"Unraveling" by Megan Reilly TEASER EXT. CEMETERY - DAY A sunny day. SOPHIE sits in the grass. Daisies in her hand. She looks good; her hair's been combed, a flower-print dress pulled down over her knees. Reverse to her POV: a headstone. White, plain, only one in a long line of others. It reads: LIEUTENANT THOMAS HOBBES 1970-1999 Suddenly, the sound of children. Sophie turns. Behind her, a little BOY and GIRL are yelling, chasing each other. Their MOTHER, all in black, is too overcome to tell them to stop. Sophie almost manages to smile. With a slight sigh, she places the daisies carefully against the headstone. She has trouble getting to her feet. The skirt of the dress clings to her pregnant stomach. INT. SOPHIE'S CAR - DAY Sophie drives. Absorbed in thought. On the seat beside her is a manila folder. The edges of papers peek out, but we can't tell what they are. There's also a plastic bag from a crafts store. CD playing the Eagles' 'Girl From Yesterday': "It wasn't really sad the way they said goodbye Or maybe it just hurt so bad she couldn't cry He packed his bags, walked out the door and drove away And she became the girl from yesterday." Sophie blinks, pulled from her thoughts. She looks at the radio in horror, as though it's speaking to her. Her hand hesitates over the button. She turns it off. Now we hear the HUMMING. As it grows louder, Sophie leans over the steering wheel, looking up into the sky, trying to see where it's coming from. As she straightens, her eyes lock on the rearview mirror. A HELICOPTER, big and black, looming out the back window. The speedometer creeps up past 50... A SECOND HELICOPTER out the driver's side window. The NOISE is almost deafening now. In the rearview mirror, a large black sedan comes up on her bumper. As a SPEED LIMIT 45 sign flies past, the speedometer pushes past 60. The car behind doesn't waver. The windows are tinted heavily, obscuring the driver. Sophie braces herself and brakes hard, turning the wheel and pulling to a stop at: EXT. GUARD STATION - DAY A pair of uniformed Army officers emerge. OFFICER 1 You all right there, ma'am? SOPHIE Yeah. She glances in the mirror, but the car's gone. OFFICER Gonna need to see your ID. SOPHIE Oh, sure. She's freaked out, trying to be calm as she digs through her purse and withdraws a military ID card. The guard looks at it, then moves into the shack. He picks up the telephone, glancing at Sophie. SOPHIE Is there a problem? The guard holds up one finger - wait a sec. The black sedan appears again, speeding. It doesn't even slow down for the guardhouse, zooming past. We get a good view of its military issue license plate. OFFICER You may pass. He hands her ID back to her. SOPHIE Was there a problem? He's wonderfully stone-faced. SOPHIE The car that didn't stop - OFFICER Don't you worry about that. His look is final. Threatening in a very understated way. Sophie's hand trembles as she shifts the truck into gear and moves on. ACT ONE PHILADELPHIA, PENNSYLVANIA HARSH REALM EXT. OLD GOVERNMENT BUILDING SOLDIERS, in Republican Guard uniforms. They move like frenzied ants, trying to accomplish a task. They're crating something up. HOBBES, PINOCCHIO and FLORENCE lurk out of the soldiers' sightlines. Resting from some effort. Watching the soldiers' movements. Florence starts after them, but Pinocchio grabs her arm, holding her back. Hobbes turns away in disgust. A loud sound makes them all jump. It's the sound of a gun...a staple gun. A SCRUFFY MAN, stapling a flyer to a telephone pole. Hobbes goes over there and looks at the flyer. JOHN LOCKE FOR PRESIDENT it reads. Hobbes looks to Pinocchio, who regards the poster with perplexed amusement. PINOCCHIO (to Scruffy man) Hey, you know this guy? The Scruffy man moves on to staple another flyer. The trio move to look at it. ELECTION, it reads. HOBBES It's not a bad idea. Pinocchio looks at him like he's lost his marbles. PINOCCHIO He's going to get himself killed. The Scruffy man glances back at them. Pinocchio rips down the "John Locke" poster and waves it. PINOCCHIO Hey, you know this guy? The Scruffy man moves off, so they follow him. INT. DAYCARE - DAY A bunch of little kids in small groups, playing, with a couple of TEACHERS supervising. Off to one side is Sophie, rolling up the mats from naptime and staring into space. Her heart really isn't in it. PAT, one of the teachers, approaches Sophie, and puts her hand on her arm. Sophie jumps, startled, and looks at her. PAT There's a telephone call for you. Sophie drops the mat she was rolling. Hopeful it's good news. Pat looks at her disapprovingly. PAT You couldn't take care of this while you were off this morning? SOPHIE I'll make it fast. INT. DAYCARE OFFICE - DAY Sophie slips inside and pushes the door closed. She takes a deep breath before picking up the phone. SOPHIE This is Sophie Green. INT. INVESTIGATOR'S OFFICE - DAY On the other end of the line is CHUCK WEBSTER. He's over 40. More Colombo than Magnum. WEBSTER Ms. Green, this is Chuck Webster. The private investigator you hired to find - INT. DAYCARE OFFICE - DAY Sophie clutches at the phone. SOPHIE You've found something. INT. INVESTIGATOR'S OFFICE WEBSTER Actually, Ms. Green, that's why I'm calling. I haven't found anything. And your deposit's long gone. If you want me to keep after leads that aren't there, I'm gonna need some more money. INT. DAYCARE OFFICE - DAY Sophie's silent. Upset. INT. INVESTIGATOR'S OFFICE WEBSTER You there, Ms. Green? INT. DAYCARE OFFICE - DAY SOPHIE (softly) Yes, I'm here. A long moment passes. She has to decide. SOPHIE Stop investigating. Send me the bill. She puts down the phone and slumps down in the chair, putting her head into her hands. After a moment, she picks herself up and heads back out to work. INT. PROJECT HEADQUARTERS - NIGHT A meeting in shadows. We can only see some of the people sitting around the conference table. The LIEUTENANT COLONEL (from "Leviathan"), the Red-Haired Man (from "Inga Fossa"). And INGA FOSSA herself, sitting away from the others, near the part of the room where the shadows fall. It's the midst of a debate they've had before. LT. COL. We've lost control of the project. RED HAIRED MAN We can't keep sending people in. Somebody's going to notice sooner or later than soldiers are disappearing - LT COL Then we should shut it down. Cut our losses. MAN IN CHARGE No. The strong voice stops them. The man in charge (Lance Henriksen, from the pilot), rises from his seat in the darkness, putting his hands on the table and leaning forward so his face is in the light. MAN IN CHARGE We can't stop it now. Not when we're this close. RED HAIRED MAN With all due respect, sir, this close to what? But the man in charge doesn't have to explain himself. In a covert, barely noticeable exchange, he looks to Inga. She nods slightly, as though she agrees with him. LT COL People are asking questions. We can't keep this a secret forever. RED HAIRED MAN Plausible deniability has been established. LT COL I'm not talking about Cokie Roberts asking the President about Harsh Realm. I'm talking about -- MAN IN CHARGE The Sophie Green problem. LT COL She's a liability and a risk. RED HAIRED MAN She can be taken care of. MAN IN CHARGE No. They look to him for answers. But he's the man in charge. He doesn't have to provide answers. INGA FOSSA Control her, and you control Tom Hobbes. The Man in Charge looks approving. The Lt. Col. And the Red Haired Man just look frustrated. LT COL Something has to be done about her. MAN IN SHADOW I'll take care of it. We know that voice from somewhere... The man in charge looks at him. MAN IN SHADOW (amending himself) Of her. I'll take care of her. Man in Charge nods. Takes his hands off the table. The matter's settled. Meeting's over. He walks out, and Lt. Col and Red Haired Man follow. Inga lingers, her eyes on the Man in Shadow. EXT. MILITARY HOUSING - NIGHT Establishing shot of Hobbes & Sophie's house. INT. SOPHIE'S HOUSE - NIGHT She's sitting on the couch. DEXTER's head is resting on her feet. He's sleeping. It's so quiet. She's knitting, or so it seems at first. As we move in closer, we see she's actually unraveling something she's knitted out of yellow yarn. Dexter lifts his head, his eyes narrowed, looking at the door. He gets up and goes to the door. Sophie pats the seat next to her, but the dog doesn't return. SOPHIE Dexter. Dexter continues standing in front of the door, and she goes back to her work. A knock at the door EXPLODES through the silence. Sophie drops her knitting on the floor and tries to pick it up as another knock comes. She leaves it on the floor. SOPHIE Who is it? A MUMBLE comes through the door. She goes to it and pauses to look at Dexter before she takes the chain off the door. He doesn't look impressed. She opens the door. Her reaction is immediate - shock and happiness. She puts her hand over her mouth, like the surprise is something she has to hide. SOPHIE I didn't think I was ever going to see you again. She holds her arms out, inviting a hug from her unexpected, welcome guest: WATERS. ACT TWO INT. SOPHIE'S HOUSE - NIGHT Sophie still standing there, her arms outstretched. She's actually smiling. SOPHIE Well? Waters, in casual clothes, puts his hands on her shoulders, holding her away from him. WATERS Look at you. He stares for a good, long moment and her hands nervously go to her belly. He puts his arms around her and holds her. WATERS I heard about Tom. She puts her face against his shoulder. WATERS I'm sorry I couldn't come earlier. To his funeral. I could tell you where I was, but- He trails off. We all know the familiar ending anyway: but then I'd have to kill you. SOPHIE It's okay. She picks up her head now and her eyes are wet. Waters has her hand on her hair, gathering it out of her face. WATERS It's not okay. It must be terrible for you. Sophie pushes away from him, wiping her eyes quickly with the back of her hand. She busies herself picking up the knitting she dropped. Dexter hangs back warily as Waters closes the door and comes inside. WATERS A baby. Wow. I just can't get my mind around it. He runs his fingers through his hair, looking astounded and befuddled. Sophie sits down on the couch and looks up at him. He sits down next to her. WATERS Do you want to talk about it? She doesn't say anything. Awkwardly he looks around the small, tidy house. At the photos displayed on the end table. He picks one up. CLOSE ON PHOTO: Waters, Sophie and Hobbes sitting around a restaurant table. Grinning like they're having a great time. WATERS Those were the days. My biggest mistake was introducing you to him. He reaches past her to set the picture down. WATERS I never had a chance with you after that. SOPHIE He's not dead. He's surprised. WATERS Sophie - She looks at him stubbornly. WATERS I know you don't want to believe it. But you have to. SOPHIE (deciding to trust him) There was a woman, Mel. And she told me I'd been mislead. That the government was lying to me about Tom. WATERS A woman? Who? Sophie says nothing. What can she say? She doesn't know. WATERS The government wouldn't lie - SOPHIE Unless they had a good reason. He looks at her. WATERS Because the truth is out there? Trust no one and all that? Come on, Sophie, you know better than that. She says nothing. WATERS I can see how this whole thing might make you a little crazy, but you've got to accept it. He's gone. And at least you had a body to bury. She looks at him sharply. WATERS I'm sorry, I shouldn't have said that. We can see the wheels turning. SOPHIE No, it's okay. She gets up. SOPHIE Let me get you something to drink. She moves into the kitchen and Dexter remains, eyeing Waters like he doesn't trust him. EXT. WOODS - NIGHT An encampment. People sitting around a campfire. You can almost smell the meat cooking on the spit. Hobbes, Pinocchio and Florence are lurking some distance away. Hobbes picks up Dexter and holds him safely. Looks to Pinocchio. Pinocchio motions - let's wait and see what happens. A man comes out. He's dressed plainly, in jeans and a flannel shirt, and sits down on a log by the campfire. MAN Life is what we make of it. Seems obvious, but his listeners are silent. Waiting for more. MAN Reason is the only thing worth fighting for. It's the only government that makes sense. A man who rules by oppression does not rule at all. Now the crowd makes little mumbling agreement noises. MAN An absolute ruler brings no more insight or control than anarchy. The only government can be by consent. We agree to give up some freedoms in order to live with other men by rules we have all agreed upon. If we have not agreed, there can be no freedom at all. Shouts of "YEAH!" and "DOWN WITH SANTIAGO!" Hobbes looks at Pinocchio to see how he's taking this. Pinocchio doesn't look too happy. MAN Now let's talk about ideas. Quiet again. Some shifting closer. Like now he's getting to the good part. MAN The world around us is only a representation of our ideas. Because we perceive it, we assume that it exists. But it's possible there is a world, beyond this world, where freedom hasn't been forgotten. He's looking directly at Hobbes and Pinocchio. INT. SOPHIE'S HOUSE - NIGHT Sophie and Waters stand at the door. Delaying goodbye. WATERS It was good to see you again, Sophie. But not like this. She smiles faintly, and nods her head. SOPHIE Don't be a stranger. WATERS You take care of it in there. He reaches out to touch her stomach, but stops himself. She takes his hand and places it against her. He smiles. She leans over and gives him a friendly kiss on the cheek. SOPHIE I miss him so much. WATERS I know. He moves away, turning back to wave. She closes the door. Alone again. Her entire facade drops, her shoulders sagging. After a second she picks herself up. Yawns, stretches. Pats Dexter on the head. The telephone RINGS. Sophie frowns and looks at the clock, which reads 11:30. SOPHIE Hello. There's no one on the line. SOPHIE Hello? A series of ominous clicks. She slams the phone down, her eyes wide with fear as she stares as though it could attack her. EXT. WOODS - NIGHT The trio has settled down in the woods for the night. The Man moves stealthily toward them in the darkness. Pinocchio draws his gun, and the man smiles as he raises his hands. MAN You could join us, you know. PINOCCHIO John Locke, I presume. Locke nods, a confirmation. PINOCCHIO You're going to get them all killed. But he puts his gun away. HOBBES What you were saying - about another world- PINOCCHIO (warning) Hobbes - Locke looks surprised. Amused. HOBBES (reigning himself in) I found it interesting. He puts his hand out to shake. HOBBES I'm Tom Hobbes. LOCKE I know your work. Hobbes looks surprised. PINOCCHIO Great. Philosophy humor. He gets up, ready to walk away. HOBBES (earnestly) I'd like to know more. PINOCCHIO I'd like to know why you don't think Santiago's gonna show up and blow you to kingdom come. LOCKE He will. HOBBES That's what you want? LOCKE (shrugs) I want him to know what he's doing is wrong. And I want people to know they have a choice. PINOCCHIO There won't be an election. LOCKE We'll see. He moves to return to camp. Notices Florence, makes a gesture as though he's raising an invisible hat to her. She looks to Pinocchio, then back to Locke. INT. SOPHIE'S HOUSE - NIGHT Dexter's facing the windows. At attention. Watching for something. Sophie notices and goes to peek out the window. She moves the curtain aside and jumps, startled. She rushes to the door and pulls it open. INGA FOSSA stands there, impeccably dressed as always, not looking tired at all despite the late hour. Sophie looks at her wildly, not even knowing where to begin to ask for answers. INGA I'm sorry I frightened you. I was trying to decide whether to knock. SOPHIE Why are you here? Inga glances past her, into the apartment. Sophie holds firm, not inviting her inside. SOPHIE What do you want from me? INGA Have you given up? Done what they want you to do? SOPHIE Someone was following me today. (beat) Do you know anything about that? Inga says nothing. INGA You think you want answers. SOPHIE I want answers from you. INGA You can let them win. SOPHIE Win what? What is going on here? Why won't you tell me the truth? Inga glances over her shoulder. Not particularly nervous, but as though she heard something behind her. INGA I shouldn't be here. She leaves abruptly, seeming to disappear into the blackness of the night. Absorbed into it. Sophie stares out for a moment, still wondering what the hell is going on. Then she closes the door. Looking completely beaten. EXT. WOODS - NIGHT Hobbes sits, thinking hard. Pinocchio is not really playing with the dog, but perhaps teasing him companionably with bits of food. Florence watches into the night uneasily. Hobbes reaches a decision. He gets up. Gathers his stuff. PINOCCHIO Where are you going? He gets up to block Hobbes' path. HOBBES I'm going to help him. PINOCCHIO It's suicide. HOBBES It's the right thing to do. Pinocchio scoffs. Hobbes looks eager to fight him on this. Pinocchio softens his tactics: PINOCCHIO When has suicide ever been the right thing to do? Hobbes isn't backing down. Florence observes the two men. She's going to have to choose who to follow. HOBBES I serve my country with pride. He starts to walk away. PINOCCHIO (calling after him) The same country that abandoned you to this hell? Hobbes doesn't turn. Dexter looks anxiously to Pinocchio, who looks vexed by this turn of events. Hobbes disappears into the woods. PINOCCHIO (to Florence) No good will come of this. She nods. But they begin to disassemble camp, to follow Hobbes. INT. PROJECT HEADQUARTERS - NIGHT The Man in Charge is going over paperwork. (paperwork?!?) He looks up as: Inga Fossa slithers into the room. MAN IN CHARGE What has she decided? INGA She doesn't know. He looks at her like, what the hell does that mean? INGA She's confused. Emotional. MAN IN CHARGE That's not going to change for some months. Almost dismissively he returns to looking at his papers. Inga waits. MAN IN CHARGE (not looking up) I want the child. INGA You don't have to do that. No response from the man in charge. INGA (getting upset) I can take care of her. She's no threat to the project - She hears the passion in her own voice and stops herself. Regains her composure. INGA There are other ways. The Man in Charge regards her. MAN IN CHARGE I want that child. The matter seems to be closed. Inga turns angrily and flounces out. ACT THREE INT. SOPHIE'S CAR - DAY The sun's just barely come up. Driving with one hand, Sophie's dialing her cell phone with the other. SOPHIE Pat, hi, it's Sophie Green. I, um, I don't think I'm going to make it in to work today. PAT (through the phone) You missed most of yesterday. SOPHIE (lying badly) I, uh, yeah, I think it's morning sickness or something again. . . There's a long silence, and then Pat sighs. PAT Look, Sophie - SOPHIE I know what you're going to say - PAT (talking over her) You're not a bad girl. And you're a good teacher. I know you've lost your - the baby's father. But I think what you need right now is to work. SOPHIE I - I can't. Not right now. PAT Sophie, it's been four months. Almost five. SOPHIE I know. It's just - She falls into a frustrated silence. SOPHIE I need this time. PAT You've used your last sick day. Sophie says nothing. PAT I'll see you tomorrow. Sophie can't help smiling that she's gotten away with it. PAT Drive safely. Pat hangs up. Sophie frowns. Maybe she hasn't gotten away with so much, after all. She tosses the cell phone into the front seat. The folder from the previous day is still there. Untouched, a little more rumpled from having sat in the car. Her glance lingers on it for a second. She jumps as the cell phone RINGS. Sophie grabs the phone, clicks it on. Almost expecting it to be Pat. SOPHIE Hello? EXT. CITY STREET - DAY SARAH GREEN, polished and cosmopolitan in sunglasses and stylish business wear (slacks and a jacket), stands near a street corner holding a cell phone. SARAH Sis. My business meeting just evaporated and I'm in the city. I want to see you. INT. SOPHIE'S CAR - DAY SOPHIE Sarah! EXT. CITY STREET - DAY SARAH Can you meet me? Early lunch. INT. SOPHIE'S CAR - DAY SOPHIE I'm not sure I can - EXT. CITY STREET - DAY SARAH I'm only in town today. No one's heard from you in months. She's worried but her rapid-fire style doesn't really let it show. SARAH Where are you? INT. SOPHIE'S CAR SOPHIE I've got an appointment. There's a long silence as the guilt over the half-truth sinks in. SOPHIE I'm almost to Long Island. What time do you want to meet for lunch? EXT. CITY STREET - DAY SARAH What are you doing on Long Island? INT. SOPHIE'S CAR - DAY SOPHIE It's a long story. I'll tell you when I see you. EXT. WOODS - DAY Hobbes is painting a banner sign, using some sort of homemade watercolors in a plastic jar. He finishes and contemplates his work. The sign reads: ELECTION TODAY. He dips his finger into the paint jar and tastes it. At his feet, Dexter begs for attention. Hobbes flicks some of the liquid in his direction. Hobbes grins. BEYOND HIM, Pinocchio's got his sleeves rolled up. Crushing berries with a wooden pestle and mixing them with water to make more paint. Hobbes lifts the sign to show him, still grinning. PINOCCHIO (muttering sarcastically) You're an artist. EXT. SOPHIE'S CAR - DAY The car glides to a stop on a quiet two-lane road. As the shot widens, we find ourselves: EXT. CEMETERY ENTRANCE - DAY It's a national cemetery, with identical white markers flowing in rows as far as the eye can see. Sophie emerges from the truck. Heads determinedly into the cemetery. EXT. CEMETERY - DAY She's got a scrap of paper in her hand and she consults it as she walks along, glancing at the graves. The white markers belong to soldiers, most who died young. One for John Cabot (from "Leviathan."). Sophie stops, backs up. Looks around as though checking landmarks. SOPHIE (whispers) It's not here. EXT. WOODS - DAY The sign now hangs proudly over a tree stump in the clearing. On top of the stump is a simple wooden box with a slit cut into the top of it. Next to the box are a stack of ballots. They're simple, with two large checkboxes next to a pair of names in large type. One, John Locke. The other, Omar Santiago. A couple of pathetically stubby pencils rounds out the set. A small crowd has gathered. Locke checks his watch, then the sun. He's sweating. It's time. He approaches the stump. Has to lick his fingers to separate out one of the ballots. Drops his chosen pencil. Picks it out of the grass triumphantly and makes his mark. Folds the ballot in half once and shoves it into the box. Turns and grins. The crowd applauds. We see now that Pinocchio's not with them. He's in the background, leaning against a tree, his arms folded. Not quite scowling, but close enough. Others in the crowd begin taking their turns to vote as Locke moves away. Some of them grin at him, pat him on the shoulder. Hobbes approaches him. HOBBES Quite a turnout. LOCKE I'm proud to see everyone here today. But he doesn't stop walking. Hobbes watches as Locke settles against the tree next to Pinocchio. PINOCCHIO What do you think you're going to prove? LOCKE I could ask you the same question. PINOCCHIO I don't like to play games I can't win. He looks almost pained as he realizes the real irony of his words - he's stuck inside a game he can't win. LOCKE Sometimes the winning's in how you played. Pinocchio turns his head away. He doesn't want to have this conversation. He doesn't want to be involved. PINOCCHIO You'd better watch for the Republican Guard. LOCKE Their notice would be a good sign. PINOCCHIO Today's as good as any to die. He looks at Locke. PINOCCHIO Why are you doing this? LOCKE I think you know. And he walks away, leaving Pinocchio to stare after him like he's lost his mind. EXT. CEMETERY - DAY A CARETAKER approaches Sophie. He's elderly, but fit, with a rake or some such gardening implement in his hand. CARETAKER Nice day for it. SOPHIE Sure is. She doesn't quite make it to upbeat. CARETAKER There's somebody you're looking for. SOPHIE A man - a soldier - who served with these other men, as far as I can tell. I thought he died with them, but I don't see a marker. The caretaker peers over his glasses to see where they're standing. CARETAKER Oh, yes, these are just memorial stones. K.I.A, but no bodies were ever found. He stops a moment to look Sophie over, taking notice of her condition. CARETAKER What did you say your friend's name was? SOPHIE Pinocchio. Mike Pinocchio. The dog tags Inga gave her in "Leviathan" come out of her pocket and she starts rubbing the metal unconsciously. EXT. WOODS - DAY Everyone at the polling place is having a nice time. It looks almost like a happy picnic on a summer day in the real world. The RUMBLE of Humvees and Jeeps casts an instant pall over the festivities. Everyone freezes, wondering whether to scatter or stay and fight. Pinocchio draws his gun, ready to fire. Hobbes and Florence move toward him, ready to back him up. The cars pull to a halt and MEN in uniforms emerge. They look at the sign menacingly. But they don't rip it down. As the crowd parts, they approach the ballot box. One by one, they make big, dark marks through the checkbox for Santiago. And then they return to their vehicles. But they don't get inside. Hands on their rifles, they wait. INT. CEMETERY OFFICE - DAY The caretaker rounds his desk, pulling out an oversized book and working his way through it, reading down columns with his finger. CARETAKER We're supposed to get computerized next month. Sophie smiles, and waits. CARETAKER (sadly) Such a lot of names. He glances at her knowingly. CARETAKER Was he, uh, your young man? SOPHIE No. He's someone - a friend of a friend. The caretaker snaps the book closed, his eyes suddenly blazing. Sophie's taken aback. SOPHIE What is it? CARETAKER He's not here. SOPHIE He's not dead? CARETAKER I said, he's not here. Across the street. His eyes narrow in on the dog tags she's still fingering. CARETAKER With the civilians. He closes his mouth, and will say no more. Sophie looks at the tags in her hand and clutches them more tightly. Turns and leaves the office. EXT. CARETAKER'S OFFICE Sophie stops just outside, squinting in the sunlight. She looks uncertainly to the cemetery across the street. Behind her, we see the shadow of a man who is watching her. EXT. WOODS - DAY The day is done. Locke picks up the box and turns to survey the waiting faces of the crowd. He can't avoid looking at the soldiers, who are still waiting, although they look bored now. Locke hands the box to Pinocchio, whose eyes light with surprise. LOCKE Count them. Pinocchio raises an eyebrow - "me?" LOCKE You'll be fair. PINOCCHIO (muttering) Fair. But he takes the box. Locke removes his hands from it with a significant look into his eyes. Pinocchio sits down at the makeshift table and opens the box, pulling the folded ballots out. There's quite a lot of them. He goes to work, unfolding them and putting them into two piles, aware he's being watched. EXT. CEMETERY - DAY Sophie walks through. Looking, but not finding. The dog tags are still in her hand. And we see the shadow of the man who is following her. Finally she comes to a stop, in a secluded corner of the graveyard. There's a flat stone and the grave is unkempt, forgotten. One word carved into the stone: PINOCCHIO. Sophie frowns, kneels down by it. Traces the name with her fingers, then looks down at the dog tags. Comparing. She turns, to look at the surrounding stones, and jumps at the shadow of the man. The Caretaker. She looks at him crazily. SOPHIE Do you know more? About this grave? He eyes the dog tags again. CARETAKER Shouldn't you know? Friend of a friend? Sophie glances around, suddenly realizing she's in a secluded place with a man who doesn't seem so little and old any more. SOPHIE Could you tell me, please? It could be very important. He makes an unhappy face. SOPHIE Why isn't he in the military cemetery? CARETAKER I don't know how he died. But there was no honor in it. Sophie looks at him. SOPHIE Is there a body in this grave? The caretaker looks startled. CARETAKER I've said enough. He turns and bolts. Sophie starts after him, but he's too quick, and she stops, breathing hard. Behind one of the tall stones, another shadow moves. Sophie freezes, instantly alert. Though she waits, no one emerges. SOPHIE (tremulous) Who's - Who's that? There's only silence. Sophie turns and runs, fleeing into the woods, searching for a shortcut to her car. EXT. WOODS - DAY Pinocchio sets the stacks of paper down. He's finished counting. A survey of faces, people waiting for the answer. Hobbes. Florence. The Republican Guardsmen. Locke. PINOCCHIO Locke. EXT. WOODS - DAY Sophie, running. Heavy footsteps pursuing her. She turns but cannot see him. Gunshots ring out. She screams and ducks as they whiz past her. Now she's running in earnest. Behind her, left behind, the silver of the dog tags glint from where she dropped them. Large, heavy, military style boots come to a stop. The man who was following her bends down and picks up the dog tags. We never see his face. ACT FOUR EXT. CEMETERY - DAY Sophie comes out of the woods, running like mad. She trips and falls down as she approaches the truck. Looking behind for her pursuer, she picks herself up. Both her knees are skinned but she doesn't notice. She runs for the truck and locks herself inside. Takes a moment and looks around. The world outside the truck is peaceful. No one is there. Maybe she imagined it all. She reaches to put her key into the ignition. Hesitates. Then again, maybe he did something to her truck. She swallows hard, and turns the key in the ignition. Flinches as it roars to life. Nothing bad happens. She stomps on the gas and roars away. INT. RESTAURANT - DAY It's upscale, filled with men in business suits and women with their hair pinned up. Some with shopping bags, others with laptops and cell phones. Sarah is waiting, sipping her drink. Bored. She gets to her feet as Sophie approaches. SARAH You look like you've been through the wars. Sophie's look is pained as she sits down. SARAH Sorry. What happened to you? SOPHIE Someone's trying to kill me. Sophie waits almost desperately for a response. Sarah doesn't know what to say. SARAH I'd say your imagination always did run away with you but you've never had any imagination, Sophie. What the hell is going on? You're bleeding. She touches her sister's scratched cheek. SARAH You're shaking. Sophie, you're scaring me. SOPHIE I'm scared, Sarah. Ever since Tom...I don't know what my life's become. Sarah's stunned. And her citified manner should let us know she's hard to stun. SOPHIE There's this mysterious woman who told me Tom's not dead, that the government's hiding something - Sarah nods. Trying to encourage her. SARAH That's why the inquest? SOPHIE Someone followed me yesterday, in my car. And then this morning someone chased me through the woods and shot at me. Sarah nods. Sophie scrapes her hair back. Takes a deep breath. SOPHIE I don't know. Let's eat. Sarah's wide-eyed at the sudden turnaround, but she picks up her menu and raises one hand to signal the waiter. EXT. WOODS - DAY The Republican Guard start shooting. They don't even move from leaning on their car, firing into the crowd. A woman gasps as she's shot, and falls. Blinks out. Pinocchio grabs Locke's arm. Hobbes is right there. PINOCCHIO We have to get him out of here. He relinquishes custody to Hobbes, who moves away with the politician as Pinocchio covers him, firing back at the Republican Guard. He kills one of them. The other two give up their pursuit of the scattering crowd and focus on him. Pinocchio grits his teeth. He's distracted them from Locke, but he never exactly wanted to give his life for that cause. He runs, firing back at them. Dodging. Leaps over the hill Hobbes and Locke are hiding behind. PINOCCHIO Was this the plan? Locke stands up. HOBBES Are you crazy?! Get down. LOCKE The people have spoken against tyranny. Like the soldiers care. They shoot him about 57 times. Pinocchio and Hobbes are on their feet. Facing the soldiers. Not about to die. For a moment, the sets of men look at each other. Gunfire is exchanged. The two soldiers blink out of existence. Pinocchio looks at Hobbes. PINOCCHIO I told you this was a bad idea. Hobbes is shaken, but speaks with conviction. HOBBES I don't agree. INT. RESTAURANT - DAY Sophie and Sarah are now eating. SOPHIE Mel came over last night. SARAH Mel *Waters*? Sophie nods, eating. SARAH You're not going to get involved with him again. SOPHIE I was happy to see him. SARAH (torn) I want you to move on, and be happy, Sophie, but - SOPHIE I never understood what you had against him. SARAH You can't be serious. Sophie is. SARAH Soph. Stay away from him. SOPHIE He introduced me to Tom. SARAH That's fine, but don't get involved with him again. He's got wifebeater's eyes. Sophie just looks at her. Sarah picks up her bag. SARAH You ready? EXT. RESTAURANT - DAY Sarah walks Sophie to her car, then lingers. SARAH Tell me about the baby. Sophie produces the manila folder, opening it and handing it to Sarah. Ultrasound pictures. SOPHIE I heard her heartbeat. SARAH (breaking into a wild grin) Her? The sisters grin at each other. SARAH I'm so happy for you. SOPHIE I only wish Tom could be here. To know about her. Sarah puts her hand on Sophie's shoulder. SARAH Are you going to be all right? Sophie smiles tightly and nods. SARAH Mom and Dad would love to spoil you rotten. ' Again. SOPHIE I was never the spoiled one! SARAH I mean it. Maybe it would be good for you. Get away from - all of this. The bad memories. Sophie nods, but doesn't say anything. SARAH You know you'll always be safe - SOPHIE (choked up) I know. She nods, now trying not to cry. SOPHIE (again) I know. SARAH Oh, I didn't mean to - She reaches to try to wipe Sophie's tears away, and then just hugs her sister instead. A hard, tight hug, conveying just how worried she is. They move apart. SARAH Sophie. Come home. She doesn't protest. Nor does she agree. SARAH Think about it. EXT. PARKING LOT - DAY Angle on Sophie from a distance as she gets into the truck. A man's hand on the steering wheel of the dark car from the teaser. The brake and backup lights light up on Sophie's truck. The hand of the man in the car, holding up the dog tags. The light glints blindingly off them for a second as they twirl in the sun. Sophie's car pulls out onto the road. The hand opens the glove compartment and pulls out the handgun stashed inside. A moment. Then the gun goes back in and the glove compartment slams closed. Sophie's truck is gone. The dark car starts up and pulls out, turning in the direction opposite the one Sophie went. INT. SOPHIE'S HOUSE - DAY She comes in. Tosses her purse and stuff down, then lies down on the couch. She's completely exhausted. Notices the message machine light is blinking. Sighing, she gets up, walks over, presses the button. MACHINE If you'd like to make a call, please hang up and try again... Then it goes to a fast busy signal. Sophie looks at the telephone. It's hung up properly. She looks back to the answering machine, then turns and looks at the house with a critical eye. But there's no evidence anyone has been there. She resets the answering machine. Now she's nervous. She can't rest. She picks up the telephone and starts to dial, then puts it down. She goes to the door, opens it. Looks out. There's a car parked on the street. We might recognize it as Inga Fossa's car from 1x3. EXT. SOPHIE'S HOUSE - DAY Sophie storms out there, and pounds on the window with the flat of her hand. Angry. The window slides down. INGA It's not safe for you to be seen with me. SOPHIE I don't care! Why are you watching me? Who's been inside my house? Leave me alone! She stomps away. Inga emerges from the car. INGA Sophie. Sophie stops, glares at her. SOPHIE I saw his grave. Mike Pinocchio. Inga is visibly affected. SOPHIE Someone must have cared about him, once. Was it you? Inga's not gonna touch that one. INGA You need to be careful. Very careful. There are powerful men - SOPHIE I want you to tell me what's going on. INGA You almost got yourself killed today. SOPHIE Do you know who -? INGA Do you think they're going to stop? Sophie just looks at her. Fear overtaking her anger. SOPHIE What - What am I - INGA You can't walk away now. Whatever you choose. She gets back into her car. Starts the engine. And drives away. Leaving Sophie standing in the middle of the road. Looking lost. And vulnerable. After a moment, Sophie shakes her head and goes back into her house. What she didn't notice before is another car. Parked across the street. A man inside who saw the entire scene. It's the Man in Charge himself. End.