"TRAITOROUS BELIEFS" written by Megan Reilly TEASER EXT. FOREST - NIGHT Heavy breathing. Trees whip past the camera, at odd angles. From the point of view of someone who is running. Branches crackle and break. A quick pan to one side, looking behind. The breath stops for a second, being held. Waiting. There's nothing. Forward again. Running. A glance down -- heavy black Army boots. Unshined. Scuffed and badly worn. Footfalls now, from behind. The thumping getting louder. The POV stops, fixes in one place. Jerks up simultaneous with a wet crunch. The breath stops. A flash of light. Then darkness. INT. BEDROOM - NIGHT A woman, perhaps early 30s, sits bolt upright in bed. Her plain nightgown is soaked with sweat. Her eyes open wide with the leap from sleep to wakefulness. This is ANNIE WEBSTER. She sighs, then curls forward, putting her head into her hands. There is a low sound coming from her, almost moaning. Too low to hear at first, but then it becomes clear: ANNIE Not again... ACT ONE EXT. FOREST - DAY DEXTER jogs ahead, entering frame a second before HOBBES and PINOCCHIO do. FLORENCE trails them, rifle in hands, looking behind. She's keeping watch. HOBBES What'd you find, boy? He goes to Dexter and picks the dog up, scratching behind his ears. PINOCCHIO Not a bloodhound. Whaddaya think he's gonna find? But then he looks around. At the ground, where the tracks in the mud have dug in deep, and then stop. PINOCCHIO This is it. This is where it happened. Hobbes leans forward, picks up something glinting from the mud. Holds it up for Pinocchio. HOBBES Needle in a haystack. Pinocchio grabs for it. PINOCCHIO You know what this is? HOBBES Republican Guard pin. PINOCCHIO Not quite, genius. See the way it's scratched? HOBBES He dropped it in the struggle. PINOCCHIO Got dropped. After. It's a signature. Pinocchio pockets the piece and starts walking away. HOBBES You know who did this. Pinocchio keeps on walking. HOBBES You also know why he's targeting my men. Pinocchio stops, glances back to Hobbes with a sarcastic tilt to his head. PINOCCHIO You see what I'm doing? I'm walking away. HOBBES You're running. Pinocchio's face changes to a hard-set frown. HOBBES You can't run forever. PINOCCHIO Watch me. He passes Florence with a look. But her expression as she meets his eyes is worried. And she makes no move to follow him, choosing instead to wait for Hobbes to catch up. When he does, she puts her hand on his arm. The surprise of her touch is enough to lighten the anger from Hobbes' brow. INT. POLICE STATION - DAY A title on the screen reads: DAYTON, OHIO, REAL WORLD A typical set up. Desks in open space, without cubicles. Chairs for witnesses; typewriters for the forms that litter every flat surface. Annie appears at the door to the large room, pausing uncertainly. From across the room, DETECTIVE MATT JOHNSTON spots her. He's on his feet in an instant, before her eyes settle on him. JOHNSTON No. ANNIE Wait. JOHNSTON We are not doing this again. He tries to brush past her, his fingers already working a cigarette out of the pack in his pocket. Annie looks up at him. ANNIE Please. Johnston gives her a hard stare. Then relents. JOHNSTON In my office. INT. INTERROGATION ROOM - DAY Johnston's "office" is a space for interrogating witnesses. It has a metal table with a folding chair on either side. Another chair, near the door, for the stenographer. JOHNSTON I got trouble because of you, lady. I hope you know that. ANNIE This is important. JOHNSTON Like last time? A wild goose chase? ANNIE I helped you once. JOHNSTON That was a long time ago. You got no credibility in this department anymore. He sighs. Shakes out the cigarette and holds it in his hand with a longing glance at the "no smoking" sign. Another sigh, and the cigarette is replaced with a notepad. JOHNSTON Go. ANNIE I saw it happen. Like before. A man. Running. In the forest. Being chased. He had on boots. Old boots...worn... She breaks off into a long pause, her entire body still as though she's somewhere else for a moment. JOHNSTON That all you got? Annie looks at him again, with pleading eyes, and he closes his notebook. JOHNSTON I ain't got time for this. ANNIE Can't you check? JOHNSTON You know how many miles of forest we got outside this town? It's a veritable dumping ground. Your John Doe might turn up in a year, or ten years. You got a name? She shakes her head. JOHNSTON You see the perp? She shakes her head again. JOHNSTON All you got was boots. ANNIE I helped you find Timmy Melvin. JOHNSTON And I owe you for that. But after your last cock and bull story -- about some terrorist guy with a suitcase? You know what the guys called me after that? She is silent. JOHNSTON Hell, you don't wanna know. I almost got sent back to the beat for believing you. ANNIE I can help you, if you'll just -- JOHNSTON We don't do psychics. Not anymore. His words are hard. Then he looks at her. JOHNSTON I'm sorry. EXT. ARMY CAMP - DAY - ESTABLISHING Green tents. A couple of Humvees. The crossed-sword symbol of the Republican Guard is everywhere. INT. TENT - DAY It's one of the big tents for mobile operations, stocked with radios, a table, chairs. At the table is none other than SANTIAGO himself. With the book open, writing fervently. A man appears at the opening of the tent. He has to bow his head to enter. His face is completely impassive and there's something frightening not only about his size, but his composure. His name is MICHENER. Santiago does not look up at first. SANTIAGO So? MICHENER I completed my mission. SANTIAGO What about Hobbes? MICHENER In time. Santiago jumps to his feet, thumping the table threateningly with both hands. SANTIAGO Do you see this? He holds up the book. We recognize its embossed leather cover as the Book of the Oraculum, lost by the Brothers in season two, episode 13. SANTIAGO Do you know what this means? Your time is short. Especially if you delay in bringing Hobbes to me. A light goes through Michener's eyes. MICHENER You want him alive? Santiago glares at him. SANTIAGO Those are your orders. Michener considers, then nods. Accepting. SANTIAGO Now go from here and do not trouble me again. EXT. TENT - DAY We follow Michener outside. There is a line of Republican soldiers just outside Santiago's tent, guarding him. They break ranks to let Michener pass. INT. TENT - DAY - RESUME Santiago sits down at his table again. He contemplates the book he holds in his hands, fingers lightly moving across the cover. Then he opens it and flips through the pages. They are blank. EXT. HOBBES' CAMP - TWILIGHT Hobbes' camp is little more than a few scattered men here and there around a campfire, in fair proximity to where Pinocchio's car is parked. Hobbes sits off by himself, arms resting lightly against his knees. His gun is out, ready to be fired if necessary, but he's more lost in thought than standing watch. PINOCCHIO Your groupies are hungry. Hobbes looks up and Pinocchio aims a thumb back at the men gathered around the campfire. HOBBES They're not groupies. PINOCCHIO Minions? HOBBES They're soldiers. Pinocchio shrugs. PINOCCHIO Makes no difference to me. HOBBES (disgusted) What is your problem? PINOCCHIO No problem. (beat) Long as I get enough to eat. He glances toward Dexter, who has followed closely at his heels. Now the dog takes a skittish sidestep toward his true master. HOBBES I think it bothers you. Pinocchio's eyebrow goes up. HOBBES That they follow me and not you. PINOCCHIO I had my chance to lead. Never again. He postures a moment, his arrogance almost self-protective. Ready to snap back something sarcastic when Hobbes asks him about that. But the question doesn't come. PINOCCHIO What're you doing out here, anyway? HOBBES Thinking. PINOCCHIO Well, be careful. His gaze focuses into the distance of the forest. PINOCCHIO You don't know what's out there. He turns away. HOBBES But you do. He's gotten to his feet. HOBBES Why don't we cut the crap, and the sarcasm, and you level with me for once? PINOCCHIO One of Santiago's men. A bounty hunter, if you wanna call it that. HOBBES (scoffs) Is that all? A bounty hunter? PINOCCHIO Trained by the best. You don't wanna mess with him, Hobbes. Believe me. HOBBES He's after you? PINOCCHIO _You._ HOBBES But you've faced him before? PINOCCHIO Yeah. A beat as he remembers his promise to cut the mystery man crap. PINOCCHIO I trained him. HOBBES Maybe it's time for you to tell me exactly what you used to do, when you worked for Santiago. PINOCCHIO (grave) There's stuff even you don't want to know about, Hobbes. HOBBES Then tell me about this bounty hunter...? PINOCCHIO He's ruthless. Always gets his man. And doesn't give up. Ever. HOBBES (cutting) Unlike you. PINOCCHIO Different strokes for different folks. The two men eye each other. Then Pinocchio reaches for his gun and pulls it out. Hobbes looks at him warily. PINOCCHIO I'll keep watch. You should be with them. He looks again toward the men gathered around the fire. EXT. FOREST - NIGHT Michener is walking. In a straight line. His every step silent and filled with determined purpose. HIS POV: Rising from the trail up to the dark night sky. A thin curl of smoke rises above the treetops, gathering into a cloud that hovers. This is where he's going. EXT. HOBBES' CAMP - NIGHT The fire is out, but smoke from its remains smoldering up into the sky. The soldiers sleep on the ground in the open air. Dexter, also, is sleeping. Although Hobbes is lying on his back, arms folded behind his head, his eyes are open. Florence is also awake. HOBBES I thought things had changed. I thought, after all this time, I understood him, his ways. And that he trusted me. Florence looks at him: you'll never understand him. HOBBES You know his secrets. Florence shakes her head. HOBBES And it doesn't bother you? She shakes her head again. She frowns, with compassion in her eyes. And rests one hand meaningfully against her heart. HOBBES Yeah, his heart's in the right place. Hobbes stretches. HOBBES Three sizes too small, but -- The echo of a GUNSHOT tears through the night and they both jump up. Hobbes' eyes quickly survey the camp and find nothing amiss. HOBBES (shouts) Pinocchio!!!! He breaks into a run. Pinocchio meets him halfway. HOBBES Pinocchio. PINOCCHIO Now no one'll know we're here. HOBBES What's going on here? PINOCCHIO Beats the hell out of me. They take their customary defensive stance without having to give it a thought: guarding each other's backs. Hobbes stiffens, listening. HOBBES You hear that? Pinocchio listens. HOBBES Sounds like trucks on the main road. PINOCCHIO They couldn't get here that fast. HOBBES Unless they were already nearby. PINOCCHIO We have to get the hell out of here. He runs for the car. Hobbes hesitates. PINOCCHIO Now! HOBBES But -- PINOCCHIO They can take care of themselves. HOBBES They wouldn't be here if not for me. He makes his decision, and goes back to the camp. PINOCCHIO Damn it. He slams the car door and starts deliberately after Hobbes. EXT. CAMP - NIGHT The area is completely deserted. CRANING DOWN FROM AN AERIAL SHOT we see Hobbes circling the remains of the fire. He's definitely in the right place. Pinocchio crashes out of the forest. HOBBES We weren't gone more than five minutes. PINOCCHIO Told you they could take care of themselves. He begins looking around. HOBBES What're you doing? PINOCCHIO Looking for "Croatoan" carved in one of these trees. Hobbes looks at him like he's gone crazy. PINOCCHIO Looking for clues. HOBBES Clues? Pinocchio stops, having located a clearly-delineated boot print. PINOCCHIO Michener. He looks up at Hobbes. PINOCCHIO The bounty hunter. Must've just missed him. Panic floods across his face. PINOCCHIO Florence. CUT TO: Santiago's angry face. SANTIAGO I told you to bring me Hobbes. We are: EXT. SANTIAGO'S TENT - NIGHT Michener stands outside, along with another figure. Florence. He's pulling her head back by the hair, forcing her face up to the light. He digs in his pocket and pulls out a worn, folded piece of paper. It's a Wanted poster. Hobbes' picture is the most prominent, but down at the bottom are photographs of Pinocchio and Florence. MICHENER He'll come to us. ACT TWO EXT. SANTIAGO CITY - NIGHT A platoon of Humvees rolls through the streets. Through the back window of one of them, we glimpse Florence, staring out. HER POV: The buildings as they stream past. The tall, round towers of the Central Security building. The armed guards on foot patrol through the dark, nearly unpopulated streets. Finally, the white stone government house. A bus rolls by, headed in the other direction. Plastered on its site is Santiago's face in black and white, along with his promotional slogan: One People, One Nation, One Santiago. The sound of a rapid, frightened heartbeat becomes prominent and then we smash cut to: INT. ANNIE'S BEDROOM - NIGHT Her weary eyes open wide. Once again, sitting upright, once again her nightgown soaked. She reaches for a notepad resting on her bedside table. INT. POLICE STATION - NIGHT Johnston spots Annie before she even crosses the threshold. JOHNSTON I told you once nicely. ANNIE I got a name for you. She holds out the piece of paper, on which she's scrawled: One People, One Nation, One Santiago. JOHNSTON Santiago. Great. Not many of those around. ANNIE You're not taking me seriously. JOHNSTON That's a given. ANNIE He's got another one. She's afraid. He captured her. Hasn't killed her yet. Please. There's still time to find her. Help her. Johnston flicks the piece of paper. JOHNSTON How's this fit in? ANNIE I saw it on a side of a bus. In my vision. Johnston nods. JOHNSTON I hate to break it to you, lady, but Santiago's the capital of Chile. Dayton PD got no jurisdiction there. He hands the paper back to her. ANNIE No. Santiago's not a place. It's a man. He's the leader of... She breaks off. She doesn't know. JOHNSTON He ain't the Mayor of Dayton, that's for damn sure, so jurisdiction still applies. He looks at her. Expression softening. JOHNSTON There's nothing I can do without concrete evidence. Some sort of crime...solid leads... Annie frowns. Trying to dredge up information from her brain. ANNIE His first name's Omar. And he's...a Republican. JOHNSTON Just what we need. More Republicans. That narrows it down. He glances toward his desk. Annie walks to it, pulling up a chair. Johnston sits down heavily and shoves several thick binders toward her before positioning his computer monitor. Annie looks at him curiously. JOHNSTON Won't hurt you to scan the missing persons. Over his shoulder, we look at his computer screen as he enters the name Omar Santiago. INT. GOVERNMENT OFFICE - NIGHT Caption: DEPARTMENT OF DEFENSE, REAL WORLD The room is sparse, with overhead florescent lighting. The computer beeps and the printer begins running furiously. There is a uniformed Private behind the desk, and he sits up straighter, looking at his computer, which is going haywire with activity. PRIVATE We've got a hit. He looks to his supervisor, across the room. It's the Man in Charge. MIC Words I never wanted to hear. He picks up the first of the pages from the printer. Across the top, it reads: "QUERY: Omar Santiago SOURCE: DAYTON P.D." MIC I need everything there is about this. Now. The stunned Private moves into action, focusing on his work. From the Man in Charge's expression, we cut to: INT. JAIL CELL - NIGHT Florence stands stubbornly on one side of the bars, her arms crossed. Santiago stands on the others, a step or two back. There are freshly raked nailmarks down his face, which he touches gingerly. SANTIAGO This alone is enough to serve as your death sentence. He leans in closer. SANTIAGO If you tell me where they are, I may be merciful. Florence spits in his face. Her eyes filled with scorn and defiance. Two guards move to close rank between her and the General. Santiago holds up his hand. Stopping them. SANTIAGO I knew there was a reason I exterminated your kind. Waters enters. WATERS You asked for me, sir? He stops when he sees Florence, then looks to Santiago. SANTIAGO It's been a while since we held a public execution for a traitor, isn't it, Major Waters? Terror flashes across Waters' face and he looks desperately to Florence, thinking she's compromised him. WATERS It's been months, I believe, sir. Santiago turns to Waters. SANTIAGO She knows where Hobbes is. I will leave the extraction of that information in your capable hands, Major. Report to me first thing in the morning. He looks at Waters. SANTIAGO Don't kill her, Major. Alive, she can be useful to us in other ways. Waters nods, and Santiago exits, leaving Waters and Florence facing each other under the watchful eye of the two remaining jail guards. INT. POLICE STATION - NIGHT Johnston looks up from his computer. JOHNSTON Nothing. ANNIE Not... JOHNSTON No such guy. Not missing, not mayor, not Republican. None. (beat) You got anything? He glances at the large book she has in her hands. Annie looks down at it, her fingers moving over the small pictures. ANNIE A lot of them are dead. JOHNSTON Details? He reaches for his notebook. ANNIE I thought you didn't follow non-traditional leads anymore, officer. JOHNSTON Then gimme something I can follow up on. She stands up. Puts down the book. ANNIE I don't think so. With dignity, she stands and leaves. Johnston throws his notebook down on the desk. EXT. FENCE OUTSIDE SANTIAGO CITY - NIGHT Hobbes and Pinocchio are on foot as they approach. Pinocchio's face is determined as he picks up a rock and heaves it, looking for glitches. He turns. PINOCCHIO Where's your damn dog? HOBBES This is insane! PINOCCHIO The dog. Where is he? Hobbes attempts to block Pinocchio's path. HOBBES Will you listen to reason? Pinocchio shoves past him and picks up Dexter. Then he stops, in Hobbes' face, and stabs a finger toward the city beyond the fence. PINOCCHIO They've got Florence. HOBBES I know that ... PINOCCHIO Well, you're doing a damn poor job of showing that you care. He drops Dexter to the ground. The dog starts sniffing around the fence. PINOCCHIO How many times has Florence saved your pathetic life now, Hobbes? And you're just gonna abandon her to Santiago? Hobbes' face turns hard. HOBBES I never said that. PINOCCHIO You think he's just gonna throw her in a cell and keep her there till we can break her out? Maybe once, but not now. This is war, and it's personal for him, Hobbes. He'll hurt her. Hurt her bad. Dexter has stopped sniffing and looks back at the two of them expectantly. Pinocchio picks up a rock and tosses it through the fence just past Dexter's nose. The glitch is only a couple of inches from the ground, and Pinocchio slides through, landing on his stomach in the mud on the other side. PINOCCHIO Tight fit. HOBBES What happens when they repair the glitches? EXT. INSIDE THE FENCE - NIGHT Hobbes comes through on the other side, also becoming soaked with mud. PINOCCHIO That day ever comes, you better start praying. Pinocchio strides off toward town. Hobbes picks up Dexter. HOBBES I don't understand. PINOCCHIO You think those glitches would follow every time Santiago moves the fence, expands his empire? Hobbes does not reply. PINOCCHIO The day those glitches disappear is the day you know Santiago's killed every last bit of revolutionary spirit in here. He looks toward the glistening city skyline. PINOCCHIO Wasting time standing around talking. Let's go. EXT. ANNIE'S HOUSE - NIGHT She steps up to the door with her keys. Then turns her head a second before the scuffling sound of feet on the driveway can be heard. It's Johnston. ANNIE You followed me? JOHNSTON I wanted to make sure you got home safely. Annie stares at him -- seeing right through him. JOHNSTON I wanted some more information. He moves in closer. JOHNSTON Annie, if you've got anything that could help with those missing persons in that book. Even a feeling, an impression... He touches her arm and she flinches. He releases her instantly, but when she looks up at his face, it's surrounded by a red aura and she sees him as a CORPSE, with unseeing eyes and blue, rotting flesh. ANNIE They're going to kill us. Johnston frowns. Not understanding. JOHNSTON Let's go inside. Annie glances over her shoulder, then pushes open the door cautiously. EXT. STREET - SANTIAGO CITY Except for occasional patrol troop, the street is silent and deserted. Hobbes and Pinocchio walk quickly. Their tattered clothes are still coated in mud from their entry through the fence, drawing attention to them. A pair of Republican Guard block their path. SMITHERS (snickering) What happened to you? DAVIS Out after curfew. Lemme see your papers. Pinocchio and Hobbes exchange a glance. Pinocchio butts Smithers in the stomach with the non-business end of his MP5K as Hobbes throws a hard punch into Davis's face. Pinocchio kicks Smithers once after he's down on the ground, just to make sure. Davis lands a fist against Hobbes' jaw and Hobbes shoves the soldier head-first into the building behind them, knocking him out. PINOCCHIO You ever get tired of doing this? He's reaching to take Smithers' clean, pressed Republican Guard coat. Hobbes gingerly touches his split lip with his tongue. That's when the three Humvees, lights and sirens going, pull up in the road. PINOCCHIO (panicked) Get out of here, Hobbes. Now! The two begin running in opposite directions, a move clearly designed to throw off the Republican Guard. It works for a second as the guardsmen exchange glances and orders. Then the group separates to go after them. INT. JAIL CELL - NIGHT Florence sits on the floor, her back against the wall, her knees bent and her head resting against them. Her eyes are open. Watching. Santiago appears silently. Florence's expression darkens, but she does not move. SANTIAGO I know you're awake. He walks over to the bars. Staring at her. She has her eyes closed now, feigning sleep. SANTIAGO I also know you think you have abilities. Not just as a Healer. But because you travel with him. If you believe he is The One. Santiago turns and picks up the key to the cell. While his back is turned, Florence's eyes flash open. Her body is tense, ready to attack him. She closes her eyes again as he turns toward the cell, the key in his hand. But he doesn't unlock the door. He moves again toward the bars. Whispering to her. SANTIAGO Wouldn't you like to know for certain? How this is all going to end, and the role you'll play? There's something seductive and hypnotic in his voice. Now he rises from his crouch, moving slowly to the cell door. He unlocks it. The door creaks on its hinges and screams as its flush edge scrapes against the floor. Then Santiago steps into the cell. Florence springs to her feet, rushing at him. SANTIAGO Wouldn't you like to quell your doubts about whether he really is The One? Santiago raises his hand. In it is the leather bound book of the Oraculum. Florence stops, mesmerized at the sight of it. And what Santiago is offering her. INT. ANNIE'S HOUSE - NIGHT She steps inside, fumbles for the light. VOICE Close the door. Johnston draws his gun, pointing it into the darkness. JOHNSTON Officer Johnston, Dayton P.D. -- A SHOTGUN blast echoes, blowing a hole in the wall behind Annie's head. VOICE I said, close the door. EXT. SANTIAGO CITY STREETS - NIGHT Hobbes, running, turns up an alley. He looks: dead end. Looks behind: the Republican Guard, approaching. There's only one place to go. Up. Seen from above: The platoon of Santiago's soldiers scatter into the cave-like alley. ALVAREZ He's here somewhere! Find him! The soldiers begin digging through rubbish, overturning dumpsters. One of the soldiers doesn't join in. It's Michener. His eyes wander upward. Hobbes crouches on the first landing of an iron fire escape. Sweat is drying on his brow and his chest heaves from running. But he is absolutely silent. Alvarez is ready to give in.. ALVAREZ It's like he disappeared. Michener raises a hand, his eyes still fixed on the fire escape. MICHENER Then it's no use looking. The expression on his face as he meets Alvarez's eyes lets us know he's got something more in mind. The other soldiers file past them, out of the alley. Focus on Hobbes as the engine in the Humvee parked on the street turns over and pulls away. Cautiously, Hobbes peers through the bars of the escape landing where he's hiding. No one down below. Hobbes stands, still alert. His gun drawn. He looks over the side, and still sees no soldiers or men down below. But then he looks up at the rest of the fire escape. Thinking it might be safer to travel across rooftops. He stows his gun back in his belt, leaving his hands free to grasp the ladder for the next flight up. That's when he freezes, his body turning blue for a moment. But not digitizing. Hobbes remains solid, in that awkward position. Michener now stands, only the top part of him exposed from his hiding place in the alley. In his hand, he has the same sort of device Big Daddy used in 1x2, "Leviathan." And boy, does he look satisfied. EXT. STREETS OF SANTIAGO CITY - NIGHT A black Jeep rolls around the corner and stops lawfully at a traffic signal. The red from the light reflects on the window of a bakery. Illuminating the face of the man hiding inside as he peers out. Pinocchio. And from his vantage point, Pinocchio can see Hobbes locked in the back seat of the Jeep. Still frozen. And Michener at the wheel. The light on Pinocchio's face turns green. INT. BAKERY - NIGHT Pinocchio breaks from the window, addressing Dexter who is happily lapping some icing from a display cake decorated with Santiago's face and the words "HAPPY SANTIAGO DAY!" PINOCCHIO It's over now. ACT THREE INT. ANNIE'S HOUSE - NIGHT VOICE Put your gun down, officer, and your hands up. Johnston hesitates. Looks to Annie, to decide what to do. The SOUND of the shotgun being readied to fire again breaks through the darkness. Johnston reluctantly puts his drawn gun on the floor and raises his hands. VOICE Have a seat. A dim light in the corner of the living room blinks on, revealing that the Voice belongs to Michener -- or, rather, Michener's real world doppelganger. VOICE You're going to tell me everything you know about Omar Santiago and Harsh Realm. INT. JAIL - NIGHT Santiago stands calmly with the book in his hand. Very slowly, he reaches out to offer it to Florence. She looks at him, meets his eyes. Deciding whether to take it. Santiago speaks coaxingly, as one would to a skittish animal. SANTIAGO It's all right. He smiles. SANTIAGO If you help me, you will be safe here. Florence frowns. The spell broken. She doesn't want to be safe under his rule. She wants her freedom. But the book... Santiago continues to hold it out to her and she takes it, with a wavering hand. Santiago smiles triumphantly. As Florence opens it, he moves to stand just beyond her shoulder. Florence's expression turns to confusion as she turns the pages of the book -- moving faster, then several at a time. They are all blank, just as they were to Santiago. Santiago's face registers this realization as Florence lifts the heavy book and hits him with it, hard against his ribs. He grabs at her, fingers capturing her clothing, but Florence punches him in the jaw, sending him reeling. She follows swiftly with a kick to the ribs, which drops him against the stone wall of the cell. She grabs the book and runs, pulling the door of the cell closed behind her. Santiago does not stir. Florence checks both ways, but the hallway is unguarded. She almost smiles at the ease of her escape. Then several Republican Guardsmen round the corner. They are talking amongst themselves, like colleagues returning from dinner, but their manner breaks as soon as they see her. GUARD Stop! Florence turns, thinking to run the other way, but it is now also blocked with soldiers. Including Waters. EXT. SANTIAGO CITY - NIGHT Pinocchio walks. His head down. Carrying Dexter under his arm. The dog squirms and barks. PINOCCHIO Shut up, you mangy mutt. You wanna get us caught? Dexter barks. PINOCCHIO Oh, what's the use? He lets the dog down, where it takes small prancing steps around his feet. PINOCCHIO They've got Hobbes, and Florence. You hear that? In the distance, a constant, throbbing banging sound. A hammer. PINOCCHIO Building a gallows. Dexter whines. PINOCCHIO You'd make a nice last meal. In a sudden, dramatic move, Pinocchio smashes a shop window with the butt of his gun. An alarm drones but he doesn't listen, leaning through the window to steal with both hands. In the end, he tucks one large bottle of whiskey into his coat and holds the other one. A car zooms by. Sirens begin to wail in the distance. Pinocchio stands, seeming to make up his mind. Then he tosses away the bottle in his hand. It shatters against the sidewalk. Pinocchio picks up Dexter with his now-free hand and begins to run. INT. REPUBLICAN GUARD HUMVEE - NIGHT Hobbes in the back, looking out. Michener driving, his expression serene with the knowledge of a job well done. HOBBES What's your name? Michener, at the wheel, tilts the rearview mirror so he can see Hobbes. MICHENER I don't have a sense of humor, so don't try anything funny. HOBBES (shrugs) Just making conversation. MICHENER (irritated) Well, don't. (beat) Michener. HOBBES Nice to meet you. Michener's expression turns angry. MICHENER Don't you understand what's going on here? I captured you. It's over. He looks to Hobbes in the mirror, and Hobbes nods. He understands. HOBBES I understand you trained under a friend of mine. Mike Pinocchio. MICHENER He's a traitor. HOBBES And you're not? MICHENER Do I need to explain again what you're doing here? HOBBES In your heart. You don't believe in Santiago's rule. Or any man's. He gives you the opportunity to ply your craft, so you do. It's the best of both worlds. You live here, inside the fence, where you have a warm and comfortable place to sleep at night. But you can go out there, on the other side, where you're free to live the life you wish. Be the man you want to be. Kill without consequence. Michener sighs. MICHENER It's not going to work, Hobbes. Although it is a change of pace. Most people beg for their lives. He glances in the mirror. Hobbes does not respond. MICHENER You and me, we got the same mission. To kill the man who would be high scorer. You're just on the other side. INT. ANNIE'S LIVING ROOM - NIGHT Michener, Annie and Johnston sit in the dimly lit room like old friends, hanging out -- if not for the tension between them. Michener crosses his arms. Waiting. JOHNSTON Harsh Realm? Sounds like a comic book. He pats his pocket, comes up with his cigarettes. JOHNSTON (to Michener) You don't mind --? Michener shakes his head, and Johnston lights up. Annie, who had been sitting with a frightened, blank expression, scrunches her nose at the smoke and frowns. Johnston offers the pack to Michener, who after a moment's contemplation, accepts, lighting up. He drops the pack and lighter on the end table, not giving it back. ANNIE Aren't you going to do something? She's speaking to Johnston, but Michener answers. MICHENER You don't want me to do anything -- just yet. Not before you get the opportunity to explain. (a beat; then, an order:) Harsh Realm. JOHNSTON I've never heard of it. He looks at Annie. She blinks, an odd, faraway expression in her eyes. She shivers. ANNIE Me neither. MICHENER You wouldn't want to lie to me. He holds her with his cold gaze, giving her another chance. Annie cocks her head, as though listening to a voice no one else can hear. ANNIE It's the code name for a top-secret Department of Defense project involving soldiers in some kind of...virtual world? Her voice turns up into a question at the end, expressing the doubt she has in her own words. Johnston's eyebrows rise, because honestly, it sounds like made-up garbage. MICHENER Very good. Now. Who told you that? ANNIE I don't know. MICHENER Wrong. He gets up from his chair and moves stealthily toward Annie. Johnston jumps up and intercepts him. JOHNSTON Leave the lady alone. MICHENER You're unarmed; are you sure you want to do this? Johnston throws a punch and Annie screams. Michener recoils, holding a hand to his bloodied nose. MICHENER Believe me. I would prefer to kill you and not go through this tiresome conversation. But I need information. If you provide it, this will be so much less painful -- for all of us. (to Annie) That won't do you much good. His words freeze her where she stands, across the room, the telephone in her hand. She still takes a moment to listen for the dial tone. There is none and she drops the receiver back into its cradle. MICHENER Now, let's do this, shall we? INT. GOVERNMENT HOUSE HALLWAY - NIGHT Florence, still surrounded by Republican Guardsmen, with Waters as their commander. WATERS Go! Check Santiago! None of the soldiers move. WATERS Now! Half of the men go, leaving Waters and Florence facing five remaining Republican Guards. Waters holds out his hand to her. WATERS Give me the book and you don't have to get hurt. LIEUTENANT Sir -- WATERS I'm handling this, lieutenant! (to Florence) Hand it over. Reluctantly, she relaxes the arm holding the book against her chest. She begins to hold it out to Waters. As she does so, he shoots two of the soldiers before they realize what's happening. In their momentary shock at seeing their comrades fade to a digital blue glow, Florence overtakes another of the soldiers, wrapping her arm around his neck and jerking it. He falls to the floor before digitizing. Waters shoots the fourth soldier. LIEUTENANT Sir??? He looks at Waters, completely puzzled, practically in tears. Waters frowns, oddly struggling with this last man he definitely has to kill to save his own hide. In his momentary hesitation, the Lieutenant grabs Florence. LIEUTENANT I don't understand, but -- WATERS You never will. You can still walk away from this, Lieutenant. LIEUTENANT I'm not a traitor. He reaches for his radio. LIEUTENANT I've got the prisoner -- Florence steps back, bashing him against the wall. He struggles to free his gun from its holster as she smashes him into the wall a second time, this time raising an elbow into his chin, driving his skull into the wall with enough force to leave a dent in the drywall. Blood trickles from his mouth, but there's still fight in his eyes. Florence whirls away from him, getting ready for another attack. There's a gunshot and the last soldier digitizes, leaving Florence and Waters alone. WATERS The book. Florence shakes her head. WATERS It's the only thing that'll save my neck. She hesitates, looking from the book to Waters. Knowing his words are true. She hands it to him, and he hands her his gun. WATERS How else would you have killed my men? She nods. WATERS Now go. And don't let anyone see you. Florence goes. Waters walks in a small circle, surveying the scene, his expression one of dismay. Then, quickly, he lifts the book and, cringing, hits his head with it. Dazed, he lies down, pretending he's been knocked out as the soldiers return with Santiago. The soldiers hang back as Santiago plucks the book from the floor. He nudges Waters, who groans and opens his eyes. WATERS She killed my men. SANTIAGO How fortunate she chose not to kill you as well, Major. EXT. GOVERNMENT HOUSE - NIGHT Pinocchio makes his way through the darkened streets. He pauses to watch a patrol go past, then starts across the grounds to Santiago's capital. A spotlight appears, the circle barely a foot from Pinocchio as it is turned on for a sweep. He ducks around the corner, and the light begins to move in the opposite direction. There is a stumbling noise from above. Pinocchio looks up and recognizes a familiar figure -- Florence. She drops to the ground beside him. Pinocchio's face lights with an odd smile. PINOCCHIO I was just coming to break you out. He thrusts Dexter at her. PINOCCHIO Here. Florence takes the dog, petting its ears. Her eyes on Pinocchio as he surveys the landscape. PINOCCHIO Where's Hobbes? Florence shrugs -- an "I thought he was with you?" kind of gesture. PINOCCHIO They captured him, Florence. The Republican Guard. He looks at her. PINOCCHIO God, I thought I was never gonna see you again. His look is intense enough to make her frown. SOLDIER (OS) Sergeant? Come take a look at this! The distraction breaks the intensity from Pinocchio's look. Instead of whatever he was going to do, he slings a friendly arm around Florence's shoulders, not even really a hug. PINOCCHIO We gotta get out of here. INT. REPUBLICAN GUARD HUMVEE - NIGHT Michener swings the wheel and glances back at Hobbes. MICHENER Almost there. Not so chatty now, I see. The Government House appears at the end of the street, its white stone facade practically glowing with lights. MICHENER Any last words? HOBBES Pinocchio said he trained you. To do this, to kill indiscriminately. MICHENER I discriminate. Believe me. No time to kill them all. He pulls up to the gate at the Government House, but there is no one to let him in. Across the lawn a spotlight dances and soldiers are searching. HOBBES Looks like there's trouble. MICHENER So you want to talk about Pinocchio. Your friend's a coward, plain and simple. That's why he ran from here. And that's why you can't trust him. HOBBES Any man can change. Michener turns in his seat and looks at Hobbes. MICHENER Let's go for a drive. EXT. GOVERNMENT HOUSE GATE - NIGHT As Michener's HUMVEE reverses out of the driveway, back onto the street. INT. ANNIE'S LIVING ROOM - NIGHT Annie and Johnston have returned to sit in their chairs obediently. Or not so obediently...Johnston is focused on Annie, trying to catch her eye. He's planning something. Michener has a knife now, in addition to his shotgun and Johnston's sidearm. It catches the light from the lamp. Annie stares at it - at him - as though mesmerized. ANNIE It's you. (she frowns) But not...quite...you're the one who's been killing them! She looks to Johnston. ANNIE He's the one I came to you about. JOHNSTON Not exactly reassuring. MICHENER What're you talking about? Annie looks at him with her eyes filled with fire and hate. Her words come out with a force that's almost spooky: ANNIE Inside the game. Michener's on his feet in a second. MICHENER How do you know these things?! ANNIE I see them. With my mind. Johnston uses Michener's distraction to act. He lunges at the other man, fingers striving for the weapons on the table by the lamp. JOHNSTON Annie! Run! But Annie is frozen, seeing what's happening in front of her as though it's happening in one of her psychic trances. Michener drives his knife into Johnston's chest, dragging up for horrible inches before shoving the man away and letting him fall to the carpet, his eyes open and fixed, blood dripping from his mouth. Michener turns on Annie with his still-bloody knife. She recoils and tries to put some distance between them, but Michener's faster. Inexplicably, he only punches her. She falls unconscious to the floor, where Michener slides down to sit, looking a bit freaked out himself, his lips moving with barely any sound coming out. MICHENER No. Not inside the game. They promised. EXT. FOREST OUTSIDE THE FENCE - NIGHT Michener pulls the car to a stop. He gets out, then jerks open the back door. MICHENER You want your chance? Take it. Hobbes emerges from the vehicle. HOBBES So you can hunt me down like an animal? Burn off your rage at the things you hate but can't bring yourself to change? Like Santiago and this world and your place in it? MICHENER What choice have I got? Huh? You said it yourself. I got my reasons. You understand them well enough to taunt me with them. HOBBES It doesn't have to be this way. MICHENER Because I'm supposed to believe that you're the man who's going to save us all? Who's going to make Harsh Realm all sweetness and light like the Real World? Hobbes says nothing. MICHENER If you want me to believe in you -- to follow you -- then I need you to admit it. That you're the One. Hobbes refuses. MICHENER ...You leave me no choice. He pulls his gun on Hobbes. Hobbes, unarmed, can only stand there, tense. His eyes dart to the distance, looking for some possible method of escape, but he can be shot in the back just as easily. Michener's finger tightens on the trigger. The gun fires, loudly. Hobbes flinches. But he does not bleed and he does not fall. The two men look at each other puzzledly. ACT FOUR EXT. FOREST - NIGHT Resume Michener and Hobbes. Michener raises his gun as though to fire again, closing one eye. But with his thumb he moves the barrel out so he can check it. MICHENER Chamber's still full. HOBBES I don't understand. MICHENER I do. He lowers the gun. MICHENER So the stories are true. He looks to Hobbes as though for confirmation. Hobbes gives no sign. HOBBES What now? There is a long moment of silence as Michener contemplates his options. His face betrays nothing. MICHENER I can kill you another way. Turn you over to Santiago for him to do my dirty work. HOBBES (gently) Or you can let me go. MICHENER There's that. Hobbes waits for his decision. His eyes on the gun. But Michener's decision is already made. MICHENER Will you do one thing before you go? Hobbes looks at the man's face. Michener seems older and wearier than he did before. And more real. He is holding his weapon out to Hobbes. Hobbes does not reach for it. HOBBES You want me to kill the man who spares my life. MICHENER I want you to set me free. Another long moment passes. Now the balance has shifted and Michener waits anxiously to know his fate. The only place Hobbes can look is at his feet, his shoulders heavy. With one hand, he reaches out and Michener puts the gun into it. When Hobbes raises his head, there is the glisten of tears in his eyes. We remain fixed on his face as we hear the GUNSHOT and the SIZZLE as the blue digital glow illuminates his eyes. Hobbes drops the gun and turns away, smearing the back of his hand against his eyes. He blinks furiously as he sees Pinocchio and Florence silhouetted up on the ridge. HOBBES How long have you been standing there? PINOCCHIO Long enough. Hobbes joins them and the trio begins the long walk back to the car. INT. OBSERVATION ROOM - DAY It's an entirely white room -- the walls and the floor. There is no furniture. It's not padded, but it might as well be. In the middle of this room stands Annie, dressed in a hospital gown (also white), her hair tangled, her manner distraught. Faces appear at the narrow strip of window in the door, then disappear just as swiftly. INT. HALLWAY - DAY Michener and the Man in Charge are the ones who peeked in through the window. Michener is dressed in a casual but nice suit. He wouldn't look like a killer except for the desperate way he's smoking his cigarette that gives him away. MICHENER I thought you'd want this one. Better than Project Sunspot, Sunstreak, whatever it was called. Who needs remote viewers, huh? The Man in Charge nods, gravely, and begins to walk away. MICHENER (calling after him) Has it ever happened before? The Man in Charge smiles wryly and raises one hand to indicate the other doors in the hallway. MAN IN CHARGE Look around you. He turns and continues walking, through a door at the end of the hall, and then he's gone. EXT. FOREST - NIGHT HOBBES What happened to you back there, anyway? PINOCCHIO Whaddaya think? I saved my own neck. Ran into Florence. Hobbes smiles. PINOCCHIO What? HOBBES You're not a coward, Pinocchio. Not anymore. Maybe you never were. It took a strong man to leave Santiago, and a stronger man to stand and fight with me. Pinocchio looks at him like he's gone off his rocker. PINOCCHIO Well, you're welcome. (beat) Florence says Santiago's got the Book of the Oraculum. HOBBES I thought that was destroyed. PINOCCHIO Guess not. Here's the punchline: He can't read it. A smile tugs at Hobbes' lips, but not genuinely, not like the one before. This one is tinged with worry. INT. COUNCIL ROOM - NIGHT Santiago stands near his maps. The book is lying conspicuously on the table, abandoned. The door opens and Waters appears. He has a gauze bandage taped above his eye. WATERS You wanted to see me, sir. SANTIAGO You've heard the stories, haven't you, Major? WATERS (wary) Sir? SANTIAGO The stories. The prophecy. Of the savior, the man who will save Harsh Realm. WATERS Oh, those stories. Santiago gestures toward the table and its chairs. Waters drops into one of them, and Santiago pulls up a chair across from him. SANTIAGO What do you think of them? Waters hesitates. Looks at Santiago, then down the table at the book. SANTIAGO You may answer me honestly, Major. I don't ask questions to which I don't wish to hear the reply. Waters decides. WATERS I believe them, sir. SANTIAGO All of them? The coming war, the great battle, the man who will lead them all to freedom? Waters nods. SANTIAGO And who do you believe is that man? Waters takes a long moment before he answers. WATERS If it's anyone, sir, I believe it's Tom Hobbes. SANTIAGO And yet you sit here. WATERS Yes, sir. I do. The two men look at each other across the table. Then Santiago nods and rises from his chair. SANTIAGO Thank you for your honesty, Major. He moves back toward the maps, contemplating them again. Waters gets up. WATERS General Santiago? Is that all? Santiago barely glances in his direction. SANTIAGO That's all. WATERS But -- Santiago turns, a deliberate movement. SANTIAGO You think I should punish you for a traitorous belief? Kill you, lest you turn and betray me? You're here. Despite your beliefs, you remain a soldier for my cause. After all, I wouldn't strive to eliminate Hobbes if I didn't also believe he was a threat to me and my people. Waters looks perplexed, but nods anyway. WATERS Yes, sir. He walks out of the council room. The door closes behind him. Santiago walks to the table where the book of the Oraculum lies. He opens it for a second, ruffling the pages. They remain blank. He lights a match and drops it onto the book. The pages begin to curl as he walks away from it, turning off the lights as he exits the Council room. In the firelit darkness, we zoom in on the book. For a flash as the fire begins to consume it, the illuminated writing on its pages it visible. FADE OUT.