HARSH REALM
"Oraculum"
by Anthony J Fuchs
INT. SECLUDED BUNKER - HARSH REALM
TIGHT SHOT on a piece of paper. A pen quickly scratches across the surface,
setting words in ink. The heading, which has become all-too familiar to us,
is left unspoken as the author composes this new letter. It reads "Dearest
Sophie," followed by the words we hear.
HOBBES (V.O.)
In this place, this sullen imitation of a world I once
claimed to know, I hear them speak often of "The
One," a savior sent from another world whose des-
tiny it is to liberate Harsh Realm.
To the words of the voice-over, we see SLOW-MOTION images of Hobbes,
Florence and Pinocchio trudging through an encampment.
In Hobbes' POV, as he sees a ragged woman and daughter huddled near a
trashcan fire. They stare at him as he passes, a respect verging on awe
clear in their eyes.
Back to Hobbes as he looks away from the two women, glancing in the other
direction.
In Hobbes' POV, as he sees a group of men sitting on crates, sharing war
stories of exaggerated proportions. Slowly, they turn to see Hobbes, and
their conversation dwindles. They have the same looks of reverence about
them.
Back to Hobbes, as he looks away, trying not to make eye contact with anyone
else for fear that he come come in contact with a spy for Santiago.
HOBBES (vo)
Some have said that I am this man, though try as I
might, I cannot imagine what there is about me that
qualifies me for the title.
We see Florence and Pinocchio following behind Hobbes, both watching him
before glancing at each other with knowing looks.
Back inside the bunker, we see that Hobbes is leaning on a wooden crate as
he composes his letter. He looks away from his writing to see Pinocchio
asleep on the ground, his duffle bag doubling as a pillow. His right arm is
draped over a wooden crate, his weapon locked firmly in his grip for easy
access in an emergency.
Hobbes eyes drift across the room to the entrace where Florence is standing
guard, crouched near the door with her M16 in hand. She glances back to
Hobbes, noticing the pen and paper, then looks back out the entrance.
Hobbes sets back to writing.
HOBBES (vo)
My companions count themselves among the bel-
ievers, though silently, in the hidden dialogue they
share with their eyes.
To the contining voice-over, we see a vast wooded area, crawling with
Republican Guards.
HOBBES (vo)
Others hold that their prophecied deliverer has walk-
ed among them for much longer...
We crane up from the soldier-infested forest floor to reach a high branch in
a tree where we find Pinocchio perched precariously, hiding, a young boy
clinging to his back.
HOBBES (vo, cont'd)
...a victim like themselves who once dwelt in the valley
of the shadow of darkness, and emerged from it of his
own volition.
Inside Santiago's council room, we find Pinocchio, dressed in a sharp
Republican Guard uniform topped with the customary raspberry beret, standing
before the grand glass map of Santiago's empire. Pinocchio is delivering a
formal presentation of sorts, though we cannot hear his words, and it is
clear that he is a man of authority from the way he commands Santiago's
attention.
HOBBES (vo)
A fighter who runs, from himself and his past, the trans-
gressions for which he cannot forgive himself.
Back in the bunker, Hobbes glances back to the lightly sleeping Pinocchio.
HOBBES (vo)
Or for which he simply refuses to.
Back to the page, where Hobbes starts a new paragraph.
HOBBES (vo)
Yet one man proclaims himself to be this savior.
To the continuing voice-over, we see another encampment, most of the
contents of which are burning. Soldiers prompt ragged civilians toward
loading trucks as we see Santiago standing at ease on the back of a Humvee
overseeing the seige with Waters at his side, barking orders at his troops.
HOBBES (vo)
A man who stole his power from those who could
not defend it to create a totalitarianism in his own
twisted image.
Santiago City; a gleaming empire of glass and steel. In a moving
helicopter-mounted arial shot, we pan through the expansive city, a bustling
metropolis within the otherwise primative confines of Harsh Realm.
HOBBES (vo)
A world fashioned after his interpretation of what he
believed America's Founding Father's original vision
to be...
Inside Santiago's council room again, Santiago now stands alone, bathed in
the glow of the glass map that marks his conquest. Just the slightest hint
of a smile creeps through and plays across his lips.
HOBBES (vo, cont'd)
...a pseudodemocratic utopia over which he fancies
himself God. Whether or not he believes his own
words, or merely uses them as propaganda, though,
remains largely unknown.
Back in the bunker, Hobbes scribbles another line.
HOBBES (vo)
And still others believe that these fortunes of a my-
stical leader and another world are pure nonsense,
the makings of fairy tales and bedtime stories with
which they lull their children to sleep.
As the voice-over continues, we see the Santiago City perimeter fence.
After a moment, a young boy in ragged clothes crests the hill inside the
fence approaching the barrier. He is running full-tilt, deftly carrying
what appears to be a heavy bag. A moment later, what he's running from
comes into few; one of Santaigo's Humvees containing armed soldiers.
HOBBES (vo)
They have no time for hope here, in this world where
everyone lives in the space between the seconds and
survival is the only rule.
The boy makes a mad dash for the fence when suddenly, gunfire erupts behind
him.
In SLOW-MOTION, the boy is caught in the back by a bullet. He goes down
hard, spilling the contents of his bag across the ground. It is food. The
boy looks at his scattered theft for the instant before he DIGITIZES.
Back in the bunker, Hobbes continues writing.
HOBBES (vo)
I have come to learn, though, that speculation is a futile
effort. There are no answers to be sought.
He stops, tapping the pen against the page with an incessent clicking that
makes Pinocchio twitch in his sleep. After a moment, Hobbes sets back to
the page to jot down the last few words, closing the letter.
HOBBES (vo)
Only in the end, will any of us know for certain.
CUT TO:
INT. MONASTARY, NETHERLAND ANTILLES
In the main room of a huge stone temple, we find more than a hundred men
kneeling in rows silently. Each man is dressed in a red tunic with a black
shoulder-to-hip sash, each with his head shaved and his hands pressed
together before his face, eyes closed.
After a moment, a bell from high above is struck, ringing loud. The men
rise in unison and the group splits in half, each proceeding through one of
the two passageways in the front wall of the room. After a few moments, all
of the men are gone except for one who remains, by the name of BROTHER
ANDREW.
Brother Andrew waits for a moment, then produces a small remote unit with a
single button on it. He points it at the front wall, pressing the button.
Between the two passageways already in the wall, a third doorway appears as
a section of the wall digitizes. Brother Andrew heads through the new
passageway, beyond which is a set of stairs leading down to a long,
torch-lit corridor.
INT. TUNNEL
Once inside the stairway, the opening behind Brother Andrew closes up again,
creating a solid wall behind him. Unfazed, he heads down the stairs to the
hallway, making the long trip to the end where he reaches another wall.
Pressing the button on the remote again, another doorway opens, revealing a
small room in which is a wooden table and two chairs.
INT. CHAMBER
Seated in the chair facing the passageway is BROTHER MARTIN, diligently
reading a thick book and making notes on sheet of paper. The room, just as
the corridor, is well-lit with wall-mounted torches, and Brother Martin
looks up to meet eyes with Brother Andrews as he enters.
Once inside the room, the doorway behind Brother Andrew closes up again,
creating a stone cell. Upon Brother Andrew's arrive, Brother Martin stands,
and the two bow to each other. Brother Martin sits again, gesturing to the
other chair.
The two speak a strange language, known as Meckinese, which sounds like a
combination of Chinese and German, with a hint of Latin. The English
equivalent appears across the bottom of the screen.
BROTHER ANDREW
How is the translation coming?
BROTHER MARTIN
Slow.
(closes book)
The book is written an a language I've never en-
countered. There is much guess work.
BROTHER ANDREW
What have you been able to glean?
BROTHER MARTIN
Mentions of a secret past, hidden from all but one.
BROTHER ANDREW
The closure of the portal has already come to pass.
Time must be short.
BROTHER MARTIN
The One will come soon.
Brother Andrew nods in agreement before standing. The two repeat the ritual
bow before Brother Andrew opens the doorway again and exits, sealing the
room.
Brother Martin opens the book again, concentrating on the symbols scrawled
across the pages. After a few moments, he jots down a few words on his
piece of paper.
TIGHT SHOT on the paper, which reads "...and a savior shall lead them."
Brother Martin places the pencil down on top of the page, closing the book
to reveal an embossment on the cover; a circle intersected with a large "V."
EXT. JACKSONVILLE COMMUNE, FLORIDA - HARSH REALM
Similar to the encampments we've seen before, but more organized. A vague
attempt by the Outsiders to convene into some form of habitable existence on
the harsher side of the Fence.
A few blocks down the street, Pinocchio's GTO slowly rolls toward the
commune.
INT. THE CAR
Inside the vehicle, Pinocchio drives while Florence rides shotgun and Hobbes
fills the back seat with the two wooden crates, across the tops of which
Dexter is sprawled. Pinocchio glances in the rear-view mirror to see the
crates.
PINOCCHIO
We should get a few days outta those.
Florence looks at him, holding up her M16 and tapping the magazine.
PINOCCHIO
She's right; what we need is rounds.
HOBBES
At least we can eat.
PINOCCHIO
"At least" is the catch-phrase of the defeated.
HOBBES
Well at leastwe're not gonna starve.
PINOCCHIO
Not yet.
As the vehicle approaches the entrance to the commune, a pair of armed
militiamen block the street, forcing them to stop.
INT. THE CAR
>From inside the car, we see as one of the men stands guard while the other
rounds the car to Pinocchio's window. Pinocchio pulls his shirt collar to
the side to reveal his tracking chip scar. From the passenger's seat,
Florence does the same to reveal that she never had a chip.
HOBBES
What are they looking for?
PINOCCHIO
Checkpoint. They don't wanna let any of Santiago's
undercover boys in.
(nods toward guard)
Show `em you don't have a chip.
Complacently, Hobbes moves his shirt collar to the side, revealing the bare
unscathed skin above his right pectoral.
Outside the car, the guard checking chips nods to the other and they part,
letting the vehicle through.
EXT. STREET
The GTO rolls to a stop by the side of the road and Pinocchio, Florence and
Hobbes spill out. Pinocchio carries one of the crates, the contents of
which he will end up bartering away in return for munitions.
HOBBES
What is this place?
PINOCCHIO
It's a commune. People who watch out for each
other. The only way they can survive this far out.
Hobbes nods, only vaguely understanding as he absorbs his surroundings.
Hobbes' POV in SLOW-MOTION as he watches a group of children playing some
sort of game that looks like a hybrid of jumprope and hopscotch. As they
continue, one of the little girls falls to the ground, scraping a long red
bruise into her knee. She looks at the wound, surprised without crying.
At NORMAL SPEED, Hobbes shifts direction to come to the girl's aid. As he
approaches, though, the girl's mother hurries to her, eye Hobbes up
suspiciously as she carries her daughter away. Pinocchio catches up with
Hobbes, prompting him on.
PINOCCHIO
Keep moving. These people don't trust outsiders,
and that's all we are to them. They can take care
of themselves and each other.
Hobbes looks to the mother again, who glances back while talking to another
woman. After a moment, the other woman looks back as well, but hers is a
look of admiration rather than suspicion.
The trio continues through the commune as Pinocchio begins his trademark
negotiations with random people. As he does, Florence keeps an eye on
Hobbes, who is beginning to wander close by, taking in the atmosphere of
this make-shift community.
>From a distance, Hobbes becomes aware of the bellowings of a Street
Preacher, ranting to anyone who will listen and several who won't about the
end of the world.
STREET PREACHER
The Signs have been foretold! The savior will come!
Redemption is at hand for the souls of the lost!
Hobbes watches as the Preacher vainly tries to garner the people's
attention. After a moment, though, the Preacher quickly turns his head to
lock eyes with Hobbes. He is suddenly struck with a shocked look, unable to
believe what he is seeing as he starts toward Hobbes.
STREET PREACHER
My son! My son, you must not hide from your des-
tiny! We are all assigned a task, chosen for us with-
out our consent! Yours is no different!
Hobbes instinctively backs away from the Preacher, unsure of what to do.
STREET PREACHER
Your fate seeks you!
Pinocchio, seeing the Preacher approaching Hobbes, moves in quickly to push
him back.
PINOCCHIO
Hey! Get lost!
STREET PREACHER
Your salvation hangs in the balance! Do not blind
yourselves from the truth!
PINOCCHIO
The kid's confused enough!!
HOBBES
(to the Preacher)
What truth?
PINOCCHIO
Hobbes, he's off. Probably figured out he wasn't real.
HOBBES
(ignoring Pinocchio)
What truth??
STREET PREACHER
The One who will save us isn't coming.
The Preacher moves in close, leaning a hand on Hobbes' right shoulder. He
pulls Hobbes down a few inches to his height and whispers in a hissing voice
that sends chills down Hobbes' spine. Any doubt of the truth behind this
man's words are now gone.
STREET PREACHER
He's already here.
With those words, the Preacher stuffs three slips of paper into Hobbes hand
and trudges off, continuing his incessant ranting. Hobbes watches him
leave, then looks at the papers in his hand.
They read, "The Aegir bound for Netherland Antilles. Leaving port 42 at
dusk." Hobbes looks back up for the Preacher again, but he is no where to
be found.
CUT TO:
INT. SANTIAGO'S OFFICE LOBBY, GOVERNMENT HOUSE
Outside the office, we hear the muddled voice of General Omar Santiago from
within, his words indistinquishable through the door. After a moment, a
woman approaches the door; INGA FOSSA. One of the two guards steps in front
of the door, blocking her path.
GUARD
(not making eye contact)
The General asked not to be disturbed.
Inga's eyes slowly track from the door to the man's eyes. Her stone-hard
look says what words never could. The guard quickly steps back from the
door, allowing her to pass and push the doors open.
INT. SANTIAGO'S OFFICE
A young soldier, LIEUTENANT CARVER, stands at attention before Santiago's
desk as the General berates him. Inga watches with mild bemusement as he
continues this chastising.
SANTIAGO
These reports are unsatisfactory, Lieutenant.
Lt. Carver's face goes pale. Santiago, knowing this kid is about two words
from losing bladder control, leans forward slightly onto his desk, balancing
his weight with his hands.
SANTIAGO
I suggest you rectify the situation. Quickly.
LT. CARVER
(faking composure)
Yes sir.
Lt. Carver heads out the door quickly, thankful that he even gets the chance
to leave the room alive. He curtly salutes Inga as he passes through the
doorway. She nods, releasing the soldier to leave. Once he is gone, she
closes the door, heading into the office.
INGA
I heard about Hobbes' escape. How could this have
happened?
Santiago looks to Inga with distrust in his eyes. His tone implies that
Inga knows more than she's saying.
SANTIAGO
I was wondering just that...
Inga's attitude shifts. There is a hint of disbelief in her voice.
INGA
What are you insinuating?
Tension fills the air and the space between these two people goes taut as a
wire. Anyone else would have been dead for several seconds for such
insubordination. But Inga holds her ground, eyes locked onto Santiago's.
She actually wants an answer.
SANTIAGO
Someone helped him. An insider. Someone I was
foolish enough to trust with a great degree of power.
INGA
(unfazed)
Do you know who it was?
SANTIAGO
(extended beat)
I have my suspicions.
For a long moment, the two figures remain locked in eye contact, before Inga
drops her gaze. She has apparently lost this battle of wills.
INGA
How could he have escaped.
SANTIAGO
He had help from the outside.
Inga looks back up, half-asking, half-stating.
INGA
Pinocchio.
SANTIAGO
He somehow gained access not only to the sim-
ulation, but to the program that runs it. He was
able to alter it.
INGA
This leak is slowly turning from a tickle to a down
pour.
SANTIAGO
How do you propose we contain such a problem?
Inga remains silent for a moment before speaking.
INGA
I'll handle Pinocchio.
Inga turns and heads out of the room, but is caught by Santiago's words as
she nears the door.
SANTIAGO
You would know best how to.
Inga stops, her back to her superior. She raises her eyes, anger burning
behind them.
SANTIAGO
Or is this just another opportunity to ward him off
from a potential attack?
Inga turns around to face her accuser.
SANTIAGO
Am I to understand that you still harbor allegiances
to this renegade...to this, deserter?
Inga's eyes drop. It's clear she intends to say "no."
SANTIAGO
You know the penalty for cohortion with deserters.
If you intend to help him, I suggest you join him, and
save yourself the punishment for two crimes. It takes
a certian audacity to desert in the face of impending
death. A certain dedication to ones own ways that I
must respect. But to desert and betray in the same
breath is more than one person can hide for long.
Inga looks up to meet eyes with Santiago. Hers are icey with precision; his
are ablaze with passion.
INGA
(almost insulted)
I would never betray you.
Inga turns back toward the door, pushing through it.
DIGITAL WIPE TO:
INT. THE HOBBES RESIDENCE, FORT DIX, NEW JERSEY - THE REAL WORLD
The living room of this once-neat domicile is now cluttered with open,
half-filled boxes. They are scattered around the floor, on the coffee table
and on the couch.
INT. THE BEDROOM
Upstairs, we a man standing in Sophie and Tom's bedroom. The bed is coated
with open suitcases, some contianing clothes while others are still empty.
The man, who we have only heard of in passing, is SAMUEL GREEN, Sophie's
brother.
After a moment, we hear a female voice eminate from the walk-in closet. The
voice of SOPHIE GREEN, fiancé to our imprisoned hero.
SOPHIE (os)
Are you sure this is okay? I don't want to disturb
everyone else's life with my problems.
SAMUEL
Your family, Soph. Our lives are disturbed enough
knowing that you have problems. Anything we can
do to help you will make us feel better as well.
(beat)
I'm fortunate to have a very understanding superior.
He gave me a week of PTO.
Sophie emerges from the closet with an armload of clothes still attached to
hangers
SAMUEL
He lost his wife to a stroke a couple years back, so
he understands the kind of emotional toll this can take.
SOPHIE
(sarcastic spite)
I wish my boss were that compassionate...
Sophie begins packing the clothing into one of the empty suitcases when
Samuel places his hand over hers, stopping her. She doesn't look at him,
and he doesn't wait for her to before speaking.
SAMUEL
Sophie...I'm sorry.
SOPHIE
(not looking at him)
Why?
SAMUEL
I...we...haven't been here like we should have been
these past months. I know I can't even begin to ima-
gine the horror you've gone through, but what I do
know is that you needed support a great deal more
often than we provided it.
Sophie is quiet a long moment before turning to her brother. It's clear
she's struggling to hold the tears back, but it's a fight that, for the
moment, she's winning.
SOPHIE
You don't have to apologize. Dad always said that
what doesn't kill us makes us stronger. Right?
SAMUEL
Sometimes.
(beat)
And sometimes it just makes us bitter.
(beat, thinking)
You know, pain isn't a weakness. There's no shame
in mourning...
SOPHIE
(cuts him off)
Sam...don't. I have. I can't. It's all just too much.
SAMUEL
(backing off)
Okay...but the world can be a harsh place. Especially
when you face it alone. I just want to make sure you
know that if you do decide you want to talk to someone,
I've had lots of practice.
(slight smile)
These shoulders are soaked through with the tears of
many a broken-hearted lady.
(genuine honesty)
I've actually gotten a lot better at listening over the last
few decades.
Sophie forces out a smile, nodding a gesture of understanding.
EXT. THE HOBBES RESIDENCE
A red "OPEN" sign adorns the front lawn of the picturesque house while a
hunter green Buick LeSabre occupies the driveway with an open trunk, already
containing several boxes.
After a few moments, the front door opens and Samuel emerges, carrying a
stack of additional boxes. He is soon followed by Sophie who carries a
plastic milkcrate containing photo-albums and other folders and books.
Once the two are on the porch outside, Sophie sets her crate down and
removes a set of keys from her pocket. She searches the ring quickly,
finding the one that locks the front door. With the door secured, she
glances through the bay window into the living room, which is now
considerably less cluttered than before.
SOPHIE
I guess we can have Guaranteed Overnight Delivery
come down for the furniture later in the week...
Samuel nods absently in agreement as he waits for his sister to lock up.
Sophie looks around the living room through the window for a moment before
resigning to the inevitable. She sighs, depositing the keys back in her
pocket before picking up her crate. Samuel takes the action as a gesture of
departure and heads for the car.
Sophie lingers on the porch a moment, though, not entirely firm in her
resolve to leave the house that she and her fiancé shared for nearly four
years before his disappearance. She glances out over the lawn, catching a
glimpse of the "OPEN" sign.
FLASHBACK:
EXT. THE HOBBES RESIDENCE
Years prior, a similar sign in a similar location on the lawn. Suddenly,
hands descend and grip the sign, tearing it from its posting.
CRANE up with it as we see a Hobbes and Sophie along with another man, who
is holding the sign. Hobbes shakes hands with the man as he and his
girlfriend smile happily at the thought of their first joint home.
BACK TO SCENE
Sophie still occupies the porch, a tear track streaked down her face. She
closes her eyes a moment, as if not seeing the sign will help her forget the
memories attached to it.
After a moment, she opens her eyes again, pulling back the tears that fight
to break through. She finally heads away from the house, down the walkway
toward the car.
As she approaches the vehicle, she drops off the step into the driveway.
Not paying attention, she steps heavily off the white cement step at the end
of the walkway onto the asphalt, jarring the crate in her hands. She feels
the weight shifting in her grip.
MOS SLOW-MOTION as the crate tilts. Contents moving.
Sophie's eyes go wide. She knows what's coming next.
The top-most occupants of the crate spill over the edge.
DOWNWARD SHOT over the falling items, the top one being the picture frame
containing the photograph of Mel Waters, Tom Hobbes and Sophie in the
restaurant.
The objects plunge away from us, headed toward the ground.
Impact. The frame shatters into a dozen sharpened shards. Glass splinters
are strewn across the face of the photograph.
At NORMAL SPEED, Sophie looks down at the picture, pain clearly etched
across her face.
Samuel, loading his stack of boxes into the trunk, hears the unmistakable
sound of glass shattering on asphalt. In a rush, he hurries to his sister.
SAMUEL
What? Are you alright?
Sophie, not really answering, bends down to pick up the remnants of the
picture.
SOPHIE
(mumbling)
...it's okay...it's fine...
Her hands move quickly, shaky, picking up the broken pieces of glass
scattered across the picture and driveway. Suddenly, she grabs at one and
jerks her hand back.
Sophie's POV, as she looks at the tip of the middle finger of her right
hand. A small maroon dot is quickly descending the length of her finger to
create a dark streak of blood.
REVERSE on Sophie's face. On her eyes. She stares at the wound, expecting
it to hurt. But the sharp pain she knows should occupany the cut doesn't
hit. Perhaps the intense pain she's dealt with since losing Tom has
desensitized her to the rest of the pain her world has to offer.
SAMUEL
Christ, Sophie...be careful...
Samuel joins his sister on the ground, picking up the rest of the glass
before she has another chance to hurt herself. With the larger pieces
cleaned up, he turns his attention back to his sister.
SAMUEL
Are you okay?
SOPHIE
(absently)
...yeah...
Samuel glances down at the picture on the ground, with Hobbes and Sophie
grinning like a pair of high school teenagers as Waters carries a defeated
look. He reaches for the picture, picking it up.
As he raises the picture, he notices that it carries more weight than a
photograph naturally would. Curiously, he flips it over, finding a small
key with a paper tag tied to it taped to the back. He pulls it off, handing
it over to Sophie with a look of confusion.
SAMUEL
Extra house key?
SOPHIE
(shaking her head negatively)
I've never seen this before...
She takes the key, looking first at the small tag attached to it. It reads:
COLICO FINANCIAL EAST
923 MAPLE AVENUE
COLUMBUS, OH 43201
Sophie flips the key over to find the digits "1019" engraved on the head.
FADE TO BLACK.
EXT. MICKLER LANDING, FLORIDA; DOCK (DUSK) - HARSH REALM
Overlooking the Atlantic Ocean, a rickety-looking ship sits in the water
with the word "AEGIR" stencilled hastily along the bow. On land, passengers
hurry to secure tickets in the hopes of escaping Santiago's tyranny.
After a few moments, Pinocchio's GTO rolls by a cracked wooden sign with the
number "42" painted on it, approaching the scene.
Outside a chain-link fence, the vehicle skids to a dusty stop. Its three
occupants pour out, jogging through the gate to get into the scattered line
of ragged passengers.
PINOCCHIO
(quietly)
I don't know, Hobbes. This whole deal just smells
funny. Some whacked-out street-preacher ranting
about prophecies of a coming savior stuffs tickets to
South America in your hand, and you haven't even
entertained the idea that we could be walking right
into a tailored Santiago trap?
(beat)
Remember what happened last you asked someone
to get on a boat?
Hobbes remains silent. He does.
HOBBES
I just have a feeling about this. Like there's something
we need to know, and this is the way to find it.
Pinocchio looks at Hobbes like he's lost his mind. But as it becomes clear
that Hobbes truly believes what he's saying, Pinocchio assesses him
differently. There is a moment of hesitation in his voice.
PINOCCHIO
You're either a savior, or a lunatic.
HOBBES
(grin)
Which do you believe?
PINOCCHIO
(shrugs)
Every savior needs followers.
(beat)
And every lunatic needs protection.
Hobbes can't help but smile to that logic. He turns and heads toward the
loading ramp with Pinocchio and Florence in tote.
HOBBES
Tickets! We have tickets!
Slowly, they make their way to the entrance of the ramp, where Pinocchio
stops Hobbes, taking the tickets from him.
PINOCCHIO
Let me...
Hobbes reliquishes control of the tickets as the trio heads up the ramp, now
led by Pinocchio. Ascending the length of the loading ramp, he reaches a
man with a thick notebook, keeping a manifest of the boarding passengers.
MANIFEST KEEPER
Names?
PINOCCHIO
(extended beat)
Charlie Geppetto, plus two.
The Manifest Keeper nods, jotting down the name along with a quick "+2"
before ushering Pinocchio, Hobbes and Florence by, onto the deck of the
ship.
EXT. DECK OF THE AEGIR
Pinocchio, Hobbes and Florence board the ship, passing through the rabble of
tired, beaten and worn-out passengers seeking refuge from their futile
lives.
As Hobbes passes through the crowd, the passengers gaze at him, a look
verging on respect in their eyes. Hobbes tries not to make eye-contact; not
to give these people any more reason to think of him differently, but he
can't help himself.
Hobbes' POV, as he catches a woman's eyes; the pain of the past, but a
glimmer of hope pushing through.
Back to Hobbes, with a look comprised of equal parts pity, disbelief, and
courage. The need to save.
HOBBES (vo)
These people look at me as if I know some secret I
shouldn't; as if I somehow hold the key to their entire
existence. The more they believe I am here to save
them, the more I fear that their hopes may very well
be unfounded. But I find myself praying to whatever
god may be listening that perhaps, buried somewhere
deep inside, hidden even from me, there is a truth be-
hind their desperation.
Our protagonistic trio finally finds a place to sit, relax, and just rest.
DIGITAL WIPE TO:
EXT. PORT COLUMBUS INTERNATIONAL AIRPORT (DAY)
COLUMBUS, OHIO - THE REAL WORLD
A Boeing 747 lands.
INT. PORT COLUMBUS INTRNTL. AIRPORT TERMINAL
A stream of passengers enters the terminal through a door above which we
find a sign reading; "Philadelphia Arrival".
After a moment, we recognize one of the passengers; Sophie. She enters the
terminal, looking disoriented, searching the building for a sign of
familiarity that isn't there. Finally resigning to the strangeness of her
surroundings, she heads for baggage claim.
EXT. PORT COLUMBUS INTRNTL. AIRPORT
Outside the building, a light rain falls as Sophie exits carrying two thick
suitcases. She approaches the curb, dropping her luggage to hail a taxicab.
After several unsuccessful attempts, a classic yellow cab painted with the
standard black checkers pulls the curb. Sophie grabs her bags and hurries
into the backseat.
SOPHIE
...Colico Financial East; Maple Avenue...
The door closes and the "ON DUTY" light on the roof of the cab flips on as
the car pulls away.
As the cab pulls out into traffic, a FIGURE steps forward into our line of
sight. It is the MAN IN SHADOW, doning a trenchcoat to keep out the natural
elements. At this angle, we cannot make a positive identification of the
man, but in a moment, he raises his right hand to his mouth, depositing a
cigarette between his lips. He inhales deeply, forcing the last drag out of
the cigarette before dropping it to the ground.
TIGHT SHOT of the ground as the cigarette hits the cement. We catch a
glimpse of the word "MORLEY" printed on the filter before a black shoe steps
on the smoldering butt, snubbing it out.
EXT. COLICO FINANCIAL EAST
A tall concrete building bares a modern steel-molded sign of three-foot tall
letters spelling the words COLICO FINANCIAL EAST.
INT. COLICO FINANCIAL EAST
In the lush lobby of the bank, Sophie finds her way to the end of the
shortest line. She now carries only one briefcase.
As she waits for her turn, Sophie visually peruses the lobby, taking in the
luxurious environment. Eventually, her gaze in drawn to her immediate
surroundings, when she notices the woman in front of her. She is holding a
baby.
In SLOW-MOTION, Sophie's eyes lock on the child.
The child looks up, feeling Sophie's stare.
Sophie is transfixed, enraptured.
The child looks at Sophie curiously. The innocent of ignorance.
The mother holding the child takes a few steps to the head of the line.
The child smiles. A smile built of pure happiness, a child having never
known the pain this world has to offer.
Sophie doesn't move, her hand slipping over her mouth as she fights herself
to keep from crying. A few renegade tears break free despite her effort.
Back at NORMAL SPEED, Sophie stands in the line, her face a mess of
emotions.
TELLER (os)
Can I help the next customer?
Sophie looks around absently for the owner of the voice. She finally finds
the person behind a plexiglass shield looking at her.
TELLER
Ma'am?
Sophie crosses to the teller and produces the key she found taped to the
back of the photograph.
SOPHIE
Who would I see about closing a safe deposit box?
The Teller nods and picks up the phone next to him.
TELLER
April, I got a question about a safe deposite box...
INT. MANAGER'S OFFICE
A woman sits behind a desk on which we find a name plate reading "APRIL
FIORE." The woman is looking through the paperwork of the safe deposit box.
Across from her, Sophie looks on anxiously.
FIORE
The name of opener is listed as Katherine A. Hobbes.
SOPHIE
Yes. She passed away several months ago.
Sophie opens her briefcase, extracting a plain manila folder. She lays the
folder down on the desk, opening it to route through the contents until she
finds the paper she wants. She hands it to April, who looks it over. It is
Katherine Hobbes' death certificate.
FIORE
Oh, I'm very sorry.
(beat, reading)
...but...it seems under those circumstances, we were
given strict instructions to allow only one person ac-
cess to that box.
SOPHIE
(beat)
Thomas Hobbes.
FIORE
Yes.
Sophie chokes back, fighting like hell to hold the tears as she speaks.
SOPHIE
He's...Tom passed...some months back. Or so I've
been told. I'm his fiancé.
FIORE
(apology)
I'm sorry, Ms. Green.
(beat)
I want to help you. Do you have any sort of proof of
relationship to the owner?
Sophie produces her and Tom's marriage license. Fiore looks over it
quickly, then looks back to Sophie with a small smile that shows she's seen
enough.
INT. VAULT
The heavy door to the vault swings slowly open and the two women enter.
April leads Sophie through the bank of small silver doors until they reach
the one engraved with the digits "1019."
FIORE
Here it is.
Fiore rests a comforting hand on Sophie's shoulder.
FIORE
Take your time.
Sophie nods, to which Fiore leaves her alone in the vault. Sophie produces
the key again, looking at it for a moment. Not knowing what she's expecting
to find, she wonders for a split-second if she really wants to open the box.
In her moment of hesitation, she looks to the open door. Escape. From the
past and the future in one quick dash.
She looks back to the small silver door numbered "1019." Looks back to the
key.
She has to. She has to know. Quick, as if she doesn't want to give herself
another chance to reconsider, Sophie lines the key up to the lock, inserts
it and turns. The lock disengages, freeing the door to swing open.
Sophie reaches in and grasps the handle of the box, pulling the container
out until it catches. Inside, she finds only two items; a single
plain-white envelope and what appears to be a cut hospital bracelet.
She removes the envelope, which bares no markings at all giving a clue as to
its contents. She flips it over and opens the flap, removing a single sheet
of paper, folded three times. Quickly unfolding the paper, she finds the
words VALLEY MEMORIAL HOSPITAL printed across the top. She instantly
recognizes the piece of documentation; it's a birth certificate.
Her eyes graze the paper, finding mothers name: "Katherine A. Hobbes." She
locates fathers name: "Frederick T. Hobbes." She quickly searches the
information in front of her for the name of the child to whom this
certificate belongs. She is stunned when she finds the name;
"THERESA ANGELINE HOBBES"
"DATE OF BIRTH: 29 MAY 1967"
CLOSE SHOT of Sophie's face, stricken with a combination of confusion and
pain. Can this be true?
TIGHT SHOT on the words "Theresa Angeline Hobbes."
DIGITAL WIPE TO:
INT. SANTIAGO'S COUNCIL CHAMBERS
Santiago is alone in the room, seated at a computer mounted into the
circular table that occupies most of the room. He is working at the
keyboard, absorbed in his work, when a knock on the door interrupts his
concentration. He does not look up from the monitor as he continues.
SANTIAGO
Enter.
The doors swing open. Lt. Carver enters, a package of papers tucked under
one arm. He quickly closes the door behind himself, striding the few steps
to come within reaching distance of Santiago.
The General continues his work on the terminal for a moment longer,
finishing whatever work he is currently involved in, before switching the
monitor off and turning in his seat and standing to face his soldier. He
gives Lt. Carver a hard look of expectation.
LT. CARVER
We were unable to stop the ship, but we arrested
the man who organized it. He turned over his pass-
enger manifest and payment lot without much strug-
gle. I've learned that these consciencious observer-
types fold rather quickly under pressure.
Lt. Carver hands a thick notebook along with a briefing folder to his
superior. Santiago takes the package, flipping open the first page to start
looking through the information. The hint of a smile is trying to break
through Carver's demeanor, but is quickly strangled by Santiago's upward
glance.
SANTIAGO
Is that all, Lieutenant?
Carver blinks once, quick, expecting some sort of commendation. He quickly
covers, returning to attention.
LT. CARVER
Yes, sir.
He salutes curtly, turning on his heels and heading out of the room.
>From the shadows, a female voice emerges.
INGA
Where is the shipping heading?
SANTIAGO
The Netherland Antilles.
(beat, looks up)
South America.
(reading)
And a customized GTO was confiscated in the
siege.
INGA
They want the book.
SANTIAGO
(extended beat)
There are three crucial points to winning any battle.
First; know your enemy. Second; know his plan.
And third; stay one step ahead of it. To ensure that
Hobbes is unsuccessful in his mission, we need only
achieve it before he can.
INGA
(disbelief)
Go after the book ourselves?
Santiago's eyes narrow as his thoughts take shape: "Why not?"
INGA
But what purpose will it serve? You have droves
of followers; faithful believers certain that you are
their savior.
SANTIAGO
If the book is found, the Second Sign will come to
pass. As long as the book never reappears, it will
remain a myth; a quaint story for the desparate to
believe in when all else has abandoned them. We
must ensure that it stays that way.
INGA
You're afraid that...
Inga is cut off, but not before catching herself mid-sentence. "Afraid" is
a word never to be applied to General Santiago, especially in front of him,
much less in conversation with him.
SANTIAGO
Fear...this unrelenting distrust of the future that has
long been the enemy of progress and advancement,
comes not from inevitable failure, but from unlikely
success.
(beat)
The slightest chance for victory is far more frighten-
ing than the hopelessness guaranteed by certain fail-
ure. Fear itself is not that failure, but rather a guide
whose purpose it is to prompt us into action when
that failure becomes imminent.
(baet)
It is very doubtful that Hobbes will find the Book of
the Oraculum. But not impossible.
CUT TO:
EXT. DECK OF THE AEGIR (NIGHT)
Tattered refuges are huddled in groups around the deck, desperate for warmth
and companionship. Beneath a rusted metal staircase that leads to a higher
deck, Pinocchio kneels with Florence, taking stock of the several clips of
ammunition they have been able to trade for. After a moment, Florence
glances off toward the back of the ship.
Florence's POV, as she notices Hobbes, his back to them, leaning on the
railing of the back of the ship, staring out over the water.
Back to Pinocchio and Florence, as Pinocchio finally notices that Florence
is no longer concerned with their recent acquisitions. He looks off in the
same direction, taking note of Hobbes. He turns back to Florence.
PINOCCHIO
He's a big boy.
Florence glares at Pinocchio, nodding her head quickly toward Hobbes much
like a mother demanding that one son apologize to another for hurting his
feelings. Pinocchio looks at Hobbes again, sighing deeply and standing.
He slowly negotiates his way across the deck, maneuvering around groups of
sitting, laying or sleeping people who seem oblivious to his presence. He
eventually makes his way to the back of the ship where he reaches the rail a
few feet away from Hobbes, not wanting to violate his privacy.
A long moment passes before Pinocchio turns around to face the crowd of
passengers, leaning against the rail as he speaks.
PINOCCHIO
Careful one of Santiago's boys doesn't recognize
you and push you over.
HOBBES
Who would know my back...
PINOCCHIO
(joking)
I've heard that The Savior has an unmistakable ass.
Hobbes looks at Pinocchio with a mixed reaction; is he serious? After a
moment, Pinocchio's demeanor cracks and his face is taken by a grin that
shows not even he expected to say what he said. He shakes his head. Hobbes
looks back out over the water as he speaks.
HOBBES
You better not be coming on to me...
PINOCCHIO
I haven't been stuck here that long.
A lengthy pause, before Hobbes speaks up again.
HOBBES
Where are we?
PINOCCHIO
About 40 miles off the coast of Florida.
HOBBES
Atlantic Ocean?
Pinocchio nods. To that gesture, Hobbes bends to one knee, first unlacing
his left boot, then his right. Pinocchio watches curiously, wondering where
this is leading, as Hobbes stands again with the shoelaces, about eight feet
in length once he has them tied together, end to end, in a square knot.
With the length of rope tied, Hobbes looks to the ground near his feet,
finding a young boy of about 12 years a few feet off drawing on the deck
with chalk that he keeps in a small tin cup. Hobbes kneels in front of the
boy, tapping the cup.
HOBBES
Hi. Can I borrow this?
The boy looks at Hobbes with wary eyes.
HOBBES
I promise I'll give it right back.
After a moment, the boy smiles gently, shaking his head affirmatively.
Hobbes picks up the cup, carefully emptying its contents onto the floor. He
quickly ties one end of the shoelace string to the handle of the cup,
leaning on the rail of the ship again.
Working carefully, he lowers the cup down toward the surface from the other
end of the string until the cup catches the water, pulling the line tight,
but not breaking it. Hobbes pulls the cup back up, catching it in his right
hand and looking at its contents.
Pinocchio is still watching the scene with a look that says "what the hell
are you doing?" spilled across his face. After a long moment, Hobbes dips
his index finger into the water, tasting it. He looks to Pinocchio in
slight surprise.
HOBBES
It's fresh.
He dumps the remainder of the water back overboard, delivering the cup back
to the boy and leaning back on the rail to stare out over the water for
another few hours. Pinocchio leans back against the rail to speak to
Hobbes.
PINOCCHIO
They say it's perfect. But even perfection has its flaws.
Pinocchio turns around to face the same direction as his compatriot, leaning
on the rail. As he does, we ZOOM IN on the back of his neck, where we find
a strange marking:
A "V"-SHAPED BIRTHMARK, encircled by the SCAR left over from the removal of
the Rendering Unit. We recongize the symbol immediately.
FADE TO BLACK.
INT. AN OFFICE
Seated behind a swivel chair with his legs flung over his desk, CHUCK
WEBSTER ignores the ringing telephone as he tosses crumpled pieces of paper
halfway across the room into a trashcan in the corner. Even with the
two-wall backboard, most have missed.
On the pebbled glass window of the open office door, we can see the printed
words;
CHUCK WEBSTER
PRIVATE INVESTIGATOR
He grabs another balled-up sheet from his desk and releases it with a
perfect wrist-flip to give it the proper backspin.
TIGHT SHOT on the trashcan as the ball of paper hits the lip of the can,
careens off the wall and crashes to the floor with the dozens of others.
Back to Webster.
WEBSTER
Damnit...
Finally frustrated with his athletic inadequecies, he grabs the phone and
wedges it between his ear and his shoulder.
WEBSTER
Hello...
He grabs a new, blank sheet of paper, crumpling it up in his fist and
preparing for another shot.
SOPHIE (os)
Charlie...?
WEBSTER
(tossing the paper)
Present...
The paper hits the wall behind the trashcan and drops, undoubtedly the first
to do so in a while. Webster gives a fast, quiet "Yes!" before turning his
attention back to the phone.
SOPHIE (os)
It's Sophie Green. I hired you to find information on
my fiancé...
WEBSTER
Yeah, I remember...
(drops his legs to the floor)
...look, I'm sorry I couldn't find anything. But you sign-
ed an agreement that prohibits you from suing in that sit-
uation...
SOPHIE (os)
(cutting him off)
That's not why I'm calling. I have a favor to ask.
WEBSTER
(wary)
Favor...?
INT. COLICO FINANCIAL EAST, MANAGER'S OFFICE
Sophie sits in Fiore's office with her cell phone propped up against her
ear.
SOPHIE
I found a birth certificate that belongs to one of Tom's
siblings.
WEBSTER (os)
I thought you said he was an only child?
SOPHIE
I thought he was. But it appears he may not be.
INT. WEBSTER'S OFFICE
Webster is now peering out the window by holding open the blinds that cover
it with his index finger.
WEBSTER
What's the name?
SOPHIE (os)
Theresa Angeline Hobbes.
WEBSTER
Okay, well gimme a coupla days, alright? I got a few
cases here that need attention, but I promise I'll get to
it A-sap. Same cell phone number?
SOPHIE (os)
Yes. Thanks a lot.
Webster hangs up the phone, looking out the window again before quickly
drawing the blinds to cover the window and keep out prying eyes.
DIGITAL WIPE TO:
EXT. THE DECK OF THE AEGIR
The ship has docked, and the hord of passengers are struggling against each
other to deboard. In the midst of the chaos, Hobbes, Pinocchio and Florence
somehow manage to stay in close proximity. Hobbes is holding Dexter now,
protecting him from the many hungry passengers and their hungry stares. But
more than looks of hunger, he finds looks of hope.
HOBBES (vo)
Is it faith, or desperation, that has led these people
to believe in this myth; this legend of a prophecied
leader who will free them from tyranny and deliver
them to some promised land?
FLASH CUT TO:
EXT. PARK - THE REAL WORLD
In SLOW-MOTION, children play on swings, jungle gyms, slides and seesaws.
Smiles and happiness. Peace. Throughout Hobbes' next few sentences, we cut
through several slow-moving images of mothers and fathers and children and
pets. A man throwing a frisbee that is caught a moment later by a dog.
HOBBES (vo)
What do I have to offer them? What kind of mes-
siah can I be, when all I have to give is the intangible
and unattainable hope of a world only one mistake
better than theirs?
The dog returns the frisbee to the man. The man takes the frisbee, kneeling
before the animal to pet it.
FREEZE FRAME and suddenly FLASH TO WHITE. The effects of a nuclear blast.
BACK TO SCENE in HARSH REALM, as Hobbes and his entourage head off the ship.
Hobbes notices a boy, no older than 19 years, fighting to keep a woman
holding a child near him. Apparently his wife and their son.
HOBBES (vo)
What dreams of freedom can I bestow upon them,
when the one thing they so desparately seek...a dif-
ferent life...cannot be theirs?
The 19-year-old boy glances at Hobbes; a fleeting look that passes and is
over. But in that instant, Hobbes notices behind the boy's torn shirt the
obvious scar from where a tracking chip was removed. The boy's attire makes
no attempt to cover the wound; instead, he wears it like a badge of honor.
HOBBES (vo)
They have no heaven; not even the imperfect world
we've fashioned for ourselves outside this doomed
simulation can be theirs. What kind of savior am I,
when I am expected to do what God himself could
not?
Hobbes' gaze shifts to find his partners.
In Hobbes' POV, we find Pinocchio, trudging ahead but looking back, making
sure that Hobbes is still in step. Pan right enough to find Florence
relatively closeby, also looking back to Hobbes. Upon eye contact, she
drops her eyes, turning back to face forward and find a way through the
crowd.
HOBBES (vo)
If I truly am The One...how am I to know?
Pinocchio leads the group as Florence and Hobbes follow after him down the
plank to the ground.
EXT. NETHERLAND ANTILLES, DOCK
As the trio descends the length of the gangplank, Hobbes feels a slight
tugging on the arm of his jacket. He looks down to his right to see the boy
he borrowed the cup from on the deck. He now has the cup in his hand, and
is offering it to Hobbes.
HOBBES
That's okay. You keep it.
BOY
Is that your dog, or did you find him?
HOBBES
(looks at Dexter)
No, he's mine.
Hobbes kneels next to the boy, bringing Dexter down within arms reach for
the boy to pet. Dexter licks the boys hand and he laughs, pulling his hand
back.
BOY
It tickles...
HOBBES
Where're your parents?
The boy doesn't look at Hobbes, continuing to pet Dexter as he answers.
BOY
(matter of factly)
I don't have parents.
HOBEBS
Who takes care of you?
To this, the boy looks up, his brow furrowed in confusion.
Up ahead, Pinocchio has just realized that he and Florence are now sans
Hobbes. He looks around the crowd quickly, scanning for their missing
partner.
Pinocchio's POV, as he finally locates Hobbes, kneeling next to the boy at
the exit of the gangplank.
Back on Pinocchio, as he begins the fight back to the Hobbes.
Back on Hobbes and the boy.
BOY
Are you visiting the temple?
HOBBES
What temple?
The boy points over Hobbes shoulder, to which he turns around, looking out
into the forest. Deep in the trees, about a dozen miles off, the top of a
stone structure penetrates the thick canopy.
Hobbes looks back to the boy.
HOBBES
Is that where you're going?
Just then, a pair of long, thin, Blackbird jets thunder through the air
overhead. Hobbes is startled, looking up to catch a glimpse of the letters
SCAF stencilled on the tail. A moment later, Pinocchio reaches Hobbes,
grabbing him by the arm and trying to coerce him to follow.
PINOCCHIO
Come on, Hobbes, we gotta move.
Hobbes doesn't move.
HOBBES
(to the boy)
What's there?
PINOCCIHO
(more forceful)
Those were Republican Guard recon jets. If San-
tiago knows we're here, he'll be coming after us soon.
To those words, the boy looks up at Pinocchio, who is frozen still by the
boy's stare.
BOY
He's already here.
With a look comprised of as much fear as urgency, Pinocchio pulls Hobbes to
his feet and starts away.
EXT. NETHERLAND ANTILLES JUNGLE
Led by Florence out front with her automatic rifle ready and flanked by
Pinocchio with his finger tightly over the trigger of his MP5K, the trio
trudges through the rough terrain of a South American jungle.
HOBBES
How did that kid know about Santiago?
PINOCCHIO
He wasn't talking about Santiago...
HOBBES
Then what's at this temple?
PINOCCHIO
A whole lot of nothing...
HOBBES
Then why are we going??
PINOCCHIO
This isn't my crusade, Hobbes. This isn't my karmic
responsibility. I'm not even supposed to be part of
this mess...
At that, Hobbes stops walking, eyeing Pinocchio suspiciously.
HOBBES
You're not telling me something.
Pinocchio stops, looking back to Hobbes and realizing that they aren't going
anywhere if he doesn't spill something.
PINOCCHIO
People talk. Some claim there's a book called the
Oraculum that foretells of a coming savior.
HOBBES
You knew about this?
Hobbes looks to Florence for support, but only receives a look that shows
she did too.
PINOCCHIO
(non-chalant)
I knew the rumors. I just never had the urge or ener-
gy to check it out.
(beat)
You think we'd haul ass to Chicago if we heard Jerry
Springer was sent in to kill Santiago?
HOBBES
This is a little more important.
Pinocchio only shrugs as he starts walking again, speaking over his
shoulder.
PINOCCHO
We're here, aren't we...?
CUT TO:
INT. SANTIAGO'S OFFICE
Lt. Carver is once again in front of Santiago's desk, delivering another
report.
LT. CARVER
The ship docked at oh-eight-hundred hours this
morning. Most of the passenger's were arrested,
but some managed to flee on foot...
He does not continue. His silence informs Santiago of all he needs to know.
SANTIAGO
Hobbes and Pinocchio have elluded you...
Lt. Carver remains silent a moment, as if not confirming Santiago's
statement will exonerate him from his responsibility for it.
LT. CARVER
For the moment, sir.
SANTIAGO
The moment, Lt. Carver, is all that concerns me. The
past is set, the future unknown. The only thing left to
be controlled is the moment.
Santiago turns around in his seat to face his soldier.
SANTIAGO
These men are to be found and stopped at any cost.
Am I understood...
(threatening)
...or are you incapable of carrying out your orders?
LT. CARVER
(strong)
No, sir.
Santiago turns back around.
SANTIAGO
Then I suggest you make haste in your assignment.
Lt. Carver quickly returns to attention, saluting and heading out of the
room. Alone, Santiago's expression shows his displeasure.
CUT TO:
INT. THE WATCHTOWER
A man, TOBIUS, is navigating through the hallways of a large stone
structure, dressed in a thick black robe topped with a hood that hides most
of his face. He weaves his way through the building until he reaches a
wooden door at the end of a long, bare hallway. He approaches the door
apprehensively, not wanting to disturb the occupant of the room. After a
moment, though, he is forced to knock.
>From the impact of his hand, the door swings slowly and silently open.
Warily, he pushes the door open to find a single person in the room; another
black-clad individual, sitting indian style with her head bowed and eyes
closed. She also happens to be floating a good three feet off the ground.
Tobius is unfazed by this seemingly miraculous feat.
Tobius clears his throat noisily to announce his presence. To that, the
woman raises her head without opening her eyes, unfolding her legs and
bringing her feet back in contact with the floor to a standing position.
When she finally opens her eyes, we recognize her instantly; RUBY. She
pushes her hood back to reveal her face, lined and coarse with age and
anguish. The locks of grayish-brown hair framing her face are contrasted by
her glaring green eyes, which hold all the fire of a younger, healthier,
more formidable woman.
For a moment, she only looks at Tobius, reading him like a book.
RUBY
They are safe?
TOBIUS
They are.
Ruby smiles at his response; a soft, maternal smile that could ease the pain
of the world.
RUBY
Then it will be soon.
Ruby turns to the window, looking out over a lush jungle landscape.
RUBY
All eras end. So too shall this.
TOBIUS
Liberty. Freedom. The vague promises of an even
more ambiguous higher power.
RUBY
You sound like a skeptic, Tobius. You of all people
should know.
TOBIUS
I thought I did. But I cannot be sure that we should
be so trusting with our fate. How can you?
RUBY
He has walked among the dead and returned. Only
the second man I've ever known of who can make
such a claim. I have no doubts.
TOBIUS
But what has brought them here?
Ruby turns back, a sly smile playing across her lips that implies she may
know more than she tells.
RUBY
Mysterious ways, Tobius. Mysterious ways.
TOBIUS
It is very dangerous for them here. They are get-
ting too close.
RUBY
(light, almost joking, with a smile)
Has all faith abandoned you, Tobius?
TOBIUS
If they were followed...
RUBY
Then we will deal with whatever may come. We
have before, and will again.
TOBIUS
They may find the book...
RUBY
No Tobius...
(smile fades)
They must find the book. It is the only way he can
begin to accept his divine obligation.
Tobius is stunned to hear such a brash assertion from this woman.
TOBIUS
You believe...
RUBY
You know what I believe. His redemption must begin
with understanding. Only then can he hope to save the
others.
CUT TO:
EXT. NETHERLAND ANTILLES JUNGLE
Hobbes, Pinocchio and Florence continue to struggle through the dense jungle
foliage. They are visibly tired now, exhausted by the trek they have just
endured.
HOBBES
How much farther is this?
PINOCCHIO
You tell me, Kreskin. This ain't my hunch.
HOBBES
It has to be here. It looked too big to miss...
PINOCCHIO
I'm gonna be very pissed if it's not...
Just as the sentence comes out, Florence tears down a branch and the vines
connected to it to reveal the foot of a huge stone staircase, at the top of
which is a large monastary that was previously hidden from view by the thick
canopy of the jungle tree-roof.
ZOOM OUT on to get a feel for the grand scale of the structure, in which we
now see Hobbes, Pinocchio and Florence at the foot of the stairs, miniscule
in comparison to the mammoth scope of the building.
FADE TO BLACK
EXT. QUEEN ANNE, WASHINGTON - THE REAL WORLD
TIGHT SHOT of a street sign that reads "W. PROSPECT STR." A light drizzle
stings the air.
CRANE DOWN to the suburban street below, where we see a red Hyundai Elentra
creep slowly down the street. Before reaching the street sign, the car
pulls to the curb between two parked cars and stops.
INT. THE CAR
Inside the car, we see a POV SHOT of a small slip of paper, reading;
3 West Prospect Street
Queen Anne, Washington 98119
We quickly CRANE UP to look out the passenger's side window, to the house
beyond which we quickly learn bares a brass number three on the mailbox
mounted next to the front door.
REVERSE SHOT to see the person holding the slip of paper. The driver of the
vehicle is Sophie. She looks at the house from the safety of her vantage
point, afraid to approach, but refusing to leave.
INT. FRONT DOOR OF THE HOUSE
>From inside the house, we hear three quick consecutive knocks. Apprehensive
knocks. A few seconds pass to the sound of footsteps before a woman answers
the door to find a young blonde woman she's never met.
THERESA
Yes?
SOPHIE
I'm sorry...my name is Sophie Green. I found your
address through a friend of mine and was wondering
...are you...Theresa Hobbes?
REVERSE SHOT to see the woman. She looks almost like a younger, healthier
version of the deceased Katherine Hobbes. Her eyes go hard, her look
cautious and questioning.
THERESA
I was. A long time ago.
INT. LIVING ROOM
Sophie and Theresa sit on opposite ends of the sofa, each nursing a cup of
coffee.
THERESA
So which friend of yours led you to me?
SOPHIE
Charles Webster. More of an associate than a friend,
he's a...private investigator.
THERESA
So he paid his way through a pile of adoption papers
for you to come out here and...do what?
SOPHIE
I'm not sure, exactly. You see, I was engaged to
your younger brother, Thomas Ho...
THERESA
(hands gesturing to stop)
Please, miss.
(beat, trying to be polite)
I'm sorry for whatever happened to make you look
for me, but as you can see, I have a life of my own
now. A comfortable life, one that I built for myself
...and one that I won't see turned inside out over the
three-decade old decision of a scared high-school
senior.
Sophie is on the verge of tears. This is not the reception she expected,
much less the one she wanted.
SOPHIE
But...
Still trying to be polite, Theresa gently interjects with an apologetic
smile.
THERESA
I'm sorry.
EXT. THE CAR
CLOSE SHOT on the window of the driver's side door of the vehicle as it
slams shut, Sophie slumped in the driver's seat. The front door of 3 W.
Prospect Str. can be seen closed out the passenger's side window. Sophie's
hand find their way to her face, just in time to catch her raining tears.
DIGITAL WIPE TO:
EXT. THE STAIRCASE (DUSK) - HARSH REALM
Hobbes, Pinocchio and Florence slowly creep up the stairs to reach the
plateau in front of the monastary entrance, a huge set of wooden double
doors at least two stories high. The group stops, breathing heavily from
the long climb, resting against the pillars that support the entrance to the
building.
PINOCCHIO
(tired)
This better be worth it...
Florence nods her head wearily in agreement. After a moment's rest, the
party heads for the doors, at which Hobbes grasps one of the foot-wide
circular door knockers and raises it heavily. He releases the iron circle,
which falls back into the wooden door with a thunderous crash.
All three travelers jump at the sound, which echoes off into the jungle.
Quietly, the echo turns into the shuffle of feet, which slowly approaches
the inside of the door. Hobbes, Pinocchio and Florence look at each other
for a moment, deciding whether to make a run for it or not, before the doors
crack open and swing inward.
INT. MONASTARY
Inside the monastary, the entire Brotherhood of the Oraculum has convened
for the arrival of their guests.
Hobbes, Pinocchio and Florence look into the building with amazement. After
a moment, three brothers exit the doors to escort them inside. They comply
without struggling. Even Pinocchio.
After a moment, a small section of the wall opposite the entrance door
disappears and two more monks ascend a set of stairs to emerge from the
opening. They smile broadly when they see their guests, quickly crossing
the room to them.
Brother Andrew and Brother Martin reach Hobbes, Pinocchio and Florence and
bow reverently. Hobbes and Pinocchio slowly bow in return, though never
taking their eyes off the two men. Brother Andrew reaches for Hobbes' hand,
shaking it as he speaks in Meckinese (translation appears at the bottom of
the screen).
BROTHER ANDREW
(We have been awaiting your coming.)
HOBBES
I'm sorry...?
Brother Andrew and Brother Martin look at the trio expectantly.
Pinocchio glances at Hobbes with a strange look. He turns back to the pair
of monks, and the sounds that comes out of his mouth next startle Hobbes.
They sound like a strange hybridization of Chinese and German, with a hint
of Latin thrown in for good measure. A rough translation appears at the
bottom of the screen.
PINOCCHIO
(We come from America. We have traveled far and
need food much.)
Hobbes just stares blankly at Pinocchio in surprise. The monks, on the
other hand, smile broadly, apparently very pleased by Pinocchio's response.
BROTHER MARTIN
(Ah, yes. Come with us. We have much to discuss.)
The brothers turn and start toward the left doorway on the far wall.
Pinocchio follows behind them as Hobbes and Florence exchanged surprised
looks before falling in step behind Pinocchio.
EXT. MONASTARY GUEST QUARTERS
Outside the entrance to Hobbes and Pinocchio's room, Brother Andrew and
Brother Martin speak in hushed excitement.
BROTHER MARTIN
(The Second Sign is upon us. The savior is here!)
BROTHER ANDREW
(Yes, but we must take care. There will be others.
Much work is still to be done.)
INT. MONASTARY GUEST QUARTERS (NIGHT)
Three cots occupy the room, one against each wall not including the wall
containing the doorway. Hobbes is sprawled out on the cot opposite the
door, while Pinocchio is lain across the one at Hobbes feet and Florence is
asleep on the one by Hobbes' head. Moonlight streams through a large
cut-out window above Hobbes.
Laid on his back, Hobbes is absently scratching Dexter's ears as the dog
lays on his stomach. Hobbes is staring at the ceiling, his other arm behind
his head, just content to be able to lay still without having to worry for a
couple of minutes.
HOBBES
(to Pinocchio)
How did you know what they were saying?
PINOCCHIO
(matter-of-factly)
It was plain English. You get a C-minus in that too?
Hobbes ignores the insult. Pinocchio finally looks to him for a reaction,
noticing Dexter on his chest. He looks back to the door before speaking.
PINOCCHIO
When will you just give in and eat that pudgy mutt?
Hobbes lifts his head to see Pinocchio, laying on the cot with his feet
toward the door, his gun in his right hand, resting against his side while
still pointing toward the door. Hobbes lays his head back down.
HOBBES
(beat)
I can't.
PINOCCHIO
Why not?? That's one more way we won't have to
worry about dying.
HOBBES
You really wanna know?
Pinocchio looks away from the door to Hobbes with mock surprise.
PINOCCHIO
You have an answer?
HOBBES
(looks down at Dexter)
He's all I have left to prove this isn't just some sick
nightmare. The only thread of familiary to connect
me with the world I came from. A world we came
from.
(looks up to Pinocchio)
You've got to have something, don't you? To remind
you it's still out there?
Pinocchio doesn't answer, but his eyes lose their razor edge. As close to
compassion as we'll ever see as he understands. Relates.
Pinocchio rolls over on his cot, laying with his back to Hobbes. After a
moment, he reaches for an inside vest pocket, a compartment protected from
the elements and action. When he extracts his hand again, we find something
in it; a Polaroid PHOTOGRAPH, burnt at the edges and bent in several places,
picturing an OLDER MAN standing next to a YOUNG BOY in a classic baseball
infielder's position. The Young Boy in the picture appears to be a youthful
iteration of the worn-torn soldier we now see before us. Pinocchio holds
the picture between his hands, not staring at the wall, but through it, into
some deep memory he's almost forced himself to forget, but not quite been
able to.
FADE TO BLACK.
FADE IN ON:
INT. MONASTARY GUEST QUARTERS (MORNING)
In POV, we see a blurry image. A face. Slowly, the image sharpens until
its features declare the face to be female.
CLOSE SHOT of Pinocchio's face, as his eyes slide open, a welcoming grin
taking his mouth.
In PINOCCHIO'S POV again, we see the face, now clear. Ruby. She smiles
warmly.
RUBY
Hello, Michael.
INT. TUNNEL
>From inside the tunnel that Brother Andrew descended so long ago, we see a
solid wall illuminated by the flickering light of several torches. After a
moment, the small doorway disappears and the group of Ruby, Pinocchio,
Florence, Hobbes and Brother Andrew.
The group enters and the door closes behind them as they head down the
stairs.
HOBBES
(to Pinocchio)
Where are they taking us?
PINOCCHIO
To the Holy Grail.
The group continues down the hallway to the dead end where Brother Andrew
opens the next doorway into the chamber.
INT. CHAMBER
Brother Martin is once again hard at work, slaving over the Book of the
Oraculum. Upon Brother Andrew and the group's entrance, he stands, bowing.
Brother Andrew returns the ritual and Brother Martin greets his guests with
a silent handshake and smile. After the cursory introductions have been
made, Brother Andrew gestures to the book.
BROTHER ANDREW
(We have spent much time making translations.
The work is tedious.)
Pinocchio glances at the book, reciting in plain English the strange symbols
he sees on the pages.
PINOCCHIO
"...and through this realm, a guide shall lead him to
redemption. One versed in terrain and language
and custom..."
BROTHER MARTIN
(My God, he reads it...)
Pinocchio looks to him for a moment, then turns back to the book, continuing
silently. Suddenly, his stare bolts from the book to Ruby.
PINOCCHIO
That says what I think it says?
Ruby nods once, affirmatively.
HOBBES
What?
Pinocchio looks to Hobbes, then picks up the pencil and writes on the page.
TIGHT SHOT of the page, where the pencil scrawls out eight letters;
"CREATION."
RUBY
The simulation is real.
HOBBES
It can't be. It's just a program, playing out on some
computer.
RUBY
What makes you any more real? Just a human
playing out in the mind of God.
(beat)
We had no idea what we were doing, no right to
carry it through, but we did it anyway, despite our
better judgement and what we found was more than
amazing; it was impossible.
PINOCCHIO
(realization)
It's more than the program...
RUBY
We created. Not merely designed, or built, but actually
breathed life and soul into a new being. We took upon
ourselves the province of God, and we paid for our tres-
passes.
(beat)
And like Dr. Frankenstein, my monster has returned to
destroy me.
As soon as the sentence is out, though, the pair of monks perk up, hearing
something. The rest of the rooms occupants listen carefully as well until
the distinct sound of air thumping under the weight of helicopter blades
becomes clear.
PINOCCHIO
Choppers...
BROTHER ANDREW
(Follow me.)
Pinocchio nods and the others follow as Brother Andrew uses his remote unit
to open another door in the room. Not the entrance/exit we've seen him use
before, but a door an exit on the opposite wall, heading deeper underground.
EXT. MONASTARY
On the steps, several platoons of heavily armed Republican Guards are
mounting an insurrection of the temple. Hovering in the air above the
treeline are a dozen UH60 Blackhawk attack helicopters with the familiar
SCAF stencilled on their bellies.
At the head of one platoon, we find Lt. Carver, dressed in his military
combat gear, an M64 rifle tight in his grip and a determined look on his
face. This mission is as much to stop Hobbes as it is to prove himself to
Santiago. He quickly raises a small handheld radio to his mouth, clicking
the send button and barking into it, shouting above the drumming thuds of
the helicopter blades.
LT. CARVER
All teams, move in! Now!
What looks like the entire Republican Army suddenly converges on the stone
building, the ultimate confrontation between technology and nature.
INT. MONASTARY
The quiet stone building is suddenly penetrated from all sides by armed
Republican Guardsmen.
CUT THROUGH several shots of Guardsmen searching the building. Every room.
Every hallway. The entire temple is empty.
INT. MONASTARY GUEST QUARTERS
>From inside the room that Hobbes, Pinocchio and Florence slept in, we see an
armed soldier turn his weapon on the room.
REVERSE to the SOLDIER'S POV. He sees three cots in the room, one against
each wall. A large cut-out window above the cot at the opposite wall. But
the room is devoid of people.
INT. MONASTARY MAIN ROOM
Lt. Carver and his men are searching the main room for glitches when a
Sergeant approaches from the left hallway entrance.
LT. CARVER
Where's Pinocchio!? Hobbes!?
SERGEANT
There's no sign, sir!
Lt. Carver looks around the room with the fires of Hell blazing in his eyes
before turning back to the Sergeant.
LT. CARVER
Destroy the building!!
Lt. Carver heads out of the building as soldiers quickly set to placing
charges throughout the temple, preparing for its demolition.
TIGHT SHOT of the ground. Feet running. Clumps of C4 molded into place.
Fuse wires connected.
EXT. MONASTARY
We see the temple from an arial viewpoint, aboard one of the helicopters as
it departs from the temple.
TIGHT SHOT on Lt. Carver's face. His expression is stone hard.
TIGHT SHOT on Lt. Carver's hand. A small device with a red button in the
middle of it is tight in his grasp. After a moment, his thumb depresses the
button.
One last shot of the temple, as the stone structure erupts into a blazing
fireball, sending rocky debris hundreds of yards.
DISSOLVE TO:
EXT. NETHERLAND ANTILLES JUNGLE
Three people surround a small fire. Hobbes is asleep on the dirt. Florence
sits against a tree, her rifle ready and eyes wary. Pinocchio, though, is
sitting on a fallen log, scratching a stubby pencil across the surface of a
sheet of paper torn from Brother Martin's notebook.
PINOCCHIO (vo)
Writing. Funny...I never had much use for it before
I met this guy. The one that everyone thinks is here
to save them.
INT. THE WATCHTOWER
Through the window that Ruby previously stood in front of, we once again she
her face, looking out over her creation, hoping for a happy ending and
thinking that perhaps, one might be possible.
PINOCCHIO (vo)
If they only knew.
Ruby turns away from the window, heading into the building. She traverses
the hallways of the massive building as we hear Pinocchio's continuing
voice-over.
PINOCCHIO (vo)
If they could only understand that redemption is an
empty dream built out of a figment of their encoded
imaginations.
Ruby comes to the end of her journey, finding a large room in which a dozen
or so of the surviving monks have been staying until they can relocate. She
passes through the room, gesturing to several of the brothers, before coming
to a corner in which she finds Brother Martin, sitting on his cot, pouring
over his notebook in which a copy of the Oraculum's text has been
transcribed in its original language. Ruby sits next to him for a moment,
and he turns to her, smiling politely. He then looks back to his notebook.
TIGHT SHOT on the words he reads; "a savior shall lead them."
PINOCCHIO (vo)
But sometimes...I don't know. I let my own imagi-
nation get the best of me. Not a safe thing to do here,
but I can't help wondering...
INT. MONASTARY
We find ourselves in the midst of what is left of the ruined temple, heaps
of stone crumbled onto of itself and still burning in places. We track
through some of the debris, until we find wooden fragments, shattered and
dispersed, aflame from the explosion. Half buried until the rocks that
cover the wooden remains, though, we find something else; not wood, but
paper. A BOOK. With a "V" intersecting A CIRCLE on its cover. The book is
ablaze, burning away what remains of the prophecy.
PINOCCHIO (vo)
(beat)
...just how much of this stuff really is true.
FADE TO BLACK.
FADE IN ON:
INT. SANTIAGO'S COUNCIL ROOM, GOVERNMENT HOUSE
Santiago stands before the map of his empire, revelling in his own glory.
Most of the East Coast is now under his control, though his territory is
primarily located in the Northeastern Atlantic Region. The closest thing
he's ever done to smiling is now playing across his lips.
After a moment, the large double-doors to the chamber swing silently open,
and a figure clad in a black suit with long, dark hair enters. The figure
takes a few steps before stopping in the light to reveal her identity; Inga
Fossa. Santiago doesn't even have to turn around to know that presence.
SANTIAGO
I take it you have good news.
INGA
Why is that?
SANTIAGO
You would have sent someone else with anything less.
INGA
The temple has been destroyed. Hobbes' attempts to
retrieve the book were unsuccessful.
SANTIAGO
(satisfied sigh)
All life is a test. A series of interconnected challenges
that one can raise himself up to meet or cower from in
fear and hide. This is just another loss for the men who
seek to destroy the world that I've created.
INGA
The payment lot just arrived from Florida. Pinocchio's
car was missing.
Santiago remains silent for a long moment, giving no indication whether he's
about to digitize the woman telling him this or whether he even heard what
she said. Finally, after a tense pause, he speaks again.
SANTIAGO
Every victory carries a price. We should consider our-
selves fortunate that more was not lost.
(turns his head to face Inga)
Who is the real savior? The man who tries and fails, or
the man who causes him to?
Inga's eyes drop. Her message is not something Santiago will want to hear.
Words she doesn't say.
INGA
There is another.
At these words, any attempt at smiling that Santiago may have been trying to
make has been squelched. His brow tightens and his mouth goes thin, a
straight line that expresses all we need to know. He already knows.
FADE TO BLACK.
THE END