A Person From Porlock
[THE WARD. COMMOTION AS THE PATIENTS ARE BEING TRANSFERRED TO THE SUBLEVEL. BEDS BEING PUSHED PAST, TROLLEYS WITH SQUEAKY WHEELS, CONVERSATIONS, RAISED VOICES. MARMITE, IN THE BACKGROUND, ARGUES WITH ANOTHER MEMBER OF THE NURSING TEAM]
NURSE
Marmite put the bed up before you unplug it or it won’t go.
MARMITE
Yeah, I know what I’m doing.
NURSE
Then why are we having this conversation?
[A BED RATTLES PAST. SHE CALLS OVER TO WARREN, WHO’S LOADING A LINEN TROLLEY]
NURSE
You okay there, Warren?
WARREN
Uh, yeah!
NURSE
Just take what we need, you don’t need to pile up everything.
WARREN
Sure!
[HE LOWERS HIS VOICE]
WARREN
Cause I know what we need. For anything whatsoever.
[HE MOVES SHEETS FROM THE CLOSET TO HIS TROLLEY]
WARREN
Gord, does this happen often? Moving everyone around like this?
GORD
We have evacuation drills to the sub level every 4 months.
WARREN
The real thing though. Like, not a drill.
GORD
There have been 3 occasions since my activation where a risk assessment advised the precautionary measure of sub level evac.
WARREN
So, this isn’t the first time something scary has happened. People are like ready for it.
GORD
Two of them were threats from other communities that were successfully averted through negotiation and trade agreement. The third was a flock of pink-footed geese that Marmite mistook for an airborne assault.
[THIS IS NOT COMFORTING INFORMATION]
WARREN
Cool cool cool.
[WARREN’S COMM CRACKLES. IT’S HESTER]
HESTER
Warren, it’s Hester. How are you doing up there?
WARREN
Uh, fine thanks. It’s all very busy.
HESTER
Just do what you can. You’re an extra pair of hands, we’re grateful.
WARREN
Right. Hester, there are a lot of things going on here that I don’t understand, and it all feels like a lot of fuss, are you absolutely sure that this isn’t all my fault?
HESTER
It isn’t your fault.
WARREN
It feels like it might be my fault.
HESTER
With respect Warren, it isn’t always about you.
WARREN
I… Wow, alright. Jesus.
[CUT TO: HESTER, WALKING DOWN A BUSY CORRIDOR. PEOPLE MOVE BY HER QUICKLY]
HESTER
Sorry. I was experimenting with tough love.
WARREN
That’s more Aubrey’s area, isn’t it?
[THE CLATTER OF ITEMS BEING DROPPED ON THE FLOOR. HESTER SHOUTS AT WHOEVER DROPPED THEM]
HESTER
Watch what you’re doing with those! We don’t have time to forge new weapons!
WARREN
What?
HESTER
Don’t worry about it! Warren, once everything is in place I’ll be running things from the Control room - if you’d rather join us down there than be in your quarters, you’re welcome.
WARREN
Okay, thanks. Bye.
[WARREN CLICKS OFF. HESTER CLICKS THROUGH CHANNELS, AND GRUMBLES TO HERSELF]
HESTER
Stevie? Where are we?
[CUT TO: STEVIE, IN THE FARMHOUSE. IT’S QUIET, JUST THE CREAK OF A FLOORBOARD HERE AND THERE]
STEVIE
Hi Hester. I’m at the house. Defences are live, don’t send anyone else out here now.
HESTER
And the valley floor defence system?
STEVIE
I mean, everything looks good. As long as the reactor is happy it should work fine. I’ll make my way back now, does Grace need any help?
HESTER
I don’t know if he’s in the operating room or fetching our special guest.
STEVIE
Aye, I’ll check. If he’s okay, I’ll see you in Control.
[STEVIE TURNS HER COMM TO A DIFFERENT CHANNEL]
STEVIE
Grace? It’s Stevie. I’m done at the farmhouse, do you need a hand?
GRACE
No, thank you Stevie, all in hand. Head to Control.
[CUT TO: GRACE, WHO’S STANDING IN BRYONY HALBECH’S CELL]
STEVIE
Sure thing boss. Careful around the evil genius. Remember she’s a good shot at throwing shoes.
GRACE
Thank you for the advice, Stevie.
[HE IS ONLY A COUPLE OF METRES AWAY FROM BRYONY]
BRYONY
Surely I’m not the first person to throw a shoe at her. How can you live alongside such relentless pluckiness?
GRACE
It’s time to get to work, Bryony.
[BRYONY YAWNS AND STRETCHES]
BRYONY
Righty. So, do I get a lab, a team? What kind of timeframe are we working with? I’ll need a few days to survey what kit you have in the future…
GRACE
The bad people might be coming to kill us all sometime over the weekend. So, we thought we’d better crack on and get it done tonight.
[BRYONY LAUGHS HEARTILY FOR PERHAPS THE FIRST TIME EVER]
BRYONY
Oh, sure. Sure! Why not. It’s the weekend you say? I do hope there’s music. I’m sure Aubrey runs a fun emergence.
GRACE
I’ll be in charge of Gordon’s emergence.
BRYONY
Oh really? And what’s Aubrey up to?
GRACE
Everything else.
[CUT TO: MALCOLM’S QUARTERS. AUBREY IS ADMINISTERING SOME MEDICATION TO MALCOLM. MALCOLM IS SUBDUED BUT QUITE UPBEAT]
AUBREY
Hold still.
MALCOLM
Yes.
[AUBREY GIVES HIM AN INJECTION]
AUBREY
And there.
MALCOLM
You know umm… You know I can do my own injections.
AUBREY
I know you can. Just wanted to.
MALCOLM
How are you feeling?
AUBREY
I’m fine.
MALCOLM
So am I. Isn’t that strange?
AUBREY
You and I are alike that way. It’s the standing still that kills us. Days like this… that’s when we come to life.
[MALCOLM GRUNTS A LAUGH AT THIS,]
AUBREY
You sure you’re okay, Malcolm?
MALCOLM
Don’t be soft. I’ll be alright. You just do what you’re best at.
AUBREY
Alright.
MALCOLM
Hold your bloody nerve, Aubrey. And maybe we both get what we want.
[THE INFIRMARY, IN THE SUBLEVEL OF THE STATION. GRACE, BRYONY, AND THE REST OF THE SURGICAL TEAM ARE STOOD AROUND GORDON’S POD. THE OTHER TEAM MEMBERS ARE MOVING AROUND THE ROOM. EQUIPMENT IS BEING WHEELED IN AND OUT, BEING PLUGGED IN, VARIOUS BEEPS AND ALARMS AS SELF-TESTS ARE CARRIED OUT. THE SWOOSHING NOISES OF A MECHANICAL ARM - THE ROBOTIC SURGICAL ASSISTANT GRACE ASKS FOR ATTENTION]
GRACE
Okay. Alright. Everyone’s here, yes?
TEAM
Yes sir.
GRACE
Good. It’s important not to look at this as two procedures, the emergence and then the surgery. They are both entirely intertwined. The moment we press go and the thawing process begins our patient goes from stable to unstable. From known to unknown. So, we want to get him out of this pod and on to the operating table as fast as possible.
[HE PAUSES]
TEAM
Yes sir.
GRACE
On a more personal note, I know there are a lot of nerves around this situation, and for some of us a lot of emotions. Myself included. I knew Gordon Porlock for a short time. And it was Aubrey and I who put him in this cryopod 44 years ago. So, believe me when I say I understand your apprehension. But you are in this room now because we know what you are capable of. The most important thing to remember at any stage of this operation is to communicate. If you see something you don’t think looks right, speak up. I’m team leader for this procedure, but Gord operates the surgical drone, please listen to him. Okay then. Anaesthetics?
ANAESTHETICS
Check.
GRACE
ECMO?
ECMO
Check.
GRACE
Transfusion?
TRANSFUSION
Check.
GRACE
Resus?
RESUS
Check.
GRACE
Gord?
GORD
Surgical drone is fully operational.
GRACE
Bryony?
[SILENCE]
GRACE
Bryony?
BRYONY
Oh. Check. Check a doodle doo. Sorry, I was thinking about something else entirely.
GRACE
Are you ready?
BRYONY
The robot surgeon speaks with Gordon’s voice.
GRACE
Yes. We could change it back but-
[RUMBLINGS OF DISSENT FROM THE TEAM]
ANAESTHETICS
No, we like it.
RESUS
It’s kind of soothing.
GRACE
It does seem to have caught on.
BRYONY
What a regular and well-balanced group of people you all seem to be.
[PAUSE]
GRAC
Well then. Bryony?
BRYONY
Yes?
GRACE
Uh. You start.
BRYON
Oh! Of course.
[BRYONY LOOKS AT HER STATION, REMEMBERING WHAT TO DO NEXT]
BRYONY
Um. Ah. Hot frogs, jumping…wait.
[PAUSE]
GRACE
No, it’s hot dog, jumping frog-
BRYONY
Yes, yes. Hot dogs, bag of frogs, Alber-qwer-qwoo.
[SHE HITS BUTTONS QUICKLY AND THE POD MAKES AN AWFUL JUDDERING NOISE]
BRYONY
That’s me, that’s me.
[SHE HITS ANOTHER BUTTON AND THE NOISE STOPS ABRUPTLY. THERE ARE SOME AUDIBLE TUTS]
ANAESTHETICS
Jesus.
BRYONY
Come on you lot, find the fun and the job’s a game. Let’s start that again.
[CUT TO: THE CONTROL ROOM. AUBREY, STEVIE AND MARMITE, NUMEROUS OTHER PEOPLE AT THEIR STATIONS, WATCHING AND WAITING. A LOW HUBBUB OF ACTIVITY, BUT NOT LIKE THE CRYO SUITE. EVERYONE IS STILL, SAT AND BUSY AT THEIR DESK. THE DOOR OPENS]
HESTER
Hey, Aubrey? You’re not in the suite? They’re starting.
AUBREY
I’m needed here in Control.
HESTER
You’re the most experienced cryonic scientist in this hemisphere.
AUBREY
No, Bryony Halbech is. They’ve got the best people down there. I’d only complicate things. Are we dark?
HESTER
Aubrey you’ve been planning Gordon’s op, you should be down there. Is that - my love, why is your shotgun up here?
[AUBREY LOWERS HER VOICE]
AUBREY
I’m exactly where I need to be and if you want to have this conversation could we save it for when we’re alone?
[HESTER KNOWS WHEN SHE’S TALKING TO A BRICK WALL]
HESTER
The levels are clear, and we’re powered down. We’re dark. Sir.
[BEAT]
HESTER
Stevie, Marmite. Any traffic out there?
STEVIE
Nothing to see, nothing to hear.
MARMITE
You really think they’re coming? Tonight?
HESTER
I don’t think anything. Aubrey?
AUBREY
Who knows.
[THE DOOR CREAKS OPEN AGAIN]
WARREN
Hi, Hester. You said I could join you if -
HESTER
It’s fine, Warren. Are you alright?
WARREN
Yeah. I… I just, I don’t know what to do with myself.
HESTER
It’s okay. They should have started the procedure by now. It’s probably best you’re not just sat in your room.
WARREN
Thanks. Aubrey, I thought you were part of the operation.
AUBREY
They’ve got the best team. Let’s just leave them to it.
WARREN
Umm, yeah. Sure.
[ANOTHER SILENCE]
WARREN
So, we’re all just standing in silence, yeah?
HESTER
Pretty much.
WARREN
Yeah. That’s cool.
[CUT TO THE INFIRMARY. THE RHYTHMIC THUDDING OF THE MACHINES DOING THEIR THING]
GRACE
Picking up any life signs yet?
ANAESTHETICS
Nope.
RESUS
This is taking too long.
GRACE
This is how long it takes.
[SILENCE]
GORD
Perhaps we could practice baritones again.
GRACE
Gord, I don’t think this is the right time for th -
GORD
AAAAAAAAAAAAAAAAARGH -
GRACE
Gord. Let’s just focus.
GORD
Of course.
[QUIET. THE MACHINES THUD AWAY]
BRYONY
Is Porlock his actual name or is it something he made up?
GRACE
I’m sorry?
BRYONY
It’s an uncommon name. It’s a village in Devon, isn’t it? Porlock.
GRACE
I don’t know.
BRYONY
So, there’s this poet, Samuel… what was it? Coleridge. Samuel Taylor Coleridge. He’s writing a new poem. This was a long time ago. It’s a real moment of inspiration for him. But then he’s interrupted by some fellow from the nearby village of Porlock, who proceeds to drag him away on some tedious business, and by the time he gets back to his poem, the moment’s passed. The spark is gone. The poem’s ruined. Hence the literary allusion of ‘A Person from Porlock’. Someone who gets in the way of inspiration at the crucial moment.
GRACE
That’s an interesting piece of trivia, Bryony.
BRYONY
I only learned this fact coincidentally. Sometime after I shot Gordon here. But it’s apt in a way, isn’t it? We were on the verge of breaking this technology. It was all coming together. Then Gordon Porlock comes along. And Aubrey Wood. And it all turned to rubble.
GRACE
I don’t know about that. From where I’m standing, we barely slowed you down.
[A BLEEP ON A MONITOR]
ANAESTHETICS
Trace. End-tidal CO2.
RESUS
Grace, there’s movement in the drip. He’s taking the warm fluids.
GRACE
Open the pod. Bryony!
BRYONY
Yes, Dr Melé.
[THE HISS AND RELEASE OF THE POD’S LOCKING CLAMPS. CUT TO THE CONTROL ROOM. ]
[CUT TO THE CONTROL STATION]
MARMITE
Something just pinged on the perimeter.
[AUBREY WALKS OVER TO MARMITE’S STATION]
AUBREY
If it’s a family of pink-footed geese Marmite, I’m going to give them your bunk.
MARMITE
I think we got a picture.
[MARMITE BRINGS UP A SECURITY CAMERA SHOT WITH A FEW CLICKS. THEY LOOK AT IT]
AUBREY
Can you enhance it?
MARMITE
I… don’t know how to do that.
AUBREY
Just zoom in on it.
[PAUSE]
AUBREY
It’s not geese.
MARMITE
Yes!
AUBREY
It’s a fleet of drones.
MARMITE
Oh.
[A BLIP FROM STEVIE’S MONITOR. IT REPEATS AND BEGINS TO BLIP STEADILY]
STEVIE
I’ve got them now.
HESTER
How many?
STEVIE
Eighteen…no, twenty. Twenty-five. So much for the valley floor defence system, they’re too high to be in range.
WARREN
Twenty-five sounds like a lot.
AUBREY
They’re small. Can’t be carrying much on board.
HESTER
Surveillance.
AUBREY
They want to know what they’re dealing with.
STEVIE
They’re slowing down. They’re reaching the farmhouse.
HESTER
They won’t stay long. Nothing of interest.
[CUT TO THE INFIRMARY. NOISE AND MOVEMENT. A LOT OF THINGS HAPPENING AT ONCE]
ANAESTHETICS
Arterial and central lines still aren’t picking up, checking the transducers.
GRACE
Is the tranexamic on board?
ANAESTHETICS
Yep, looking for a new vein though, struggling with flow.
GRACE
Vitals.
ANAESTHETICS
Never going to get oxygen saturation off his peripheries. Might never pick them up again after this long. Heart rate’s 130.
GORD
Ready to make incision.
ANAESTHETICS
Still waiting on blood pressure.
GORD
Grace, I believe I should start.
GRACE
His BP will go through the floor once you open him up. We need to know what we’re working with first.
[A BEEP]
ANAESTHETICS
Got it. Blood pressure’s 74 systolic.
GORD
Risk assessment made. Making first incision.
[GORD MAKES AN INCISION INTO GORDON’S ABDOMEN, IMMEDIATELY PRESENTING A LOT OF BLOOD. THE SLURP OF SUCTION REMOVING IT FROM THE WOUND]
GORD
Large swabs. Thank you. Please ensure this excess blood is salvaged for re-transfusion.
TRANSFUSION
Cell salvage is going.
GRACE
I want two units of O-neg pushed through and platelets ready to go.
TRANSFUSION
Got it.
GRACE
Gord?
GORD
Toothed forceps please. Larger. There is a shard of his iliac crest I am attempting to reach. I will need to check the nerve later. Splenectomy likely. Diathermy.
THE HISS OF DIATHERMY (ELECTRICALLY HEATED FORCEPS) CAUTERISING BLOOD VESSELS. THERE’S A COUGH FROM THE SMOKE IT MAKES]
GORD
Cauterized. Well.
GRACE
What?
[PAUSE AS GORD INVESTIGATES]
GORD
Perhaps you could pass this to Doctor Halbech.
[GORD DROPS SOMETHING SMALL AND HARD INTO A DISH]
ANAESTHETICS
What was that?
GORD
The bullet.
ANAESTHETICS
Oh.
GORD
Just returning lost property.
BRYONY
Wow. Spicy little robot, isn’t he?
GORD
Find the fun and the job’s a game.
GRACE
If we could just focus, please.
[CUT TO THE CONTROL ROOM. THE BLIP OF THE DRONES ON STEVIE’S SENSOR]
STEVIE
The drones are at the house. They’re stopping.
WARREN
What are they doing?
HESTER
Looking for a heat signature. They’ll move on in a second when they see it’s empty.
WARREN
How dangerous are these things?
HESTER
Depends what resources Overhead have. They’re small but they could still be armed. Or just here to look around.
STEVIE
They’re circling the house.
MARMITE
Why would they do that? If it’s empty?
AUBREY
Because it isn’t.
HESTER
What?
AUBREY
There’s someone there.
HESTER
Who is there?
[CUT TO THE FARMHOUSE. WIND IS BLOWING THROUGH THE OPEN AND FLAPPING FRONT DOOR - FLOORBOARDS ARE CREAKING. MALCOLM SITS IN THE KITCHEN]
MALCOLM
Right. Hello there. Come in, come in.
[THE BUZZING SOUND OF FLOATING DRONES ENTERING THROUGH THE FRONT DOOR]
MALCOLM
Ah there’s room for everyone. In you come, in you come, spread yourselves out.
[CUT TO THE INFIRMARY]
GORD
I’m unable to control this bleeding, Grace.
TRANSFUSION
That’s 8 units.
ANAESTHETICS
Heart rate’s going up. 170.
TRANSFUSION
Everything we’re putting in is just coming straight back out.
GRACE
Okay. Okay.
[GRACE BREATHES OUT SLOWLY. ALARMS AND MONITORING BLEEPS CARRY ON]
BRYONY
It’s not the right blood.
ANAESTHETICS
What?
BRYONY
It’s not the right blood.
GRACE
What do you mean?
BRYONY
O Negative isn’t going to cut it for him anymore. He’s lived longer with the Hartshorn infusion in his system than without it. Now it’s all being flushed away, and he doesn’t have the time to adapt.
GRACE
We don’t have any more Hartshorn. There is no more Hartshorn.
BRYONY
Well, I could make some given the right ingredients and enough time.
ANAESTHETICS
Time? How much time would you like?
BRYONY
A week or so.
GRACE
Bryony, if you are not going to help, I need you to be quiet -
BRYONY
Dr Melé, please. I was thinking about his aftercare. Right now, it’s obvious what he needs. Isn’t it?
[CUT TO THE CONTROL ROOM]
HESTER
Malcolm? What the hell is Malcolm doing in the farmhouse?
AUBREY
It was his idea.
HESTER
What was his idea?
WARREN
Sorry, what’s going on?
HESTER
How did you get him there?
AUBREY
The tunnel. He enjoyed that bit.
HESTER
Aubrey. Was he lucid?
AUBREY
Of course he was. He understands the situation as well as any of us. Better, actually. This is how he wants it to be.
WARREN
Wants what to be?
AUBREY
We wanted to send a message.
[THE CRACKLE OF A COMM]
GRACE
Hester? Hester?
HESTER
Grace? Is everything okay down there?
GRACE
I need you to get Warren down here right now. Hurry.
[CUT TO THE HOUSE]
MALCOLM
Now umm… which one of you shall I address? Umm… Can any of you things talk to me?
[A SPEAKER CRACKLES ON THE NEAREST DRONE. A VOICE COMES TO LIFE. REBECCA LANDRY]
REBECCA
…Dad?
MALCOLM
Rebecca. I… I hoped it would be you. It’s so good to hear your voice.
REBECCA
Dad, I… I didn’t know you were… how… what are you doing there?
MALCOLM
Rebecca, I want you to listen to me. Just…Just for once.
REBECCA
Dad, we can… we can come and get you, we can find a way -
MALCOLM
Rebecca. Shh… just… Listen to me.
REBECCA
What?
MALCOLM
I… I spent too many years trying to make you want the same things as I did. I beg of you, remember that person you used to be. Before the company. Before all this. I thought we could beat any challenge this life could throw at us by simply outlasting it. But we can no more separate ourselves from this world than milk from tea. You need to leave these people be, Rebecca. They’re trying to do some good in the time they have left. And there isn’t a lot of time left, my daughter.
REBECCA
I don’t understand what you’re saying.
MALCOLM
Of course you don’t. You still sound so young. Younger than you should be, I fear.
[CUT TO THE INFIRMARY]
ANAESTHETICS
Heart rate’s 200. He can’t keep up this tachy, He’s going to crash.
[GORDON STARTS TO FIT ON THE TABLE, SHAKING VIOLENTLY]
GRACE
He’s fitting. Gord.
GORD
Sharps away. Can someone please hold his legs?
[WARREN OPENS THE DOOR, STRAIGHT INTO THE CHAOS. BRYONY IS COOL AS A CUCUMBER]
WARREN
What’s happening? What have you done to him?
BRYONY
Warren! I’m going to need you to pop yourself on that gurney over there and roll up your sleeve.
WARREN
I beg your pardon?
BRYONY
Chop chop.
WARREN
You touch me and I’ll chop chop your other arm off.
BRYONY
Warren, Gordon’s about to bleed out and die. And for a bunch of reasons none of us have the time to explain, the only blood that’s going to save him is yours.
WARREN
What? Grace?
GRACE
We are running out of options.
BRYONY
This is the inexplicable reason you brought me here, isn’t it? To save the caretaker? So, it’s up to you, darling.
[CUT TO THE FARMHOUSE. MALCOLM STILL SITS.]
MALCOLM
We have outstayed our welcome, Rebecca. We have no more business here. Any of us. We have to let it go. I beg of you. Just… just let it go.
REBECCA
Dad, let me come and get you, you - you’re not well, I can help you -
MALCOLM
No, I’m not well. And I… I have finally learned there are many worse things in the world than dying. How did… how did Andrew Marvell put it? Wonderful poet. ‘Constrain’d not only to endure Diseases, but what’s worse, the cure; And ready oft the port to gain, Am shipwrecked into health again.’
REBECCA
Dad…
MALCOLM
Nos da, fy nghariad.
[A SWITCH IS FLICKED, A BUTTON IS PUSHED. A LONG BEEP. THEN THE LOUDEST AND BEST EXPLOSION IN THE HISTORY OF AUDIO DRAMA AS THE FARMHOUSE IS RIPPED TO PIECES BY AN ENORMOUS DETONATION. THE FAILING, CRASHING BLEEPS AND BLOOPS OF DYING DRONES. YAWNING AND CRASHING TIMBER. IT GOES ON FOR SOME TIME. CUT TO THE CONTROL ROOM]
MARMITE
Holy shit.
STEVIE
I think they got the message.
AUBREY
Are there any left?
[A PAUSE. AFTER A MOMENT THERE IS A BLIP ON THE SENSOR]
STEVIE
Just one. Heading to us.
AUBREY
Okey doke. Hold the fort. Shotgun.
STEVIE
Yes ma’am.
[STEVIE HANDS AUBREY HER SHOTGUN AND SHE GIVES IT A QUICK CHECK OVER]
MARMITE
You want to go out there?
AUBREY
Won’t be a moment.
HESTER
Aubrey. Aubrey!
AUBREY
Back in a jiffy.
[OUTSIDE THE FACILITY. THE FARMHOUSE FIRE ROARS IN THE DISTANCE, IT’S ROOF CAVING IN, GLASS SHATTERING. THE DOOR TO THE FACILITY IS KICKED OPEN. AUBREY COMES STRIDING OUT. THE BLEEPS AND WHIRRS OF THE DRONE APPROACHING]
AUBREY
Good evening. Hope the journey wasn’t too rough.
[AUBREY COCKS HER SHOTGUN WHICH MAKES A NICE FUTURISTIC HUM AND FIRES IT IMMEDIATELY AT THE ONCOMING DRONE. IT WHIRRS UNHAPPILY BUT NOT YET OUT FOR THE COUNT. AUBREY PUMPS HER SHOTGUN AND FIRES AGAIN. IT SINKS TO THE GROUND SADLY. AUBREY STEPS UP TO HER DOWNED TARGET]
AUBREY
The stars are out. The air is still. This would’ve been a lovely evening. Right. What have we got here?
[WITH AN EFFORT SHE FLIPS OVER THE HEAVY METAL DRONE. THE SOUND OF A DAMAGED CAMERA LENS ZOOMING IN AND OUT, UNABLE TO FOCUS. A CRACKLE OF STATIC FROM IT’S DAMAGED SPEAKER. AUBREY CROUCHES DOWN TO ADDRESS THE CAMERA CLOSELY]
AUBREY
Are you still working little guy? Can anyone hear me?
[THE STATIC CLICKS AND CRACKLES A LITTLE. REBECCA LANDRY IS TRYING TO COMMUNICATE THROUGH IT, BUT HER WORDS CANNOT BE CLEARLY DISCERNED]
REBECCA
Wood - Wood – come on – you better - answer me – Jesus Clive can you make this fucking thing work? Wood - are you – come on - listen to me - Wood -
AUBREY
If you’re still there, Rebecca. He wouldn’t have felt any pain. It was his idea, I promise you. Your father talked about his death often, how he wanted it to be. He kept returning to two main principles. He wanted it to mean something, and he really wanted to explode.
[THE FIRE ROARS AWAY IN THE DISTANCE]
AUBREY
Now, the second one we were able to accommodate. But the first is up to you. Malcolm had the same choice that all who come to Red Valley are given. You can live and die in the manner of your choosing, as long it doesn’t hurt anyone else. You have that same choice. You can all walk away now and live your lives in whichever manner seems best to you. But if you come here with plans to hurt any of my people, or take anyone from here against their will, then that choice is forfeit. Let me turn this camera around. That was a beautiful old house, I don’t want it burning down for nothing. I hope you can get a good picture.
[SHE DRAGS THE DRONE AROUND SO IT’S FACING THE FIRE]
AUBREY
I want you to consider the difference between yourself and your father, Rebecca Landry. Between your people and mine. None of us are afraid to die.
[SHE PUMPS HER SHOTGUN AND FIRES. BEFORE THE SOUND OF THE SHOT EVEN FINISHES RINGING OUT, CUT TO THE BEEP OF A DISCONNECTED COMM CHANNEL]
[OVERHEAD HQ. REBECCA AND CLIVE SIT, ABSORBING WHAT’S JUST HAPPENED. THE MESSAGE REPEATS IN THE BACKGROUND]
BLUE SKY
Connection lost. Connection lost. Connection lost.
[IT IS SWITCHED OFF]
CLIVE
Wow. Becky…I’m… I’m sorry. Uh. That must have been pretty rough.
[REBECCA DOESN’T REPLY]
CLIVE
Malcolm Landry was, uh. You know, none of us would be here without him. You, more than, well. The rest of us. Obviously.
[NOTHING]
CLIVE
But this is… this is why it was good to send the drones and stay back here at HQ. You know, Wood’s played her hand. We’ll keep building support here. Make more allies, strength in numbers. I’ll speak to Pam, see how she can help, and then… then, you know all of us, uh, we can see what we can, um -
REBECCA
Clive I’m going to need you to do something for me.
CLIVE
Uh. Yeah. Yeah. Yeah. Okay.
REBECCA
Shut the fuck up.
[QUARANTINE ROOM. A LITTLE TIME HAS PASSED. THE FAMILIAR BLEEPS OF MONITORING EQUIPMENT BUT CALM AND STEADY. A TICKING CLOCK. MAYBE SOME PANPIPES. A PEACEFUL MOMENT. MOVEMENT ON A BED - SOMEONE PULLING THEIR ARM OUT OF A BLANKET, HALF ROLLING OVER ON THE MATTRESS]
GORDON
Ugh. Urrrrgh.
[FROM ACROSS THE ROOM, ANOTHER VOICE, A LITTLE GROGGY BUT CONTENT]
WARREN
Hey… hey… hey. Either wake up or stop grunting. Oi!
[GORDON IS HAVING SOME TROUBLE SPEAKING]
GORDON
Whu - wut – what?
[HE TRIES TO MOVE BUT IT HURTS]
WARREN
Hey hey hey hey hey. Head back down. I said wake up, not get up. You’ve had surgery.
GORDON
Sur… Surgery?! Warren? Is that you? - what’s - am I? -
WARREN
You’re okay. You’re okay. You’re probably fine.
GORDON
Probably?
WARREN
Well, I don’t know. I’m not a doctor. Wait you remember who I am, right?
GORDON
What?
WARREN
You know who I am?
GORDON
Warren, just tell me everything’s alright.
WARREN
Everything’s alright. Probably.
GORDON
Jesus.
WARREN
I wanted to be honest.
GORDON
Forget honest, just tell me I’m going to be okay!
WARREN
You’re fine! You’re fine, you’re fine, you’re fine.
[A PAUSE. GORDON IS TRYING TO LOOK AROUND]
GORDON
I can’t… see very well.
WARREN
Yeah. I had that too. But don’t worry it gets better.
GORDON
Did you have surgery too?
WARREN
Oh. No.
GORDON
Why are you in a bed then?
WARREN
I gave you a blood transfusion.
GORDON
Why?
WARREN
Something to do with my special blood, and the dodgy infusion that you were given, and antibodies, I don’t know. It was the only way you could survive your emergence. You’re welcome.
GORDON
Wait. Emergence?
WARREN
From hypersleep. You did it man. You Kontinued!
GORDON
What? I was in hypersleep!
WARREN
I know! We both did it at the same time! How cool is that!
GORDON
How long for?
[PAUSE]
WARREN
Well.
GORDON
Warren? How long?
WARREN
Not crazy long. But long…ger.
GORDON
Wait, I can see a bit better now. Why are you smiling?
WARREN
I smile when things get awkward.
GORDON
That’s my line. How long, Warren?
WARREN
It’s 2064.
GORDON
Oh, come on! Just tell me!
WARREN
It’s 2064!
GORDON
No, it isn’t!
WARREN
Yes, it is!
GORDON
Warren!
WARREN
Gordon. It’s been 44 years. It’s weird. But it’s true. You’re gonna like it.
GORDON
No, come on. You’re being infuriating.
WARREN
Gordon, in a minute some people will walk in with faces much older than you remember them and render this discussion moot. But there are several other reasons to believe me.
GORDON
Okay. And what are they?
WARREN
Firstly, you mess around with something called hypersleep for long enough, one day you’re gonna wake up in the future. You’re lucky it’s only 2064. And secondly, well. I’m not gonna lie to you.
GORDON
Well, I’m choosing not to think about this right now.
WARREN
Oh totally. That’s my whole philosophy. I’d write that in Latin on my forehead. You get some sleep. I need you to get yourself better.
GORDON
Why? What’s your plan?
WARREN
It’s not a plan yet. More of an outline.
GORDON
Let me guess. Get the hell out of Red Valley?
WARREN
You read my mind.
[GORDON IS LOSING CONSCIOUSNESS]
GORDON
Are you er… You gonna be here when I wake up?
WARREN
That’s my line.