Redemption written by Megan Reilly eponine119@worldnet.att.net TEASER EXT. SANTIAGO CITY ALLEY - NIGHT Pinocchio sits on the ground, hidden in shadow. His knees are pulled up, making him as small as possible. Hiding. His weapon still in his hand. He's breathing hard. PINOCCHIO (VO) I have done what they said no man could do. Heavy footsteps as Republican Guard run past him on the main street, responding to the alarm. PINOCCHIO (VO) I executed General Omar Santiago. DISSOLVE TO: INT. SANTIAGO'S BEDROOM - NIGHT - A FEW MINUTES EARLIER The scene from the end of "Betrayal." Santiago and Inga in bed together, Pinocchio standing there, his weapon at the ready. PINOCCHIO (VO) The one who kills Santiago controls the game. Inga stumbles backward out of bed, thinking he's going to shoot her. PINOCCHIO (VO) They will know I'm the one who did this. She saw. That was the plan. The plan Hobbes and I crafted when Santiago came to me with his offer. CLOSE ON THE GUN As he fires In the same motion, Pinocchio smoothly turns and runs back out through the door. PINOCCHIO (VO) I don't know why I ran. Habit. Fear. Inga begins to take another step back, horror in her eyes, and faints dead away. EXT. ALLEY - NIGHT Picking up Pinocchio again, excited and afraid. PINOCCHIO (VO) I never wanted to assume control. I just wanted to stay alive. O.S., Republican Guard begin to cluster outside the building. GUARD (OS) Is it true? INGA (OS) Yes. General Santiago is dead. Pinocchio begins to slide up the wall, to his feet. Standing taller and prouder than we've ever seen him. A flashlight illuminates his face. Inga & the Guard have found him and he pushes away from the wall, the gun still in his hand. INGA This is the man who will rule us now. PINOCCHIO (VO) All this is only temporary. Till Hobbes gets here. ACT ONE INT. WATERS' OFFICE - NIGHT A pair of Guard toss Hobbes and Florence back into Waters' office. HOBBES What? He stops when he sees the expression on Waters' face. WATERS You did this. Hobbes says nothing, trying to hide the anxious anticipation on his face. WATERS You wanted to destroy Harsh Realm, you may well have succeeded. He turns, flicking a remote control. An ugly painting on the wall wavers and then settles into the general outline of a flat, LCD TV screen. Hobbes looks to Waters. HOBBES You didn't order us in here to watch the Andy Griffith show. WATERS Look, damn it. The crystals settle on the wall. Pinocchio fills the TV screen in his tattered clothing. In the corner of the screen, a small icon like CNN's - SCNN. Florence looks at Hobbes, confused, then takes a step toward the television, a deep frown on her face. PINOCCHIO General Omar Santiago is dead. Florence's mouth drops open slightly in reaction. PINOCCHIO I shot him at approximately thirteen minutes past ten this evening. As of now, Santiago City as you knew it no longer exists. The Republican Guard do not exist. There is no more occupied territory. No more fence. No more insiders and outsiders. We all live here together. WATERS (muttering) He sounds like Kevin freaking Costner. Hobbes glances at him. Florence is still floored. On the screen, Pinocchio falters, detaching himself from the speech he's been giving. PINOCCHIO That's all for now. Get some sleep. There'll be time to work it out in the morning. He takes a couple steps back, out of focus, and the camera turns to a reporter. Waters turns to Hobbes. WATERS Do you have any idea what you've done? HOBBES What makes you think I had anything to do with this? Hobbes gives Waters a smug look. Then he puts his hand on Florence's arm. She's still staring at the screen, a lost bewildered look on her face. Hobbes tugs at her arm, pulling her away, and they leave Waters alone. Waters falls back into his chair. Looking back at the screen. ON SCREEN: REPORTER As one of the late General's closest advisors, you must be shocked by this turn of events. REVERSE ON: Inga. She nods weakly. REPORTER And yet you're not exactly unfamiliar with the man who would take General Santiago's place. What do you think Mike Pinocchio will do? INGA I'm afraid I can't comment. I honestly have no idea. Shakily she turns to leave. WIDER ANGLE TO: INT. GOVERNMENT HOUSE - NIGHT A madhouse of reporters and temporary television lights. Inga goes to the door of Santiago's office and slips inside. INT. SANTIAGO'S OFFICE - NIGHT Pinocchio stands behind Santiago's desk, his back to the door. Standing as though he's in pain, bent over the credenza behind the desk. CLOSE ON: The memorabilia of Santiago's life. An old photograph from early Army days - Santiago with hair. A medal sealed inside a glass case. A miniature American flag with 13 stars in a circle. Pinocchio touches the flag and speaks without turning around. PINOCCHIO There's nothing here to show what sort of man he was. Nothing personal. INGA This was personal. He glances at her. PINOCCHIO I really did it. I killed him. She steps in close to him, fierce. INGA There's no time for sentimentality. Take advantage of the confusion. He nods, but his fingers are still caressing that American flag. INGA I always knew you had it in you. She touches his lips with hers, but he doesn't move, doesn't react, and she steps back. INGA This is the only chance you'll get. Don't waste it. INT. WATERS' OFFICE - NIGHT Waters at the telephone, dialing frantically. PHONE VOICE The party you are calling is unavailable. Please hang up and try your call again later. He sighs, having heard this before. Looks out the window at the camp something needs to be done with. And dials again. INT. BARRACKS - NIGHT PAN: Men in their beds, asleep. Unaware their world has changed. Florence, in her old clothes, sits on her knees near the window, staring out. Despite everything, the fence is still there. There are no guards around, no one to care they aren't where they're supposed to be. Hobbes is beside her, buttoning up his jacket. HOBBES This is why he left. Florence doesn't look at him. HOBBES I know this must be hard for you. You thought...I was the one... Florence glares at him. Hobbes corrects himself quickly. HOBBES The one who would kill Santiago. He waits for her response, then stares out the window himself. HOBBES We have to go there. He puts his hand on her shoulder, gently, to her surprise. HOBBES In the morning. Get some sleep. She gives him a long, hard look. INT. WATERS' OFFICE - NIGHT He dials again, eyes on the TV. The phone RINGS and connects. WATERS What the hell is going on? INGA I don't have time for this right now. She hangs up on him. INT. HALLWAY - NIGHT Inga stands outside the portal room, tucking her cell phone back into her pocket. She stands in front of the barcode reader, and the door opens. She goes to the chair and sits down. INT. PROJECT WAREHOUSE - NIGHT Inga rises from her gurney. A technician slips a robe over her shoulders and Inga pulls it around her. She stands there staring at row after row of soldiers, immobile, fueling Harsh Realm with their dreams. TECHNICIAN There's no one here. They weren't expecting you. Inga turns on her, eyes flashing as she reaches for her clothes. INGA Get someone here. Now. INT. PROJECT OFFICES - NIGHT Inga sits at the table, fully dressed. The clock ticks past midnight. TIME CUT TO: The clock ticks past 12:30. Inga gets to her feet, angry. EXT. COUNTRY STYLE HOUSE - NIGHT Inga stands on a dark porch. Pounds on the door. Waits. Nothing. She looks at the dark sedan parked in the driveway. Pounds on the door, harder. Lights come on inside the house. The porch light overhead stops her pounding on the door. The Man in Charge appears, wrapped in a tattered bathrobe. MRS. MAN IN CHARGE (OS) Honey, what's going on? MAN IN CHARGE This had better be good. He slips out onto the porch, pulling the door closed behind him. Stands there in his bare feet, waiting. INGA Santiago's dead. The Man in Charge blinks. MAN IN CHARGE Then it's up to you to see our plans are carried out. He turns to go back inside, the matter settled. INGA Sir - He pauses, hand on the door. Pissed. MAN IN CHARGE After all, we know exactly where to find you in the real world. Inga takes a step back as the door slams in her face. INT. PINOCCHIO'S APARTMENT - NIGHT The faces of reporters on TV play as blobs through the filter of an empty glass, held up to the light. Pinocchio is slumped back on the couch, a huge bottle of liquor beside him. From the redness of his eyes, the level in the bottle, and the fact that it's a water glass in his hand, we can tell he's been at this a while. Dexter is sitting in his lap, and Pinocchio's other hand rests on the dog's head, idly scratching his ears. The door opens and Inga comes in. She stops short, looking at him. INGA You're wasted. PINOCCHIO Remind me to revoke your security clearance. She closes the door. INGA What the hell do you think you're doing? He refills the glass and holds it out to her. PINOCCHIO Sorry. Only got the one. She takes it from him and sets it down away from them. He frowns, his eyes following it. Inga looks oddly at the dog. PINOCCHIO Drink. We ought to celebrate. Ding dong, Santiago's dead! He picks up the bottle and drinks from it directly. INGA What is wrong with you? He meets her eyes. PINOCCHIO I swore when I took off that uniform I'd die before I took another life. INGA You're crying for Santiago? PINOCCHIO The gun felt so damn good in my hand. And I wanted him to die. INGA You can't take it back now, Michael. She reaches out and smooths down his hair, a comforting gesture that rings ever so slightly false. But he closes his eyes and leans into her hand, turning his head and nuzzling about her wrist. PINOCCHIO I wish I could forget the past between us. He opens his eyes and nails her with his gaze. PINOCCHIO What do you want? INGA The people will be waiting to hear from you. We need to start planning. PINOCCHIO _ We _ don't need to do anything. He nudges Dexter and the dog jumps down, scurrying away. Pinocchio gets to his feet. PINOCCHIO I told you to stay the hell away from me and I meant it. He puts his hands on her, dragging and shoving her toward the door. She struggles, but he wins, depositing her in the hallway and shutting the door soundly behind her. Shoves one of the heavy chairs in front of it to keep her out. INT. HALLWAY - NIGHT Inga, outside Pinocchio's apartment. She stamps her foot, but the look on her face is more worried than angry. INGA Damn it. INT. BARRACKS - NIGHT Hobbes kneels next to his bunk where Florence is asleep. He pulls the thin blanket up over her shoulders and then steps back, watching her. He eases out of the barracks. ACT TWO EXT. WORK CAMP - DAYBREAK Hobbes at the fence in the darkness. The perimeter lights have been shut off. After a moment of examining the fence, Hobbes picks up a rock and hurls it. When it strikes the fence, it burns and sets off sparks. In the next second, the entire section of fence DISAPPEARS. WATERS All you had to do was ask. He stands behind Hobbes, remote device in his hand. HOBBES I won't go until you let them go. WATERS (bitter) I'm waiting for my orders. HOBBES I'm ordering you now. Set them free. WATERS I don't take orders from you. The remote still rests gently in his hand and he nods toward the fence. WATERS There's your chance, Hobbes. Take it. You can make it to the portal by morning. HOBBES Why are you doing this? WATERS You saved my life. Now go. Before Pinocchio finds you. Hobbes shoots him a funny look. WATERS You don't think he'd send you home? You're a threat to him, now more than ever. He'll kill you when he finds you. Hobbes closes his mouth, determined. HOBBES Liberate the camp. WATERS No. HOBBES Then I will. He marches past, back to toward the barracks. INT. GOVERNMENT HOUSE - COUNCIL ROOM - DAY A few of Santiago's advisors. A couple of Republican Guard, still in partial uniform, looking strange and lost without their berets. And Inga, of course. Pinocchio sits at the apex of the U shaped table, his face pale, expression blank. INGA The city has erupted into chaos. Rioters from beyond the fence have stormed in, most of them determined to kill the citizens of Santiago City - We'll have to change the name. Pinocchio's expression doesn't change at her implied question. INGA By our projections, a complete breakdown of all social systems will occur within the hour if order isn't restored. I recommend armed troops- PINOCCHIO No. Inga gets to her feet, pounds her hands on the table. INGA People are dying! How can you just sit back and let them kill each other? Pinocchio looks down. INGA If you're not going to do something, I will. She heads for the door, but he's on his feet. A monstrous CRASH stops her. Pinocchio stands in front of what was the frosted glass map. He sets down the chair in his hands in the pile of glass shards. PINOCCHIO Order will restore itself. All this will settle. INGA (shocked) You are going to stand back. Passively see what happens. You always were a coward. She leaves. ADVISOR Santiago would have had her killed for such words. PINOCCHIO Shut up. INT. BARRACKS - DAY Hobbes throws the doors open. Light blasts the room. HOBBES Come on, get up! Come on! He starts throwing people out of bed. HOBBES Santiago's dead! You're free! No one moves. They look at him as though he's gone insane. HOBBES Go! Go on! You're free! Still no one moves. HOBBES Damn it -- There's no use. He turns and stomps out. EXT. BARRACKS - DAY Florence at his side, they head for the fence. WATERS Where do you think you're going? HOBBES Home. Waters walks quickly, backwards, to try to fend him off. WATERS You had your chance, Hobbes. You blew it. HOBBES I'll break your neck with my bare hands if you don't get out of my way. Hobbes plows on as Waters drops back. Florence glances back at him, and Waters reluctantly clicks the fence. Letting them go. TIME CUT TO: EXT. PINOCCHIO'S CAR - DAY As they left it. INT. PINOCCHIO'S CAR - DAY Hobbes sliding inside, turning the key and fiddling with the dials on the ancient radio. Nothing but static. The passenger door closes. Florence looks at him. Hobbes slams shut the driver's door and smashes the gas. EXT. FOREST - DAY The car hurtling down the path, toward the city. INT. PINOCCHIO'S APARTMENT - DAY Dexter moves anxiously around Pinocchio's feet. Pinocchio stands behind the curtain of the window, high above the ground, looking out. Pinocchio's POV: Rioting in the street. A melee between those in nice, clean clothes and those in rags. Their mouths open, screaming, but the sound is blocked by the windows. Pinocchio rests his head against the window with a sigh. He glances to the TV, and reaches for the remote. The sound snaps on suddenly. REPORTER No one knows where he is now, this mysterious man who murdered General Santiago and disappeared. PINOCCHIO They ain't looking very hard. ON THE SCREEN: EXT. GOVERNMENT HOUSE - DAY Inga, with a microphone shoved in front of her. The roar of the crowd is overwhelming and people jostle her. INGA Troops will be deployed at fifteen hundred hours. Order in the city must be maintained. REPORTER Is this by the orders of -- INGA They're my orders. The TV abruptly shuts off. Pinocchio rests his head back against the window, eyes dull. The door opens. PINOCCHIO (unconcerned) Could've sworn I locked that... HOBBES Bang. You're dead. Pinocchio turns at the sound of his friend's voice, a smile beginning to play on his face. HOBBES You let just anybody walk in here? PINOCCHIO I got bodyguards outside. Hundreds of 'em. He glances Hobbes up and down, taking in his rumpled clothes, the dirt smudged on him. Hobbes nods to him, then kneels to let Dexter lick the dirt off his face. PINOCCHIO Where's --? Boom! Out of nowhere, a strong right hook sends Pinocchio reeling. As he blinks and tries to maintain his balance, his question is answered. PINOCCHIO (wryly) Florence. He takes her hands in his before she has a chance to sock him again. Her expression is wary, still ready for a fight. PINOCCHIO We couldn't tell you. She jerks her hands, to hit him again, but he holds her firm. PINOCCHIO If we could convince you... She breaks away and punches him again, in the stomach. He howls and falls back into the chair. PINOCCHIO I deserved that. Hobbes shuts the door. HOBBES We got troubles. PINOCCHIO You're telling me? INT. PLUSH, SMOKY ROOM - DAY Rich, elegant furnishings, the air heavy with smoke and shadows. A cadre of MEN in nice suits, looking like politicos or businessmen, linger in the chairs and in the corners. LEADER You're telling me you're allowing them to destroy this world we so carefully created? Inga opens her mouth to respond and thinks the better of it. A beat passes as the Leader's eyebrow arches further. INGA Everything is under control. LEADER That's what Santiago said, and look where it got him. Inga glances away. The Leader moves forward, demanding her attention. LEADER Listen to me, young lady. I was working on his project before you were born. Nothing is going to ruin Harsh Realm. Nothing. Inga glares openly at him. LEADER The plans Santiago set in motion must go forward. Without delay. Or there may be unexpected consequences. INT. PINOCCHIO'S APARTMENT They have found Hobbes a new set of clothes. Pinocchio almost fusses over him, brushing a spare bit of lint from the perfectly tailored shoulders. PINOCCHIO Ready for your close-up? Florence sits on the couch, arms around her knees. Dexter is with her. Neither looking very happy about this. HOBBES I'm not sure if I - PINOCCHUIO You'll do great. HOBBES Why should they listen to me? A long moment. PINOCCHIO (lightly, with an underlying edge) 'Cause you're the one, kid. INT. COUNCIL ROOM - DAY The Advisors seated around the table. The (former) Republican Guard gathering to both sides. Bright lights and reporters in back, like at a White House Press briefing. The doors open and Pinocchio strides in, still in his tatty clothes, his hair mussed. He waits a beat for the cameras to get rolling. PINOCCHIO I am not your leader. Everything I have done, I have done for one purpose and for one man. He raises his hand toward the doors. PINOCCHIO Tom Hobbes. Pinocchio takes several steps back as Hobbes makes his entrance. Hobbes quickly assumes control over the reporters in the room. HOBBES What Santiago did was wrong. He kept people against their will. He forced them to choose between his way of life or no life at all. He is the cause of the fighting in the streets...brother against brother, men made to choose... DISSOLVE TO: HOBBES ON A TV SCREEN INT. SANTIAGO'S APARTMENT - DAY Waters turns away form the TV disgustedly. Inga slips in through the front door, glances at the TV and then to Waters. INGA The prodigal returns. WATERS Where have you been? Inga glances around. INGA This isn't the time or the place... WATERS He's dead. He can't hear us. He can't threaten us any more. INGA That's where you're wrong. He still has power, even beyond the grave. Waters gives her a 'what the hell?' sort of look but she goes to the TV, standing before Hobbes' larger than life image. INGA You know him. She looks at Waters over her shoulder. INGA What's he going to do? WATERS He's not going to stay and rule the realm. He'll go home to his beloved wife and country. INGA Sophie. She says it to hurt Waters. INGA And you? Will you be returning home? WATERS Know any reason why I shouldn't? They're bluffing each other. INGA Of course not. Waters puts his hands on her arms, almost playfully, but the touch becomes menacing within a second. WATERS Then why did you come back? INT. COUNCIL ROOM - DAY Hobbes is still talking to the reporters - to the public - about truth, justice & the American way. Pinocchio looks at Florence. PINOCCHIO He doesn't need us any more. He nods to her and turns to go. She doesn't move, her eyes locked on Hobbes. Pinocchio puts his hand on her shoulder. She bristles away. He looks at her, but she won't look at him. Finally he drops his hand and walks away. That's when Florence turns and looks at him, leaving. EXT. THE FENCE - DAY Pinocchio walks up to it, hands in pockets. He stops to consider it. Everything around him is quiet. No people. No anything. He picks up a rock and hurls it at the fence. Nothing happens. No fire, no electricity, no sparks. He doesn't bother with a rock to find the glitch and slip through it. EXT. CHURCH BAR - DAY - ESTABLISHING INT. CHURCH BAR - DAY The place is empty. Pinocchio strides up to the bar, looks around. Leans over it, helps himself to a bottle of whiskey and a cute little shot glass which he fills until it overflows the rim. He downs it, eyes watering. No one bothers him. INT. COUNCIL ROOM - DAY The room cleared. Hobbes' eyes are bright from his speech giving and he practically bounces, filled with excited energy as he goes to Florence. HOBBES That was great! I said all the right things. It was like...it wasn't even me talking, like I was listening to someone else who knew exactly what to say. He grins at her, but her eyes are sad. HOBBES Where's Pinocchio? Florence tips her head toward the door. Hobbes takes a few steps toward it. HOBBES Pinocchio! He turns back to Florence, whose expression now says it all. HOBBES He's gone? She nods. Hobbes plasters on a stoic, if disappointed expression, and takes his dog from her. INT. SANTIAGO'S APARTMENT - DAY INGA You're hurting me. WATERS You would have left me there to rot. INGA I suggest you let go of me, Major Waters. Right now. He releases her with a hiss of disgust. WATERS I thought we were on the same side. INGA We are. WATERS You're on every side but the losing one. He starts for the door. INGA Where are you going? WATERS Home. Inga makes an ugly face at his back, but doesn't try to stop him. INT. GOVERNMENT HOUSE HALLWAY - DAY Hobbes and Florence walking to the entrance to the portal room. Hobbes has Dexter tucked under his arm. They come to a stop and Hobbes gives the dog to Florence. HOBBES You'll take care of him for me. It's not just the dog he's talking about. Hobbes puts his hand on the door, ready to go inside. To leave Harsh Realm behind. He hesitates. HOBBES I wish you could come with me. That you could see it for yourself. How different it is there. You could meet Sophie... He trails off and she shakes her head, knowing it's impossible. He seems to realize this himself and closes his mouth. Nodding. Hobbes puts his hand against Dexter's face, patting the dog goodbye. And then he raises his other hand and touches Florence, skimming her cheek for the barest second. HOBBES Thank you. For everything. A long last look between them. And he goes into the portal room. INT. PORTAL ROOM - DAY The dentist-style chair the room's only fixture. The door closes ominously behind Hobbes and he looks at the chair. Then he slides into it. INT. SANTIAGO'S APARTMENT - DAY VOICE (OS) No one will be going home. Inga's breath catches and she turns to see: Santiago. Alive and well. ACT THREE INT. PORTAL ROOM - DAY Hobbes sits in the chair. Nothing happens. No light, no vanishing, nothing. He squirms, waiting. Then, giving up, twists around, looking for some kind of "on" button or control panel. INT. SANTIAGO'S APARTMENT - DAY Inga facing the not at all dead Santiago. INGA I thought you were - SANTIAGO You underestimate me. That can be a dangerous thing. INGA But you...he shot you. Santiago tosses something to her...not quite throwing it at her, but not underhand and easy to catch, either. It's a digi-wand. SANTIAGO You might consider keeping one around the house...if someone was likely to assassinate you. INGA Why did you let everyone believe you were dead? There's been panic, rioting in the streets - SANTIAGO I know. He goes to the window. HIS POV: The disturbance in the street below. SANTIAGO It should prove something to them. I am their leader. Their savior. And I can bring peace to them again. INGA What about Hobbes? Pinocchio? SANTIAGO They'll be taken care of. INT. CHURCH BAR - DAY Pinocchio at the bar in the solitude of the establishment. Examining the bottle as though it contains the mysteries of the universe. The light patter of paws as Dexter runs over to him. Sits at his feet, staring up at him. Pinocchio closes his eyes as though to ward off pain, then looks down at the dog. Nudges him with his foot. PINOCCHIO Take off, you mangy mutt. Before you end up somebody's dinner. Florence leans against the bar and Pinocchio raises his head to look at her. PINOCCHIO Hobbes get home okay? Florence makes a brief nod. PINOCCHIO Guess he was the one. The one who saved himself instead of Harsh Realm. Florence gives him a hard look: That's unfair. Pinocchio rolls his eyes a bit, takes another drink. He pours her one, sets it in front of her. She just looks at it. PINOCCHIO Gather your rosebuds while you may. She looks at him: what the hell? Not realizing he's quoting. He takes another drink. INT. SANTIAGO'S APARTMENT - DAY INGA Taken care of how? Santiago raises an eyebrow at her. INGA This changes your original plan, to bring Pinocchio in and gain his trust to remove him and Hobbes as an obstacle. SANTIAGO It changes nothing. INGA When are you going to reassume control? SANTIAGO Soon. INT. PORTAL ROOM - DAY Hobbes is out of the chair, examining it closely. Ready to pull it apart to figure out how it works. He jumps at the sound of someone trying the door. He's ready, weapon drawn, but the time the door opens. Waters walks in. It takes him a moment to notice Hobbes sitting there, gun pointed at him. HOBBES Give me one reason not to do it. WATERS Why aren't you home? HOBBES Broken. Sabotaged. I don't know. It doesn't work. Waters walks over to it, checks the control panel Hobbes already has opened. None of the lights are lit. WATERS Disconnected from the system. Hobbes' gun cocks at Water's head. HOBBES Reconnect it. WATERS I'm not a programmer, Hobbes. I'm a soldier. Same as you. He looks at Hobbes, trying not to let his fear show too much. Hobbes looks a bit maddened. HOBBES There are other portals. WATERS If this one's down they're all down. HOBBES Who did this? Inga? WATERS She doesn't have the know how. Waters looks at him. HOBBES Don't say it. Pinocchio's long gone, and he couldn't do this if he wanted to. WATERS Santiago must be alive. HOBBES What? WATERS He's the only one with this kind of system access. This is something he would do. HOBBES Santiago's dead. WATERS You no longer believe that when Santiago dies, the game is over? HOBBES I don't know what I believe any more. He looks regretful - that was too personal a revelation. HOBBES Pinocchio killed Santiago. WATERS Did he? HOBBES He's not a traitor. WATERS He betrayed Santiago. What makes you think - HOBBES I'm not Santiago! They both grow silent as they hear heavy footsteps in the hall. WATERS (whisper) They're coming. EXT. HALLWAY - DAY A group of Republican Guard, in uniform, moving with weapons drawn toward the portal room. INT. PORTAL ROOM - DAY As the Republican Guard enter. It's empty. They make a quick sweep. A shake of the head and they take off. INT. HALLWAY - DAY Inga, with Waters and Hobbes. Silent, holding their breath until the sound of the portal room door being secured. INGA That was too close. Her eyes flick to Hobbes. INGA You've missed your chance now. HOBBES Santiago is alive? Inga nods. WATERS How? You were there. INGA I don't know. But he's alive. And he's going take over. Hobbes chambers the cartridge in his gun. HOBBES Where is he? INGA Don't be a fool, Tom. WATERS Pinocchio set this up. Hobbes stalks off down the hall. INGA Hobbes, wait. Hobbes pays her no mind. Inga turns on Waters. INGA Santiago overheard our conversation in his apartment. He was there. WATERS I'm not convinced this isn't all part of your plan. She gives him an angry, intense look. Then turns on her heel to go, hair bouncing. Waters grabs her arm and she glares at him. WATERS What happens now? INGA You'd better get back to your post. She jerks away from Waters' grip. He leans against the wall with a sigh, watching her go. INT. CHURCH BAR - DAY Florence has taken a seat. Dexter is up on the counter. Pinocchio has one arm draped over the bar, his head resting against it. He's not passed out - his eyes are open. PINOCCHIO Think I'd have better sense. I believed in him. Like I believed in Santiago, once. Like I believed in her. When I was young. Stupid. Florence rests her hand against his shoulders. Comforting. PINOCCHIO What the hell kind of place is this? Can't trust anyone...always hungry, always running. No softness, no light, no...nothing. At least in the real world... His voice breaks and he trails off. HOBBES I'd like my dog back. PINOCCHIO You were supposed to be home by now. HOBBES Change of plans. He picks up Dexter, tucks him under his arm. Ready to go. PINOCCHIO You miss this hellhole, Hobbes? Decide to come back? HOBBES Santiago's alive. PINOCCHIO That's impossible. I shot him. HOBBES Apparently you missed. PINOCCHIO I never miss. But he's thinking back, analyzing in his mind. PINOCCHIO (worried) I didn't stick around to see him digitize. HOBBES Guess he didn't. PINOCCHIO You're taking this awfully well. HOBBES We can still strike. He's still vulnerable. PINOCCHIO How many people know he's alive? HOBBES Two...three. PINOCCHIO Who? HOBBES Me. Waters. Inga. PINOCCHIO Great. He turns back to the bar. HOBBES You know his plans. PINOCCHIO Not all of them. Hobbes' quiet stare is palpable. PINOCCHIO Santiago plays it close. Nobody gets all the pieces of the puzzle. HOBBES You know enough? PINOCCHIO There's not much time. INT. SANTIAGO'S APARTMENT - DAY Santiago has his computer screen up before him, studying projections. Hands twine around his neck. Inga. He tries his best to ignore her until she reaches to shut the screen down. SANTIAGO Our benefactors must be appeased. Inga removes her arms, takes several steps back. Santiago doesn't seem to care. She goes to the window, sees the tanks rolling through the streets, scattering the rioters. The elegant clock on the wall reads exactly three o'clock. INGA It's time. INT. COUNCIL ROOM - DAY Santiago makes a grand entrance. His advisors are there, at attention, as are his best soldiers. Including Waters, who has a tight expression on his face. A dark look crosses Santiago's face when he sees his glass map is gone, shattered. He walks behind it. SANTIAGO The damage that has been done will be repaired. Our enemy has acted and failed, and in failure, proven that what we are working for here is the only way. To maintain order, a way of life. WATERS What about them, sir. Santiago is surprised at the interruption. WATERS Our enemies. How will they be dealt with? SANTIAGO Find them. Bring them to me -- alive. He takes a second to regroup. SANTIAGO Make no mistake. We have force and right on our side. We shall prevail. Waters is staring at Inga. Santiago looks at her and catches this stare. Inga quickly diverts her gaze, but not before Santiago's noticed. The meeting breaks up, and Waters leaves quickly but not without a backward glance. SANTIAGO What happened while I was indisposed? INGA (bold) Nothing. Santiago gives her a look. He doesn't particularly believe her. INT. CHURCH BAR - DAY Hobbes has his scrap of paper and his pencil out. Pinocchio leans in close. They're in full planning mode. HOBBES Santiago -- PINOCCHIO It doesn't matter about Santiago, not now. Hobbes gapes at him. PINOCCHIO Don't you get it, kid? The plans have been threatened. Santiago's going to push them through. Destroy the real world before he loses his chance. HOBBES Why? PINOCCHIO Because he has to. INT. SMOKY ROOM - DAY The Leader & his compadres, gathered around what looks like a modified dentist's chair...or an electric chair. One of the MEN pushes forward. MAN Let me try. He throws himself into the chair, jams a set of headphones on his head. The other men stand back. Nothing happens. LEADER Damn. The other men look at him with alarm. LEADER He's locked us out. Get me the Pentagon. He holds out his hand for the telephone. INT. PROJECT OFFICE - DAY The MAN IN CHARGE, papers scattered before him, a telephone in his hand. MAN IN CHARGE Sir. To what do I owe -- BEGIN INTERCUT: LEADER We need to send someone into Harsh Realm. MAN IN CHARGE That's impossible. No one can go in or out. The portal has been disabled -- LEADER Then enable it! MAN IN CHARGE It isn't that simple. It's been destroyed from inside the game. LEADER You must have programmers -- MAN IN CHARGE You and I both know there's only one person who could possibly repair such damage to the program. And she's inside the game. LEADER Darling Gretchen. MAN IN CHARGE Yes. INT. SMOKY ROOM - DAY There is a long pause as the Leader looks at the other men in the room. Their expectant eyes on him. LEADER Then we have no choice. The countdown must be stopped. INTERCUT: MAN IN CHARGE Sir, not even the President himself -- LEADER Leave that fool out of this. I gave you an order, Sergeant. I expect to have it carried out. The Leader puts the telephone down. But he does not look at ease. INT. MISSILE SILO - DAY The darkness of the closed-up room. There is a counter, some old controls, a dusty chair. Two slots for keys. Unused now. Unneccessary. Replaced by: A COMPUTER On its screen are red numbers, a countdown. 01:11:30 END ACT THREE ACT FOUR INT. CHURCH BAR - DAY Pinocchio is getting his stuff together. Reloading his gun. PINOCCHIO I'm going back in. HOBBES It's suicide. Pinocchio flashes a grin at him. HOBBES Take Florence with you. Pinocchio looks at her, and she raises her eyebrows. PINOCCHIO No dice. I gotta do this alone. The three of them look at each other. Not knowing if they'll see each other again. Hobbes puts a hand on Pinocchio's shoulder, squeezes it. HOBBES Mike. Be careful. PINOCCHIO I'll see you, kid. He walks out of the bar, a slight cowboy swagger in his slow step. Like he doesn't really want to go. Hobbes and Florence look at each other like 'what the hell do we do now?' Then Florence grabs her gun and her bag and scrambles after Pinocchio. Hobbes makes no move to stop her. He stands at the bar, alone. Considering his options. The sound of a gun being readied to fire. Hobbes doesn't turn. HOBBES Put it down, Waters. You're not going to kill me. He turns and faces his enemy. INT. COUNCIL ROOM - DAY Santiago, alone. His computer is up in front of him again, but he's not looking at it. He's staring at the place where his glass US map was. Behind it on the wall is a map of the world. A long moment passes, the thoughts crossing his face so intense as to hold our intention. Then he looks at the computer screen. The countdown: 01:00:00 flicks down to 00:59:59 Santiago at the keyboard, pressing the keys slowly, unwillingly, scrolling through screens. A map of the US as a red spot appears over New York City, blossoms out. Lines trace across as other spots begin to appear in the traditional format of a simulated nuclear war game. Until once again the map is still. The green and brown colors of the topographical map are now ashy gray and black. Santiago flips it back to the countdown. And waits. EXT. THE FENCE - DAY Pinocchio barreling toward the fence, ready to slip through the glitch as he did before. From behind him, a rock thrown hard. It hits the fence and bursts into flame. Pinocchio stops, and turns. Knowing what he's going to find. Florence. PINOCCHIO You can't come with me. She walks right up to him. Determined. PINOCCHIO You can't come with me. She's not going to give in. He sighs, plants his feet. PINOCCHIO You need to be with Hobbes. Take care of him. You and I both know he's the only chance any of us have in this godforsaken place. She shakes her head, crosses her arms. Just as stubborn as he is. Maybe a pointed look at the rock, now in flaming pieces on the other side of the fence. PINOCCHIO You've heard the stories, same as me. The warrior gives his life for the simple man. Nothing you can do to stop that. She gives him a challenging look: you don't believe that. Even as he stands there with defeat written all over him. Then she slips through a glitch in the fence and turns and looks back at him, waiting for him to follow her. He gives a loud, angry sigh and follows her through. INT. CHURCH BAR - DAY Waters with his gun still pointed at Hobbes' head. WATERS You're awfully sure of yourself, Hobbes. Hobbes has a cocky grin. HOBBES Santiago told you not to kill me. Waters lets his gun drop, surprised. WATERS How did you -? Now Hobbes turns. HOBBES Santiago's predictable. He wants to do it himself. Get some enjoyment out of it. WATERS I have to bring you back with me. Hobbes holds up his hands. HOBBES I'm not exactly resisting. Waters leans in close, threatening. WATERS What're you up to, Hobbes? HOBBES Saving that real world you want so much to go back to. He brushes past Waters and leaves the bar. EXT. CHURCH BAR - DAY Waters' Humvee is parked outside and Hobbes walks over to it, letting himself in on the passenger side. EXT. INSIDE THE FENCE - DAY Pinocchio is walking fast. Trying to lose Florence, who refuses to be lost. She catches up and shoves him. When she has his attention, she gestures to him, then points at herself. PINOCCHIO I do not need you. She looks at him defiantly, then pulls from her bag the book from part one. Pinocchio stops and turns around, looking at her, as though he could somehow sense the book. PINOCCHIO No. She nods: Yes. PINOCCHIO Give it to me. She shakes her head, tucks it back away. He's not going to get it. She walks ahead of him. INT. HUMVEE - DAY Waters, driving. Pissed. HOBBES I want to see him. WATERS You'll see him, all right. At your execution. HOBBES Why are you doing this? We're on the same side. WATERS I don't want to die here, Hobbes. HOBBES But if you don't help me, this is all that's going to be left. WATERS Your methods are weak and ineffectual. You don't know the whole story. HOBBES But you follow Santiago blindly - WATERS Better than believing everything Mike Pinocchio tells you. Hobbes falls silent, his confident grin fading. They're not going to agree, and no amount of persuasion will get Waters on Hobbes' side. INT. SANTIAGO'S OFFICE - DAY Inga is frantically searching for something, not even being neat or subtle about it. PINOCCHIO Fancy meeting you here. He steps inside and she stops and looks at him. PINOCCHIO Reorganizing the General's files? INGA I have to find it. He's going to destroy the real world, Pinocchio. It's been set into motion. She goes back to her searching. Pinocchio puts out his hand and Florence reluctantly puts the book into it. She's glaring daggers at Inga. PINOCCHIO This what you're looking for? Inga turns. INGA Where did you get that? She reaches for the book, but Pinocchio slips it back to Florence, keeping it from Inga. The two women look ready to fight for it. PINOCCHIO You have to distract the General. We'll do the rest. INGA How do I know I can trust you? Somebody with no use for the real world and a VC? PINOCCHIO You don't. A couple seconds as Inga decides she'll have to live with that. INT. COUNCIL ROOM - DAY Santiago rises to his feet as the door opens. Waters enters. In the hall behind him, we can see Hobbes, flanked by ten or so Republican Guards. WATERS Hobbes, sir. SANTIAGO And Pinocchio? WATERS He'll be located. It's only a matter of time. Santiago looks a little less than impressed. SANTIAGO Put this one in jail. Make certain he doesn't escape this time, Major. Hobbes breaks free of the guard, storms into the council room, slams the door and secures it. HOBBES We need to talk. Santiago is mildly amused by this turn of events. SANTIAGO I've won the game, and you've lost it. Hobbes spins the computer screen around to see the countdown on it. HOBBES Stop this. SANTIAGO Why should I? Hobbes glances at Waters, which catches Santiago's attention. HOBBES The game will be destroyed when the real world is destroyed. None of this will exist. SANTIAGO The things you've been told are a lie. You've chosen to believe those who are untrustworthy. There is only one person who knows it all in Harsh Realm, Lieutenant Hobbes. And that person is not Pinocchio, or Waters or Inga Fossa or your little dog Toto. It's me. We've never seen Santiago angry before. It's kind of cool. SANTIAGO You've no doubt been told, by one of your dubious informants, that no computer can hold all of Harsh Realm. That it requires the storage space and calculating power of the soldiers sent into the game in order to operate. Hobbes nods slightly. Waters looks worried even though neither of them have so much as looked at him or mentioned his name. SANTIAGO Yet one who is dead in the real world can exist inside the game. Do you think that's possible under the scenario you've been told? HOBBES I don't know. SANTIAGO For all you know, you could be dead in the real world. Or Waters, or Pinocchio. Any one of the people you consider to be real could have long since ceased to exist in the real world. Even me. A beat as we all absorb this statement. HOBBES Stop the countdown. SANTIAGO No. Now he looks at Waters. SANTIAGO Take him away. WATERS Yes, sir. He grabs Hobbes' arms roughly, and Hobbes goes willingly. INT. HALLWAY - DAY The clump of Republican Guard moving down the hall, rounding a corner. From the opposite direction come Pinocchio, Inga and Florence. Pinocchio and Florence hang back as Inga approaches the doors to the council room. She takes a moment to gather herself, then throws open the door. INGA General Santiago. The door swings closed behind her. Tense moments tick by. CLOSE ON Pinocchio and Florence's faces. Well aware Inga could be telling Santiago everything. That their trust could be misplaced, that they could be about to die. The moment stretches into infinity. The doors to the council room open. After a second, Inga appears. INGA There's not much time. INT. COUNCIL ROOM - DAY Santiago has been dropped to the floor, unconscious. Pinocchio steps over his body with barely a glance. PINOCCHIO What'd you do to him? INGA That's not important. She looks pointedly at the computer screen. The numbers are down to 00:04:29. Pinocchio's eyes widen. Slowly he looks to Florence. Florence slides into the seat vacated by the unconscious Santiago, places the book on the table. INGA (to Pinocchio) She can't... He gives her a sharp look. PINOCCHIO Can you? Inga close her mouth, pouting a bit as she watches Florence. Florence touches the keyboard tentatively. Inga's face as the numbers continue to spiral down. The tension on Pinocchio's face. Florence puts her hand on the book and inhales deeply, as though drawing power from it. Then when she begins to type, it's with more confidence. The numbers continue to count down. The room is silent but for the clacking of the keyboard. Florence looks up at Pinocchio. Fear in her eyes. She's suddenly not sure she can do this. Her eyes flick over to Inga, who doubts her. He moves to stand behind her chair, close to her. He puts his hand on her shoulder. Calming. Assuring her. Santiago groans and stirs. Pinocchio's fingers dig into Florence's shoulder. The numbers continue to count down. Inga kneels next to Santiago, looks up at Pinocchio, at the numbers. INGA You'd better go. PINOCCHIO No. INGA He's coming round. Save yourselves. Florence bangs away at the keyboard Pinocchio pulls her away INGA Hit me. PINOCCHIO What? INGA Otherwise he'll know I - Florence obliges maybe a little too willingly. Inga stumbles backward just as Santiago moves, pushing up into a sitting position, shaking his head. The door closes quietly. SANTIAGO They got you too. Inga's still dazed from the unexpected blow. Santiago spies the computer, sees that the numbers have locked. He lunges at it, presses in a code, but the numbers are frozen. He looks at Inga, but she has no answers. INT. MISSILE SILO - DAY The Man in Charge stands in the room, having disturbed the dust and the plastic coverings. The display on the monitor in the silo is frozen at the same numbers. His cell phone RINGS. He sighs, regaining his composure, and answers it. LEADER (phone) I assume you stopped it. MAN IN CHARGE Yeah. He twists a key and the monitor goes to black. LEADER Don't let it happen again. The dial tone as the cell phone goes dead in the Man in Charge's ear. INT. HALLWAY - DAY Santiago comes tearing out of the council room. SANTIAGO Stop them! Two Republican Guard further up the hall react and grab Pinocchio and Florence as they hurry past. Santiago catches up. He dismisses Florence with a glance. SANTIAGO Put these traitors with the other one. Pinocchio & Florence exchange a look: the other one? SANTIAGO They die tomorrow. He starts away. PINOCCHIO Hey, Omar. Santiago stops, turns on Pinocchio. Ready to give him a good piece of his mind. But Pinocchio's manner is mild. PINOCCHIO You say you're creating the ideal society. But you execute people without so much as a trial and call it justice? SANTIAGO You want a trial? You want your crimes exposed before everyone? Pinocchio looks at him, not speaking. SANTIAGO So be it. Off his face, we: FADE OUT END OF SHOW