, cold-hearted. Is it
true, Sophie? As I am hailed the Savior
of this world, is it possible that everyone
can be a messiah in their own way?
The Zips reach out, grasping at Florence like the apostles to Jesus.
HOBBES
(vo)
This woman, blessed with the ability to
heal with the palm of her hand, is certainly
capable of being a savior to the oppressed.
With every act of love, I have come to believe
that in this world, there exists a higher
power that thrives in us all.
Pinocchio turns to Hobbes.
PINOCCHIO
I've been out of commission a bit. Mind
telling me everything?
INT. BUSHES - DAY
The foliage on the leaves suddenly rustle, only silently. Out pops
the head of the LEAD ZIP FILE. His eyes narrow as he keeps his watchful
attention fixed on Hobbes, Pinocchio, and . . .
Florence. With the Zips crowded around her, treating her as a messiah.
The Lead Zip File turns around. Behind him is the army of Zip Files from
the house they had seized.
LEAD ZIP FILE
She is here. The one prophesied. The Healer
to free all of us.
He turns back stare at the Sister.
LEAD ZIP FILE
She is the One.
He stops to listen to Pinocchio's conversation with Hobbes.
EXT. FOREST/ROAD - DAY
HOBBES
Ernst. He's been playing all of us
against each other. He wanted to
capture the Zips and re-sell them to
their owners, and then turn us over
to Santiago.
Pinocchio shakes his head.
PINOCCHIO
And you wonder why I don't trust anyone
in this whole damn world.
Hobbes nods in understanding.
Without warning, Ernst bursts back from the foliage, his gun spewing
bullets everywhere! Pinocchio and Hobbes duck. Florence returns some
fire. This doesn't seem to stop Ernst. He's damn angry.
And then he falls.
The gun slides from his hands as his face lands squarely on the mire.
Mud lines his eyes. He tries to reach for his gun.
Before he can reach it, dust spews from a crater as a shot goes off from
Pinocchio's MP5K. It stops Ernst dead in his tracks. Instead of getting
up, he rotates his head to see what caused him to fall.
>From Ernst's POV: a shoelace.
Cut to Florence. She gasps. Pinocchio looks absolutely stunned, as does
Hobbes.
The Zips encircling Florence brake away from her. The angrily flood toward
Ernst, their tiny feat beating a premonition of doom.
Fear suddenly strikes Ernst. A counterpoint to the sly, calculating man
we've seen manipulate people like chesspieces.
ERNST
No! No!
He tries to drag himself back when suddenly the thrumming intensifies BEHIND
him! From his POV, the Zips hiding in the bush pour out at him, running as
quickly as they can.
A view from the top. Both torrents of raging Zip Files pouring toward the
man they trusted but who was planning to betray them all along.
Hobbes starts toward Ernst, only to be pulled back by Pinocchio. He does
stop,
but stares at the tiny legion encircling Ernst.
Ernst begins to scream.
Zips hop all over him. He's engulfed in them, the screams growing louder and
louder as more Zips pour onto his body, obscuring his form. Though we can't
see him, the outline of Zips around him begin to toss and turn.
And then the screaming stops.
The Zips begin to disseminate.
Where Ernst once was is nothing. Not even a trace of him left. And we all
know
why.
On Hobbes, with his mouth open. Not believing what happened.
Ahead, the Zip Files all line up like toy soldiers in formation. All eyes on
Florence. The Lead Zip File steps forward to look at the Healer. In his eyes
is the sparkle of reverence. He smiles, then bows.
LEAD ZIP FILE
You are certainly the Healer prophesied. May
your days of life be uncountable.
And with that, he turns, and walks back into the foliage. The other Zip
Files
obediently follow him. In less than a minute, they disappear completely into
the forest.
Pinocchio turns to face Florence.
PINOCCHIO
Come on.
He starts toward Ernst's Suburban.
PINOCCHIO
Ernst and I made a deal. I forgot what it
was, but hell, we've got a better engine.
Better for the Chevelle.
He flips up the hood.
PINOCCHIO
Florence-
He stops. From his POV: Florence, her eyes fixed on the empty spot where the
Zips once were.
Pinocchio sighs in acknowledgment.
PINOCCHIO
Hobbes-
Hobbes turns his head.
PINOCCHIO
Come on. We gotta get this engine out
and stick it in the Chevelle.
HOBBES
Is Florence gonna help us?
Pinocchio rolls his eyes.
PINOCCHIO
She's had a long day.
(beat)
You sure as hell didn't. You spent the
past day unconsciousness. You've got
enough rest.
Hobbes nods, rather dumbly.
Pinocchio grunts. Both men begin to work on the Suburban's engine.
TIME CUT TO:
EXT. FOREST - DUSK
The sun is low in the horizon. Pan down, settle on Florence, looking up at
the ribbons of pink across the sky. Contemplating, meditating. As if still
observing the religion of the Sisterhood.
Pinocchio packs up a toolbox and slips it into the Chevelle trunk. Both
he and Hobbes are stained with oil across the arms. Pinocchio closes the
trunk. He ambles to the side of the Chevelle and opens the driver's side
door, about to get in.
PINOCCHIO
Florence!
She turns, and starts walking toward the Chevelle.
Hobbes and Pinocchio keep a fixed gaze as she approached.
HOBBES
Pinocchio.
PINOCCHIO
Yeah?
HOBBES
Look at her. Florence. She's acted as a savior
to the oppressed today. A woman whose long-
suffering devotion to the sacred gift of life
holds her on a steady course.
Pinocchio looks like he's ready to bang his head on the car door.
HOBBES
Though we live in this faithless, godless world,
she's proof that there is still good in it. That
we all have in ourselves the humanity to do what's
right. Everyone has it, from Zip File to VC to
Sister to real person.
Florence finally comes up next to Pinocchio and stops. A long pause follows
Hobbes' little speech.
And then:
PINOCCHIO
Hobbes, you're an idiot.
FADE TO BLACK
Followed by the sound of a second door (the passenger's side door)
opening.
PINOCCHIO
(vo)
And sit in the back. Who the hell told you
you could sit in the front?
The beat of the car engine starting up. Nice and normal. It eventually fades
away as the Chevelle drives off into the sunset.
THE END.