The Clockwork CityA Screenplay by ncwriter A young inventor lands a job at industrial giants Automex Industries. Soon, though, he begins to uncover a web of sinister secrets its owner, Edgar Dedlock, has been hiding from the public.
THE CLOCKWORK CITY
Copyright (c) 2017 This screenplay may not be used or reproduced for any purpose including educational purposes
ACT ONE, SCENE ONE- THE UPPER HOUSE, EASTFORD, MIDMORNING. THE UPPER HOUSE RESEMBLES THE HOUSE OF LORDS IN WESTMINSTER- RICH, OLD-FASHIONED FURNISHINGS, ALL WOOD AND EXPENSIVE FABRICS. IT IS FAIRLY FULL- EVERYONE THERE IS DRESSED IMPECCABLY IN THE FASHION OF UPPER CLASS BRITONS, AND GIVES OFF AN AURA OF OLD MONEY. NOTABLY, THERE ARE VERY FEW WOMEN. THERE IS SOME CHITCHAT AMONGST SOME PARTIES. A DOOR SWINGS OPEN, AND ALMOST EVERYONE FALLS SILENT, HEADS TURNING TOWARDS THE DOOR. CHAIRMAN AINSLEY SHERWOOD, LOOKING IN GOOD SPIRITS, ENTERS. HE IS A SLICK, CLASSY MAN OF ABOUT FIFTY. SHERWOOD MAKES HIS WAY TO A PODIUM AT THE FRONT, AND PEOPLE’S EYES SHIFT TO HIM. SITTING AT THE FRONT, NEAR TO THIS PODIUM AT A DESK, IS THE SPEAKER.
THE SPEAKER (IN FORMAL FASHION) The house recognises Chairman Ainsley Sherwood.
SHERWOOD (EQUALLY FORMAL) Thank you, Mr Speaker.
SHERWOOD COUGHS TO CLEAR HIS THROAT.
SHERWOOD Good morning to everyone, distinguished people of the Upper House. It is no secret why we are all here. We all know who is arriving tomorrow, and what it could mean for our nation. We all know this, so I will now hand over to somebody who can, perhaps, tell us something that we do not know. Don’t worry, you won’t have to put up with me for too long.
SHERWOOD PAUSES FOR LAUGHS. NONE COME. SOMEBODY SNEEZES. AFTER A FEW SECONDS, THE SPEAKER AWKWARDLY CLEARS HIS THROAT.
SHERWOOD (UNDER HIS BREATH) Suppose it’s early… (MORE AUDIBLY) Now, for a man who needs no introduction, which is just as well, since I didn’t write one…
AGAIN, NOBODY RESPONDS POSITIVELY. SHERWOOD ROLLS HIS EYES.
SHERWOOD (NOW NOT ENTIRELY PLEASED) Alright then. I invite Edgar Dedlock, recognised for his services to technology as the owner of Automex Industries, to address the house on the vote for free trade with Coburg. Thank you.
SHERWOOD STEPS AWAY FROM THE PODIUM AND EXITS AGAIN TO MILD APPLAUSE- APPLAUSE DIRECTED AT THE PERSON HE HAS WELCOMED, RATHER THAN HIM. WE CUT TO THE OTHER SIDE OF THE DOOR- A WOOD-PANELLED CORRIDOR WITH A POSH RUG ON THE FLOOR. A SECRETARY IS WAITING FOR SHERWOOD.
SECRETARY Anything I can do for you, Mr. Chairman?
SHERWOOD You can fire my speech writer. Preferably, out of a cannon.
THEY WALK OFF TOGETHER, AND WE CUT BACK TO THE UPPER HOUSE’S MAIN CHAMBER. EDGAR DEDLOCK TAKES TO THE PODIUM- HE IS A TALL MAN WHO APPEARS TO BE IN HIS LATE FIFTIES, THOUGH WITH SOME VESTIGE OF YOUTHFUL VITALITY ABOUT HIM, WITH RECEDING GREY HAIR AND SIDEBURNS. HE IS EVERY BIT A CLASSY VICTORIAN GENTLEMAN- HE RESEMBLES, PERHAPS, A MORE SUAVE, STYLISH EBENEZER SCROOGE. HE EXUDES A HUGE AIR OF IMPORTANCE, AND CARRIES A CANE, THOUGH HE SEEMS TO HAVE LITTLE ACTUAL NEED OF IT. MOST STRIKINGLY OF ALL, HIS EYES ARE TWO DIFFERENT COLOURS.
DEDLOCK Well, I think the less said about that, the better.
THE REST OF THE UPPER HOUSE TITTERS AT THIS. DEDLOCK SOAKS THIS UP FOR A MOMENT BEFORE BEGINNING AGAIN. HE PRODUCES SOME NOTES AND DONS A MONOCLE OVER HIS LEFT EYE.
DEDLOCK People of the Upper House. Tomorrow, our nation, our United Commonwealth Islands, has perhaps its greatest opportunity to take a great step onto the international stage. We are the greatest industrial power in the civilised world- we lead the world in technology and engineering. There is no country on earth that can equal our manufacturing power, and this is not because of our wealth, or our resources…
AS HE SAYS THIS LAST LINE, DEDLOCK SHAKES HIS HEAD, AND SEEMS CAUGHT IN THOUGHT FOR A SECOND.
DEDLOCK (BACK TO REALITY) We lead the world through our inventive spirit and our hard work. The time has now come for us to lead the world in pioneering a new age of technology…
AS THESE WORDS ARE UTTERED, WE CUT TO MARK HAVISHAM, WHO IS UP IN THE GALLERIES SURROUNDING THE CHAMBER. MARK IS A PLAIN-LOOKING MAN OF AROUND FORTY AND AN EMPLOYEE AT EASTFORD- HE IS CARRYING ON WORK AT THIS TIME, BUT HE QUICKLY LOOKS UP AND FOCUSES ON DEDLOCK AS THESE WORDS ARE SPOKEN.
DEDLOCK (CONTINUING) Tomorrow, the opportunity to lead the world forward into this new age will be upon us. King Friedrich of Coburg will be arriving- the ruler of our most prosperous neighbours. I know that in the past, our two nations’ relationship has not always been the sweetest…
SEVERAL LISTENERS LOOK DISPLEASED AT THIS POINT.
DEDLOCK But the days of the Empire of the Commonwealth are gone, and so we must be ready to work on equal terms with our allies. But the future of this nation lies in technology and industry, a future we can only reach if we shuck the shackles of the past. We are on the cusp of a great breakthrough, a clockwork storm of innovation, but one that requires the help of our neighbours to do so. You all know that my company is the biggest employer in our country. We produce more in the way of sophisticated technology than any other company in the world. Every branch outwards has been a success, most recently our armament of the Royal Constabulary of Trinova. And we have been working diligently towards the greatest advancement in our history- we are ready to advance into the future, so, the question is…
DEDLOCK LOOKS UP AT HIS AUDIENCE, COINCIDENTALLY, RIGHT INTO THE CAMERA.
DEDLOCK (SLOWLY, DELIBERATELY)… are you?
FADE OUT, END OF SCENE. ROLL OPENING CREDITS
ACT ONE, SCENE TWO- ON THE TRAIN, AFTERNOON THE TRAIN IS A FAIRLY NORMAL VICTORIAN-ERA STEAM ENGINE. THE CARRIAGE WE FIND OURSELVES IN IS SECOND CLASS, NOT ANYTHING SPECIAL. THE UPHOLSTERY IS PLAIN IN ALL REGARDS. SITTING IN A CHAIR NEAR THE DOOR, READING A LETTER, IS MICHAEL PERKINS. HE IS IN HIS LATE TEENS, DRESSED AS A YOUNG VICTORIAN, UNDERSTATED BUT HANDSOME IN A SCHOLARLY KIND OF WAY- THE KIND OF BOY YOUR PARENTS WOULD APPROVE OF YOU BRINGING HOME. ABOVE HIM A LARGE CASE SITS ON A LUGGAGE RACK. IN THE SEAT ACROSS FROM HIM SITS A MALE TOURIST WHO LOOKS SET FOR TRAVELLING, WHO IS READING A GUIDEBOOK, USING HIS TRAIN TICKET AS A BOOKMARK. THE TICKET INSPECTOR, WHO IS PASSING DOWN THE AISLE, REACHES THEM. THE TOURIST GIVES OVER HIS TICKET IMMEDIATELY. MICHAEL, STILL READING HIS LETTER, DOES NOT NOTICE.
TICKET INSPECTOR (TO MICHAEL) Ticket?
MICHAEL CONTINUES TO READ THE LETTER, NOT NOTICING. THE TOURIST RETURNS TO HIS GUIDEBOOK.
TICKET INSPECTOR (LOUDER) Ticket?!
MICHAEL LOOKS UP, STARTLED.
MICHAEL (FLUSTERED) Oh. Sorry. One second…
MICHAEL ROOTS AROUND IN THE LETTER’S ENVELOPE, WHICH IS SITTING ON THE SEAT BESIDE HIM. HE PRODUCES A TRAIN TICKET, WHICH HE HANDS TO THE INSPECTOR. HE INSPECTS IT, IN A RATHER OVERZEALOUS MANNER.
TICKET INSPECTOR You’re a bit young to be travelling by yourself, boy.
MICHAEL (NERVOUS, BUT A LITTLE PROUD) I’ve been offered a job, working in the city.
TICKET INSPECTOR (MILDLY IMPRESSED) Fair enough.
AT THIS POINT THE TOURIST HALF-LOOKS UP FROM HIS BOOK WITH A LOOK OF SLIGHT INTEREST, PRESUMABLY LISTENING IN. THE TICKET INSPECTOR FINISHES HIS CHECKING OF THE TICKET AND HANDS IT BACK, SATISFIED.
TICKET INSPECTOR We’ll be there soon enough. You know where you’re going alright? Just Trinova isn’t the safest, ‘specially the industrial district… mind you, it’s not as bad as it was.
MICHAEL (NODDING) I’ve got a meeting. (HE TAPS THE LETTER TO ILLUSTRATE) Automex’s factory on Timber Street.
TRAIN INSPECTOR (HIS ATTENTION NOW CAUGHT) Automex?
MICHAEL That’s right.
TRAIN INSPECTOR (SHRUGGING) Well, better you than me, lad.
MICHAEL (DEFENSIVELY) It’s a good job. Design and engineering.
TICKET INSPECTOR If you say so.
HE DEPARTS. MICHAEL WATCHES HIM FOR A SECOND, LOOKING JUST A LITTLE IN DOUBT, THEN GOES BACK TO PERUSING THE LETTER. THE TOURIST NOW LOOKS UP FULLY FROM HIS GUIDEBOOK.
MALE TOURIST So, is this your first time in Trinova?
MICHAEL (LOOKING UP FROM HIS LETTER) It is. Dream come true, really, working for Automex.
MALE TOURIST (SURPRISED) Really?
MICHAEL (TINY BIT INDIGNANT) Not factory floor stuff, I mean high up, creating the machines that change the world. I’ve always been keen on inventing. It was always more of a hobby, really, but now I’ve been offered a job working in design with Mr Dedlock himself.
THE TOURIST SEEMS TO LIKE MICHAEL’S ENTHUSIASM. HE LOOKS OUT THE WINDOW BRIEFLY.
MALE TOURIST I think you’ll suit Trinova. I’ve been there before- it’s hectic, but if it’s still the clockwork city as I remember it, you’ll love it.
MICHAEL (CURIOUSLY) Why’s it called the clockwork city?
MALE TOURIST (AS IF IT SHOULD BE OBVIOUS) Well, it keeps on ticking over. It never really stops. I think now even the factories run twenty-four seven. Everything works like clockwork.
MICHAEL SEEMS INTRIGUED BY THIS NOTION. THE TOURIST CONSULTS HIS BOOK AGAIN.
MALE TOURIST Except for the clock, ironically.
HE TURNS THE BOOK AROUND TO SHOW MICHAEL THE ILLUSTRATION OF A GRAND CLOCK TOWER.
MALE TOURIST Ashworth’s Spire hasn’t tolled since before anyone can remember.
MICHAEL Can they not fix it?
MALE TOURIST It says nobody knows how to.
THE TOURIST LOOKS BRIEFLY OUT OF THE WINDOW.
MALE TOURIST Looks like we’re here…
HE GETS UP, PICKS UP A HUGE CASE AND DISAPPEARS THROUGH THE DOOR TO ANOTHER CARRIAGE WITH IT. MICHAEL TAKES HIS CASE DOWN FROM THE LUGGAGE RACK AND OPENS IT WITH A KEY. HE UNLOCKS SEVERAL MORE COMPARTMENTS INSIDE, USING THE SAME KEY EACH TIME. WE SEE THE KEY HAS A DESIGN OF A SKULL ON IT. HE STOWS THE LETTER AWAY, SHUTS THE TRUNK UP AND PLACES IT BACK UP. THE TRAIN REACHES THE OUTSKIRTS OF THE CITY, AND BEGINS PASSING THROUGH. MICHAEL LOOKS OUT OF THE WINDOW IN WONDER. THE POSH SUBURBS OF THE CITY ARE BEAUTIFUL AND SPECTACULAR, AND EVERYTHING THAT HE EXPECTED- TASTEFUL BUILDINGS, GARDEN PARKS, AND MORE. A BRONZE-COLOURED, STEAM-POWERED MONORAIL, A MASTERPIECE OF IDIOSYNCRATIC STEAMPUNK TECHNOLOGY, IS SEEN ZIPPING AROUND THE CITY. ON THE FAÇADE OF A TALL BUILDING, A HUGE, IMPRESSIONISTIC ARTWORK IS SEEN OF A BEAUTIFUL YOUNG WOMAN IN REGAL DRESS, WEARING A CROWN. THIS IS QUEEN JOANNA. MICHAEL SITS BACK WITH A SMILE. AS THE TRAIN PROGRESSES THROUGH THE CITY. INSIDE THE CITY, THERE IS A CONSTANT BACKGROUND NOISE OF INDUSTRIAL WORK GOING ON. MICHAEL CONTINUES TO LOOK OUT OF THE WINDOW, BUT GRADUALLY, THE DELIGHTFUL SUBURBS BLENDS INTO THE INNER CITY. HERE, THINGS ARE ENTIRELY DIFFERENT. DEPRIVATION AND POVERTY ARE CLEAR TO SEE. AS THE TRAIN PASSES BY, WE SEE DOWN AN ALLEYWAY, WHERE A TRADESMAN’S ENTRANCE TO A BASEMENT CAN BE SEEN, THOUGH MICHAEL HIMSELF DOES NOT LOOK. A MAN, NICHOLAS “NICK” CHRISTIE, A WORKING-CLASS ACTION HERO, EMERGES FROM THIS ENTRANCE. ANOTHER VIEW FROM THE WINDOW IS THAT OF A CONSTRUCTION SITE, WHERE WE SEE TERRANCE “TERRY” ROBERTS STANDING ATOP AN UNSTABLE-LOOKING SCAFFOLDING. THE AIR IS IN MANY PLACES THICK WITH SMOKE FROM THE AUTOMEX FACTORIES, A SIGHT THAT SEEMS TO PARTICULARLY CONCERN MICHAEL. OUTSIDE OF THE TRAIN, WE SEE BUNCE, A HOMELESS MAN, LIGHTING A FIRE IN A DUSTBIN. HE IS AGEING, HAGGARD, AND THE LEFT SLEEVE OF HIS COAT IS EMPTY. MICHAEL LOOKS AWAY FROM THE WINDOW, HIS EXPRESSION TROUBLED.
END OF SCENE.
ACT ONE, SCENE THREE- TIMBER STREET AUTOMEX FACTORY. TIME IS CONCURRENT WITH MICHAEL’S ARRIVAL IN THE CITY. THE FACTORY IS GIGANTIC, WHIMSICAL ON A WILLY WONKA’S CHOCOLATE FACTORY LEVEL, IF YOU HAPPEN TO PREFER CUTTING EDGE TECHNOLOGY TO CHOCOLATE. THERE ARE MANY LEVELS, AND CATWALKS CRISSCROSS THE UPPER LEVELS, WHICH ARE ADORNED WITH BALCONIES. ON ONE WALL IS A BLOWN-UP VERSION OF THE AUTOMEX LOGO, A BRASS-COLOURED GEAR WITH THE LETTERS “AI” ABOVE A CROSSED HAMMER AND SPANNER. THE FACTORY FLOOR IS A MASS OF MACHINES, HUGE INDUSTRIAL MECHANISMS AND PRODUCTION LINES, MOVING IN A CEASELESS FASHION, CHURNING OUT MECHANICAL PRODUCE. ONE SUCH MACHINE IS A HUGE CIRCULAR SAW ATTACHED TO A CONVEYOR BELT WHICH IS BEING USED TO SLICE OBJECTS IN HALF. A TREMENDOUS CACOPHANY IS PRODUCED BY ALL OF THIS. WORKERS OF BOTH SEXES AND ALL AGES, INCLUDING CHILDREN, MILL AROUND, MANNING PRODUCTION LINES, OPERATING MACHINES, AND GETTING ON WITH BUSINESS. UNIFORMS ARE NOT WORN BY WORKERS, BUT GENERALLY, THEY ARE ALL DRESSED PRACTICALLY AND PLAINLY. WE CUT TO A CORNER OF THE FACTORY, WHERE MORE DELICATE PORTABLE MECHANICAL DEVICES ARE COMING OFF OF A PRODUCTION LINE. IN THIS CORNER, YOUNG FEMALE WORKERS SIT AT DESKS, ATTACHING ADDITIONAL PARTS TO THESE DEVICES, AND OTHERWISE PUTTING FINISHING TOUCHES ON THEM. ONE SUCH YOUNG WOMAN IS EMILY MOSS- SHE LOOKS TO BE IN HER MID TO LATE TEENS, AND UNMISTAKABLY COMES FROM THE POORER END OF SOCIETY. SHE LOOKS DETERMINED, BUT RATHER WORN DOWN. SHE IS PRETTY, AND WOULD PROBABLY BE SOMETHING MORE THAN THAT WERE IT NOT FOR HER SOCIETAL CIRCUMSTANCES.
A FEMALE SUPERVISOR PASSES BY. EMILY AT THIS TIME HAS PAUSED FOR A SECOND- IT APPEARS SHE HAS LOST SOMETHING AND IS LOOKING FOR IT. THE SUPERVISOR NOTICES THIS AND STEPS OVER.
SUPERVISOR (WITH A STRICT TONE) Moss! Why aren’t you working?
EMILY I was just-
SUPERVISOR Well, kindly just do not. You can dawdle on your break.
EMILY GLARES AT HER AS SHE MOVES AWAY, BUT RETURNS TO WORK. LILY, WHO IS WORKING NEARBY, CHUCKLES JUST A LITTLE. FROM THE GENERAL REACTION, SEEING THEIR COWORKER SCOLDED AMUSES THE OTHER WORKERS, THOUGH IT IS CLEAR THEY ARE NOT ON THE SUPERVISOR’S SIDE.
LILY She’s in some foul mood today
EMILY (GRIMLY) Isn’t she always?
A SECOND WORKER, BESS, CHIMES IN.
BESS They’re all uptight today. Haven’t you heard, Emily?
EMILY (CONFUSEDLY) No?
BESS (LEANS FORWARD SECRETIVELY) Apparently, Mr Dedlock’s coming in himself today. They’re all in a panic.
EMILY (FROWNING) Who told you that, Bess?
BESS (MATTER-OF-FACTLY) Lottie from packaging. You know her. Her brother works at Eastford.
EMILY (DISMISSIVELY) Lottie does love a rumour. Church bell, isn’t she?
LILY (REASONABLY) Well, it’d explain what’s got into her.
SHE JERKS HER HEAD TOWARDS THE SUPERVISOR, WHO IS STANDING A LITTLE WAY AWAY, AS SHE SAYS THE WORD “HER”. THE SUPERVISOR NOTICES THIS AND GLARES OVER AT THEM.
SUPERVISOR (STRINGENTLY) You girls can gossip on your own time. Mr Dedlock isn’t paying you to chat.
THE SUPERVISOR LOOKS AWAY. LILY WAITS A FEW SECONDS, THEN TURNS BACK TO EMILY, A LITTLE TRIUMPHANTLY.
LILY See? Something’s up with her alright.
EMILY But why would he come here? He’s never out of headquarters, doing whatever he does there.
LILY Well, who knows what goes on in there? But there’s something that has her rattled, at any rate.
EMILY (WRYLY) Not a great day for me to ask out early, anyway.
LILY (REMEMBERING) Oh, of course. It’s old Bentley’s funeral later. Awful thing, that…
EMILY (MATTER-OF-FACTLY) Well, he was just that age, wasn’t he? I hadn’t seen him in years, but… I know my old folks would kill me, if they were around, if I didn’t go. I wouldn’t have got through that time after they died if he hadn’t been around to help.
EMILY LOOKS AWAY AS SHE SAYS THIS, BUT REMAINS COMPOSED.
LILY (LOOKING FOR SOMETHING TO SAY) Is your sister going, then?
EMILY SHAKES HER HEAD WRYLY.
EMILY No, Fiona’s never gone anywhere without free refreshments in her life. I tried reminding her how good Bentley was when we were little, but she’s selfish, you know. It was Bentley that introduced me to Pickford. Just as well, cos I don’t think I could do another day here…
LILY Oh, I know. He got a friend of mine a job in construction. You start at Pickford’s tonight, right?
EMILY (NODDING) First shift later. Bit bold of me, I suppose, asking out early here on my last day…
LILY When are you going?
EMILY LOOKS UP AT THE HUGE CLOCK ON THE FAR WALL.
EMILY Actually, I’d best be on my way soon…
SHE LOOKS OVER AT THE SUPERVISOR.
EMILY I’ll wait a few minutes, break’s soon, anyway. I don’t suppose there’s much hope of getting hold of Mr Tilford, is there, if Mr Dedlock really is coming in…
LILY Well, he’s not here yet.
EMILY NODS. WE END THE SCENE HERE.
ACT ONE, SCENE FOUR- TIMBER STREET AUTOMEX FACTORY, TIME IS CONCURRENT WITH THE END OF SCENE THREE. MICHAEL, CASE IN ONE HAND, LETTER CLASPED IN THE OTHER, WALKS THROUGH THE DOORS TO THE FACTORY, INTO A SMALL ENTRANCE ROOM. A RECEPTIONIST SITS WITH A HUGE LOG BOOK OPEN IN FRONT OF THEM, A PEN RESTING BESIDE IT. MICHAEL MAKES HIS WAY OVER TO THE DESK. THE RECEPTIONIST GLANCES UP FOR A MOMENT, LOOKING BORED, THEN LOOKS BACK DOWN AT THE BOOK.
MICHAEL (WITH A COUGH) Um, Michael Perkins, here to see Mr Dedlock.
RECEPTIONIST (WITHOUT LOOKING UP, AS IF THEY HAVE SAID THIS A THOUSAND TIMES) Fourth floor. Mr Tilford’s office. (GESTURES TO A METAL STAIRCASE ON THE OTHER SIDE OF THE DOOR) Sign’s on the door. Wait for him there.
MICHAEL (NODS AND SMILES) Thanks.
MICHAEL MAKES HIS WAY TO THE STAIRS AND BEGINS CLIMBING. AS HE DOES SO, HE LOOKS DOWN AT THE FACTORY, IN ALL ITS STEAMPUNK GLORY. MICHAEL BEGINS TO SMILE AGAIN- AFTER LOSING HIS GOOD MOOD FOLLOWING THE HARROWING RIDE THROUGH THE CITY THAT FORCED HIM TO RECONSIDER HIS NAÏVE OPINION OF THE CITY, THIS PERKS HIM UP AGAIN. AT LEAST THE AUTOMEX FACTORY IS EVERYTHING HE IMAGINED. HIS EYE IS CAUGHT BY THE CUTTING MACHINE WITH THE CIRCULAR SAW, WHICH SEEMS TO INTRIGUE HIM. HE WATCHES AS AN OPERATOR WORKS THE CONTROLS, USING A LEVER TO OPERATE A CRANE ARM ABOVE THE CONVEYOR BELT AND SET MORE MATERIALS DOWN IN FRONT OF THE SAW BLADE. HE THEN CONTINUES UP THE STAIRS. MICHAEL IS STILL SMILING BY THE TIME HE REACHES THE FOURTH FLOOR. AS HE DOES SO, A STEAM WHISTLE IS SOUNDED, SIGNIFYING A BREAK. DOWN ON THE FACTORY FLOOR, EMILY PRODUCES A WRITTEN LETTER FROM HER POCKET AND BEGINS MAKING HER WAY AWAY FROM HER WORK STATION. THE SUPERVISOR SPOTS THIS AND CALLS OUT TO HER.
SUPERVISOR Where are you off to?
EMILY (INDIGNANTLY) We’re on a break.
THE SUPERVISOR CONTINUES TO GIVE HER A WITHERING LOOK.
EMILY (HOLDING UP THE LETTER BY WAY OF EXPLANATION) Need to find Mr Tilford. I need this signed to get out early.
SUPERVISOR Mr Tilford’s in a meeting.
EMILY I’ll leave it in his office, then.
THE SUPERVISOR FROWNS. EMILY SMILES- THIS TIME, PROTOCOL IS ON HER SIDE. THIS ANNOYS THE SUPERVISOR, AND SHE IS DELIGHTED BY IT. EVENTUALLY, HER ADVERSARY SIGHS AND WAVES A HAND AS IF TO SAY “GO ON, THEN.” EMILY PROCEEDS TOWARDS A METAL STAIRCASE NEARBY. BACK ON THE FOURTH FLOOR, MICHAEL REACHES A DOOR WITH A SMALL PLAQUE ON IT READING “IAN TILFORD, PRODUCTION MANAGER.” MICHAEL PUTS THE LETTER IN HIS POCKET, AND CAUTIOUSLY OPENS THE DOOR. INSIDE IS A FAIRLY PLAIN OFFICE. ANOTHER, SMALLER PORTRAIT OF QUEEN JOANNA IS ON THE WALL, BEHIND A DESK, WHICH HAS A LARGE CHAIR BEHIND IT AND ANOTHER, SMALLER CHAIR FACING IT. A DOOR IS AJAR ON ONE SIDE OF THE ROOM, LEADING TO A SMALL ENSUITE BATHROOM. MICHAEL RAISES HIS EYEBROWS AT THIS, SHRUGS AND SITS DOWN IN THE SMALLER CHAIR FACING THE DESK, SETTING HIS CASE ON THE FLOOR BESIDE HIM. HE SITS STILL NERVOUSLY FOR A FEW SECONDS. THEN HE NOTICES SOMETHING SITTING ON THE DESK- A MECHANICAL STATIONERY HOLDER, PUT TOGETHER IN AN INCREDIBLY INTRICATE WAY. MICHAEL IS CURIOUS. HE ABSENTMINDEDLY REACHES OUT FOR IT, AND BEGINS FIDDLING WITH IT, ATTEMPTING TO FIGURE OUT HOW IT WORKS. AFTER A FEW MOMENTS OF THIS, HE ACCIDENTALLY SNAPS A METAL LIMB OFF OF THE STATIONERY STAND. FLUSTERED, HE REACHES OUT TO CATCH IT, AND IN DOING SO SPILLS A HEAP OF STATIONERY ONTO THE DESK. MICHAEL ATTEMPTS TO GATHER THIS UP, AND CRUSHES A FOUNTAIN PEN WITH HIS ELBOW, SENDING INK SQUIRTING EVERYWHERE IN FARCICAL FASHION. MICHAEL HURRIEDLY STUFFS THE REST OF THE ITEMS BACK INTO THE VARIOUS POTS ATTACHED TO THE STAND AND SETS IT BACK IN HIS PLACE. HE CHECKS HIS ELBOW, AND IS RELIEVED TO SEE NO NOTICEABLE INK STAINS. THE DESK, THOUGH, HAS INK RUNNING OVER IT, AND THERE IS ALSO INK ON HIS HANDS. MICHAEL HASTILY PRODUCES A HANDKERCHIEF AND BEGINS WIPING THE DESK. HE REALISES QUICKLY THAT THIS WILL NOT BE ENOUGH, AND, SIGHING, HEADS INTO THE EN SUITE BATHROOM TO FIND SOMETHING ELSE TO CLEAN WITH, AND TO WASH THE INK OFF HIS HANDS. A FEW SECONDS AFTER HE SHUTS THE DOOR TO THE BATHROOM, THE DOOR TO THE OFFICE OPENS AGAIN. EMILY ENTERS, NOTE IN HAND. SHE CROSSES CAUTIOUSLY OVER TO THE DESK, AS IF TO SET THE NOTE THERE, BUT SEEING THE PUDDLE OF INK, DECIDES NOT TO. SHE MOVES OVER TO THE OTHER SIDE OF THE DESK, PUSHING THE CHAIR ASIDE, AND BENDS DOWN TO PUT THE NOTE IN ONE OF THE DRAWERS. SHE OPENS A FEW DRAWERS, AND FINDS THEM ALL FULL TO BURSTING. EVENTUALLY, EMILY OPENS ONE WHICH IS LESS FULL. IT CONTAINS A FILE WHICH IS HALF-OPEN, THAT READS “CLOCKWORK STORM- CONFIDENTIAL”. SEMI-VISIBLE IS A PAGE CONTAINING A DETAILED DIAGRAM, WITH TEXT BELOW. EMILY LOOKS AROUND HESITANTLY, THEN OPENS THE FILE. THE FIRST PAGE CONTAINS A PENCIL DIAGRAM SIMILAR TO THE VITRUVIAN MAN, THOUGH ITS SUBJECT IS QUITE CLEARLY MECHANICAL IN NATURE. EMILY GLANCES AT IT, BEMUSED, THEN MOVES ONTO THE TEXT PORTION. SHE STARTS READING IT WITH AN EXPRESSION OF CURIOSITY, BUT JUST THEN, THE DOOR TO THE OFFICE SWINGS OPEN. EMILY HASTILY SHUTS THE FILE, DROPS IT BACK INTO THE DESK AND SLAMS THE DRAWER SHUT. THE FIRST PAGE, THE ONE SHE WAS READING, DROPS TO THE FLOOR. SHE DOES NOT NOTICE THIS. EDGAR DEDLOCK ENTERS, NOW WEARING A TOP HAT TO COMPLETE HIS IMAGE. HE IS INITIALLY CASUAL UPON ENTERING, BUT HIS EXPRESSION CHANGES TO PUZZLEMENT, WITH A DASH OF SUSPICION, AS HE SEES EMILY BEHIND THE DESK. EMILY STRAIGHTENS UP, AND IS STARTLED TO SEE WHO THE NEW ARRIVAL IS.
EMILY (SHOCKED) Oh… Mr Dedlock…
DEDLOCK (MOCK FORMALITY) The very same.
EMILY I’d heard you were coming in today…
DEDLOCK Word obviously gets around. (HE SPOTS MICHAEL’S CASE SITTING NEAR THE DESK) Is there a Michael Perkins here? I was told I would have this office to myself to speak to him about an opening we have in design…
EMILY (APOLOGETICALLY) I wouldn’t know. I’m sorry, I was just here looking to leave this in for Mr Tilford… (SHE HOLDS UP HER LETTER) I needed him to clear me to leave early…
THROUGHOUT THIS, DEDLOCK EYES HER WITH A LITTLE SUSPICION, BUT UPON HEARING THIS, HE RESPONDS GRACIOUSLY.
DEDLOCK Well, I’m sure I can oblige you… it is my company, after all.
DEDLOCK STEPS OVER TO THE DESK, NOTING THE INK SPILL ON IT AND CASTING A MOMENTARY LOOK AT EMILY. HE PICKS UP A PEN AND TAKES THE LETTER, SCRAWLING A SIGNATURE AT THE BOTTOM.
DEDLOCK Satisfactory?
EMILY Oh… thank you. That’s-
AT THIS MOMENT, THE BATHROOM DOOR SWINGS OPEN AND MICHAEL EMERGES, A WAD OF MATERIAL IN HIS HANDS, WHICH ARE NOW CLEAN OF INK. HE STOPS DEAD UPON REALISING HE IS NO LONGER ALONE IN THE OFFICE. DEDLOCK SEEMS AMUSED. EMILY LOOKS FURTHER ABASHED.
DEDLOCK (THOUGH HE THINKS HE ALREADY KNOWS THE ANSWER) Michael Perkins?
MICHAEL Uh- yes. Yes, that’s me.
DEDLOCK I am Edgar Dedlock. (HE CASTS A PERTINENT LOOK AT WHAT MICHAEL IS HOLDING) Is everything quite, ah…
MICHAEL (HURRIEDLY) Oh, yes, I just, eh, had to go get cleaned up.
HE SHRUGS SHEEPISHLY. HE LOOKS AT THE DESK, BUT DEDLOCK DOES NOT NOTICE THIS.
DEDLOCK (A LITTLE PATRONISING) Clearly.
IN LOOKING BACK AT THE DESK, MICHAEL PROPERLY NOTICES EMILY FOR THE FIRST TIME.
MICHAEL I’m sorry, am I in the way of… have you got another…
THE TONE OF HIS VOICE ALMOST SUGGESTS WORRY AT THE IDEA OF COMPETITION. EMILY HASTILY SHAKES HER HEAD.
EMILY Oh, no, no, no, I was just leaving. I just- I mean, I wasn’t even looking for Mr Dedlock… not that it isn’t an honour, of course, but no, no, I’ll be going now. I’m Emily, by the way, Emily Moss.
AS SHE INTRODUCES HERSELF, SHE MOVES AS IF TO EXTEND HER HAND TO MICHAEL, BUT PULLS BACK ALMOST INSTANTLY, AND LOOKS AT DEDLOCK.
EMILY (TO DEDLOCK) Sorry, I should probably have introduced myself to you first. So, I’ll… I’ll go, then.
SHE EXITS QUICKLY THROUGH THE DOOR. MICHAEL AND DEDLOCK STAND IN SILENCE FOR A FEW MOMENTS. THEN-
DEDLOCK Well, we may as well begin, then. Here, pass a few of those over…
HE GESTURES TO THE SHEETS IN MICHAEL’S HANDS. MICHAEL HASTILY HANDS THEM TO DEDLOCK, WHO CASUALLY WIPES THE INK OFF THE DESK AND TOSSES THE SHEETS IN A SMALL BIN NEAR THE DESK. DEDLOCK MAKES HIS WAY AROUND TO THE BACK OF THE DESK, STRAIGHTENING THE CHAIR AND SITTING DOWN IN IT. AS HE DOES THIS, HE NOTICES THE PAGE ON THE GROUND AND PICKS IT UP. AFTER A SECOND, HE REALISES WHAT IT IS, AND LOOKS UP, BEYOND MICHAEL, TOWARDS THE DOOR EMILY HAS JUST EXITED THROUGH. HE SAYS NOTHING FOR A FEW SECONDS, WHICH UNNERVES MICHAEL.
MICHAEL (CAUTIOUSLY) Is everything alright?
THIS APPEARS TO JERK DEDLOCK OUT OF A REVERIE.
DEDLOCK (AIRILY) Oh, yes. Yes, everything’s quite alright.
HE STOWS THE PAGE IN HIS POCKET AND SMILES. IT IS MEANT TO BE REASSURING, PRESUMABLY, BUT COMES OUT AS SLIGHTLY UNSETTLING.
DEDLOCK Now, let’s see, where to start… I am just a little short on time today, my Upper House duties are mounting up…
MICHAEL SEES AN OPPORTUNITY TO DISPLAY HIS KNOWLEDGE AND JUMPS ON IT.
MICHAEL Is this about King Friedrich? I’d heard he was arriving tomorrow. I know you were pushing in the Upper House for a trade deal with him…
DEDLOCK NODS, REMOVING HIS TOP HAT AS HE DOES SO. HE SETS IT ON THE DESK.
DEDLOCK Quite so. He’ll be in Trinova for the weekend, and if the deal is agreed, he will be signing it before he leaves. That’s what he’s here for. That and, ah, other personal matters…
AS DEDLOCK SAYS THIS, THE SHOT BECOMES FOCUSED ON THE PAINTING BEHIND HIM OF QUEEN JOANNA. WE ZOOM IN ON THIS, AND THE SCENE ENDS AS IT BLENDS INTO THE PAINTING…
ACT ONE, SCENE FIVE- A PARLOUR AT THE ROYAL PALACE. FOLLOWING ON FROM SCENE FOUR. WE FIND OURSELVES IN THE REAL EQUIVALENT OF THE PAINTED ROOM. QUEEN JOANNA SITS IDLY IN THE CHAIR FROM THE PORTRAIT, DRESSED IN THE SAME MANNER AS SHE HAD BEEN PAINTED IN. WHILST IT PARALLELS THE ARTWORK, THE DIFFERENCE BETWEEN ART AND REALITY IS CLEAR. IN REAL LIFE, THE CHAIR IS LESS ORNATE, THE QUEEN’S DRESS IS FAR MORE SIMPLE, AND JOANNA HERSELF LOOKS DIFFERENT- LESS STRIKING, DEFINITELY, LESS SHARP, BUT NO LESS ATTRACTIVE. TO BE CLEAR, SHE OBVIOUSLY ISN’T THE GIRL NEXT DOOR IN REAL LIFE- SHE IS STILL QUEEN- BUT LOOKS MUCH MORE NORMAL. ON ONE WALL OF THIS ROOM IS A FULL-SIZE PORTRAIT OF THE LATE KING ALBERT. JOANNA LOOKS RESENTFULLY OFF INTO THE DISTANCE AS ALICE, THE QUEEN MOTHER, COMES INTO VIEW. SHE LOOKS TO BE IN HER EARLY FIFTIES, AND IS IMPECCABLY BUT SEVERELY PUT TOGETHER, DRESSED ALL IN BLACK. SHE LOOKS MATERNAL, BUT NOT IN A GOOD WAY.
ALICE Now, after his procession through the city, Friedrich will be arriving at the palace. When he arrives, you will be…
ALICE LEAVES THE END OF THIS SENTENCE HANGING, WAITING FOR JOANNA TO FINISH IT. JOANNA SIGHS. IT SEEMS ALICE HAS BEEN TALKING FOR SOME TIME.
JOANNA Out at the gates, waiting for him.
ALICE Now, you were shown what the Cobines do when they greet one another, correct?
JOANNA (AFTER A BRIEF PAUSE) Yes.
ALICE FROWNS.
ALICE You sound rather uninterested.
JOANNA PAUSES, AS IF GATHERING HER PATIENCE.
JOANNA What in Friedrich is there to interest me?
ALICE What is that supposed to mean? It is essential you make the right impression on him before the palace plays host to him tomorrow night.
JOANNA (TIREDLY) What does he do differently to all of these men from abroad that come to court me?
THIS COMMENT SEEMS TO ANNOY ALICE.
ALICE The King of Coburg is not just visiting for you.
JOANNA Then may I be excused from his presence?
ALICE DOES NOT ANSWER. THERE IS NO NEED TO- OF COURSE, THE ANSWER IS NO.
JOANNA He has never met me. None of the suitors whose courtship I entertain had met me before. They come here wanting something or other from our country and they think my hand is the quickest way to get it.
ALICE You are the queen. Yours is the most desired hand in the world. Feel privileged. This is not a storybook, there are no charming princes. You have a duty-
JOANNA In all the storybooks I ever read, the queens were powerful. Powerful, and independent. (SHE LOOKS AWAY) And yet, every important decision in my life gets taken for me.
ALICE (IMPATIENTLY) Don’t be so dramatic.
JOANNA (MEASURED TONE) There is no drama around here. (AFTER A PAUSE) What’s he like?
ALICE Who?
JOANNA Friedrich. What is he like?
ALICE IS TAKEN ABACK.
ALICE What is he like? Well… Speaks several languages, I believe, served in the military, used to-
JOANNA No, no, that is what he does. What is he like? What makes him smile? Or laugh? How does he treat people?
ALICE SEEMS BAFFLED BY WHAT SHE IS HEARING.
ALICE How on earth should I know? Is it important?
JOANNA SMILES THINLY.
JOANNA It must be, as it’s out of my hands.
END OF SCENE.
ACT ONE, SCENE SIX- TILFORD’S OFFICE, TIMBER STREET AUTOMEX FACTORY. FOLLOWING ON FROM SCENE FOUR, RUNNING ALONGSIDE SCENE FIVE. MICHAEL SITS OPPOSITE DEDLOCK, NOW A LITTLE LESS NERVOUS- IT IS HIS BELIEF, CORRECTLY SO, THAT THE INTERVIEW IS GOING WELL. DEDLOCK HAS A FEW PAPERS SITTING IN FRONT OF HIM, ONE OF WHICH HE IS PERUSING.
DEDLOCK So, this I received from your old schoolmaster- he is clearly very impressed with you. Top marks, in everything.
MICHAEL (MODESTLY) That’s not that unusual, I know people who-
DEDLOCK (CONTINUING) As a footnote, it says you have “the drive and talent to accomplish anything.”
MICHAEL SMIRKS SLIGHTLY, BUT TRIES NOT TO MAKE HIS PRIDE OBVIOUS.
DEDLOCK So, the drive and talent to do anything… and you chose to come here, to Automex.
MICHAEL (ENTHUSIASTICALLY) This job offer was a dream come true. It’s what I’ve always wanted to do.
DEDLOCK (NOT TAKEN ABACK BY THIS) Everyone I interview tells me that. (A PAUSE) So, obviously you are intelligent…
HE CONTINUES TO FLICK THROUGH THE PAGES IN FRONT OF HIM. SOMETHING SEEMS TO CATCH HIS EYE.
DEDLOCK And I see here, in your final year, you won the Forbes Prize… very impressive.
MICHAEL (STILL TRYING TO BE MODEST) Well, it was a nice accolade to receive…
DEDLOCK It’s the most prestigious prize a budding young inventor can win. So, have you always been set on inventing?
MICHAEL (NODDING WITH A SMILE) It’s what I’m good at. Always has been.
MICHAEL’S EXPRESSION BECOMES MORE WISTFUL AS WE CUT TO A FLASHBACK OF HIS SCHOOL DAYS- A SLIGHTLY YOUNGER MICHAEL STANDS ON A STAGE IN A LECTURE THEATRE, BEAMING AS AN ADJUDICATOR HANDS HIM AN AWARD. ON THE STAGE BESIDE HIM IS MICHAEL’S CREATION- A HUGE BOX RESEMBLING THE TURING MACHINE, WHICH HE PATS AFFECTIONATELY.
DEDLOCK (BACK IN THE PRESENT) A mainframe? Very clever. Very clever indeed.
HE APPEARS TO BE LOST IN THOUGHT FOR A SECOND. MICHAEL DECIDES TO KEEP TALKING ANYWAY.
MICHAEL I knew it was going to win. I’d entered a skeleton key the year previously and come third. But the moment I finished it, I knew nothing was beating it. DEDLOCK I like how you think. I can tell, you have a rare kind of gift. We’re all about creating things here that save human exertion; we’ve supplied the country with appliances, gadgets, even the police force use our equipment. Perhaps someday our machines will replace labourers altogether. But trust me, there will never be a machine that can act as a substitute for the human brain.
HE FINISHES SAYING THIS WITH A KIND OF MACHIAVELLIAN LOOK.
DEDLOCK This all seems very positive…
SCENE ENDS, AS WE CUT DIRECTLY TO OUR NEXT, BRIEF SCENE.
ACT ONE, SCENE SEVEN- TIMBER STREET AUTOMEX FACTORY, IMMEDIATELY FOLLOWING ON FROM SCENE SIX. EMILY ENTERS THE SMALL FOYER AREA OF THE FACTORY, NOW PULLING ON A COAT, AND MAKES HER WAY OVER TO THE RECEPTION DESK. THE RECEPTIONIST ONCE AGAIN LOOKS THOROUGHLY BORED, AND ASKS THEIR QUESTION WITHOUT LOOKING UP.
RECEPTIONIST Yes?
EMILY I’ve been given permission to leave.
SHE SETS THE LETTER DOWN ON THE RECEPTIONIST’S DESK. THEY DO NOT EVEN LOOK AT IT, BUT SIMPLY WAVE THEIR HAND TOWARDS THE DOOR. EMILY ACCEPTS THIS AND EXITS. WE CUT AWAY TO A RUN-DOWN COMMERCIAL STREET ELSEWHERE IN TRINOVA. THIS IS THE DARKER SIDE OF TRINOVA THAT MICHAEL SAW EARLIER. THE STREET IS DIRTY AND DILAPIDATED. THE STREET IS MADE UP OF SHOPS, BARS AND WHATNOT. ONE SUCH BAR IS THE FOCUS OF THE BEGINNING OF THE SCENE. A DOOR OPENS, AND BUNCE, THE HOMELESS MAN WE SAW EARLIER, IS CAST OUT OF THE BAR WITH A SHOUT OF INDIGNATION.
BUNCE Oi!
A VOICE CALLS OUT FROM INSIDE.
VOICE (STERNLY) Go somewhere that takes beggars!
THE DOOR SHUTS. BUNCE SITS UP AWKWARDLY. SOMEONE ELSE’S LEGS COME INTO SHOT, AND A HAND EXTENDS DOWN TO HIM.
NICK Here.
BUNCE LOOKS UP. NICHOLAS “NICK” CHRISTIE, WHOM WE SAW EARLIER, IS STANDING OVER HIM, ARM OUTSTRETCHED WITH A MILDLY SYMPATHETIC EXPRESSION. NICK IS EVERYTHING AN ACTION HERO SHOULD BE- TALL AND OUTRAGEOUSLY GOOD-LOOKING, NOBLE, AND WITH A CERTAIN SWAGGER. HE DRESSES LIKE A VICTORIAN WORKMAN, BUT ADDITIONALLY WEARS A SHOWY TRENCH COAT. BUNCE, AFTER A MOMENT OF STARING, ACCEPTS HIS OFFER AND LETS HIMSELF BE PULLED TO HIS FEET- NOTICEABLY, HE EXTENDS HIS RIGHT ARM WHEN HIS LEFT WOULD HAVE BEEN MORE CONVENIENT. NICK NOTICES THIS, AND THEREFORE, NOTICES BUNCE’S EMPTY COAT SLEEVE.
BUNCE Thank you, sir.
NICK (REACTS TO THE WORD ‘SIR’) No need for any of that.
BUNCE Well, thank you, nonetheless, Mr…
NICK Nicholas Christie. But Nick will do fine.
BUNCE Bunce. (HE EXTENDS HIS HAND, AND NICK SHAKES IT, NOTING HIS MISSING ARM AGAIN.)
NICK (GESTURING TO HIS MISSING ARM) Down on your luck?
BUNCE Just a bit. (HE MAKES A GESTURE AT THE PUB) I wasn’t buying anything in there. Can’t afford to.
HE LOOKS RUEFULLY AT HIS SLEEVE.
NICK If you don’t mind my asking, what happened?
BUNCE Caught it in a machine. I used to work in the factory on Chester Street.
NICK (HIS ATTENTION NOW CAUGHT) Automex?
BUNCE (NODDING) Job’s a job. Except they got rid of me after. I couldn’t operate the machines with one hand.
NICK (OBVIOUSLY RILED) That’s disgraceful. They can’t throw people out like that.
BUNCE Not much use complaining now, is there?
NICK (GESTURING TO BUNCE’S ARM) They’ve been developing prosthetics, were you never offered one?
BUNCE (SHAKES HIS HEAD) Too expensive. I couldn’t afford one, ‘specially after I got the sack.
THIS STATEMENT CLEARLY ANGERS NICK.
NICK (AFTER A BEAT) Do you have anywhere to go?
BUNCE Not since I lost my job.
NICK Come on. (HE GESTURES FOR BUNCE TO FOLLOW HIM) There’s a charity place open, not far from here.
BUNCE (A LITTLE INDIGNANT) I don’t want charity.
NICK You’ve got nothing else.
HE PUTS AN ARM PROTECTIVELY ON BUNCE’S SHOULDER. BUNCE’S BODY LANGUAGE SHOWS HE HAS CONCEDED. NICK BEGINS LEADING HIM AWAY. WE SEE THEM WALKING AWAY AS THE SCENE ENDS.
ACT ONE, SCENE EIGHT- TIMBER STREET AUTOMEX FACTORY, TILFORD’S OFFICE, FOLLOWING ON FROM SCENES SIX AND SEVEN. MICHAEL AND DEDLOCK STILL SIT IN AS THEY DID.
DEDLOCK So, you’ve come all the way down from Ansborough to be here. When I invited you down to Trinova, what did you think your job would entail?
MICHAEL (NOW QUITE EXCITED AND TRYING NOT TO BE TOO OBVIOUS ABOUT IT) Well, the letter said it was in design…
DEDLOCK And what did you think that might involve?
MICHAEL IS CAUGHT OUT.
MICHAEL (THINKING ON THE SPOT) Well, um…
DEDLOCK I shall explain. Now, when this company started, I did most of the designing myself- of course I have very little time for that these days. I built this whole enterprise up from scratch, and now I have the resources to designate jobs to everyone else. I still oversee design, by handpicking the people I want for the job, but I never now create anything myself- well, not very often. We own over three hundred patents in the United Commonwealth Islands. In my time here, the most cutting edge concepts have been turned from ideas to reality. You, Perkins, are an inventor. You turn ideas to reality just the same as I do. I can say with confidence your inventions can be the future of this company…
DEDLOCK SMILES JUST A LITTLE. MICHAEL IS RELIEVED TO HEAR THIS PRAISE.
DEDLOCK Automex is taking on new projects all the time. One is nearing completion- one I designed personally, in fact, that we’ve been working on for a long time. Once the project is complete, we will be ready for your services.
MICHAEL IS SURPRISED.
MICHAEL Oh. I thought I would be starting immediately…
DEDLOCK You won’t have terribly long to wait. Just until my Upper House duties are not encroaching upon me quite so much. The King of Coburg arrives tomorrow, and is not staying long. Once the trade deal is agreed- well, if the trade deal is agreed- I can get back to running Automex. Sound fair?
MICHAEL (UNABLE TO DISAGREE) I suppose.
DEDLOCK Excellent. Now, I’m sure you can find somewhere to stay in the city until then…
MICHAEL I’ll sort something out.
DEDLOCK Fantastic. So, I think the two of us are done here…
DEDLOCK STOWS HIS PAPERS AWAY IN HIS COAT, AND EXTENDS HIS HAND TO MICHAEL.
DEDLOCK (SHAKING MICHAEL’S HAND) I can tell, you’ll fit in well here…
END OF SCENE.
ACT ONE, SCENE NINE -A CITY STREET, NEARBY TO THE CITY’S CENTRAL POLICE STATION, A LITTLE WHILE AFTER SCENE SEVEN. THIS IS A SLIGHTLY MORE UPMARKET STREET. A SET OF STEPS LEAD UP TO A MONORAIL STATION ACROSS THE STREET. A DOORWAY NEAR TO THE POLICE STATION OPENS AND CHIEF CONSTABLE BARLOW EMERGES. HE IS A MIDDLE-AGED MAN WITH A LOOK OF SELF-IMPORTANCE, DRESSED IN POLICE UNIFORM WITH A BADGE PROCLAIMING HIS RANK. HE SHUTS THE DOOR BEHIND HIM AND LEANS AGAINST THE WALL NEXT TO IT. HE PRODUCES A PIPE AND BEGINS LIGHTING IT. MIDWAY THROUGH THIS, HE LOOKS UP AND SPOTS, PASSING BY IN THE STREET, NICK. BARLOW’S EXPRESSION SOURS UPON SPOTTING HIM. NICK SEES HIM, AND ADOPTS AN ENDEARINGLY CONCEITED SMILE- THOUGH HIS DISTASTE IS LESS OBVIOUS, THEIR DISLIKE IS EVIDENTLY MUTUAL.
BARLOW What are you doing around here, Christie?
NICK (NONCHALANTLY AND WITH A DISRESPECTFULLY FACETIOUS SMILE) Chief Constable Barlow. Not a problem, walking down a public street, is it?
BARLOW If you’re here to preach to me again, I have neither the time nor the inclination to listen.
NICK (WITH A SHRUG) I wasn’t expecting to see you. But since you asked…
BARLOW (SHAKES HIS HEAD) Don’t bother. I’ve heard all I can listen to.
NICK SHRUGS AGAIN, BUT HIS DISLIKE FOR BARLOW IS PLAINLY APPARENT.
NICK If you say so.
HE STROLLS ON. BARLOW GLARES AFTER HIM MOMENTARILY, THEN SIGHS. END OF SCENE.
ACT ONE, SCENE TEN- TIMBER STREET AUTOMEX FACTORY, JUST AFTER THE END OF MICHAEL’S MEETING. MICHAEL LEAVES THE FACTORY, HUMMING QUIETLY, CASE IN HAND. AS HE EXITS, HE LOOKS TO HIS LEFT AND RIGHT, THEN SETS OFF IN A CASUAL MANNER. INSIDE, TILFORD, THE PRODUCTION MANAGER, IS STANDING ON A CATWALK, OVERSEEING THE WORK ON THE FACTORY FLOOR. HE LOOKS UP AS DEDLOCK ARRIVES BESIDE HIM. THEIR CONVERSATION WILL NOT BE OVERHEARD BY ANYONE- THE COLOSSAL NOISE IN THE FACTORY MAKES SURE OF THAT.
TILFORD Do I have my office back, then?
DEDLOCK Oh, yes. All finished. That boy is quite a talent, I can tell.
TILFORD And he’s the one who…
DEDLOCK (NODS TO CONFIRM, THOUGH QUITE WHAT IS CONFIRMED WE DON’T KNOW) Yes.
TILFORD Then he really couldn’t have come at a better time.
DEDLOCK Quite. As soon as Clockwork Storm is up and running and that Cobine returns home, I’m sure he will make a valuable addition to us here.
TILFORD NODS. HE BEGINS TO WALK AWAY, THEN-
DEDLOCK (CASUALLY) By the way… one of your employees here may know about the project.
TILFORD STOPS DEAD AND TURNS ROUND.
TILFORD (WORRIED) What?
DEDLOCK A girl. She was in your office when I arrived. There was something of a mess, and she discarded this.
DEDLOCK PRODUCES THE DIAGRAM PAGE EMILY DROPPED EARLIER AND SHOWS IT TO TILFORD, WHO HAS COME BACK OVER.
TILFORD But staff aren’t allowed into my office…
DEDLOCK Perhaps in future you should invest in a lock.
TILFORD I have a lock.
DEDLOCK Use it, then.
TILFORD (NOW A LITTLE PANICKED) So what do we do, then? We can’t have her running around getting ideas, who knows what she might say…
DEDLOCK IS NOTICEABLY AMUSED AND EXASPERATED BY TILFORD’S PANIC.
DEDLOCK There’s no need for too much worry. You’re forgetting just who we are. Now, she told me her name was Moss.
TILFORD (NODDING) We have a Moss here. I can get you her records, if you so wish.
DEDLOCK There will be no need for any of that. Simply arrange for Miss Moss to have an… “accident” on the factory floor tomorrow.
TILFORD Well, that’s the problem. This was her last day with us. She’s got a new job.
DEDLOCK Bugger. That complicates things just a little. No matter. You may leave it to me, Tilford. I’ll sort something out for Miss Moss. Perhaps I could do with a copy of those records after all…
DEDLOCK SMILES OMINOUSLY. END OF SCENE.
ACT ONE, SCENE ELEVEN- ANOTHER DILAPIDATED STREET IN TRINOVA, IN THE AFTERNOON. THIS DILAPIDATED STREET IS RESIDENTIAL BY NATURE AND IF ANYTHING EVEN WORSE THAN THE ONE IN WHICH WE MET BUNCE AND NICK. GARBAGE IS PILED UP, THE ODD STRAY DOG, CAT OR EVEN FOX CAN BE SEEN, AND THE TERRACED HOUSES ARE ALL QUITE DECREPIT. MANY APPEAR TO HAVE HAD THE UPPER AND LOWER STOREYS DIVIDED INTO TWO DIFFERENT DWELLINGS. EMILY IS WALKING DOWN THIS STREET, TOWARDS ONE SUCH HOUSE. SHE PAUSES AT THE DOOR AND RUMMAGES AROUND LOOKING FOR HER KEY. MEANWHILE, AT THE PALACE, JOANNA MAKES HER WAY DOWN A CORRIDOR, AND ARRIVES AT A DOOR, WHICH SHE UNLOCKS, ENTERING THE ROOM BEYOND. EMILY OPENS THE DOOR TO HER HOME AND WALKS IN, SHUTTING IT AND LOCKING IT BEHIND HER. THE HOUSE IS JUST AS GROTTY INSIDE AS OUT- IT IS EXTREMELY UNTIDY, AND EVERYTHING GENERALLY LOOKS STAINED, MOTH-EATEN OR POORLY MAINTAINED, OR ALL THREE. THIS ROOM, THE MAIN ROOM, SEEMS TO ACT AS BOTH LIVING SPACE AND KITCHEN AT THE SAME TIME. ALL TECHNOLOGY AND APPLIANCES, THOUGH THERE ARE FEW, BEAR THE LOGO OF AUTOMEX.
EMILY (CALLING OUT) Fiona?
AS EMILY HANGS HER COAT ON A HOOK, FIONA MOSS EMERGES FROM HER BEDROOM. HER ATTIRE SUGGESTS SHE IS NOT REMOTELY INTERESTED IN LEAVING THE HOUSE. SHE IS OLDER THAN EMILY, PROBABLY IN HER EARLY TWENTIES, BUT HAS A HAGGARD LOOK THAT MAKES HER APPEAR EVEN OLDER THAN THIS.
FIONA (GRUMPILY) What? I was asleep.
EMILY (INDIGNANTLY) It’s the middle of the afternoon.
FIONA And?
EMILY SIGHS.
EMILY Are you still not going to Bentley’s funeral?
FIONA Staying here.
EMILY (SIGHING AGAIN) Suit yourself.
MEANWHILE, BACK AT THE PALACE, JOANNA HAS A SIMILAR EXCHANGE. SHE SHUTS THE DOOR BEHIND HER- THE ROOM IS A SMALL SCULLERY, WITH A SCREEN SET UP IN ONE CORNER.
JOANNA Stephanie?
STEPHANIE EMERGES FROM BEHIND THE SCREEN. SHE IS A SERVANT GIRL OF SIMILAR AGE TO JOANNA HERSELF, DRESSED AS A MAID. SHE HAS AN AIR OF GENTLENESS.
STEPHANIE Alright, miss?
JOANNA (GLUMLY) Not particularly.
STEPHANIE OBSERVES HER MOROSE EXPRESSION.
STEPHANIE Is this about all this business with King Friedrich?
JOANNA It’s hardly even worth going over…
STEPHANIE (FIRMLY) Miss, if something’s troubling you…
JOANNA (CONCEDING) Alright. Friedrich is bothering me. I mean I don’t know what else I expected when I took the throne, but… all of my duties are so tiresome.
STEPHANIE (WITH SOME CONCERN) If I can do anything to help…
JOANNA (SHAKES HER HEAD) I don’t see how. (SIGHING) I need a break. Some time away from all this. (AFTER A BEAT) Did you bring the clothes?
STEPHANIE (NODDING TO THE SCREEN) They’re just behind there.
JOANNA (SINCERELY) Wonderful. Thank you so much.
STEPHANIE (SMILING) Not a problem, miss.
JOANNA DISAPPEARS BEHIND THE SCREEN.
BACK AT THE MOSS HOMESTEAD, EMILY DISAPPEARS INTO HER BEDROOM. SHE CONTINUES TALKING TO FIONA, WHO SITS IN THE OTHER ROOM. EMILY’S ROOM IS MARGINALLY LESS OF A STY THAN THE COMMUNAL LIVING AREA, BUT STILL NOT TOO PLEASANT. SHE CROSSES TO HER WARDROBE AND PRODUCES A DOWDY BLACK DRESS, WHICH SHE LAYS OUT ON THE BED. WE CUT BACK TO FIONA IN THE OTHER ROOM, WHO IS INSPECTING HER NAILS.
FIONA You’re not going already, are you?
EMILY If I arrive early, I can leave early and not seem as rude.
FIONA Why’d you need to leave early?
EMILY (EXASPERATED) I start at Pickford’s later, remember?
FIONA Oh, of course.
EMILY Don’t want to be late on my first day, do I?
FIONA So, how was your last day at Timber Street?
EMILY Eventful, actually. I got to meet Mr Dedlock in person.
FIONA You did not.
EMILY I did. He was in interviewing this boy. I didn’t give such a good account of myself. Probably for the best I left, then.
FIONA So, what’s he like, then? I always imagined him being scary.
EMILY Well, I don’t know. Normal enough, I suppose you’d say. I was only in the same room as him for all of two minutes…
WE CUT BACK TO THE PALACE, WHERE JOANNA IS GETTING CHANGED BEHIND A SCREEN.
JOANNA (FROM BEHIND THE SCREEN) It just all becomes so meaningless. All these men from abroad who like to amass trophies, wanting to add me to their collection.
STEPHANIE It’s just the way of the world, isn’t it, miss?
JOANNA So I fear. Father did warn me about this. Funny, that. I always used to think when I was a little girl that I might change the world when I was queen. Not the other way round.
STEPHANIE (CAUTIOUSLY) Well, maybe I’m overstepping my bounds here, but… I shouldn’t see why you should have to change yourself.
JOANNA Thank you. It seems only you think that. Everyone else…
STEPHANIE (INDIGNANT BUT AMUSED) Don’t listen to people, miss. People are thick. Listen to yourself.
JOANNA And to you?
STEPHANIE Yes, and to me.
THE TWO OF THEM GIGGLE.
JOANNA Alright, I’m finished.
JOANNA EMERGES FROM BEHIND THE SCREEN. SHE IS NOW DRESSED IN COMMON ATTIRE, AND HAS PULLED HER HAIR OUT OF ITS ELABORATE STYLE. IT IS REMARKABLE HOW DIFFERENT SHE LOOKS.
JOANNA What do you think?
STEPHANIE (AFTER A MOMENT’S THOUGHT) Quite a bit nicer than the ordinary city folks, I should think.
JOANNA (MAKES A FACE) Oh. Should I do something differently?
STEPHANIE Oh, no, miss, it’s much nicer the way it is. Don’t worry about that.
JOANNA (SMILES) Thank you, Stephanie. (AFTER A PAUSE) I suppose it must seem bizarre to you, my doing things like this…
STEPHANIE Not at all. You never get to do anything normal. I’d be going mad, stuck in here all day.
JOANNA (WITH A TONE OF ADMISSION) It does get quite boring, from time to time…
STEPHANIE Then go out. Enjoy being ordinary for a while. Take a break, like you said.
JOANNA (NODDING) I think I will. Thank you.
STEPHANIE You’ve nothing to thank me for, miss. Just doing my job.
SHE GOES BEHIND THE SCREEN TO PICK UP THE CLOTHES JOANNA WAS WEARING PREVIOUSLY, WHICH HAVE NOW BEEN DISCARDED.
STEPHANIE I’ll take these down to the laundry, shall I?
JOANNA Really, there is no need…
STEPHANIE (FIRMLY) It’s my job, miss, like I said.
JOANNA (AFTER A BRIEF PAUSE) Alright. Thank you. Again. For everything.
STEPHANIE No trouble.
WE CUT BACK TO THE MOSS HOUSEHOLD. EMILY EMERGES FROM HER BEDROOM, NOW DRESSED SOMBRELY IN BLACK. FIONA LOOKS UP AND OBSERVES HER.
FIONA That’s nice. Where’d you get it?
EMILY (CASUALLY) Market, not that long ago. It’s the first time I’ve had a reason to wear it.
FIONA Problem with buying nice clothes in black. You start hoping someone’s going to pop off.
EMILY (SOMEWHAT AGHAST) You can’t say that! That’s awful!
FIONA SHRUGS. EMILY, SOMEWHAT RUFFLED, MAKES FOR THE DOOR.
FIONA You on your way then?
EMILY A-ha. I’ll be back to get changed again before I go to work.
SHE PULLS ON HER COAT.
FIONA Have fun.
EMILY GIVES HER A WITHERING LOOK. FIONA ROLLS HER EYES. EMILY EXITS.
BACK AT THE PALACE, JOANNA, KEEPING A LOW PROFILE, MAKES HER WAY TO A STATUE SITTING IN FRONT OF, RATHER THAN IN, AN ALCOVE ON THE GROUND FLOOR OF THE PALACE. LOOKING AROUND TO MAKE SURE SHE IS ALONE, SHE MOVES THE STATUE’S ARM, CAUSING IT TO SLIDE BACKWARDS INTO THE ALCOVE, SEEMINGLY OF ITS OWN ACCORD. A HATCH IS REVEALED BENEATH IT. JOANNA LOOKS AROUND AGAIN, THEN OPENS THE HATCH AND CLAMBERS DOWN INTO IT, SHUTTING IT BEHIND HER. WHEN SHE DOES SO, THE STATUE BEGINS MOVING BACK INTO PLACE.
END OF SCENE.
ACT ONE, SCENE TWELVE- DEDLOCK’S HOUSE, SOME TIME AFTER SCENE ELEVEN. IT IS CLEAR THAT SOME TIME HAS PASSED. DEDLOCK ARRIVES AT THE DOOR OF HIS VAST TOWN HOUSE- IT IS ABOUT AS POSH AS YOU COULD POSSIBLY IMAGINE, STYLISH AND ELEGANT. DEDLOCK WALKS UP TO THE DOOR, UNLOCKS IT AND STEPS OVER THE THRESHOLD. INSIDE IS SIMILARLY PLUSH AND DELIGHTFUL. AS DEDLOCK REMOVES HIS HAT AND HANGS IT ON A HAT STAND, A BUTLER, SNODGRASS, ARRIVES AT HIS SIDE. HE IS ABOUT AS “POSH ENGLISH” AS THEY COME.
SNODGRASS Home for the day, Mr Dedlock?
DEDLOCK We shall see, Snodgrass, we shall see.
HE ALLOWS SNODGRASS TO HELP HIM OUT OF HIS OVERCOAT. THE BUTLER HANGS IT ON THE HAT STAND AS WELL, AND FOLLOWS DEDLOCK, WHO HAS BEGUN WALKING.
DEDLOCK Any messages?
HE WALKS INTO A DRAWING ROOM, SNODGRASS AT HIS HEELS. A PIANO SITS IN ONE CORNER.
SNODGRASS Just a few. Post is sitting on the table in the lounge. An invitation arrived for a soiree of sorts at the palace tomorrow night, were you aware of such a thing?
DEDLOCK Certainly. It’s been in the pipeline for weeks. Want to make a good impression on King Friedrich when he arrives, I should think.
SNODGRASS No doubt, sir. Oh, and… (HE LOWERS HIS VOICE A TAD) Mr Tom is waiting in your study upstairs.
DEDLOCK (ARCHING AN EYEBROW) Tom?
SNODGRASS (HIS UNEASINESS CLEAR) Tom, yes. Arrived not long before you did.
DEDLOCK Well, then, I had best see what it’s about. Bring us up a brandy, won’t you? You know Tom.
SNODGRASS (NOW OBVIOUSLY NOT QUITE HIMSELF) Of- of course, sir.
DEDLOCK (GRACIOUSLY) Thank you, Snodgrass.
SNODGRASS DISAPPEARS INTO ANOTHER ROOM. DEDLOCK GOES OVER TO THE STAIRS AND BEGINS TO CLIMB THEM, AS WE END THE SCENE.
ACT ONE, SCENE THIRTEEN- TRINOVA POLICE STATION, AT A TIME CONCURRENT WITH SCENE TWELVE. WE FIND OURSELVES IN BARLOW’S OFFICE- LIKE IN TILFORD’S OFFICE, A PORTRAIT OF QUEEN JOANNA HANGS ON THE WALL. HIS OFFICE IS CLUTTERED AND DISORGANISED, WITH PAPERS PILED UP ALL OVER THE PLACE. HIS HAT HANGS ON A HOOK BY THE DOOR. BARLOW IS FILLING IN YET MORE PAPERS ON HIS DESK USING AN EXPENSIVE-LOOKING FOUNTAIN PEN WHEN A YOUNGER CONSTABLE OF A LOWER RANK OPENS THE DOOR AND ENTERS. BARLOW LOOKS UP WITH ONLY SLIGHT INTEREST.
BARLOW Yes?
YOUNG CONSTABLE (FORMALLY) This arrived for you, sir. Sent from the palace, I presume you know what it’s about.
HE PASSES BARLOW A LETTER WITH AN OFFICIAL WAX SEAL. BARLOW TAKES THE LETTER WITH A LONG-SUFFERING EXPRESSION.
BARLOW Probably confirmation of when King Friedrich is arriving. (TO HIMSELF) It’s the last thing I needed, having to organise security for that on top of everything else…
HE OPENS THE LETTER AND READS THE FIRST LINE. HE FROWNS.
BARLOW Oh, joy. Very well, you may go.
YOUNG CONSTABLE Thank you, sir.
HE EXITS. BARLOW SETS THE LETTER ON TOP OF A PILE MARKED “TO DO” AND RETURNS TO HIS PAPERWORK. END OF SCENE.
ACT ONE, SCENE FOURTEEN- DEDLOCK’S STUDY, JUST AFTER SCENE TWELVE. DEDLOCK OPENS THE DOOR TO HIS STUDY AND ENTERS. DEDLOCK’S STUDY IS EFFICIENTLY ORGANISED, WITH MANY BOOKSHELVES, MULTIPLE SMALL TABLES, AND ONE LARGE DESK AT ONE END OF THE ROOM, IN FRONT OF A LARGE WINDOW. ON THIS DESK RESTS AN OLD-FASHIONED BLACK TELEPHONE WITH SEPARATE MOUTH AND EAR PIECES. IN ONE CORNER, IN A LOW CHAIR BEHIND ONE TABLE, SITS MR TOM. HE SITS BESIDE THE WINDOW AND THE CURTAINS ARE DRAWN, WHICH PLACES HIM LARGELY IN SHADOW, HIDING HIS TRUE NATURE FROM US FOR THE MOMENT. WHAT WE CAN SEE OF HIM IS THAT HE IS A BROAD, POWERFUL MAN- HE WOULD BE EVEN MORE HULKING IF HE WERE STANDING UP.
DEDLOCK (WITH A SMILE) Mr Tom. You’ve come at a very good time.
TOM SAYS NOTHING. HE PROVIDES NO REACTION.
DEDLOCK I trust that you are well?
TOM AGAIN IS UNMOVED. DEDLOCK SMILES IN A DARKLY AMUSED MANNER, MAKES HIS WAY OVER AND SITS DOWN OPPOSITE HIM.
DEDLOCK As I thought. So, to business. That last little operation. Did it go as planned?
TOM DOES NOTHING, AND INITIALLY, IT APPEARS HE WILL AGAIN PROVIDE NO FEEDBACK. HOWEVER, AFTER A FEW SECONDS, HE REACHES INTO HIS COAT POCKET WITH HIS LEFT HAND AND PRODUCES A BLACK POUCH, WHICH HE TOSSES ONTO THE TABLE. IT LANDS WITH A THUD. DEDLOCK PICKS IT UP AND OPENS IT. HE SEEMS SATISFIED BY ITS CONTENTS.
DEDLOCK You got him, then?
AS DEDLOCK SAYS THESE WORDS, WE CUT TO TOM’S PERSPECTIVE. WE SEE DEDLOCK AND THE ROOM THROUGH HIS EYES- HIS VISION IS QUITE CLEARLY MECHANICAL. DEDLOCK SEEMS TO SEE SOMETHING IN HIS EXPRESSION TO PROVIDE HIM WITH AN ANSWER.
DEDLOCK Good. Good.
WE HEAR THIS AS IF IN TOM’S HEAD. DEDLOCK’S WORDS RESONATE EXTREMELY CLEARLY. INSIDE TOM’S HEAD, WE CAN HEAR HIS BREATHING, THOUGH IT IS SILENT TO THE OUTER WORLD.
DEDLOCK
Very well, then. You will receive your usual fee, as soon as I sort out all this business with the envoys from Coburg. But, since you are already here, I have another job which I was hoping you would do for me…
DEDLOCK IS INTERRUPTED AS SNODGRASS ARRIVES, CARRYING A TRAY WITH A FULL DECANTER ON IT, AND TWO GLASSES.
SNODGRASS Your refreshments, sir.
DEDLOCK Much appreciated.
SNODGRASS SETS DOWN THE TRAY ON THE TABLE, WITH A SLIGHTLY FEARFUL LOOK AT TOM. HE EXITS QUICKLY AFTER DOING SO.
DEDLOCK Now, as I was saying…
DEDLOCK POURS THEM BOTH DRINKS. TOM AFTER A FEW SECONDS OF DELIBERATION REACHES OUT AND TAKES HIS.
DEDLOCK Another job. Not too dissimilar to the one you just completed. Another charge we need to shut up.
TOM SEEMS TO CONTEMPLATE THIS. HE LOOKS DOWN AT THE CONTENTS OF HIS GLASS.
DEDLOCK Clockwork Storm has run into some… complications. There is a girl. An employee at Automex, formerly. I don’t know exactly what she knows, but any amount is too much. My company and I cannot afford any problems at this stage. You understand?
TOM CONSIDERS, THEN NODS.
DEDLOCK Very good.
HE TAKES A DRINK, THEN PRODUCES A BLURRY, BLACK AND WHITE PHOTOGRAPH, SHOWING EMILY IN WORKING CLOTHES.
DEDLOCK This is the girl. Emily Moss. She now works at Pickford’s public house on Witten Street. I want you to go there tonight, and I want you to make sure she does not cause us any problems. Make very sure. Get my meaning?
TOM NODS AGAIN.
DEDLOCK I knew I could rely on you, Mr Tom. I’ll add the price of this job to what I owe you. Now, whilst this conversation has been positively riveting… (HE GRINS TO HIMSELF) I have work to be getting on with.
DEDLOCK STANDS UP AND MAKES HIS WAY TOWARDS A BOOKCASE.
DEDLOCK You may take your leave, old boy…
END OF SCENE.
ACT ONE, SCENE FIFTEEN- A TRINOVAN MARKET STREET, AT A TIME CONCURRENT WITH SCENE FOURTEEN. THIS STREET IS SOMEWHAT NICER THAN THOSE WE HAVE ALREADY SEEN. THERE IS LESS FILTH AND THE PEOPLE ARE GENERALLY LESS UNKEMPT. IN THE DISTANCE, ASHWORTH’S SPIRE LOOMS LARGE. MICHAEL, CARRYING HIS CASE, WALKS THROUGH THE MARKETPLACE, LOOKING AROUND HIM. THE WONDERS THAT SURROUND HIM ARE VARIED AND UNUSUAL IN NATURE- EVERYTHING YOU COULD IMAGINE, AND A LOT ELSE IT WOULD TAKE SOME IMAGINATION TO COME UP WITH. AT THE CENTRE OF THE MARKET IS A LARGE FOUNTAIN THAT THE OCCASIONAL PASSER-BY TOSSES A COIN INTO. MICHAEL CASTS A LOOK AT IT AS HE PASSES. AT ONE STALL, A FOOD VENDOR’S WITH SEVERAL STOOLS SET IT FRONT OF A COUNTER, A POLICEMAN READS A NEWSPAPER. AT ANOTHER STALL SELLING EXOTIC DELICACIES STANDS DAVID. HE IS TALL AND POWERFULLY BUILT, LIKE A HEAVYWEIGHT BOXER, BLACK, BALD AND SHAVEN-HEADED. AS HE STANDS THERE, HIS SON LEON APPEARS AT THE STALL, HOLDING A BOX OF SKEWERS. LEON IS ABOUT NINETEEN OR TWENTY, WITH A SCAR ON HIS NECK. SOME BYSTANDERS, NOTICEABLY, LOOK DISCONTENTED BY THE MERE PRESENCE OF THE TWO OF THEM.
LEON (SETTING THE BOX DOWN) Here, father.
WHEN DAVID SPEAKS, HIS VOICE HAS A FAINT CARIBBEAN LILT TO IT- JAMAICAN, PERHAPS.
DAVID Good man, Leon.
HE STARTS UNPACKING THE SKEWERS FROM THE BOX.
DAVID (AS IF HE HAS JUST THOUGHT OF THIS) So, have you got anything planned this evening? I was thinking about going to the races. We haven’t gone together in a long time.
LEON Actually, I was going to go out myself.
DAVID (DISGRUNTLED) You aren’t meeting those three again, are you?
LEON Is my having friends a problem?
DAVID You know that’s not it. I just don’t trust them.
LEON (EXASPERATED) You don’t trust anybody.
DAVID (INSISTENT) There’s something not right about them. I don’t know how you don’t see it too.
LEON (DEFENSIVELY) I know them much better than you do. I don’t try to tell you how to live your life.
DAVID You’re my son. It’s my job, trying to keep you right.
LEON I know what I’m doing.
DAVID (SIGH) Fine.
HE PICKS UP THE NOW EMPTIED SKEWER BOX AND MAKES HIS WAY OVER TO A COMMUNAL DUSTBIN, THROWING IT AWAY. BEYOND THIS, MICHAEL CONTINUES LOOKING, AND EVENTUALLY PAUSES AT A STALL WITH A HANDMADE SIGN READING “INFORMATION.” MAPS, GUIDEBOOKS AND OTHER TOURIST PARAPHERNALIA IS PILED UP ON A STALL, BEHIND WHICH A SHRIVELLED OLD INFORMATION MAN SITS.
MICHAEL (AWKWARDLY APPROACHING HIM) Sorry, are you tourist information?
THE OLD MAN LOOKS UP AND ROLLS HIS EYES.
OLD INFORMATION MAN Read the sign, boy.
HE TAPS THE SIGN.
MICHAEL (EMBARRASSEDLY) Right. Of course.
HE SETS HIS CASE DOWN BESIDE HIM.
MICHAEL What’s that fountain people are putting money in?
OLD INFORMATION MAN It’s lucky. Apparently through charity you’ll come to terms with your regrets.
MICHAEL Does it work?
OLD INFORMATION MAN How in the blazes should I know? Now, are you going to buy something?
MICHAEL (NOW NOT ENTIRELY HAPPY) How much is a map of the city?
OLD INFORMATION MAN That depends. Prices start at three aerises. D’you just want your basic street map or something a little more detailed?
MICHAEL (CURIOUS) Detailed in what sense?
AS THE OLD MAN STARTS SPEAKING AGAIN, THREE BOYS OF AROUND TEN OR ELEVEN EMERGE FROM THROUGH A THICKET OF LEGS, AMONGST THEM TOBY ROBERTS, A SLY, DARK-HAIRED WISP OF A PRE-ADOLESCENT. TRYING TO KEEP LOW PROFILES, THEY CREEP TOWARDS THE STALL, EYES ON MICHAEL’S CASE.
OLD INFORMATION MAN (SPEAKING RAPIDLY) Well, I can offer you a map of Trinova around the commercial districts, highlighting all the registered shops and businesses, or a map highlighting all the sites of historical interest- that one’s popular amongst the tourists. Or if you’re staying longer you might like-
AS HE SPEAKS, HE RAISES A COPY OF EACH KIND OF MAP WITH A DELBOY-ESQUE GRIN. MICHAEL SEEMS OVERWHELMED.
MICHAEL Alright, alright, slow down. What was the first one again?
OLD INFORMATION MAN (SIGHING) Right. First you’ve got your basic commercial district map…
WE HEAR HIM CONTINUING TO TALK IN THE BACKGROUND AS THE BOYS CREEP CLOSER. ONE MAKES HIS WAY A LITTLE WAY AWAY. HE HAS A STONE IN HIS HAND. HIS EYES ALIGHT UPON A STALL WITH MANY GLASS BOTTLES ON DISPLAY.
MICHAEL (STILL BROWSING MAPS) Can I ask you- do you know of anywhere cheap enough to stay in the city? I’ve been a bit short-changed.
OLD INFORMATION MAN Well, I have some literature here on landlords in the area…
THE BOY WITH THE STONE SIGNALS TO HIS FRIENDS, WHO ARE POISED NEAR MICHAEL, WATCHING HIS CASE. THEY SIGNAL BACK. THE BOY AIMS HIS STONE AND THROWS IT AT THE STALL OF GLASS BOTTLES. SEVERAL SHATTER AS THE STONE STRIKES THEM AND MORE FALL TO THE GROUND. MICHAEL, THE INFORMATION MAN AND THOSE IN THE VICINITY HAVE THEIR ATTENTION DIVERTED TO THIS INCIDENT, AND THE OTHER BOYS SEIZE THEIR CHANCE, GRABBING MICHAEL’S CASE AND MAKING OFF WITH IT.
OLD INFORMATION MAN Sorry about that.
MICHAEL Not a problem. Now, I don’t need anything fancy, just somewhere I can sleep and put my luggage away…
THE OLD INFORMATION MAN IS LOOKING BEYOND MICHAEL, INTO THE CROWD. MICHAEL NOTICES THIS.
MICHAEL What?
OLD INFORMATION MAN That might not be a problem, lad.
MICHAEL BLINKS. THE OLD MAN POINTS. MICHAEL TURNS, AND SEES THE KIDS DASHING AWAY. HE LOOKS DOWN TO HIS SIDE, AND SEES NO CASE THERE. HE DOES A DOUBLE TAKE.
MICHAEL What the-
HE DASHES OFF AFTER THEM.
MICHAEL Get back here!
MICHAEL ATTEMPTS TO PURSUE THE BOYS THROUGH THE MARKET. IT IS DIFFICULT- THEY ARE ABLE TO WEAVE BETWEEN LEGS AT GREAT SPEED, WHILST MICHAEL, HORRIBLY PARALYSED BY HIDEOUS SOCIAL ETIQUETTE, MUST PUSH PAST PEOPLE WITH MUMBLES OF “SORRY,” “PARDON ME,” “EXCUSE ME,” ETC. HE BEHAVES IN A MANNER THAT SUGGESTS HE HASN’T RUN ANYWHERE IN A LONG TIME. HE JUST ABOUT MANAGES TO KEEP SIGHT OF THEM. AT THE FOOD STALL, THE POLICEMAN LOOKS UP BRIEFLY FROM HIS PAPER, SHAKES HIS HEAD IN A LAZY MANNER AND RETURNS TO HIS READING. THE BOY WHO THREW THE STONE CATCHES UP TO THE OTHER TWO. EVENTUALLY, THE TRIO DISAPPEAR DOWN A MANHOLE, WHICH THEY SHUT BEHIND THEM. MICHAEL CATCHES UP JUST AS THE MANHOLE COVER CRASHES DOWN. HE ATTEMPTS TO PULL IT BACK UP, AND IS UNABLE TO. HE PRODUCES HIS SKELETON KEY, BUT IS UNABLE TO FIND A KEYHOLE ON THE COVER. HE GIVES IT ONE LAST FUTILE TUG, THEN POCKETS HIS KEY AND SIGHS IN DISGUST. SEVERAL COINS LIE AROUND THE MANHOLE, PRESUMABLY DROPPED BY THE BOYS. MICHAEL PICKS ONE UP RUEFULLY AND STARES AT IT, OBSERVING THE LIKENESS OF QUEEN JOANNA ON IT. THEN A VOICE IS HEARD.
JOANNA Lost something down there?
MICHAEL LOOKS AWAY FROM THE COIN AND RAISES HIS GAZE UPWARDS. THE REAL JOANNA, DRESSED AS A COMMONER, STANDS A FEW FEET AWAY FROM HIM, LOOKING SYMPATHETIC TO HIS PLIGHT. MICHAEL LOOKS FROM THE COIN BACK TO JOANNA, THEN SHAKES HIS HEAD. IN REAL LIFE AND IN COMMON DRESS, JOANNA DOES NOT LOOK SUFFICIENTLY LIKE HER LIKENESS TO BE RECOGNISED.
JOANNA Something wrong?
MICHAEL No. (A BEAT) I mean, yes. Three urchins just disappeared down there with all my belongings.
JOANNA How did they ever manage that?
MICHAEL (MIND ON OTHER THINGS, NAMELY HIS CASE) Well, it was just one case- I haven’t been here too long- I was just buying some maps of the city. Well, not buying, I didn’t buy anything in the end- actually, I suppose they have all my money now…
JOANNA So then are you a tourist?
MICHAEL Well, no. I am new in Trinova. I’m down here for work. Funnily enough, my first day was going quite well up until now.
JOANNA In that case, perhaps no-one has yet warned you about being careful. Things aren’t as bad as they were, but Trinova is not always safe.
MICHAEL (DRYLY) Bit late for that now.
JOANNA So, your first day in the city. Have you anywhere to stay?
MICHAEL Not yet.
JOANNA POINTS OVER TO THEIR LEFT.
JOANNA Two or three streets over is Bond Street. On the corner is an office that deals in housing. Try that.
MICHAEL Housing might be a little much. I haven’t even started my job yet.
JOANNA You shan’t come to any harm by looking.
MICHAEL SIGHS AGAIN.
MICHAEL I suppose. Thank you.
JOANNA (WITH A TENTATIVE SMILE) My pleasure.
SHE WALKS ON BY HIM. MICHAEL STOOPS DOWN AND GATHERS THE FEW COINS THAT ARE ON THE GROUND, PUSHING THEM INTO HIS POCKETS WITH A GRIM EXPRESSION. HE SETS OFF IN THE DIRECTION JOANNA INDICATED. JOANNA MEANWHILE CONTINUES WALKING- SHE ROUNDS A CORNER AND PASSES BY A CHURCH, WHICH PEOPLE ARE EMERGING FROM. ONE OF THESE IS EMILY. SHE MAKES HER WAY DOWN THE CHURCH STEPS WITH HER HEAD DOWN, LOOKING LOST IN THOUGHT. HER EYES BRIEFLY CATCH AND FOLLOW JOANNA, BEFORE LOOKING AWAY. EMILY THEREFORE DOES NOT NOTICE WHERE SHE IS GOING, UNTIL SHE BUMPS INTO TERRANCE “TERRY” ROBERTS. TERRY IS A YOUNG MAN OF NICK’S AGE, DRESSED SOMBRELY FOR THE OCCASION- HE LOOKS A LITTLE MORE CLEAN-CUT THAN NICK. EMILY STUMBLES AS SHE COLLIDES WITH HIM, AND HE INSTINCTIVELY STRETCHES OUT A HAND TO STEADY HER.
EMILY (STARTLED) Sorry.
TERRY No harm done.
THEY SMILE IN THAT AWKWARD BRITISH WAY, THE WAY THAT PLACES SOCIAL CONVENTION ABOVE HAPPINESS OR SINCERITY. BOTH DEPART IN DIFFERENT DIRECTIONS. EMILY HEADS BACK THE WAY JOANNA CAME, WALKING IN THE DIRECTION OF THE MARKET PLACE. IN AN ALLEYWAY ACROSS FROM HERE, A FIGURE, SHROUDED IN SHADOW, STANDS WATCHING HER. EMILY IS SEEN THROUGH THE PERSPECTIVE OF MR TOM’S CYBERNETIC VISION. A CUT BACK TO THE INITIAL SHOT ALLOWS THE AUDIENCE TO SEE THAT THE MAN IN SHADOW IS TOM.
END OF SCENE.
ACT ONE, SCENE SIXTEEN- PICKFORD’S PUB AND INN, LATER ON. WE CAN SEE THAT NIGHT HAS FALLEN. THE NOISE INSIDE THE CITY IS FAINTER AT NIGHT BUT STILL PRESENT. PICKFORD’S PUB IS A FAIRLY LOW QUALITY ESTABLISHMENT. IT IS DIMLY LIT BY CANDLES AND BY A FIRE IN A GRATE SET INSIDE ONE WALL, AND THE FURNISHINGS ARE NOT OF GOOD QUALITY. STILL, AN ATMOSPHERE OF GOOD FUN PERVADES- THE REVELLERS SEEM HAPPY. THE STAFF MOVE ABOUT THEIR BUSINESS IN WELL DRILLED FASHION, AND SEEM TO BE ON A FIRST NAME BASIS WITH QUITE A SIZEABLE NUMBER OF THE CLIENTS. WE HEAR SNATCHES OF CONVERSATION FROM THROUGHOUT THE ROOM. AT THE BAR STANDS PICKFORD HIMSELF, A TALL, BESPECTACLED, RED-HAIRED MAN WITH AN AIR OF BASIL FAWLTY ABOUT HIM. EMILY IS AT THE OTHER END OF THE BAR, CLEANING GLASSES AND SETTING THEM ON A SHELF, ABOVE WHICH A ROW OF ROOM KEYS HANG. PICKFORD POURS A PINT AND SETS IT DOWN IN FRONT OF BARLOW, WHO SITS AT THE BAR, NOW OUT OF UNIFORM AND DRESSED NORMALLY.
BARLOW (WITHOUT LOOKING UP) Cheers.
THE PUB DOOR OPENS AND NICK ENTERS. HE WALKS PURPOSEFULLY TO THE BAR. PICKFORD LOOKS UP AT HIM, AND SEEMS A LITTLE STRUCK BY HIS ARRIVAL, BUT GOES IMMEDIATELY TO BUSINESS. BARLOW LOOKS ROUND, SEES WHO IT IS, AND TURNS BACK TO FACE THE OTHER WAY, ROLLING HIS EYES.
PICKFORD How can I help you, Mr…
NICK (WITH AN AIR OF JAMES BOND) Christie. Nicholas Christie.
HE SHOOTS A SIDEWAYS LOOK AT BARLOW, WHO IS PRETENDING TO BE TOTALLY INTERESTED IN HIS DRINK. THE LOOK BECOMES MORE OF A GLARE.
PICKFORD (FINISHING HIS PREVIOUS STATEMENT) Mr Christie?
NICK (BACK TO REALITY) I’d like my key for parlour three. It should be reserved under my name.
PICKFORD (TO EMILY, LOUDLY TO BE HEARD OVER THE DIN OF PUB CONVERSATION) Emily?
EMILY (LOOKING UP) Yes?
PICKFORD Check the book for a Mr Christie, will you?
EMILY LOOKS UP AND IS SIMILARLY CAUGHT BY NICK’S APPEARANCE. SHE OPENS A DARK RED BOOK AND FLICKS THROUGH IT.
EMILY (READING FROM THE BOOK) Parlour three?
PICKFORD (NODDING) Toss us his key.
EMILY PICKS UP THE KEY OFF THE HOOK AND TOSSES IT TO PICKFORD, WHO HANDS IT TO NICK.
NICK Thank you.
PICKFORD I’ll show you through.
NICK (BLUNTLY) I know where it is.
HE WALKS PAST THE BAR, THROUGH A DOOR AND DOWN A CORRIDOR. THIS CORRIDOR HAS SEVERAL NUMBERED DOORS ON EITHER SIDE. NICK MAKES HIS WAY TO THE DOOR NUMBERED THREE, UNLOCKS IT AND STEPS INSIDE. THE ROOM INSIDE IS A FAIRLY MUNDANE PARLOUR. IT HAS ONE SMALL WINDOW AND A SMALL FIREPLACE. AROUND THIS FIREPLACE, CHAIRS HAVE BEEN PULLED OVER, AND IN THEM SIT THE REST OF THE GUARDIANS OF HUMANITY- TERRY, MARK AND LEON. ALL OF THEM LOOK UP AS NICK ENTERS THE ROOM.
TERRY Nick.
NICK ‘Evening, Terry. (NODS TO THE OTHER TWO) Gentlemen.
NICK SHUTS AND LOCKS THE DOOR BEHIND HIM. HE MAKES HIS WAY OVER TO BESIDE THE FIRE, SITTING IN A CENTRALLY PLACED EMPTY SEAT, NEAREST TO TERRY.
TERRY Well, now we’re all here, you might as well call this meeting to order.
NICK (NODDING) The Guardians of Humanity are now in session. First port of call… (HE TURNS TO FACE MARK) Mark, what’s the deal looking like in Eastford?
MARK Dedlock spoke today. He has his opponents, of course, but I think he’s got the Upper House convinced.
NICK To go ahead with the trade deal?
MARK Yes.
NICK ABSORBS THIS INFORMATION WITH A PENSIVE LOOK ON HIS FACE.
MARK It’s already been passed in the Lower House, of course. Sherwood saw to that.
NICK I thought there might be enough old prejudice left in the Upper House to stop it. I know Dedlock’s self-made, but the rest of them are all aristocracy.
LEON Times are changing. There’s no Empire anymore. Attitudes aren’t the same as they used to be. (HE GRINS WRYLY) In my father’s day I wouldn’t have been allowed through the door here.
NICK (SNORTS) I’m not sure equal society has made it as far as Eastford.
LEON I don’t understand it, though. Dedlock’s never been fond of Coburg. He opposed our alliance with them.
NICK Well, he’s never been a man of principal, has he?
LEON But why change his mind now?
TERRY (CYNICAL TONE) Think about it, Leon. Dedlock’s a businessman. Even if he doesn’t like Coburg, if he convinces people to vote for trade with them, he can sell Automex products over there as well. He corners that whole market, they buy off of him at extortionate prices-
NICK (FINISHING) And Automex just keeps on getting bigger.
THE GROUP FALLS SILENT, CONSIDERING THESE INSIGHTS.
MARK Well, it looks like he’s going to get his way.
LEON But still, we don’t know this has anything to do with-
NICK (INTERRUPTING) Of course it does, Leon. It’s got everything to do with it.
TERRY Have you heard something since we met last?
NICK (AFTER HESITATION) Nothing substantial. More of what we’ve been hearing for so long.
TERRY (GRIM EXPRESSION) More disappearances?
NICK (NODDING) And more freak “accidents.” So much for old Barlow protecting us all. It makes me wonder what Dedlock might be planning, if even his own workers can’t hear it.
LEON (A LITTLE TAKEN ABACK) Now, come on, we don’t know that’s it at all…
NICK So it’s all just a coincidence?
LEON I didn’t say that.
A MOMENTARY SILENCE FOLLOWS.
NICK (REMEMBERING) I met a man earlier today. He said he’d worked for Automex. Arm caught in a machine. They laid him off straight after.
TERRY (TONE OF BITTERNESS) That’s Automex. No point expecting them to help ordinary people. We’re just drones to them. If Dedlock could he’d replace them all with his own machines tomorrow.
NICK From what I hear, he’s not too far away from it. Nobody knows what he’s got behind the doors at their headquarters. And it’s the people the lowest down that need them the most. They’ve got nothing else but Automex keeping them above water. They aren’t qualified for anything else.
TERRY That’s rather classist of you.
NICK It’s the truth.
THEY PONDER THIS FOR A SECOND. THEN MARK SPEAKS.
MARK Do you ever wonder what will happen if we actually succeed?
NICK What do you mean?
MARK (MEDITATIVELY) Well, if we do bring down Automex… what will normal people do? It’s like freeing animals born in captivity- what if they can’t survive on their own?
NICK Let’s not think about that.
HIS VOICE SOUNDS CONFIDENT, BUT HIS EXPRESSION SUGGESTS THIS IS SOMETHING HE HAS THOUGHT ABOUT AT GREAT LENGTH, AND STILL HAS NO SATISFACTORY ANSWER TO. HE OVERCOMPENSATES FOR THIS WITH THE TONE OF HIS NEXT WORDS.
NICK The UCI won’t collapse just because of Automex. We are the Guardians of Humanity. Automex are enemy number one. Anything after that is secondary.
MARK I understand.
HIS EXPRESSION SUGGESTS HE DOES NOT FULLY AGREE, BUT HE IS OBVIOUSLY IMPRESSED BY THE CHARISMATIC QUALITIES OF NICK.
NICK It’s for people’s own good. We have to find a way to break the hold they have on people. If we don’t, give it a few more years and their lives will be being run by machines. Automex’s presence is a greater threat than its absence.
TERRY Agreed.
THE TWO LOOK AT LEON AND AT MARK. MARK NODS SLOWLY. LEON SHRUGS.
LEON If I didn’t believe that, I wouldn’t be here.
NICK Terry, anything you’d like to add?
TERRY THINKS.
TERRY Something. It’s nothing substantial, like you said, but it’s a worry.
NICK Go on.
TERRY Do you remember last month, the authorities found someone on the far side of the industrial district with metallic prosthetics?
NICK (NODDING SLOWLY AS HE RECALLS) I remember.
TERRY It looks like there wasn’t just one.
NICK TENSES.
NICK (SLOWLY) People made out of metal?
TERRY Partially. I’ve heard them called “Nyctalopes”.
NICK (DARKLY) So, Automex are inventing people now as well.
LEON But think of the good that could do. Replacements for amputees, like the one you met.
MARK Then why didn’t Automex give him one?
LEON FALTERS, STUMPED.
TERRY The authorities aren’t even bothering to investigate it, which is worrying.
LEON They think it isn’t worth their time?
TERRY I’m starting to wonder what they think is worth their time. You remember how they treated us when we tried making our case to them. Barlow probably wouldn’t let us back in the door if we tried again.
NICK (NODDING IN THE DIRECTION OF THE MAIN ROOM OF THE PUB) He’s out there now, in fact. I’d be tempted to talk to him if he wasn’t such a prick.
TERRY (SNORTS) He’d probably just laugh at you.
NICK (IN AGREEMENT) Probably. So much for Trinova being made safer.
HIS EXPRESSION BECOMES MORE BROODING.
NICK Still, though… that’s cause for concern. Imagine somebody who literally owes their life to Automex in that manner. They’d do anything they told them to…
END OF SCENE.
ACT ONE, SCENE SEVENTEEN- A SLIGHTLY MORE UPMARKET STREET, TIME CONCURRENT WITH SCENE SIXTEEN THIS STREET SEEMS TO BE PREDOMINANTLY FILLED BY OFFICE BUILDINGS. ONE OF THESE, A FAIRLY GRIM ONE WITH A BROWN FAÇADE, HAS A BLACK SET OF DOUBLE DOORS, ONE OF WHICH IS OPEN, WITH A BRASS PLAQUE BESIDE IT READING “TRINOVA HOUSING EXECUTIVE- RENTAL AND MORTGAGE CONSULTANCY.” MICHAEL EMERGES FROM THIS DOOR, AD LIBBING SOME GRUMBLING. CLEARLY, WHATEVER WENT ON IN THE OFFICE HAS NOT HELPED HIM IN THE SLIGHTEST. HE BRUSHES HIS HAIR BACK REFLEXIVELY AND LOOKS AROUND HIM. HE PRODUCES A POCKET WATCH AND INSPECTS IT MOMENTARILY, THEN WITH ANOTHER LOOK AT THE SKY, BEGINS WALKING. END OF THIS BRIEF, SILENT SCENE.
ACT ONE, SCENE EIGHTEEN- CHARITY CENTRE, TIME CONCURRENT WITH SCENES SIXTEEN AND SEVENTEEN. THIS IS LIFE IN THE CITY AT POSSIBLY ITS LOWEST EBB. THE CENTRE IS NOT INVITING AND NOT PARTICULARLY NICE- THE KIND OF PLACE YOU WOULD ONLY GO IF THE ALTERNATIVE WAS, AS IT IS FOR MOST HERE, THE UNWELCOME STREET OUTSIDE. THE LARGE, DIMLY LIT ROOM FEATURES ROWS OF LONG TABLES WITH VAGRANTS SITTING AT THEM, NOT EXACTLY ENJOYING WHAT THEY HAVE BEEN SERVED, BUT AGAIN, PREFERRING IT TO THE ALTERNATIVE. AT THE FAR END OF THE ROOM IS A LONG COUNTER, IN FRONT OF WHICH MORE PEOPLE ARE QUEUEING AND ON WHICH HUGE POTS AND TRAYS OF FOOD REST, BEHIND WHICH STAFF, MOSTLY WOMEN, ARE MILLING. SOME WEAR BLUE UNIFORMS WITH A CHARITY LOGO EMBLAZONED UPON THEM, OTHERS ARE DRESSED NORMALLY AND CLEARLY ARE VOLUNTEEERS. ONE SUCH PERSON IS JOANNA, WHO STANDS BESIDE ONE GIANT POT, SERVING SOUP INTO A METAL BOWL.
JOANNA Here.
SHE PASSES THE BOWL TO AN ELDERLY WOMAN IN FRONT OF HER, WHO TAKES IT GRATEFULLY AND AMBLES AWAY. THE QUEUE MOVES ALONG. THE NEXT PERSON AT THE FRONT IS BUNCE. JOANNA NOTICES THIS AND HALF-SMILES.
JOANNA Back again, Mr Bunce?
BUNCE I don’t know how I didn’t find my way here before. I owe you all a debt of thanks.
JOANNA We are only here to do our duty, Mr Bunce.
SHE BEGINS SERVING UP- FROM HER REACHING TO THE BOTTOM OF THE POT, IT APPEARS SHE HAS NEARLY RUN OUT.
BUNCE Well, nobody else is doing it, are they? (HE POINTS TO THE SKY) There’s a place for people like you, up there.
JOANNA (SMILING) I am not here for gratification.
SHE PASSES THE BOWL, NOW FULL, TO BUNCE.
JOANNA Enjoy.
BUNCE SMILES AND WALKS BACK TO HIS SEAT. JOANNA WATCHES HIM GO WITH A SLIGHTLY SAD EXPRESSION, BEFORE RESUMING WORK. SHE MOVES TO SERVE THE NEXT ARRIVAL, BUT FINDS THE POT TO BE NOW TOTALLY EMPTY. SHE LOOKS AROUND FOR SOMEBODY FREE.
JOANNA (LOUDLY, OR LOUDLY FOR A SOFTLY SPOKEN LADY, AT ANY RATE) Doris?
DORIS (PROPERLY LOUDLY) Yes?
DORIS ROBERTS APPEARS- SHE IS A MATRONLY, MIDDLE-AGED WOMAN WITH A HARRIED BUT KINDLY EXPRESSION.
JOANNA (HOISTING THE POT OFF THE COUNTER) Can you take this back to the kitchen to be refilled?
DORIS (TAKING THE POT FROM HER) Not a problem, dear.
SHE TAKES THE POT AND HEADS THROUGH ONE OF THE KITCHEN DOORS. LILY COMES BACK INTO THE MAIN ROOM THROUGH ANOTHER AT THE SAME TIME, STRUGGLING A LITTLE WITH A FAR HEAVIER FULL POT. THEY NEARLY COLLIDE, BUT SIDESTEP AT THE LAST MINUTE.
DORIS Oh- sorry, Lily.
LILY (NONCHALANT) You’re alright, you’re alright.
SHE COMES OVER TO THE COUNTER BESIDE JOANNA AND SETS THE FULL PUT DOWN ON IT WITH A CRASH. LILY STRAIGHTENS UP- SHE IS A GIRL A COUPLE OF YEARS OLDER THAN JOANNA, WHO LOOKS A LITTLE SHARP BUT PRESUMABLY STILL KIND OF SPIRIT, PARTICULARLY AS IT DOES NOT LOOK LIKE SHE IS MUCH BETTER OFF THAN THE PEOPLE SHE IS HELPING. SHE REMOVES THE LID FROM THE POT AND GRABS A LADLE. THE QUEUE SHIFTS OVER TOWARDS HER.
JOANNA (A LITTLE CAUTIOUSLY) Thanks, Lily.
LILY (NOW SERVING) No worries.
THEY BRIEFLY LAPSE INTO SILENCE. IT IS IMPLIED HERE THAT JOANNA FINDS LILY JUST A TINY BIT INTIMIDATING, THOUGH DOES NOT DISLIKE HER. LILY MAY NOT BE ENTIRELY AWARE OF THIS. THEN, SUDDENLY-
LILY So, are you excited for the King coming tomorrow?
JOANNA (SUDDENLY STRAIGHTENING UP, ALARMED, ALREADY PANICKING SHE HAS GIVEN HERSELF AWAY) What?
LILY The King of Coburg. Y’know, he’s passing through the city tomorrow. We’ll get a chance to see him.
JOANNA (RELAXING) Oh. Yes, how could I forget.
LILY Are you going, then?
JOANNA (TENTATIVELY) Probably not.
LILY Why not?
JOANNA I have other places to be…
LILY (SURPRISED) What, besides seeing the king coming through the town? That’s a once in a lifetime thing.
BESS ARRIVES ON THE OTHER SIDE OF JOANNA WITH A BOARD OF SLICED BREAD.
LILY Bess, are you going tomorrow?
BESS (TAKEN ABACK) Well, of course I am. Who’d miss it?
LILY Exactly.
JOANNA (SHRUGGING) I cannot see what makes King Friedrich so special.
LILY (DISBELIEVING) Well, the king part doesn’t half help. (SHE LOWERS HER VOICE) Besides, he’s the richest bachelor in the world, or so the papers say. Apparently he’s come here as part of a courtship, and all…
JOANNA (A LITTLE NERVOUS) Is he really…
LILY Quite a man, actually, I’ve been reading. Decorated for military bravery. Goes hunting all the time. (GRINNING) I always thought an exotic foreigner would be nice. Like that one Bess met from Dunglass, d’you remember, Bess?
BESS Dunglass isn’t foreign.
LILY Well, it’s across the water.
BESS It’s still a Commonwealth Island. They’re under the crown, they spend aurums and everything.
JOANNA (LOOKING DISTINCTLY AWKWARD) In any case, the royals of the continent generally marry each other.
LILY (AS IF THIS IS OBVIOUS) Well, we know that, but it’s fun to imagine. Everyone knows it’s the Queen that Friedrich’s got his eye on…
JOANNA STEPS BACK WITH A START. IN DOING SO, SHE BUMPS INTO DORIS JUST AS SHE IS SETTING THE REFILLED POT DOWN. HER ARM BRUSHES THE HOT SIDE OF THE METAL POT, CAUSING HER TO WINCE.
DORIS (WITH A GENUIENLY APOLOGETIC EXPRESSION ON HER FACE) Oh, I’m sorry, dear…
JOANNA (RUBBING HER ARM) Not to worry. Nothing major.
SHE SMILES TO CALM THE TENSION. DORIS LOOKS RELIEVED.
DORIS I’ll get out of your hair.
SHE MOVES AWAY. JOANNA STEPS BACK BEHIND THE COUNTER AND GETS BACK TO WORK. LILY RESUMES SPEAKING.
LILY So, as I was saying, apparently that’s all Friedrich’s here for, really. Cuddle up close to the Queen.
JOANNA (A LITTLE SHORTLY) I’m sure the King of Coburg has much more important matters to deal with than something that trivial.
LILY Well, it’s like you said, isn’t it? Marriage isn’t just marriage if you’re royalty, it’s all about politics and foreign relations and all that, isn’t it?
JOANNA Yes. Yes, I suppose it is.
LILY (WHILST SERVING A NEW ARRIVAL) These are different times, so they say. We’re meant to be friends with Coburg now, aren’t we? I wonder would that make him the King of the UCI, then. It can’t work like that, can it? I mean, we don’t need a king, we’ve already got a queen…
AT THIS POINT, THE NEW ARRIVAL, A HOMELESS OLD MAN, DECIDES TO SPEAK.
HOMELESS OLD MAN We certainly don’t need any Cobine telling us what to do.
LILY (TURNS TO HIM) ‘Scuse me?
HOMELESS OLD MAN (CONTINUING) It’s unnatural. Trying to act like everything’s fine between us and Coburg. You can’t have a Cobine on the throne here. I’ll tell you, King Albert would never have stood for any of this-
JOANNA (COLDLY) I don’t see how you would know.
HOMELESS OLD MAN (INDIGNANT) And who asked you, then?
JOANNA (MORE INDIGNANT) Who asked me? You’re the one-
LILY MAKES A GESTURE FOR HER TO CONTAIN HERSELF. AFTER A BREATH, JOANNA DOES SO, BUT IS CLEARLY NOT HAPPY.
LILY Think you should head on.
SHE HANDS THE MAN A BOWL OF SOUP AND HE DEPARTS. JOANNA SEETHES.
JOANNA I just cannot believe… some people are simply… (SHE SIGHS)
LILY (SURPRISED) Alright, he wasn’t as bad as all that. Generational thing, isn’t it?
JOANNA (AWARE THAT SHE CANNOT EXPLAIN THIS REACTION) I suppose.
LILY Too much to drink, probably.
JOANNA (MORE MEASURED TONE) Yes. I should think so.
SHE GETS BACK TO WORK WITH A SELF-DOUBTING EXPRESSION. MEANWHILE, BUNCE GETS UP FROM HIS SEAT AND MAKES HIS WAY TOWARDS THE DOOR. DORIS, EMERGING FROM THE KITCHEN, SPOTS THIS AND CALLS OUT TO HIM.
DORIS (LOUDLY) You going, Mr Bunce?
BUNCE (NODS TO CONFIRM) Got to try and find a bed for the night somewhere.
DORIS Safe travels.
BUNCE RAISES A THUMB TO ACKNOWLEDGE THIS. HE EXITS THE CENTRE AND MAKES HIS WAY OUT ONTO THE STREET OUTSIDE. IT IS DARK, WITH ILLUMINATION COMING ONLY FROM WINDOWS WHICH ARE STILL LIT ELSEWHERE. FROM THE OTHER END OF THE STREET, MICHAEL MAKES HIS WAY DOWN. HE IS LOOKING AROUND WARILY, PERHAPS HEEDING THE WARNING JOANNA GAVE HIM EARLIER. BUNCE SPOTS HIM AND WALKS UP TO HIM. MICHAEL DOES NOT NOTICE HIM.
BUNCE You lost, boy?
MICHAEL JUMPS SLIGHTLY, THEN TAKES IN WHO IS BEFORE HIM.
MICHAEL (STILL SOMEWHAT TAKEN ABACK) Well, yes, as a matter of fact.
BUNCE Know where you’re trying to go? Maybe I can be of some help…?
MICHAEL (SHAKES HIS HEAD) Not yet. I was hoping I could find somewhere indoors for the night…
BUNCE Well, you and me both, lad. I’d try and get in somewhere soon, if I was you. Don’t want to be out alone on these streets if you don’t know them, ‘specially at night. (LEANS IN SLIGHTLY, IN A PRIVATE MANNER) Some people know them too well.
BUNCE GIVES HIM A WARNING LOOK, BEFORE WALKING ON BY. HE CALLS BACK OVER HIS SHOULDER.
BUNCE Goodnight.
HE MEANDERS OFF INTO THE DISTANCE. MICHAEL STANDS STILL FOR A FEW SECONDS, LOOKING A LITTLE WORRIED. END OF SCENE.
ACT ONE, SCENE NINETEEN- PICKFORD’S PUB, NIGHT, ABOUT THE SAME TIME AS SCENE EIGHTEEN. THE BAR CROWD HAS THINNED TO THE LAST FEW PEOPLE. SEVERAL OF THE STAFF HAVE ALSO GONE HOME, THOUGH PICKFORD STILL REMAINS, AS DOES EMILY. THE ATMOSPHERE IS RESULTANTLY MUCH MORE MUTED. NICK AND TERRY EMERGE FROM THE PASSAGE THAT LEADS TO THE PARLOUR, IN QUIET CONVERSATION.
NICK I didn’t get the chance to ask you how you’ve been.
TERRY I’ve been better. (FROWNINGLY) Toby came back today with a case that wasn’t his. He’s taken to stealing in the last few days.
NICK (SURPRISED) Really?
TERRY (NODDING) I’ve tried explaining he’s old enough to take responsibility for his actions these days, and that I can’t protect him forever. He doesn’t take any notice.
NICK Does Doris know?
TERRY (SHRUGS) Mum’s in denial. Must be, she’d have murdered me if I’d acted like that at his age. Even if she wasn’t, any time we have to have that discussion it’s always me that it’s delegated to. She thinks he’ll listen to me.
NICK I could talk to him. He loves me.
TERRY (DERISIVELY) Yes, and what a fantastic law-abiding role model you are.
NICK Just a suggestion.
TERRY I appreciate it, but no.
HE EXITS THE PASSAGE AND MAKES HIS WAY TOWARDS THE DOOR, TOSSING HIS KEY BACK ACROSS THE BAR AS HE DOES SO. PICKFORD CATCHES IT NEATLY. NICK WATCHES HIM WITH A FURTIVE EXPRESSION FOR A SECOND, BEFORE FISHING OUT HIS OWN AND PASSING IT ACROSS TO PICKFORD.
PICKFORD Just to warn you, we’re closing in a few minutes.
NICK Noted.
NICK PULLS ON HIS TRENCH COAT. HE MAKES HIS WAY TO THE DOOR AND STEPS OUTSIDE. THE NIGHT IS SILENT AND STILL. NICK BEGINS WALKING DOWN THE STREET, BUT AFTER A FEW STEPS PAUSES, HEAD COCKED, A LITTLE UNEASY. SOME WAY AWAY FROM HIM IS AN ALLEYWAY. IN IT, TOM STANDS SHROUDED IN SHADOWS. WERE YOU NOT RIGHT BESIDE HIM, IT WOULD BE HARD TO SPOT HIM. NICK SCANS THE AREA, AND NOTICES NOTHING. WITH AN APPREHENSIVE EXPRESSION ON HIS FACE HE CONTINUES WALKING. TOM WATCHES HIM GO WITH HIS MECHANICAL SIGHT. AFTER A MOMENT PASSES, HE STEPS OUT FROM THE SHADOWS SLIGHTLY, ENOUGH FOR THE VIEWER TO SEE HIM IN GREATER DETAIL- HE IS, CLEARLY, A CYBORG. METAL IMPLEMENTS ADORN HIS FACE, AND HIS EYES LACK THE NATURAL LIGHT OF A NORMAL HUMAN’S. HIS RIGHT ARM AND LEG HAVE BEEN REPLACED WITH METAL REPLICAS. HE CONTINUES TO STAND THERE OMINOUSLY, NOW IN CLEARER VIEW. END OF SCENE.
ACT ONE, SCENE TWENTY- CHARITY CENTRE, A LITTLE WHILE AFTER SCENE NINETEEN. THE CENTRE, LIKE THE PUB, IS NOW MOSTLY EMPTY. MOST PEOPLE SEEM TO HAVE FOLLOWED BUNCE’S LEAD IN GOING TO LOOK FOR SOMEWHERE TO STAY. ONLY A FEW WORKERS REMAIN. JOANNA AND DORIS ARE AMONGST THEM. LILY STEPS OUT FROM BEHIND THE COUNTER AND BEGINS MAKING HER WAY TOWARDS THE DOOR. SHE LOOKS BACK OVER HER SHOULDER.
LILY Doris, I’ve got to go. My brother, he’ll be wondering what’s keeping me. If that’s alright…?
DORIS (WAVING A HAND) Not at all. You head on, Lily.
LILY SMILES GRATEFULLY AND EXITS. DORIS TURNS TO JOANNA.
DORIS You might as well get on as well, dear. We’re done here, I think.
JOANNA If you need help packing up, I should really stay…
DORIS (SHAKING HER HEAD) No, no. I’ll sort this place out.
JOANNA (HESITANTLY) Alright.
DORIS You’ve done enough already.
JOANNA LAUGHS A LITTLE.
DORIS (NOTICING THIS) What is it?
JOANNA It feels strange, somebody saying I’ve done enough. Makes a change.
DORIS I’m not sure I understand.
JOANNA I’m not quite sure I do myself. Perhaps I’m desperate for gratitude
DORIS It’s a thankless job we do, dear. That’s the fact of it.
JOANNA (MIND CLEARLY ON OTHER THINGS) Sometimes, it does feel just a little like I get no appreciation.
SHE LOOKS AWAY, NOT ENTIRELY FOCUSED ON THE PRESENT SITUATION. DORIS LOOKS AT HER WITH A MATERNAL EXPRESSION.
DORIS We don’t get a lot of volunteers in here. This isn’t a job many want to do. We’re all grateful for you here, if you didn’t already know that.
JOANNA Thanks, Doris.
DORIS Sometimes, the people who make the biggest contributions make them very quietly. Nobody likes someone who boasts about what they do. You just have to keep on doing the right thing. People notice eventually.
JOANNA You sound like my father. He used to say things like that to me all the time.
HER EYES TAKE ON A SLIGHTLY SADDER LOOK. DORIS NOTICES THIS, AND PROCEEDS CAUTIOUSLY.
DORIS Used to?
JOANNA NODS.
DORIS What about your mother, how does she feel about you being here?
JOANNA (WITH A SHRUG) Who knows how she feels about anything. I’m not sure she does quiet contribution.
DORIS Ah. You’d best get back to her, then. Shouldn’t leave her on her own in the house at this hour.
JOANNA Thank you.
DORIS No need to thank me, dear.
JOANNA (WITH A THOUGHTFUL LOOK) People keep saying that to me. I wonder what you all think gratitude is meant to be for.
DORIS (SMILING) Go on, dear.
SHE WAVES A HAND TOWARDS THE EXIT. JOANNA OBLIGES AND MAKES HER WAY OUT.
END OF SCENE.
ACT ONE, SCENE TWENTY-ONE- THE STREET OUTSIDE PICKFORD’S PUB, NOW DEEP IN THE NIGHT. THE STREET IS DESERTED. MICHAEL ENTERS IT CAUTIOUSLY, LOOKING FROM LEFT TO RIGHT. HE PULLS HIS COAT TIGHTER ABOUT HIMSELF AND KEEPS WALKING, SLOWLY. MEANWHILE, INSIDE THE PUB, ALL CUSTOMERS HAVE NOW GONE. ONLY EMILY AND PICKFORD ARE LEFT. EMILY IS COLLECTING GLASSES, AND AS SHE DOES SO, PICKFORD EMERGES FROM THE BACK ROOM TO STAND NEARBY. HE IS HOLDING A SET OF KEYS.
PICKFORD So, how was your first day?
EMILY (WITH A SMALL START) Oh, sorry Mr Pickford, didn’t hear you come in. It was fine. Hope you thought I was alright at it.
PICKFORD Well, you’ve impressed me. Enough for one of these, anyway.
PICKFORD MAKES HIS WAY OVER TO HER, PULLING ONE OF THE KEYS OFF OF ITS RING. HE HANDS IT TO EMILY.
PICKFORD It’s for the front door. I locked up the back already. I’m sorry for asking you to shut the bar up on your first day. You don’t mind…?
EMILY No, no, not at all. Thanks for the key.
PICKFORD Just make sure you’ve put all the lights out before you leave. I’m on my way now. Glad to have you aboard.
EMILY My pleasure, Mr Pickford.
PICKFORD EXITS WITH A GRATEFUL SMILE. EMILY PUTS THE KEY AWAY, AND BEGINS TO SORT THE ROOM OUT, CARRYING IN THE LAST OF THE GLASSES SHE WAS HOLDING, EXTINGUISHING THE LIGHTS, ETC. AFTER A LITTLE WHILE OF DOING THIS, SHE BEGINS TO HEAR UNNATURAL AND INEXPLICABLE NOISES COMING FROM THE OTHER ROOM. EMILY GOES INTO THE BACK ROOM IT IS A MASS OF STORAGE SHELVES AND BOXES PILED UP, WITH A BACK DOOR OUT TO THE ALLEY OUTSIDE AND A WINDOW HIGH UP IN ONE CORNER. EMILY CHECKS THE BACK DOOR. IT IS LOCKED. SHE RETURNS TO THE OTHER ROOM, AND BEGINS EXTINGUISHING MORE LAMPS, UNTIL ONLY ONE IS LEFT TO ILLUMINATE THE ROOM. THE NOISES PERSIST, AND SO EMILY MAKES HER WAY TO THE BACK ROOM AGAIN TO CHECK. AGAIN, SHE SEES NOTHING. THE VIEWER, HOWEVER, SEES MR TOM IN THE ROOM, ALWAYS OUT OF HER LINE OF SIGHT. AT ONE POINT, HE HOVERS DIRECTLY BEHIND HER. EMILY, GROWING INCREASINGLY UNEASY, RETURNS TO THE OTHER ROOM AGAIN. SHE CONTINUES HER WORK, BUT IS SEEMINGLY OVERWHELMED BY THE FEELING OF BEING WATCHED. SHE TURNS SLOWLY ROUND, AND SEES FOR THE FIRST TIME MR TOM, SEMI-HIDDEN IN SHADOW IN THE CORNER OF THE ROOM. EMILY IS CLEARLY SHOCKED AND FRIGHTENED BY THIS NEW ARRIVAL, BUT ATTEMPTS TO KEEP CALM.
EMILY Who are you?
TOM DOES NOT REACT IN ANY WAY.
EMILY (TRYING TO KEEP HER VOICE LEVEL) We’re closed for the night. How did you get in here?
TOM AGAIN PROVIDES NO REACTION.
EMILY (A BIT LOUDER, SHAKY BUT TRYING TO BE FIRM) You’re going to have to leave.
TOM IS UNMOVED.
EMILY (STILL AFRAID, BUT ADDITIONALLY NOW A LITTLE ANGRY) Stop ignoring me, please. I said, you’re going to have-
TOM INTERRUPTS AS HE FINALLY REACTS. HE STEPS FORWARDS AWKWARDLY, OUT OF THE SHADOWS. HIS SEMI-SYNTHETIC STRUCTURE IS REVEALED TO EMILY FOR THE FIRST TIME. SHE CATCHES HER BREATH AND BECOMES VISIBLY MORE AFRAID. TOM BEGINS MOVING WITH A SLIGHTLY UNEVEN GAIT, NOT TOWARDS THE DOOR, BUT TOWARDS HER.
EMILY (NOW CLEARLY SCARED) What are you doing?
TOM KEEPS WALKING.
EMILY Stop doing that.
TOM KEEPS WALKING. EMILY HERSELF NOW STARTS BACKING AWAY, UNTIL SHE IS NOW BEHIND THE BAR, WITH HER BACK TO THE SHELF OF KEYS.
EMILY I said, stop doing that. This isn’t funny, you’re scaring me. (LOUDER) Stop it!
SURPRISINGLY, TOM COMPLIES, PAUSING WHERE HE STANDS. EMILY LOOKS SURPRISED AS WELL. SHE BREATHES DEEPLY, TAKING A LOOK AT THE DOOR BEHIND HER. SHE REACHES BEHIND HER, LOOKING FOR THE KEY TO THE DOOR BETWEEN THE MAIN BAR ROOM AND THE BACK ROOM, AND FINDS IT.
EMILY Alright. Good. Now, maybe you’d like to just-
SHE STOPS SPEAKING ABRUPTLY AS TOM MOVES SLOWLY TO PRODUCE A LONG KNIFE FROM THE SLEEVE OF HIS COAT. EMILY WATCHES THIS FEARFULLY, TAKING A COUPLE MORE STEPS TOWARDS THE DOOR AS THE BLADE APPEARS. TOM BEGINS MOVING AGAIN, AND EMILY MAKES A RUN FOR IT, PUSHING THROUGH THE DOORWAY, SLAMMING THE DOOR BEHIND HER, BOLTING IT AND THEN LOCKING IT WITH THE KEY. SHE SAGS DOWNWARDS SLIGHTLY, LEANING WITH HER BACK TO THE DOOR. SHE BREATHES DEEPLY, TRYING NOT TO PANIC. SEVERAL SECONDS PASS, AND HER BREATHING BECOMES A LITTLE MORE NORMAL. THEN THE KNIFE’S BLADE SUDDENLY APPEARS JUST ABOVE HER HEAD, SLAMMING THROUGH THE WOOD WITH A DULL THUD. EMILY CRIES OUT IN HORROR AND FLINCHES AWAY FROM THE BLADE. SHE MOVES AWAY FROM THE DOOR AND BACKS UP INTO THE ROOM, STARING AT THE DOOR SHE HAS JUST COME THROUGH. ON THE OTHER SIDE OF THE DOOR, TOM PULLS THE KNIFE OUT, INSPECTS IT, AND STOWS IT AWAY. HE REACHES FOR THE DOOR HANDLE WITH HIS MECHANICAL ARM. BACK ON EMILY’S SIDE, SHE WATCHES IN A STRICKEN STATE AS THE HANDLE BEGINS TO RATTLE. SHE MAKES HER WAY TO THE BACK DOOR AND TRIES THE HANDLE, BUT FINDS IT LOCKED.
EMILY (TO HERSELF/THE DOOR) Come on, come on…
SHE CONTINUES TO TUG ON THE DOOR HANDLE FRUITLESSLY FOR A FEW MORE SECONDS, AND THEN KICKS THE DOOR IN FRUSTRATION AND TAKES A STEP BACK FROM IT. SHE LOOKS AROUND DESPERATELY, AND SEES THE WINDOW. SHE LOOKS AT IT HESITANTLY, WONDERING IF SHE CAN FIT THROUGH IT, BUT HER MIND IS MADE UP FOR HER AS THE SOUND OF TOM POUNDING ON THE DOOR FILLS THE SMALL ROOM. EMILY HASTILY PUSHES A CRATE OVER INTO THE CORNER, CLIMBS ON TOP OF IT, OPENS THE LATCH AND FORCES HER WAY OUT THE WINDOW. WE CONTINUE TO HEAR THE SOUND OF TOM BATTERING ON THE DOOR AS EMILY LANDS AWKWARDLY IN THE ALLEYWAY OUTSIDE, WHICH FEATURES A DUSTBIN, PICKS HERSELF UP WITH A PANICKED LOOK BACK AT THE WINDOW, AND HASTILY MAKES HER WAY TOWARDS THE ALLEY’S EXIT, OUT INTO THE STREET ITSELF- WHERE SHE BUMPS RIGHT INTO MICHAEL. HE IS SENT STUMBLING AND INSTINCTIVELY REACHES OUT FOR SOMETHING TO STEADY HIMSELF WITH- THE CLOSEST THING IS EMILY, WHO IN HER STATE OF PANIC REACTS IN A VOLATILE MANNER, SHOVING MICHAEL AWAY WHICH LEADS TO HIM LANDING ON HIS BACK IN THE STREET. HIS GLASSES FALL OFF, AND HE PICKS THEM UP AND HASTILY PUTS THEM BACK ON.
MICHAEL (ANNOYED) What was that for?
EMILY DOES NOT ACKNOWLEDGE HIM, BUT INSTEAD CONTINUES HER FLIGHT.
MICHAEL Hey!
HE CLAMBERS TO HIS FEET AND INTERCEPTS HER.
MICHAEL What are you doing?
EMILY (PANICKED) Get out of my way.
SHE ATTEMPTS TO PUSH PAST HIM, BUT HE CATCHES HER WRISTS AND SWINGS HER ROUND, SO THAT HIS BACK IS TO THE ALLEY. SHE BLINKS, TAKING HIM IN FOR THE FIRST TIME, SEMI-RECOGNISING HIM FROM EARLIER. THE SOUND OF TOM’S BATTERING WILL STOP AROUND THIS TIME. NEITHER NOTICE THIS.
MICHAEL First, tell me what’s happening.
EMILY (AS AN ASIDE, QUIETLY) It’s you from earlier…
MICHAEL Right. What is going on? Why are you so panicked? Where are you running to?
A PAUSE. THEY BOTH CONTINUE TO LOOK AT EACH OTHER. MICHAEL SLOWLY RELEASES HER.
MICHAEL (SLOWLY) Or… what are you running from?
EMILY LOOKS OVER HIS SHOULDER AND HER EYES WIDEN. SHE RAISES A HAND AND POINTS DOWN THE ALLEY.
EMILY (SIMPLY) That.
MICHAEL LOOKS OVER HIS SHOULDER. TOM STANDS IN THE ALLEYWAY, BLADE IN HAND, OMINOUS AND INTIMIDATING.
MICHAEL Who is that?
TOM BEGINS MOVING TOWARDS THE PAIR OF THEM. EMILY RUNS, DOWN THE STREET, THE DIRECTION MICHAEL HAD BEEN HEADING INITIALLY. MICHAEL FOR THE MOMENT DOES NOT NOTICE THIS.
MICHAEL Look, I don’t know who you are, but my friend and I aren’t looking for any…
HE TAKES A STEP BACK AND EXTENDS HIS ARM AS HE SAYS THIS. HE FINDS ONLY THIN AIR WHERE HE EXPECTED TO FIND EMILY. MICHAEL LOOKS ROUND, AND SPOTS HER IN THE DISTANCE. HE TURNS BACK TO TOM SHEEPISHLY.
MICHAEL Well, I’d better catch up with her.
HE TURNS AND SPRINTS AFTER HER AS TOM CONTINUES TO ADVANCE. EMILY HAS STOPPED MOMENTARILY AND IS LOOKING AROUND FOR SOMEWHERE TO GO- THE STREET STRETCHES OUT A LONG WAY AHEAD OF HER. SHE HEARS MICHAEL’S FOOTSTEPS AND TURNS AS HE SKIDS TO A HALT IN FRONT OF HER.
MICHAEL (A LITTLE SHORT OF BREATH) You could have told me you were going to do that.
EMILY (SARCASTIC IN A SLIGHTLY HYSTERICAL WAY) Oh, I’m sorry, Mr Complete Stranger, I’ll try to be less impulsive next time I’m running from a lunatic.
MICHAEL You’ll have no trouble outrunning him on an open street, he walks like he has an injury. Who is he, anyway?
EMILY I don’t know. But I think he just tried to kill me.
MICHAEL (SCEPTICAL) That’s ridiculous. Why would he just decide to-
HE IS CUT OFF AS A GUNSHOT RINGS THROUGH THE AIR. ABOVE THEM, THE GLASS PORTION OF A STREETLIGHT SHATTERS. BOTH OF THEM FLINCH. MICHAEL He’s got a gun!?
FURTHER UP THE STREET, TOM STANDS ON THE CORNER OF THE ALLEY, MECHANICAL ARM OUTSTRETCHED. THOUGH IT IS IMPOSSIBLE FOR THE TWO OF THEM TO SEE FROM THIS DISTANCE, THE VIEWER CAN SEE THAT THE SHOT CAME FROM A GUN ATTACHMENT WITHIN THE ARM ITSELF.
EMILY I think the open street might not be the best idea.
MICHAEL LOOKS AROUND DESPERATELY, AND SEES ANOTHER ALLEYWAY- UNBEKNOWNST TO THEM, THIS IS THE ALLEYWAY UNDER WHICH NICK LIVES.
MICHAEL (POINTING) Down there!
EMILY What’s down there?
FURTHER UP THE STREET, TOM PREPARES TO FIRE AGAIN.
MICHAEL It can’t be worse than what’s out here. Come on!
HE GRABS HER WRIST AND PULLS HER INTO THE ALLEYWAY. THEY STUMBLE INTO THE ALLEYWAY AS ANOTHER SHOT RINGS OUT BEHIND THEM. WITH A GLANCE OVER THEIR SHOULDERS THE PAIR RUSH DOWN THE ALLEY, UNTIL THEY COME TO ITS END- A HIGH WALL.
MICHAEL Well, I stand corrected.
EMILY (PANICKING MORE THAN EVER) What do we do now?
MICHAEL (EYEING THE WALL IN A SLIGHTLY JOKING MANNER) Could you give me a boost up?
EMILY (SARCASTICALLY) Oh, very chivalrous of you.
MICHAEL Chivalry won’t do me much good if I’m dead.
THEY BOTH LOOK ROUND FRANTICALLY. EMILY SPOTS SOMETHING AND POINTS.
EMILY (RELIEVED) There!
MICHAEL TURNS TO SEE WHAT SHE HAS SPOTTED. IT IS A TRADESMAN’S ENTRANCE, A SORT OF CELLAR HATCH LEADING DOWN BELOW THE BUILDINGS- THE ONE WE SAW NICK EMERGE FROM EARLIER. EMILY AND MICHAEL BOTH RUN OVER TO IT. EMILY PULLS ON THE DOORS- THEY DON’T BUDGE.
EMILY (DESPAIRINGLY) It’s locked!
MICHAEL (REACHING INTO HIS POCKET) Move over.
HE PRODUCES HIS SKELETON KEY, AND UNLOCKS THE TRADESMAN’S ENTRANCE WITH IT. HE PULLS OPEN THE DOORS. EMILY DUCKS INSIDE, AND MICHAEL FOLLOWS HER, PULLING THE DOORS SHUT BEHIND THEM. INSIDE, THEY FIND THEMSELVES IN A PASSAGE WHICH IS ALMOST PITCH-BLACK. WE HEAR THE SOUND OF SOMEBODY SLIPPING, FOLLOWED BY A SOUND OF SURPRISE FROM EMILY. MICHAEL HUSHES HER.
EMILY Sorry. I think we must be standing on steps.
EMILY AND MICHAEL SPEAK IN HUSHED TONES.
EMILY Well, that was impressive, I’ll give you that. Where did you get the key for those doors from?
MICHAEL It’s the key for every door. Every lock, really.
EMILY Where on earth did you get that?
MICHAEL I invented it, actually. Not for breaking and entering purposes, but I suppose nothing ever goes quite as planned. This city’s a deathtrap.
WE HEAR THE SOUND OF HIM FIDDLING WITH THE LOCK.
MICHAEL (WITH A NOISE OF FRUSTRATION) I can’t see anything down here.
EMILY Have you got a light?
MICHAEL Unfortunately not.
EMILY (DISBELIEVINGLY) What, so you’ve got a key for any lock, but nothing for if it gets dark?
MICHAEL Well, I did some concept sketches for some kind of ray that stored energy from the sun…
EMILY Well, in the meantime, this’ll have to do.
WE HEAR A CLICK, AND A SMALL AMOUNT OF ILLUMINATION IS PROVIDED. EMILY IS NOW HOLDING A LIGHTER. MICHAEL LOOKS ON IN SURPRISE. EMILY NOTICES THIS.
EMILY What?
MICHAEL (DISAPPROVINGLY) Smoking’s an awful habit, you know.
EMILY We’re stuck under an alleyway hiding from a maniac with a gun and you’re giving me life advice? (SHE ALMOST LAUGHS) Besides, it’s my sister’s.
SHE HOLDS THE LIGHTER CLOSER TO MICHAEL. BY ITS FAINT LIGHT, HE IS ABLE TO RE-LOCK THE DOORS. UPON DOING SO, MICHAEL PRESSES HIS EYE AGAINST THE KEYHOLE.
EMILY What can you see?
MICHAEL Not very much. Where is he?
OUTSIDE, TOM ENTERS THE ALLEYWAY. HE LOOKS DOWN IT. THROUGH HIS MECHANICAL EYES, WE SEE THE ALLEYWAY IN PERFECT DETAIL, UNINHIBITED BY THE DARKNESS. IT IS, OF COURSE, EMPTY. TOM NOTES THIS, THEN WITH A FROWN HE BOWS HIS HEAD AND MOVES AWAY. BACK INSIDE THE CELLAR HATCH, MICHAEL CONTINUES TO PEER THROUGH THE KEYHOLE WITH EMILY STANDING JUST BEHIND HIM.
MICHAEL I can’t see anything out there.
EMILY Do you think he’s gone?
MICHAEL I wouldn’t like to risk it.
EMILY (AMUSED, BUT STILL NOT TOTALLY CALM) Oh, I’m not going anywhere anytime soon. Neither are you, by the way. That key’s my only way out of here.
MICHAEL I could leave the door unlocked.
EMILY What, so he can get in if he comes down here? Think again.
MICHAEL If it helps, I wasn’t planning on leaving either.
EMILY Good.
A BEAT. THEN-
EMILY So, what is this place, d’you think?
MICHAEL (SPECULATIVE) I’m not sure. Tradesman’s entrance, maybe? You said there were steps. Where do they go?
EMILY DIRECTS THE LIGHTER’S GLOW DOWNWARDS. STEPS LEAD FURTHER DOWN. EMILY AND MICHAEL EXCHANGE GLANCES.
EMILY Only one way to find out.
THE TWO OF THEM PROCEED CAUTIOUSLY DOWN THE STEPS- THEY STILL CAN’T SEE THAT CLEARLY. EMILY LEADS THE WAY, MICHAEL A STEP BEHIND. AFTER DESCENDING MAYBE TWELVE OR THIRTEEN STEPS, THEY COME TO A DOOR. EMILY TURNS EXPECTANTLY TO MICHAEL.
EMILY Well, go on.
MICHAEL (SURPRISED) What?
EMILY Well, unlock it, then.
MICHAEL SLOWLY PRODUCES THE KEY, BUT HESITATES.
MICHAEL (UNEASY) I’m not sure about this. This is trespass.
EMILY (A TAD EXASPERATED) Do you want to find out where we are or not?
MICHAEL Well, I do, but still…
EMILY (FLATLY) Fine, I’ll do it. Give me the key.
MICHAEL How does that make it any better?
EMILY (IMPATIENTLY) Just give me it-
SHE MAKES A GRAB FOR THE KEY WITH HER FREE HAND. THEY STRUGGLE FOR A MOMENT, AND EMILY DROPS THE LIGHTER. IT LANDS ON THE FLOOR AND GOES OUT.
EMILY (ANGRILY) Now look what you’ve done!
MICHAEL (INDIGNANTLY) Me!?
EMILY Come on, help me find it.
MICHAEL (IRRITABLY) Alright. Oh- sorry-
WE HEAR A SCUFFLING SOUND, AND IN ROOTING AROUND ON THE FLOOR, THEY ACCIDENTALLY BUMP INTO THE DOOR, CAUSING IT TO SWING OPEN. A CHINK OF LIGHT FROM THE OPEN DOOR ILLUMINATES THE STEPS. MICHAEL AND EMILY, BOTH HUNCHED OVER, LOOK UP IN SURPRISE.
EMILY (TONE OF SURPRISE) It wasn’t locked?
MICHAEL POCKETS HIS SKELETON KEY. HE BENDS DOWN TO PICK UP EMILY’S LIGHTER, AND AS HE DOES SO SHE PUSHES OPEN THE DOOR AND STEPS INSIDE. MICHAEL STRAIGHTENS UP AND SEES THIS- HE HALFHEARTEDLY MAKES A MOVE TO STOP HER, THEN WITH A LOOK OF RESIGNATION FOLLOWS HER INSIDE. INSIDE IS A BASEMENT THAT HAS BEEN CONVERTED INTO A LIVING AREA. THE ROOM OUR PROTAGONISTS HAVE ARRIVED IN IS SOME KIND OF LIVING ROOM, WITH DOORS LEADING OFF TO OTHER ROOMS AROUND IT. A SINGLE LAMP IS ON IN ONE CORNER, EMITTING THE ONLY LIGHT. THE ROOM IS SPARSELY FURNISHED, BUT IN CONTRAST TO THE OTHER LOCATIONS WE HAVE SEEN THUS FAR, NO AUTOMEX TECHNOLOGY CAN BE SEEN. NOTHING IN THE ROOM QUITE FITS IN OR GOES WITH ANYTHING ELSE. ONE WALL HAS CURTAINS DRAWN IN ONE PLACE, AS IF THERE WERE A WINDOW THERE.
EMILY What is this place?
MICHAEL (PUZZLED) I don’t know…
THEY LOOK CURIOUSLY AROUND THE ROOM. MICHAEL WALKS OVER AND INSPECTS SOME OF THE FURNITURE.
MICHAEL (UNCERTAINLY) Do you think anyone actually lives here?
EMILY Someone must do. (SHE POINTS TO THE LAMP) Why else would that be on? They must have been here recently.
MICHAEL Why was the door unlocked, then?
EMILY (IN RESPONSE) I don’t know. But then, why was the street entrance not open?
MICHAEL (DOUBTFULLY) I don’t know.
EMILY Neither do I.
THE TWO OF THEM CONTINUE TO REGARD THE ROOM AROUND THEM.
MICHAEL (CONFUSEDLY) It’s all quite… retro. There’s no Automex technology down here. I mean none.
EMILY Maybe not everyone’s quite as into technology as you are.
MICHAEL What?
EMILY It is you from earlier, isn’t it? We met in the office at my old work on Timber Street. You’re that Perkins boy.
MICHAEL (HIS MEMORY NOW JOGGED) Oh. You’re the girl…
EMILY (NODDING)I’m Emily. The one that interrupted. Yeah. Sorry about that, by the way, I hope I didn’t cause any damage.
MICHAEL You’re alright. I knew I had the job already, anyway.
EMILY (HALF AMUSED, HALF DERISIVE) Just a bit pleased with yourself, aren’t you?
MICHAEL (SHRUGS) Can’t help being clever.
EMILY TURNS AWAY. MICHAEL CONTINUES TALKING, BUT EMILY’S ATTENTION IS NOW CAUGHT BY THE CURTAINS.
MICHAEL Still, it’s strange for there to be no tech. I don’t know anybody who doesn’t have any Automex products in their house…
EMILY (FROWNING AT THE CURTAINS) What are those doing down here?
MICHAEL (LOOKING OVER) What?
EMILY Curtains. Underground. It’s not like there’s windows down here…
SHE CROSSES OVER TO THE CURTAINS WITH AN EXPRESSION OF CURIOSTY. MICHAEL WATCHES ON. AFTER A SLIGHT HESITATION SHE DRAWS THEM BACK. THEY ARE BOTH SURPRISED. BEHIND THE CURTAINS IS A DISPLAY OF BLURRY IMAGES, QUOTES WRITTEN ON PAPER, NEWSPAPER AND LETTER CUTTINGS ETC. ALL CONNECTED BY A MASS OF STRING AND PINS. AT THE CENTRE OF THE DISPLAY IS AN IMAGE OF EDGAR DEDLOCK, UNDERNEATH AN IMAGE OF THE AUTOMEX LOGO. MICHAEL COMES OVER TO STAND BESIDE EMILY AS THE TWO OF THEM STARE AT THIS DISPLAY. THEY TAKE IN THE MANY PICTURES AND NEWS HEADLINES, WHICH SAY THINGS LIKE “AUTHORITIES ABANDON SEARCH FOR MISSING WOMAN” AND “AUTOMEX ANNOUNCE TAKEOVER OF MAGNITE LIMITED” IN BOLD PRINT. EVENTUALLY, BOTH SETS OF EYES COME TO REST ON THE CENTRE OF THE DISPLAY.
EMILY (CURIOUS) What d’you think’s been going on here?
MICHAEL (THOUGHTFUL) I think that somebody has an obsession.
AT THIS POINT, ONE OF THE DOORS WILL QUIETLY OPEN. THIS WILL BE THE DOOR TO NICK’S BEDROOM. CAUTIOUSLY, NICK EMERGES, LOOKING AS IF HE HAS JUST WOKEN UP. EMILY AND MICHAEL, OBLIVIOUS, CONTINUE TO TALK.
EMILY (POINTING TO THE DISPLAY) It’s all Automex. All of it.
MICHAEL Like I said, somebody has an obsession.
EMILY What does all of it mean?
MICHAEL (THOUGHTFUL) It looks almost like an investigation…
NICK, UNBEKNOWNST TO THEM, PRODUCES A GUN- IT IS STYLED IN THE MANNER OF AN OLD FLINTLOCK PISTOL. EMILY, MEANWHILE, NOTICES SOMETHING ON THE DISPLAY AND POINTS IT OUT.
EMILY Look at that.
MICHAEL What?
EMILY IS POINTING AT A SLIVER OF PAPER. ALL THAT IS WRITTEN ON IT ARE THE WORDS “CLOCKWORK STORM” FOLLOWED BY A QUESTION MARK.
EMILY I’ve seen that before. Clockwork Storm. It said it on a file in the factory.
MICHAEL Well, what is it?
EMILY I don’t know…
SUDDENLY, WE HEAR A CLICKING NOISE. BOTH MICHAEL AND EMILY STIFFEN.
NICK (BLUNTLY) Step away from there.
MICHAEL AND EMILY DO SO, AND TURN TO SEE WHO THE NEW ARRIVAL IS. NICK STANDS A FEW FEET AWAY, GUN AIMED AT THE PAIR OF THEM.
NICK Now, who might you two be?
END OF SCENE.
ACT ONE, SCENE TWENTY-TWO- THE ROYAL PALACE, NOW IN THE DEAD OF NIGHT. OUTSIDE THE PALACE, THE GUARDS, SOME OF WHOM CARRY RIFLES AND ALL OF WHOM RESEMBLE EMPIRE-ERA BRITISH REDCOATS, ARE STILL ON WATCH, BUT ARE VISIBLY WEARY. SEVERAL OF THEM MOUNT A HALF-HEARTED PATROL. INSIDE THE PALACE, THE HALLS ARE DESERTED- EVERYONE ELSE HAS PRESUMABLY GONE TO BED. WE FIND OURSELVES IN THE CORRIDOR IN WHICH THE HIDDEN PASSAGE HAS ITS ENTRANCE/EXIT. THE STATUE MOVES BACK, THE HATCH BENEATH IT OPENS, AND JOANNA CAUTIOUSLY EMERGES FROM BENEATH THE GROUND, LOOKING AROUND TO MAKE SURE SHE IS ALONE. AFTER THIS BRIEF CHECK, SHE CLAMBERS UP OUT OF THE HOLE IN THE FLOOR, SEALING THE HATCH BEHIND HER. THE STATUE RETURNS TO ITS PREVIOUS LOCATION. END OF SCENE.
ACT ONE, SCENE TWENTY-THREE- NICK’S BASEMENT, IN THE DEAD OF NIGHT, MOMENTS AFTER THE END OF SCENE NINETEEN. THE CHARACTERS STAND AS THEY DID AT THE END OF SCENE NINETEEN. MICHAEL AND EMILY ARE AT ONE END OF THE ROOM, NICK AT THE OTHER. HE CONTINUES TO POINT HIS GUN AT THEM.
NICK (ACCUSATORY TONE) Well? Who are you both, and what are you doing down here?
EMILY (IN RECOGNITION) Nick Christie…
NICK (IMPATIENTLY) Answer the question.
EMILY (NERVOUSLY) We were hiding-
NICK Hiding from what? Hiding down here, in someone else’s home, which has a lock on the entrance?
EMILY (GUILTILY) Well-
NICK I don’t believe it. So, who sent you then? Let me guess, you’re here to shut me up. You’ve heard what I’ve been doing. Nice of you to pry through my things, by the way. (HE GESTURES TO THE DISPLAY)
MICHAEL (INDIGNANT BUT SCARED) Nobody sent us. I don’t even know who you are-
NICK Well, maybe we should keep it that way.
MICHAEL Then why do we have to tell you who we are?
NICK Because I’m the one with the gun.
HE SWITCHES HIS AIM SO IT IS TARGETED SPECIFICALLY AT MICHAEL. MICHAEL EYES THE GUN BARREL NERVOUSLY.
MICHAEL Alright. I’m Michael. Michael Perkins. This is my first day in Trinova. I’m here for a job with Automex.
NICK (TENSES) You’re with Automex?
MICHAEL Well, not yet, but-
NICK Very well. (HE TURNS THE GUN ON EMILY, AND SHE FLINCHES) You. Who are you?
EMILY (NERVOUSLY) Emily Moss.
NICK Are you Automex as well?
EMILY (SHAKES HER HEAD) No. Well, not anymore.
NICK (RAISES EYEBROWS) What do you mean, not anymore?
EMILY I, uh- I don’t work there anymore. I just left today.
NICK Today… (HE PONDERS THIS MOMENTARILY) I recognise you now. You’re the girl from the bar.
MICHAEL (SURPRISED) You know each other?
NICK (TO MICHAEL, IN SCOLDING FASHION) I’m speaking. (ADDRESSES EMILY) You said you were hiding. Hiding from what?
EMILY We were running. From… I don’t know who. A maniac, it must have been. We ran into the alleyway outside, and this was the only place we could go.
NICK Chasing the pair of you?
EMILY Just me, at first. (SHE GESTURES TO MICHAEL) He just got caught in the middle of it. He was trying to kill us. This was the only place to hide we could find. We didn’t mean to trespass, I swear.
NICK LOOKS AT HER IN A CONTEMPLATIVE MANNER. AFTER SOME DELIBERATION, HE STOWS HIS GUN AWAY. BOTH MICHAEL AND EMILY ARE VISIBLY RELIEVED.
NICK Alright. I’ll believe the pair of you, for now.
HE CROSSES OVER TO THE NOW-VISIBLE DISPLAY AND TUGS THE CURTAIN BACK ACROSS IT.
NICK (GESTURES TO THE DISPLAY) So, you not wanting to trespass didn’t extend to this, then.
EMILY (SHEEPISH) Sorry, Mr Christie.
NICK Just Nick is fine. To be honest, I was just wondering why you were even interested.
EMILY Well, what is it?
NICK SEEMS A LITTLE GLAD, IN ONE WAY, TO HAVE BEEN ASKED THIS.
NICK Well, that’s a long story.
MICHAEL DOES NOT APPEAR TOO BOTHERED BY THIS FACT.
MICHAEL Well, we wouldn’t want to take up your time-
NICK (INTERRUPTING) But, if the pair of you have ties with Automex Industries, maybe you should hear it.
EMILY Go on.
NICK (A LITTLE GRANDIOSE) Alright. (HE GESTURES TO THE DISPLAY) What you see before you is the sum total of my work in the last few months. I’ve been trying to set up as a detective, and unlike the rest of the world, I’m not totally enamoured with so-called technological “progress.” (HE GLANCES HERE MOMENTARILY AT MICHAEL) In my concern, I started a movement that opposed the direction technical advancement is taking. We call ourselves the Guardians of Humanity.
MICHAEL SNORTS DERISIVELY. NICK GLARES AT HIM.
NICK (PRICKLY) Yes?
MICHAEL (AMUSED) Little bit pretentious, don’t you think?
NICK Shut up.
MICHAEL DOES, BUT CONTINUES TO SMILE JUST A LITTLE BIT.
NICK As I was saying, we started out as nothing more than a protest movement, but over time, we started finding… things. Disturbing things.
EMILY To do with Automex?
NICK Yes. We’ve been… investigating them, I suppose you would say. There isn’t too much we can do- Edgar Dedlock is a very powerful man, and nobody likes to disturb his affairs. But, we’ve been quietly trying to gather evidence, and this is what we have managed to find.
HE GESTURES AGAIN TO THE DISPLAY.
NICK You were reading it, you must have seen. Disappearances, people unaccounted for, all kept relatively quiet with the rest of the city’s crime figures dropping. Automex continue to grow and expand. Practically the whole country is dependent on them now. If they get much bigger, they’ll become all but unstoppable.
MICHAEL (SCEPTICAL) And you think that’s enough to make a case out of? I thought Trinova was meant to be dangerous, people are meant to go missing all the time…
NICK This many? In such similar circumstances? All of them employees of the same company?
MICHAEL (UNSURE NOW) Well, it’s like you said, Automex have loads of employees…
NICK There’s more disturbing things, as well. The ones they find are more worrying than the ones that go missing. Nyctalopes, people with metal body parts that operate like machines-
EMILY (INTERJECTING) That’s what he was like.
NICK (TURNS SHARPLY TO HER) What?
EMILY (NERVOUS) The one chasing us- that’s exactly how he looked. I mean, I thought it was strange but it didn’t seem worth paying attention to at the time, I had more important things to be worried about-
NICK (QUIETLY, ALMOST TO HIMSELF) That is very interesting.
EMILY Is it important?
NICK I don’t know. But I plan to find out. Trouble is, of course, Automex is so wide-ranging and Dedlock so influential that it’s become impossible to predict what they’re going to do next.
THERE IS A BRIEF PAUSE. EMILY APPEARS INTRIGUED.
EMILY (HESITANTLY) Can I ask… could you tell me what Clockwork Storm means?
NICK (CURIOSITY AROUSED) What do you know about it?
EMILY Not a lot. I read it on a file.
NICK I only have my suspicions about it. As far as I can tell, it has something to do with the King of Coburg’s arrival, and the trade deal Dedlock was pushing for. We have a member who works in parliament who says he’s mentioned it there, but he’s keeping the details very quiet. You probably both know already that nothing gets out of Automex’s headquarters that they don’t want to. (HE TURNS BACK TO EMILY) You said you read a file on it? When was that?
EMILY Just today. I was in my manager’s office, and… well, I didn’t really mean to find it…
NICK (SMILES AMUSEDLY) Snooping. I like it. What did you find?
EMILY (AWKWARDLY) Well, I only saw the first page… and I don’t remember much of it. (STRAINS TO RECALL) There was a diagram, and, I think, something about engineering?
SHE SOUNDS UNSURE OF HERSELF. NICK LOOKS DISAPPOINTED, BUT CLEARLY SOME IDEA IS FORMING IN HIS HEAD.
NICK (LOOKING DOWN) All these little pieces of information… they’re connected, just I don’t know how yet. I need to think about this for a while. (HE LOOKS UP AT THEM BOTH) Would the pair of you be willing to do something for me?
EMILY Alright.
MICHAEL (AT THE SAME TIME AS EMILY) What is it?
NICK LOOKS AT MICHAEL.
NICK All this information is worth some consideration. I’ll have to call an emergency meeting of the Guardians so we can explore it in greater detail. Would you both be interested in attending? I think it would benefit all of us if you were there.
EMILY AND MICHAEL EXCHANGE A LOOK. SHE LOOKS DETERMINED, HE LOOKS SCEPTICAL.
EMILY Fair enough. We’ll do it. (MEANINGFUL LOOK AT MICHAEL) Won’t we?
MICHAEL SEEMS FAR FROM ENTIRELY CONVINCED, BUT NODS.
MICHAEL Alright.
NICK Glad to have you both onside. Now, if you’d be so kind to get the hell out of my basement…
NICK TURNS WITH A FLOURISH AND MAKES HIS WAY BACK TOWARDS HIS BEDROOM.
NICK If you wait for me to get entirely dressed, I’ll escort you both back home.
AS HE SAYS THIS, HE PRODUCES HIS GUN AND TWIRLS IT ON HIS FINGER. MICHAEL LOOKS AT EMILY WITH CYNICISM. SHE RAISES HER EYEBROWS.
EMILY Well, would you rather go out there on your own?
AFTER A MOMENT’S PAUSE, MICHAEL SIGHS AND SHAKES HIS HEAD.
END OF SCENE.
ACT ONE, SCENE TWENTY-FOUR- JOANNA’S BEDCHAMBER AT THE ROYAL PALACE, DEAD OF NIGHT. JOANNA’S ROOM IS LARGE, GRANDIOSE AND OLD-FASHIONED. THERE IS A SCREEN IN ONE CORNER OF THE ROOM, TWO LARGE WINDOWS HAVE THICK CURTAINS DRAWN ACROSS THEM, AND AT THE BACK OF THE ROOM IS A LARGE FOUR-POSTER BED WITH MANY PILLOWS. STEPHANIE IS IN THE ROOM, LAYING OUT NIGHTWEAR ON THE BED. SHE PAUSES DOING SO AS THE BEDROOM DOOR OPENS AND JOANNA ENTERS, LOOKING A LITTLE WEARY.
STEPHANIE Miss. You in for the night?
JOANNA (WEARILY, AND WITH A MOROSE LOOK) I should think so. I feel tired.
STEPHANIE (MILDLY CONCERNED) You don’t look yourself, miss. Didn’t you enjoy being able to get out for a while?
JOANNA WALKS OVER AND SITS ON THE BED.
JOANNA No, no, I did.
STEPHANIE Then whatever’s wrong?
JOANNA (WITH A FROWN) Even the ordinary people are all abuzz with this Friedrich nonsense. I fail to see what has them all so interested.
STEPHANIE (REASONABLY) Well, you can’t blame them for being excited, it is just a bit special when a king comes to visit, isn’t it?
JOANNA Well, I don’t begrudge anyone that, but… (SHE SIGHS IN FRUSTRATION) Is there nowhere I can go to escape all this prattle? Think how awful it will be when he actually arrives, he’s all anyone can talk about and he isn’t even here yet!
SHE LOOKS UP IN EXASPERATION. STEPHANIE LOOKS UNSURE OF WHAT TO SAY. JOANNA LOOKS AT HER AND HER EXPRESSION SOFTENS.
JOANNA Forgive me. I must seem very petulant. I shouldn’t be feeling sorry for myself, look what I was born into…
SHE SMILES RUEFULLY. STEPHANIE HESITATES FOR A MOMENT, THEN SITS DOWN ON THE BED BESIDE HER.
STEPHANIE That’s probably how it seems to most people, miss, but I’ve worked here long enough. I’ve seen what the rich live like, and you know who’s the happiest, out of everyone here?
JOANNA LOOKS OVER, NOT SURE IF SHE SHOULD ANSWER, OR EVEN HOW TO ANSWER THIS QUESTION.
STEPHANIE It’s us, miss. People like me. I’d take away your problems if I could, but I wouldn’t switch lives with you. And I’m not the only one.
JOANNA (INTRIGUED BUT UNSURE) You’re the only one that has ever said it to me. Certainly the only one that understands-
STEPHANIE (INSISTENTLY) But the point, miss, is you shouldn’t settle for what you have just because someone else is jealous of it. It’s your life to live, not theirs. Look for what’ll make you the happiest, not what’ll impress people you don’t even like.
SHE SMILES REASSURINGLY, AND AFTER A SECOND OR TWO, JOANNA SMILES BACK.
JOANNA (AMUSED AND IMPRESSED) When did you become so wise?
STEPHANIE (SURPRISED) Wise? I wouldn’t say that, really.
JOANNA What else would you call it? You give all the right advice.
STEPHANIE (AMUSED BY THE NOTION) Maybe I’ve found a hidden talent. I could walk out of this place, become an Agony Aunt.
JOANNA (LIGHT-HEARTEDLY) Not before Friedrich has been and gone, I hope, I was counting on you to keep me sane whilst he was here.
STEPHANIE You’d better get to sleep then, miss.
SHE GETS UP AND MAKES HER WAY TOWARDS THE DOOR.
STEPHANIE No doubt they’ll have you up early to get ready for his lordship tomorrow.
JOANNA (GLUMLY) I suppose.
SHE PICKS UP HER NIGHTCLOTHES AND MOVES UP TO THE HEAD OF THE FOUR POSTER BED.
STEPHANIE I’ve a linen load to finish, so I’ll be up for a little while longer if you need anything. Goodnight, miss.
SHE EXITS THE ROOM, SHUTTING THE DOOR BEHIND HER. JOANNA STARES AT THE DOOR FOR A MOMENT, LOOKING A BIT MORE CONTENT.
END OF SCENE.
ACT ONE, SCENE TWENTY-FIVE- STREET OUTSIDE THE MOSS FAMILY HOME, DEAD OF NIGHT. THREE FIGURES ROUND THE CORNER AT THE END OF THE STREET- NICK IN THE LEAD, HOLDING HIS GUN BY HIS SIDE AND LOOKING AROUND WATCHFULLY. BEHIND HIM COME EMILY AND MICHAEL, LOOKING SOMEWHAT ON EDGE. NICK TURNS TO EMILY, AND SHE POINTS DOWN THE STREET TO HER DOOR.
EMILY On down.
NICK NODS. HE AND MICHAEL FALL IN BESIDE ONE ANOTHER AND FOLLOW A COUPLE OF PACES BEHIND EMILY AS THE TRIO MAKE THEIR WAY DOWN TOWARDS EMILY’S DOOR, WHERE THEY STOP.
NICK That you, then?
EMILY (NODS) Thank you, Mr Christie.
NICK (SHORTLY) Nick’ll do just fine. I’ll contact the pair of you about the meeting tomorrow. Stay safe.
HE TURNS AND DEPARTS DOWN THE STREET. AS HE GOES, EMILY TURNS TO MICHAEL.
EMILY (AWKWARDLY) So… if this is your first night in Trinova, have you found anywhere to stay?
MICHAEL (SHAKES HIS HEAD) I was looking for somewhere when I ran into you.
EMILY (EVEN MORE AWKWARD) Well… since you did save my life, in a roundabout fashion… I suppose I can’t exactly leave you out here. (SHE TURNS TO UNLOCK THE DOOR) You can sleep here for tonight. On the sofa, mind. I’m not that kind of girl.
MICHAEL (TAKEN ABACK) I never said you were.
EMILY Good.
SHE OPENS THE DOOR AND STEPS INSIDE. THE ROOM IS NOW LIT BY ONE LAMP SITTING IN THE CORNER. MICHAEL FOLLOWS HESITANTLY. HIS EXPRESSION SUGGESTS HE DOES NOT HAVE A VERY HIGH OPINION OF THE MOSS HOMESTEAD, BUT HE NATURALLY MAKES NO COMPLAINT. FIONA IS SITTING AT THE TABLE, SMOKING A CIGARETTE. SHE EXTINGUISHES IT AND LOOKS UP AS EMILY LOCKS THE DOOR. SHE RAISES HER EYEBROWS.
FIONA (SOUNDING A LITTLE RELIEVED) Finally. What kept you?
EMILY (WEARILY) I’ll explain later.
FIONA THEN SPOTS MICHAEL AS HE MOVES INTO THE LIGHT.
FIONA (INQUIRINGLY) Who’re you?
MICHAEL OPENS HIS MOUTH, BUT EMILY ANSWERS FIRST.
EMILY This is Michael, he’s staying here tonight. Michael, this is my sister.
FIONA (WITH A SLY GRIN) Staying the whole night? That’s not usually the way with the ones that come here.
MICHAEL (FRANTICALLY SHAKES HIS HEAD) Oh, no, no, no, no, I’m just- I mean, I’m not-
FIONA (STILL GRINNING) I’ll get out of your way.
SHE WINKS, THEN GETS UP AND DISAPPEARS INTO HER ROOM. EMILY TURNS TO MICHAEL, BOTH LOOKING UNCOMFORTABLE.
EMILY (SOUNDING EMBARRASSED) Sorry about that. She’s a little…
MICHAEL (SIMILARLY EMBARRASSED) Yeah.
MICHAEL MAKES HIS WAY OVER TO THE SOFA- IT DOES NOT LOOK PARTICULARLY PLEASANT, AND EMILY NOTICES HIS EXPRESSION.
EMILY (SLIGHTLY APOLOGETIC) I know it’s not much-
MICHAEL (REASSURING, AS SOCIAL CONVENTION DEMANDS) Oh, no, no, it’s fine. You didn’t have to do this. Thank you.
EMILY You’re very welcome.
AN AWKWARD MOMENT PASSES.
EMILY (NOT SURE WHAT ELSE TO SAY) I think I’m going to go to bed right away. It’s been a long day.
MICHAEL (NODS IN AGREEMENT) It really has.
EMILY HEADS TOWARDS HER BEDROOM DOOR.
MICHAEL (POLITELY) Goodnight.
EMILY STOPS AND HESITATES FOR A MOMENT, THEN TURNS BACK.
EMILY Goodnight.
SHE HEADS INTO HER ROOM AND SHUTS THE DOOR BEHIND HER. MICHAEL SIGHS, THEN REMOVES HIS GLASSES AND FLOPS DOWN ON THE SOFA, LOOKING EXHAUSTED.
FADE OUT, END OF SCENE. END OF ACT ONE.
ACT TWO, SCENE ONE- JOANNA’S BEDROOM AT THE ROYAL PALACE, IN THE EARLY STAGES OF MORNING. EARLY MORNING LIGHT IS FILTERING THROUGH THE CURTAINS. JOANNA HAS NOT BOTHERED TO DRAW THE DRAPES ON THE FOUR-POSTER BED. STEPHANIE APPROACHES THE BED AND NUDGES JOANNA AWAKE, WHO REACTS CONFUSEDLY.
JOANNA (GROGGY) Wha- what-
STEPHANIE (SOFTLY) Got to get up, miss.
JOANNA BLEARILY FLUFFS OUT ONE OF HER PILLOWS.
JOANNA (STILL GROGGY) Just a few more minutes…
STEPHANIE Big day ahead, miss. The King’s coming, remember?
JOANNA MURMURS SOMETHING UNINTELLIGIBLE. STEPHANIE MAKES HER WAY OVER TO THE WINDOWS.
STEPHANIE Sorry, miss.
STEPHANIE PULLS BACK THE CURTAINS. LIGHT STREAMS IN. JOANNA WINCES.
STEPHANIE Your mother sent me. You know what she’ll get like.
JOANNA GROANS AND SITS UP. WE CUT TO THE MOSS HOUSEHOLD, WHICH IS DIMLY LIT BY THE DAYLIGHT COMING THROUGH THE WINDOWS. IN THE MAIN ROOM, MICHAEL SITS UP ON THE SOFA, LOOKING IF ANYTHING MORE TIRED THAN WHEN HE LAY DOWN LAST NIGHT. BLEARILY, HE RUNS A HAND THROUGH HIS HAIR, MUMBLING A FEW AD-LIB COMPLAINTS TO HIMSELF, AND PUTS HIS GLASSES ON. HE MAKES HIS WAY OVER TO THE KITCHEN AREA OF THE ROOM, AND AFTER A FEW FALSE STARTS CHECKING CUPBOARDS OPENS THE BREADBIN AND TAKES OUT A LOAF AND A KNIFE. AS HE DOES SO, EMILY EMERGES FROM HER ROOM- SHE IS WEARING NIGHTCLOTHES WHICH DON’T ACTUALLY COMRPOMISE HER MODESTY IN ANY WAY BUT WHICH ARE STILL A BIT ON THE MINIMAL SIDE. MICHAEL LOOKS UP, AND THEY MAKE EYE CONTACT BEFORE HE AWKWARDLY LOOKS AWAY.
EMILY (ABASHED) Oh. You’re awake.
MICHAEL I am.
EMILY Sorry, I’m just used to… usually I’m the first one up. Though I suppose Fiona does sleep in later than most… I wasn’t expecting-
MICHAEL I’m only just up. I didn’t sleep that well.
EMILY (NOW RATHER EMBARRASSED) Oh, I’m sorry, was everything not-
IN WHAT IS SUPPOSED TO BE A REASSURING MANNER, MICHAEL LOOKS OVER AT HER, THEN REMEMBERS WHY HE LOOKED AWAY IN THE FIRST PLACE AND HURRIEDLY DOES SO AGAIN.
MICHAEL (HASTILY) Oh, no, no, I mean it’s hardly your fault…
EMILY (AWKWARDLY) Right.
SEVERAL AWKWARD SECONDS PASS.
EMILY (AWKWARDLY) Well, I’m going to go and get changed.
SHE DISAPPEARS BACK INTO HER ROOM. MICHAEL SHAKES HIS HEAD SLIGHTLY, THEN CUTS OFF A SLICE OF BREAD. WE CUT TO NICK’S BASEMENT ROOM. IT IS SOMEWHERE BETWEEN EMILY AND JOANNA’S ROOMS IN ITS TIDINESS/UNTIDINESS, WITH A WARDROBE IN ONE CORNER AND A DESK IN THE OTHER. A LARGE WOODEN CHEST SITS AT THE FOOT OF THE BED. FULLY DRESSED BUT STILL WITH HAIR IN DISARRAY, NICK SITS DOWN AT THE DESK AND GRABS A FOUNTAIN PEN AND SEVERAL SHEETS OF PAPER. HE QUICKLY WRITES A NOTE ON ONE, THEN SETS IT ASIDE AND BEGINS WRITING ANOTHER. END OF SCENE.
ACT TWO, SCENE TWO- JOANNA’S BEDROOM AT THE ROYAL PALACE, A FEW MINUTES AFTER SCENE ONE. PREPARATIONS HAVE BEGUN FOR THE KING’S ARRIVAL. SEVERAL MAIDS, STEPHANIE AMONGST THEM, ARE HELPING JOANNA GET READY. HER OUTFIT FOR THE DAY IS AN ELABORATE POWDER-BLUE DRESS, AND THE MAIDS ARE IN THE PROCESS OF STYLING HER HAIR IN AN ELEGANT RAISED COIFFURE. THE AESTHETIC RESULT IS VERY NICE BUT THE STYING PROCESS APPEARS TO BE RATHER PAINFUL; JOANNA WINCES EACH TIME A STRAND OF HER HAIR IS PULLED. STEPHANIE NOTICES THIS.
STEPHANIE (APOLOGETIC) Sorry, miss. It’ll look lovely when it’s done.
JOANNA (WITH A GRIMACE) If you say so.
STEPHANIE Just try and relax.
SHE PULLS BACK ANOTHER STRAND RATHER FORCEFULLY, AND JOANNA MAKES A NOISE OF DISCOMFORT.
STEPHANIE Oh. Sorry.
JOANNA (RHETORICAL AND SARCASTIC) Do you really think the King of Coburg is going to be a more willing trade partner because of how my hair looks?
STEPHANIE That’s not for me to say, really.
AT THIS MOMENT THE DOOR OPENS AND ALICE WALKS IN. SHE SEEMS REASONABLY SATISFIED. THE MAIDS LOOK UP AT HER WITH A SLIGHTLY NERVOUS EXPRESSION, AS IF WORRIED THAT THEY AREN’T MEETING STANDARDS. AS THE CONVERSATION GOES ON, THEY CONTINUE THEIR WORK.
STEPHANIE All on schedule so far, ma’am.
ALICE Yes, I can see that. Her hair is looking nice.
JOANNA (IRRITABLY) I would prefer if you didn’t talk about me like I’m not here.
ALICE (AS IF SHE HASN’T HEARD) A good thing the dress was ready on time. Have you brought the corset up yet?
JOANNA (INDIGNANT) Why should I need a corset? What’s wrong with my figure?
ALICE (SURPRISED) Well, nothing, darling, just it could be better.
JOANNA ATTEMPTS TO MAINTAIN A NEUTRAL EXPRESSION, BUT IT DOES LOOK LIKE HER MOTHER’S WORDS HAVE STUNG.
JOANNA I still fail to see why there must be such a fuss. King Friedrich is here to discuss trade, why should I be trying to turn his head?
ALICE You know very well King Friedrich is interested in you.
JOANNA (SARDONICALLY) He is interested in bargaining.
SHE LOOKS POIGNANTLY AT ALICE, WHO LOOKS BACK WITH DISAPPROVAL BUT DOES NOT CONTRADICT THIS STATEMENT. THE MAIDS ATTEMPT TO LOOK AS IF THEY ARE CONCENTRATING ON THEIR WORK AND ARE NOT LISTENING.
JOANNA I thought he would be spending the day talking to the council in parliament, in any case. The palace is hosting him later, why must we meet him now?
ALICE GIVES HER A DISAPPROVING LOOK.
ALICE This is part of being queen, Joanna. The queen is the face of the United Commonwealth Islands. This is the first time Friedrich has landed on our soil as king, and as the head of state you have to be there to welcome him.
JOANNA Father never indulged any of this tedium. Even in the days of the Empire.
THIS SEEMS TO STING ALICE, BUT SHE SEEMS RELUCTANT TO SAY TOO MUCH.
ALICE (CAREFULLY) That doesn’t make it wrong. Your father was a very… unconventional kind of man.
A MOMENT PASSES.
ALICE I’ll leave you all to get on with it.
SHE EXITS THE ROOM AS THE MAIDS CONTINUE WORKING. END OF SCENE.
ACT TWO, SCENE THREE- DEDLOCK’S STUDY, THE DEDLOCK HOUSEHOLD, EARLY MORNING. DEDLOCK, DRESSED FOR BUSINESS, SITS BEHIND THE DESK IN A COMFORTABLE CHAIR HE IS USING THE TELEPHONE ON THE DESK TO TAKE A CALL. WE ARRIVE AT THE SCENE IN MID-CONVERSATION.
DEDLOCK (INTO THE PHONE) Sometime later today, yes. (PAUSE) I’ll be seeing him at some point in the night, undoubtedly. Has our little problem been taken care of? (PAUSE) Dear oh dear. And there was no way to… (PAUSE) I see. Well, if you want your fee-
THE DOOR OPENS, AND SNODGRASS APPEARS. DEDLOCK NOTICES THIS.
DEDLOCK (INTO THE PHONE) One moment. (TO SNODGRASS) Yes, Snodgrass?
SNODGRASS (POLITELY) Mr Tilford is here to see you, sir.
DEDLOCK Very well, send him on up.
SNODGRASS DISAPPEARS AS DEDLOCK RETURNS TO HIS CALL. HE RETURNS AS, ACCOMPANIED BY TILFORD, AND THEN EXITS TO LEAVE TILFORD AND DEDLOCK ALONE AS DEDLOCK FINISHES AND HANGS UP.
DEDLOCK (INTO THE PHONE) I want this resolved by tomorrow. Take care of them. Both of them, if needs be. Don’t disappoint me this time.
DEDLOCK HANGS UP THE PHONE AND LOOKS UP AT TILFORD, WHO STANDS AT THE OTHER END OF THE ROOM.
TILFORD Everything quite alright, sir?
DEDLOCK (AIRY) Certainly, certainly.
TILFORD (GESTURING TO THE TELEPHONE) New invention?
DEDLOCK (GRINS) Just a little side project to keep me busy. It’s a long distance communications system. I think it could really catch on.
TILFORD You’ll need a name for it first.
DEDLOCK (NODS) I know. Early days, though. (HE TAPS THE PHONE) This is the only one. I was speaking to Mr Tom. Just a little bit of something we had to iron out.
TILFORD IS NOTICEABLY UNNERVED BY THIS.
TILFORD I wasn’t aware that- I thought Tom never said anything.
DEDLOCK (CHEERFULLY) Oh, plenty of people never say anything, it doesn’t stop them talking.
TILFORD (NOT SURE QUITE WHAT TO MAKE OF THIS) Indeed. You’re still using Tom, then?
DEDLOCK Of course. I didn’t become a magnate by playing nicely. So, to business. What brings you here?
TILFORD Well, sir, you did tell me that if there were any developments to come and speak to you…
DEDLOCK (NODS) I did.
TILFORD It’s about Clockwork Storm. The first batch, they’ve been wired in.
DEDLOCK (NOW KEENLY INTERESTED) And everything is in working order?
TILFORD (NODS) All tested. All working. Ready to be switched on.
DEDLOCK Excellent. Will they be presentable to our guest tonight?
TILFORD Well, they certainly should be. Activation will take a little time, but-
DEDLOCK (WAVES A HAND) No need to activate the lot. Just a few will do. Enough for a demonstration.
TILFORD Of course, sir.
HE MAKES AS IF TO LEAVE, BUT DEDLOCK SIGNALS FOR HIM TO STAY.
DEDLOCK Just a moment, Mr Tilford. The first batch, are they set up to our guest’s specifications?
TILFORD (SURPRISED) Of course. All as described.
DEDLOCK (MIND ON OTHER MATTERS) Good. In that case, I have a first use for them in mind. Very well, Mr Tilford, you may go.
TILFORD (NODS) Thank you, sir.
HE OPENS THE DOOR, THEN PAUSES ON THE THRESHOLD, A THOUGHT HAVING SEEMINGLY OCCURRED TO HIM.
TILFORD Hang on. (TURNS BACK AROUND) If that’s the only one of those communications devices, how did anyone pick up at the other end?
DEDLOCK SMILES, AS IF EXPECTING TO BE ASKED THIS.
DEDLOCK Very clever, Mr Tilford.
TILFORD STAYS FOR A MOMENT, POSSIBLY EXPECTING THIS TO BE EXPLAINED FURTHER. WHEN DEDLOCK OFFERS NO FURTHER EXPLANATION, TILFORD SIGHS AND EXITS. DEDLOCK CONTINUES TO SMILE. END OF SCENE.
ACT TWO, SCENE FOUR- MOSS HOUSEHOLD, MAYBE TWENTY MINUTES AFTER SCENE ONE. MICHAEL IS NOW SITTING ON THE SOFA AGAIN. HE LOOKS UP AS EMILY, NOW DRESSED, EMERGES FROM HER ROOM AGAIN.
EMILY (TO MICHAEL) I’m off to work. I’ll be out around four, maybe earlier if the place is quiet. You’ll have to be back here at some point, if we’re going to Nick’s meeting.
MICHAEL (NODS) No problem.
EMILY So, what are your plans, then?
MICHAEL What, for today? (HE SHRUGS) Not sure. I don’t start at Automex for at least another few days. I suppose I’d better keep looking for somewhere to stay in the city.
EMILY Oh. Alright.
HER TONE HERE SUGGESTS A LITTLE BIT OF HER WANTS MICHAEL TO STICK AROUND. MICHAEL DOESN’T NOTICE THIS. AS MICHAEL STARTS SPEAKING, FIONA’S BEDROOM DOOR OPENS, AND SHE APPEARS IN THE DOORWAY IN HER NIGHTCLOTHES, THOUGH NEITHER MICHAEL OR EMILY SEE HER.
MICHAEL Just, I will need somewhere if I’m going to be living in Trinova for a long time, and the sooner I find something the better…
EMILY Yes, yes, of course. Definitely. (TURNS AWKWARD) Right, well… be back here at some point, anyway.
SHE HEADS OVER TO THE DOOR AND LIFTS HER COAT, THEN OPENS THE DOOR.
EMILY See you later.
SHE STEPS OUTISDE AND SHUTS THE DOOR BEHIND HER. MICHAEL TURNS AWAY, AND SPOTS FIONA FOR THE FIRST TIME. HE RAISES HIS EYEBROWS. SHE MAKES A FACE AS IF TO SAY “WELL, WHAT CAN YOU DO?”
END OF SCENE.
ACT TWO, SCENE FIVE- THE HOMES AND WORKPLACES OF THE GUARDIANS, AROUND MIDDAY. WE BEGIN AT TERRY’S PLACE OF WORK, ON A BUILDING UNDER CONSTRUCTION. MEN IN WORK CLOTHES SURROUND THE SCENE, COMING TO AND FRO CARRYING TOOLS AND SUPPLIES AND SHOUTING INSTRUCTIONS TO ONE ANOTHER. TERRY AT THE TIME IS UP A SCAFFOLDING WHICH HE IS IN THE PROCESS OF CLIMBING DOWN. HE REACHES THE BOTTOM OF THE SCAFFOLDING AND LOOKS AROUND, EVENTUALLY SPOTTING A DARK GREEN BOX WITH “ROBERTS” SCRAWLED ON THE SIDE. HE OPENS THE BOX, AND FINDS A FOLDED NOTE INSIDE, PLACED ON TOP OF TOOLS AND EQUIPMENT. TERRY LOOKS UP AND CASTS HIS GAZE AROUND THE SURROUNDING AREA. HE SPOTS, FROM BEHIND, THE FIGURE OF NICK DISAPPEARING IN THE DISTANCE. TERRY LOOKS AROUND HIMSELF, THEN DUCKS INTO A MORE SECLUDED AREA AND OPENS THE NOTE TO READ IT. WE CUT TO EASTFORD, THE GOVERNMENT BUILDINGS, AND A MAIL ROOM IN WHICH ONE WALL IS ENTIRELY FILLED WITH CUBBY HOLES. MARK ENTERS THE ROOM AND MAKES HIS WAY OVER TO THE WALL, GOES TO HIS CUBBY HOLE AND WITHDRAWS A FILE. A NEARLY IDENTICAL FOLDED NOTE COMES OUT WITH IT AND FALLS TO THE FLOOR. MARK PICKS IT UP CURIOUSLY, OPENS IT AND BEGINS READING. WE CUT TO LEON’S FAMILY RESIDENCE- A HOME SIMILAR TO THE MOSS FAMILY HOME, WITH THE NOTICEABLE DIFFERENCE THAT IT IS MUCH TIDIER. ON THE MANTELPIECE RESTS A MILITARY CROSS IN A BOX, NEXT TO A LARGER, CLOSED BOX, AND A LARGE CLOCK. LEON MAKES HIS WAY OVER TO THE DOOR, WHERE A NOTE HAS DROPPED THROUGH THE LETTERBOX AND LANDED ON THE FLOOR. HE PICKS IT UP AND BEGINS READING IT. END OF SCENE.
ACT TWO, SCENE SIX- PICKFORD’S PUB, EARLY AFTERNOON. THE PUB IS NOT THAT FULL AT THIS HOUR, AND HENCE THERE ARE NOT THAT MANY STAFF THERE, THOUGH EMILY AND PICKFORD ARE BOTH PRESENT. PICKFORD MAKES HIS WAY INTO THE BACK ROOM, AND CASTS A CURIOUS EYE OVER THE SLASHED SURFACE OF THE DOOR. AT THE SAME MOMENT EMILY RETURNS TO THE BAR WITH AN EMPTY TRAY IN HER HANDS, HAVING JUST BROUGHT OUT A ROUND OF DRINKS. PICKFORD CALLS OUT TO HER.
PICKFORD Miss Moss?
EMILY LOOKS UP AND HE BECKONS TO HER. SHE MAKES HER WAY OVER LOOKING NERVOUS.
EMILY Everything alright, Mr Pickford?
PICKFORD (GESTURES TO THE DOOR) Did the door look like this when you left last night?
HE RUNS A HAND DOWN THE MARK LEFT IN THE WOOD BY TOM’S KNIFE.
PICKFORD (PROBING) It looks like it’s been slashed by something. (HE POINTS TO THE MARK LEFT BY TOM’S KNIFE BEING THROWN) Look there, that one goes right through to the other side.
EMILY (CLEARLY TROUBLED) I don’t know, Mr Pickford. I didn’t notice anything off.
PICKFORD Well, I can’t think what could have caused it…
EMILY (A BIT DESPERATE) Rats, maybe?
PICKFORD (TAKEN ABACK) Up here? (HE TAPS THE MARKS) How big are these rats?
EMILY (SHRUGS) Natural wear and tear?
PICKFORD LOOKS UNCONVINCED. EMILY IS SPARED ANY MORE SCRUTINY AS THE DOOR OPENS AND LILY RUSHES IN.
LILY (LOUDLY AND TO THE ROOM AT LARGE) He’s here! The King is here!
EVERYONE LOOKS ROUND, THESE WORDS GRABBING THEIR ATTENTION. LILY BECKONS IMPATIENTLY TO EVERYONE.
LILY Well, come on then!
SHE EXITS AGAIN, AND THE CUSTOMERS ALL MOVE TO FOLLOW HER, FOLLOWED BY SEVERAL OF THE STAFF. EMILY TURNS BACK TO PICKFORD WITH AN IMPLORING LOOK ON HER FACE. PICKFORD CONSIDERS, THEN SIGHS AND HALF-HEARTEDLY GESTURES TOWARDS THE DOOR.
PICKFORD (UNENTHUSIASTICALLY) Oh, go on, then.
EMILY SMILES GRATEFULLY AND JOINS THE CROWD EXITING, LOOKING EXCITED. SHE EMERGES ONTO THE STREET, WHICH MORE AND MORE PEOPLE ARE NOW SWARMING ONTO. IN THE DISTANCE, ASHWORTH’S SPIRE CAN STILL BE SEEN. EMILY FOLLOWS THE DIRECTION OF THE CROWD, WHICH MAKES ITS WAY OUT INTO A MORE OPEN MAIN STREET. THERE, PEOPLE HAVE LINED UP ALONG THE SIDE OF THE STREET, STAND IN DOORWAYS AND ON STEPS, AND SOME EVEN SIT ON ROOFTOPS, INCLUDING THE MALE TOURIST WE SAW ON THE TRAIN IN ACT ONE. A SENSE OF ANTICIPATION CAN BE FELT. PEOPLE LOOK AROUND, WHISPER AND JOSTLE FOR POSITION IN THE CROWD, WHICH IS BEING MARSHALLED BACK FROM THE STREET’S EDGE BY ROWS OF POLICEMEN. SOME OF THEM HAVE FIREARMS STOWED AT THEIR SIDES- THESE BEAR THE AUTOMEX INSIGNIA AND LOOK MODERN AND SOPHISTICATED. EMILY FINDS A PLACE NEAR THE FRONT, NEXT TO LILY. THEN A TRUMPET SOUNDS AT ONE END OF THE STREET, AND EVERYONE TURNS SHARPLY TOWARDS IT. PEOPLE SHOUT OUT AND POINT AS THE ROYAL PROCESSION ARRIVES IN THE STREET- FIGURES IN FORMAL MILITARY GARB LEAD THE WAY, WITH A TRUMPETER AT THEIR HEAD. SOME OF THE OTHERS CARRY FLAGS OR ANTIQUE-LOOKING SWORDS. BEHIND THEM COMES A HORSE-DRAWN CARRYING KING FRIEDRICH OF COBURG HIMSELF. HE IS MOUSTACHIOED, A HANDSOME AND NOBLE-LOOKING BUT BELOW AVERAGE HEIGHT FIGURE OF AROUND TWENTY-FIVE, DRESSED ALSO IN A MILITARISTIC FASHION AND WITH MEDALS PINNED TO HIS CHEST. MORE CARRIAGES CARRYING DELEGATES AND AMBASSADORS FOLLOW BEHIND HIM. LILY TURNS TO EMILY.
LILY (EXCITED) Is that him? Is that the King?
EMILY (SARCASTIC BUT IN A GOOD-NATURED MANNER) Well, who else is it going to be?
THEY BOTH TURN BACK TO FACE THE APPROACHING PROCESSION. THE CROWD CHEERS AS IT PASSES BY. SOME THROW FLOWERS IN FRONT OF THOSE MARCHING. KING FRIEDRICH ACTS IN A DIGNIFIED MANNER, SMILING AND WAVING TO THE CROWD IN THAT AWKWARD WAY THAT ONLY ROYALS CAN.
LILY (SOUNDING A BIT DISAPPOINTED) He looks a bit shorter than I was expecting.
EMILY Well, you can’t really tell, with him sitting down.
LILY (MATTER-OF-FACTLY) No, no, I can tell alright.
THE PROCESSION CONTINUES ON, PEOPLE CONTINUE TO REACT TO IT. EMILY SMILES JUST A LITTLE, TURNING HER HEAD TO KEEP LOOKING AS THE PROCESSION DISAPPEARS DOWN THE STREET. SOMETHING BEYOND IT, HOWEVER, CATCHES HER EYE. A FIGURE, STANDING BACK FROM THE EDGE, JUST A LITTLE IN THE SHADOWS. UNLIKE EVERYONE ELSE IN THE CROWD, WHO IS LOOKING TOWARDS FRIEDRICH, THIS PERSON IS LOOKING TOWARDS HER. UNMISTAKEABLY, IT IS MR TOM. EMILY’S SMILE FADES, AND HER EXPRESSION BECOMES FEARFUL, THOUGH LILY IS TOO DISTRACTED BY THE PROCESSION TO NOTICE THIS. EMILY MOVES BACK FROM THE EDGE OF THE CROWD, OUT OF TOM’S LINE OF SIGHT, BUT STANDS HER GROUND WITH A RESIGNED EXPRESSION ON HER FACE- SHE KNOWS SHE IS SAFEST HERE, AMONGST THE CROWD. END OF SCENE.
ACT TWO, SCENE SEVEN- THE RECEPTION AREA OF TRINOVA POLICE STATION, CONCURRENT WITH SCENE SIX. A FEW PEOPLE SIT IN A WAITING AREA. AMONGST THEIR NUMBER IS NICK, WHO LOOKS UP AT THE CEILING WITH A MEDITATIVE EXPRESSION. AT ONE END OF THE ROOM IS A LARGE WOODEN DESK, BEHIND WHICH SITS THE YOUNG CONSTABLE WHO SPOKE TO BARLOW YESTERDAY. HE IS TAKING NOTES AT THE BEGINNING OF THE SCENE, BUT STOPS THIS AND STEPS OUT FROM BEHIND THE DESK AS BARLOW ENTERS THE ROOM.
BARLOW (GRUMBLING) I swear, this city would fall apart if it wasn’t for me. (TO THE YOUNG CONSTABLE) You called?
YOUNG CONSTABLE Yes, chief. There’s a man here who says he needs to speak to you personally.
BARLOW LOOKS UP AND SPOTS NICK. HE SIGHS CONTEMPTUOUSLY.
BARLOW (UNINTERESTED) Tell him I’m busy with the security arrangements for tomorrow. It’s hardly a lie.
NICK LOOKS OVER AND SEES BARLOW IS THERE. HE GETS UP AND MAKES HIS WAY OVER.
NICK (WITH SOME URGENCY) Chief Constable-
BARLOW (HOLDING A HAND UP) Whatever it is, I don’t care.
NICK It’s urgent.
BARLOW You think you’re the first person to tell me that, Christie?
NICK (EVIDENTLY DISPLEASED BUT TRYING TO REMAIN POLITE) Look, Mr Barlow-
BARLOW I’m a very busy man, I have pressing matters to attend to. I’m in no mood for your lunacy.
NICK Just give me five minutes. Please, it could be incredibly important.
BARLOW LOOKS AT THE YOUNG CONSTABLE ON RECEPTION. HE SHRUGS.
YOUNG CONSTABLE He’s been waiting here for the last half an hour, sir. I don’t think he’s interested in leaving. I don’t see what harm five minutes can do, it’d probably save you time, talking to him.
BARLOW LOOKS BACK, THEN SIGHS AGAIN WITH EVEN MORE DRAMA.
BARLOW Alright. Five minutes, and if I’m not convinced, you’re to get out of here and not bother me again. That clear?
NICK (WITH A SMILE) Abundantly.
BARLOW (IMPATIENTLY BECKONING) Come on through, then.
NICK FOLLOWS BARLOW THROUGH TO HIS OFFICE. BARLOW SITS BEHIND HIS DESK. THE CHAIR IN FRONT OF IT, PRESUMABLY FOR VISITORS, HAS A MOUNTAIN OF PAPERS ON IT, SO NICK OPTS TO STAND.
BARLOW (LOOKING UP AT HIS GUEST) Alright. Say your piece and get out of here.
NICK Last night, I heard an account from two people that were victim to a nyctalope attack.
BARLOW FROWNS AT THE WORD “NYCTALOPE”.
BARLOW I’m sorry, a what?
NICK Nyctalope. It’s a word that’s come into use for humans with metal additions. (OFF ON A TANGENT) I think it comes from somewhere on the continent, I’m not completely sure… (BACK ON TOPIC) But that’s not the point. The pair of them were employees of Automex Industries, and they both had suspicions of something going on there behind the scenes.
BARLOW (EXASPERATED, AS IF HE HAS HEARD THIS BEFORE) Oh, here we go…
NICK (EARNESTLY) You can’t ignore this. Disappearances, alright, that’s not concrete proof. Accidents, not conclusive. But an actual attack, with witnesses, by something with technology only Automex could possess? Barlow, you need to do something about this.
BARLOW And what exactly makes your witnesses more reliable than the biggest employer in the country? I’m sorry, I’ve heard enough of your delusions at this stage.
NICK Would you like to hear what they have to say for yourself?
BARLOW (SARCASTICALLY) Oh, yes, I’m sure that’ll be a positively riveting testimony. Look here, Christie, I’m interested in preventing serious crimes. Matters of real security. In fact, I’m in the middle of sorting one right now, the safeguarding of Eastford tomorrow when parliament will vote on the trade deals. A vote which, incidentally, may well not have happened at all were it not for Automex Industries. Who also, as you probably know, supplied us with enough fresh equipment to give us an advantage over just about every dangerous criminal in this city. In the last year I’ve halved violent crime in Trinova and cut reoffending rates to a record low. I think (INTENSE SARCASM ON THE WORD “THINK) I know what I’m doing. Now, get out of my office and leave me in peace.
BARLOW GESTURES TOWARDS THE DOOR. WITH AN EXPRESSION OF DEFEAT NICK EXITS THE ROOM. BARLOW SITS BACK IN HIS CHAIR WITH ANOTHER SIGH. END OF SCENE.
ACT TWO, SCENE EIGHT- EASTFORD, NOT MUCH AFTER SCENE SIX. THE ROYAL COBINE PROCESSION HAS ARRIVED AT EASTFORD, THE RAISED LANDMASS AT THE HEART OF TRINOVA IN WHICH THE GOVERNMENT BUILDINGS, EMBASSIES AND ROYAL PALACE ARE HOUSED TOGETHER- THE KREMLIN OF THE UCI, PERHAPS. IN THE SKYLINE BEHIND IT, MORE CHIMNEYS FROM AN AUTOMEX FACTORY CAN BE SEEN A LITTLE WAY OFF IN THE DISTANCE. THE PROCESSION ROLLS THROUGH THROUGH THE GATES OF THE PALACE, INTO THE VAST YARD SURROUNDING IT. THEY MAKE THEIR WAY UP TO THE FRONT OF THE PALACE, WHERE THEY STOP. A SQUADRON OF THE PALACE GUARDS STAND ALONGSIDE ALICE AND JOANNA. JOANNA, PREPARED FOR THE OCCASION, LOOKS FOR THE FIRST TIME MORE LIKE THE LIKENESSES OF HER THAT WE HAVE SEEN, AND TRULY LIKE THE QUEEN OF THE NATION. FRIEDRICH STEPS OUT OF HIS CARRIAGE AND WALKS OVER TO HER WITH A LOOK OF ADMIRATION. THE TWO OF THEM STAND ABOUT THE SAME HEIGHT. JOANNA SMILES BACK, THOUGH LOOKS A TAD UNCOMFORTABLE.
JOANNA (FORMALLY) King Friedrich. It’s an honour.
SHE CURTSEYS IN WHAT SEEMS TO BE A PRE-REHEARSED FASHION. THIS SEEMS TO TAKE FRIEDRICH BY SURPRISE. WHEN HE SPEAKS, HIS ACCENT IS THICK AND SOUNDS LIKE THAT OF A NATIVE GERMAN SPEAKER, BUT HIS DICTION IS POLISHED AND VERY PROPER.
FRIEDRICH (WITH A SMILE) You know our customs. How… gracious.
HE KISSES JOANNA’S HAND IN FORMAL MANNER.
FRIEDRICH The honour is mine.
JOANNA Your journey was enjoyable, I hope.
FRIEDRICH Oh yes. Though I did not expect such a large reception.
JOANNA Our nation is proud to have you as its guest.
FRIEDRICH I am proud to be your guest.
AT THIS MOMENT FRIEDRICH’S ATTENDEES ARRIVE BEHIND HIM, CARRYING LUGGAGE CASES. ALICE NOTES THIS AND STEPS FORWARDS, BECKONING TO THE COBINE CONTINGENT.
ALICE If you would like to come in now, and get settled… we have spared no expense in preparing for your arrival.
FRIEDRICH Of course. The Queen Mother, I take it?
HE BOWS TO HER.
FRIEDRICH Again, an honour. Yes, we will be relieved to rest inside for just a moment. You know, I take it, that I will be in talks with the council for most of today?
ALICE We were counting on it. We were planning a reception afterwards at the palace tonight, now that you’re here. Positively everyone will be there.
FRIEDRICH (WITH A SIDEWAYS LOOK AT JOANNA) I look forward to it. Until then, farewell.
WITH A FINAL SMILE AT JOANNA HE MAKES HIS WAY PAST HER AND ALICE, TOWARDS THE GATES. ONE OF HIS ENTOURAGE STEPS IN FRONT OF HIM TO OPEN THE DOORS, THE OTHERS FOLLOW BEHIND, SOME CARRYING LUGGAGE. END OF SCENE.
ACT TWO, SCENE NINE- ROBERTS HOUSEHOLD, SOME TIME IN THE AFTERNOON. TERRY UNLOCKS AND OPENS THE DOOR AND ENTERS THE HOUSEHOLD. IT IS A FAIRLY DRAB TERRACED HOUSE, A LITTLE ABOVE THE QUALITY OF LEON AND DAVID’S OR THE MOSS’, BUT NOTHING IMPRESSIVE. THE FURNITURE IS WORN AND ECLECTIC. AS TERRY SHUTS THE DOOR BEHIND HIM, DORIS APPEARS FROM THE KITCHEN AND FROWNS.
DORIS (SURPRISED) I wasn’t expecting you this early.
TERRY TAKES A SEAT.
TERRY I changed shifts. Sorry, I should have mentioned…
DORIS No, it’s not a problem, just I wasn’t counting you in for dinner…
TERRY I won’t be here anyway.
DORIS (DISAPPOINTED) Why not? I’ve hardly seen you all week, Terry.
TERRY (TIREDLY) I know, mum, but Nick wouldn’t have asked me if it wasn’t important…
DORIS (IRKED) You saw Nick last night! What could have changed in twenty-four hours that’s so important?
TERRY I don’t know.
AT THIS POINT TOBY APPEARS FROM UPSTAIRS.
TOBY Did I hear Nick?
TERRY NODS UNENTHUSIASTICALLY.
TOBY So you’re going out again tonight?
TERRY In a couple of hours.
TOBY Can I come with you this time?
TERRY Absolutely not.
TOBY (INDIGNANTLY) Well, why not?
DORIS (STRICTLY) Because it’s inappropriate for you to be spending time with people your brother’s age.
TOBY If I want to what’s wrong with it?
TERRY You can’t just invite yourself along to someone’s else’s-
TOBY (INSISTENTLY) Nick wouldn’t mind! It’s you that minds, not Nick.
TERRY Just don’t. Forget you heard anything.
TOBY How am I meant to do that?
TERRY DOES NOT ANSWER. IN AN EXAGGERATED MANNER THAT SUGGESTS HE HAS LEARNED THIS HABIT FROM WATCHING OTHERS, TOBY SIGHS AND RETREATS BACK UP THE STAIRS.
DORIS (PERCEPTIVELY) I think he’s just a little upset you two aren’t as close as you used to be.
TERRY (EXASPERATED) Well, that’s not my fault. I have a job now, and I can’t spend all my time here-
DORIS I’m not blaming you, Terry. (PAUSE, THEN) Where are you actually going tonight?
TERRY (WITH A SHRUG) Just to Nick’s. He said he needed to talk to us about something.
DORIS Us?
TERRY Yeah, he mentioned Leon and Mark.
DORIS Well, that’s another thing. Mark’s closer to my age than yours, it’s no less odd you being around him than Toby being around Nick-
TERRY It’s completely different.
DORIS Not how I see it. (POINTS UPWARDS) Probably not how he sees it, either.
TERRY SIGHS AGAIN. THERE IS A FEELING THAT THIS IS A DISCUSSION THAT HAS BEEN HAD BEFORE.
TERRY I know what I’m doing, alright?
DORIS (SIGHING) If you’re sure.
TERRY I am sure.
HE GETS UP AND MAKES HIS WAY TOWARDS THE KITCHEN. DORIS CALLS OUT TO HIM.
DORIS Would you fill the kettle while you’re out there?
TERRY (WITH ANOTHER SIGH) Alright.
FADE OUT, END OF SCENE.
ACT TWO, SCENE TEN- STREET OUTSIDE THE MOSS HOUSEHOLD, LATE AFTERNOON. EMILY IS NERVOUSLY MAKING HER WAY DOWN THE STREET. SHE SHOOTS LOOKS OVER HER SHOULDER EVERY COUPLE OF SECONDS, AFRAID SHE IS BEING FOLLOWED. SHE WALKS AS QUICKLY AS POSSIBLE TO HER DOOR AND HASTILY UNLOCKS IT, QUICKLY STEPPING OVER THE THRESHOLD AND SHUTTING THE DOOR BEHIND HERSELF. SHE RELAXES NOTICEABLY AS SHE LOCKS UP. SHE TURNS ROUND TO FACE THE ROOM, AND IS TAKEN ABACK- IT IS NOW ALMOST TOTALLY CLEAN AND METICULOUSLY ORGANISED. EMILY WALKS OVER TO THE TABLE DISBELIEVINGLY. ON THE TABLE SITS A BOOK WITH A PICTURE OF A MANOR HOUSE ON THE COVER. SHE PICKS IT UP WITH A SURPRISED LOOK, REGARDING THE COVER. AT THIS MOMENT MICHAEL EMERGES FROM FIONA’S ROOM, CARRYING A CLOTH WHICH IS BLACK WITH DIRT.
MICHAEL I swear, I’m going to have nightmares about what’s behind that wardrobe-
HE NOTICES EMILY, AND STOPS ABRUPTLY.
MICHAEL Oh. You’re back early.
EMILY So are you.
MICHAEL (APOLOGETICALLY) Everywhere I was planning to go was closed. Everyone had gone out to see the king’s arrival. So I came back here.
EMILY (A TINY BIT AWESTRUCK) You’ve found a way to keep busy.
MICHAEL (NONCHALANTLY) Don’t worry, I kept out of your room. Sorry if this seems odd, I just thought since you were kind enough to put me up, I’d try and do something to repay you.
EMILY (SURPRISED) You already saved my life, I didn’t expect anything more.
SHE HOLDS UP THE BOOK.
EMILY Where did you find this, then? I thought I’d lost this years ago.
MICHAEL In your sister’s room. She told me it was fine to go in there before she left.
EMILY (AMAZED) You really tried cleaning Fiona’s room?
MICHAEL (PROUDLY) Tried, and succeeded. (FALSELY DRAMATIC) It was a harrowing experience. It’s changed me.
EMILY (WITH A SLIGHT LAUGH) Well, I’m very impressed.
SHE SITS DOWN ON THE SOFA.
MICHAEL So, did you manage to see the king?
EMILY I did.
MICHAEL Is he as impressive as everyone says?
EMILY Eh, not really. Bit of a show-off, I thought.
MICHAEL You can’t call the king a show-off, it’s practically treason.
EMILY (INDIGNANT IN AN AMUSED MANNER) He’s not even our king! He hasn’t wed the queen yet.
AT THIS POINT MICHAEL COMES TO SIT BESIDE EMILY ON THE SOFA.
MICHAEL I suppose. The royals don’t really do romance, do they?
EMILY (WITH A SHRUG) Romance is overrated.
MICHAEL I have to agree. My father would probably kill me for saying that.
EMILY (WITH A SMILE) Old sap, is he?
MICHAEL (WITH A TOUCH OF ACRIMONY) Completely. He’s got no time for my interests. You know what it’s like, when your parents expect you to be exactly like they’d planned-
EMILY Not really. Mine died when I was six.
MICHAEL (CAUGHT OFF-GUARD) Oh. I’m sorry.
EMILY (TRYING TO BE CASUAL) It was a long time ago. You were saying?
MICHAEL (RELIEVED THAT THEY AREN’T LINGERING ON THIS TOPIC) Yeah. My father. He’s a self-proclaimed poet. In other words he likes talking nonsense and he’s too lazy to get a job.
EMILY (WITH A GESTURE TOWARDS FIONA’S ROOM) Well I can relate to that, alright.
MICHAEL She’s not as bad as that, is she? She seems alright to me.
EMILY Try living with her. She can’t keep out of my business. You heard her last night. (IMPERSONATING FIONA’S VOICE) ‘Staying the whole night? That’s not usually the way with the ones that come here.’
MICHAEL SMILES AT THIS.
EMILY Ah, you’re right, I’m being harsh on her. She isn’t that bad.
MICHAEL I’m sure she was joking. She can’t have actually thought there was anything untoward going on-
EMILY (AMUSED) Untoward? What a prudish way of putting it.
MICHAEL (NOW A LITTLE UNCOMFORTABLE) Well, you know what I mean.
EMILY I know what you mean, just, what’s so “untoward” about it?
THIS QUESTION HOVERS IN THE AIR FOR A MOMENT AS EMILY LOOKS AT MICHAEL, EXPECTING AN ANSWER. THE MOMENT IS INTERRUPTED AS SOMETHING SHOOTS THROUGH THE FRONT DOOR LETTERBOX AND DROPS ON THE FLOOR.
EMILY Who’s that from? I thought the post would have already come.
MICHAEL (UNCERTAINLY) It did. I left it on the counter.
EMILY GETS UP AND GOES TO RETRIEVE THE ITEM- A FOLDED NOTE OF THE SAME KIND THE GUARDIANS RECEIVED. SHE NOTES THE SYMBOL ON ITS EXTERIOR AND OPENS IT WARILY. AFTER SCANNING IT QUICKLY SHE LOOKS UP AT MICHAEL.
EMILY It’s from Nick.
MICHAEL LOOKS UP, AND THEY HOLD EACH OTHER’S GAZE. END OF SCENE.
ACT TWO, SCENE ELEVEN- THE ALLEY OUTSIDE NICK’S BASEMENT, AFTER DARKNESS HAS FALLEN. MICHAEL AND EMILY HURRY DOWN THE ALLEYWAY, REACHING THE BASEMENT ENTRANCE. EMILY KNOCKS ON THE DOORS IN A UNIQUE RHYTHM. AFTER THE TWO OF THEM WAIT FOR A FEW MOMENTS, WE HEAR THE DOORS BE UNLOCKED, AND THEY ARE OPENED BY NICK, WHO USHERS THEM IN QUICKLY, SHUTTING THE DOORS BEHIND THEM. THIS TIME, THE STAIRWAY DOWNWARDS IS LIT BY SMALL LIGHTS.
NICK You weren’t followed?
EMILY (UNCERTAINLY) I don’t think so.
NICK Good.
THEY MAKE THEIR WAY DOWN THE STAIRCASE, NICK LEADING THE WAY. THEY REACH THE BOTTOM AND NICK LEADS THEM THROUGH THE DOOR. INSIDE, MARK SITS IN A CHAIR HE HAS DRAWN OVER, AND TERRY STANDS NEARBY. THEY BOTH LOOK OVER AS THE OTHER THREE ENTER. NICK INDICATES THE TWO OF THEM IN TURN.
NICK This is Terry Roberts and Mark Havisham. Gentlemen, this is who I was telling you about.
NICK TAKES A SEAT. MICHAEL AND EMILY HESITANTLY GO OVER TO SIT TOGETHER FACING HIM- THEY SIT CLOSE TO ONE ANOTHER AS IF LOOKING FOR SUPPORT IN THIS STRANGE AND SLIGHTLY HOSTILE ENVIRONMENT.
NICK So, we are the Guardians of Humanity.
MICHAEL (UNIMPRESSED) There’s only three of you?
TERRY Four. We’re waiting for one more.
EMILY (LOOKING MORE CLOSELY AT TERRY) I know you. You were at Bentley’s funeral.
TERRY (LOOKING CRITICALLY AT HER) You’re one of Henry Moss’ daughters?
EMILY How’d you know?
TERRY (WITH A SHRUG) Just a feeling.
NICK Anyway, there’s no telling when Leon will arrive, so we may as well start. This is our headquarters- we don’t always meet here, to try and keep this location a secret, but it’s where we make our base camp. I already explained to the two of you who we are and what we do- all of us here oppose Edgar Dedlock and Automex. Before you explain what happened last night, is there anything more you want to know before you get involved with us?
THERE IS A PAUSE FOR THOUGHT FOR SEVERAL SECONDS. THEN-
MICHAEL Why?
NICK I’m sorry?
MICHAEL Why do you want rid of Automex and Dedlock? I mean you have your suspicions, you told me that, but… why do you want them gone so badly?
AGAIN, THERE IS A PAUSE FOR THOUGHT. THE SILENCE IS BROKEN BY TERRY.
TERRY Well, this is just my view of it, but… all the supposed advancements Automex have made that are meant to help people have done more harm than good. They’ve done nothing but put the elité even further ahead than they were already. I don’t think Edgar Dedlock is interested in helping anyone but himself.
MARK I don’t trust him. I see him every day he’s at Eastford- everything he does is to suit him. Like the deal with Coburg. He just wants more wealth and more power.
MICHAEL (NOT CONVINCED) I understand that, but… I mean, it’s his company at the end of the day. What’s he really done that’s worth going after him?
NICK Well, perhaps you can tell us. Tell us what happened last night. The whole story.
HE LOOKS POINTEDLY AT MICHAEL AND EMILY, AS THE SCENE ENDS.
ACT TWO, SCENE TWELVE- LEON AND DAVID’S HOME, CONCURRENT WITH SCENE ELEVEN. LEON MAKES HIS WAY TOWARDS THE DOOR, BUTTONING HIS COAT AS HE DOES SO. AS HE REACHES FOR THE HANDLE, DAVID APPEARS AT THE OTHER END OF THE ROOM, WITH A DISAPPROVING LOOK.
DAVID (SOUNDS A LITTLE ANNOYED) You never said you were going out again tonight.
LEON (APOLOGETICALLY) Sorry. I only found out today-
DAVID Found out? You’re going out with Nick and his associates again, aren’t you? (SHAKES HIS HEAD)
LEON Associates? You’re making it sound like we’re a gang.
DAVID You don’t have to do everything that Nick tells you to.
LEON What have you got against him?
DAVID There’s something off about him.
LEON (INDIGNANTLY) You don’t even know him.
DAVID (QUESTIONINGLY) Do you know him, really?
THERE IS A SOMEWHAT PREGNANT PAUSE.
DAVID (AWKWARDLY) Look, I’m only trying to look out for you-
LEON (DISMISSIVELY) I can look out for myself. That’s what I have friends for, we watch each other’s backs-
DAVID I’m telling you, they’re nothing but trouble-
LEON (ANGRILY) I’d have thought if anybody would know not to judge by first sight it would be you.
THIS CLEARLY IRKS DAVID. HE SHAKES HIS HEAD DISMISSIVELY.
DAVID Fine. Go. Do whatever you want, maybe you’ll learn that way. I don’t care.
LEON GLARES BACK AT HIM, THEN EXITS WITHOUT A WORD. DAVID BREATHES DEEPLY AND CONTINUES TO LOOK AT WHERE LEON HAD BEEN STANDING, AS THE SCENE ENDS.
ACT TWO, SCENE THIRTEEN- NICK’S BASEMENT, PRESUMABLY SOME TIME AFTER SCENE ELEVEN. IT SEEMS MICHAEL AND EMILY HAVE BEEN TELLING THEIR STORY FROM THE PREVIOUS NIGHT. MARK AND TERRY WATCH THEM INTENTLY, NICK SITS BACK AND OBSERVES THE WHOLE THING.
EMILY (FINISHING THEIR STORY) �"after that, Nick came with us and we went home. (PAUSE) Well, that’s it, really.
TERRY AND MARK BOTH LOOK SOMEWHAT TAKEN ABACK. THEY PROCESS THIS INFORMATION WITH FURROWED BROWS.
TERRY (STUNNED) So it’s true then. Nyctalopes.
MARK (EQUALLY STUNNED) And these ones work.
MICHAEL Well, it’s something that’s always been possible in theory. I used to read about it. But that was just hearsay. I never thought I would ever actually see it.
TERRY (WORRIEDLY) The ones we had heard reports of were botched jobs. People who had undergone failed surgeries. We had our suspicions Automex was trying these kind of things, but we didn’t know they’d succeeded.
NICK There’s no telling how dangerous somebody like that could be.
TERRY So what do we do, Nick?
NICK (THINKING) I don’t know.
MICHAEL Whatever you want to do, you’ll have to do it quickly. I’ve been thinking about what Mr Dedlock said yesterday… if any of this is about Clockwork Storm, it’s coming to a conclusion soon. He hired me to help him with his next project, and apparently it’s about to start.
MARK (LOOKING AT NICK AS IF HOPING FOR ANSWERS) And if that’s got the trade deal with Coburg involved, it’s set to be signed tomorrow, if it goes through.
NICK (FOR ONCE NOT CONFIDENT) I’m not sure what to think.
THERE IS A BRIEF PAUSE.
EMILY (CAUTIOUSLY) There’s something I haven’t told you yet.
NICK (LOOKING UP) Go on.
EMILY The… the nyctalope… (SHE FALTERS UNEVENLY AT THIS WORD) or whatever you called it, the one that we ran from last night… I saw them again. Earlier today.
MICHAEL (TURNS SHARPLY TO HER) You what?
NICK (SHARPLY) Where?
EMILY (MORE CAUTIOUS) Out in the streets. He was there when the King of Coburg was passing through.
NICK And you’re sure it was the same person?
EMILY (SHORTLY) It’s not easy to forget what they looked like.
MICHAEL (FALSELY HOPEFUL) Well, practically the whole city turned out for that, it might not mean anything-
EMILY You weren’t there, Michael. (SHE SHIVERS A LITTLE) He was looking right at me. Everyone else was looking at the king, and he was looking right at me.
NICK (CURIOUSLY) Why didn’t you tell us this from the start?
EMILY (VISIBLY NERVOUS) I’m… (RELUCTANT) Alright, I’m scared. I’m scared you’re going to tell me whoever they are is following me. That they’re after me personally.
SHE LOOKS AT NICK, HOPING FOR REASSURANCE. HE PROVIDES NONE.
NICK (GRAVELY) That’s what I suspected already.
MARK Suspected what already, exactly?
NICK (SERIOUSLY) It all seems just a little coincidental. You read a file sent to someone high up at Automex and meet Edgar Dedlock in the same day. The same night, someone tries to attack you. Someone held together by advanced technology. It all fits perfectly together.
EMILY What are you saying?
NICK (AFTER A LITTLE HESITATION) I think Edgar Dedlock tried to have you killed.
AT THIS POINT WE CUT AWAY. WE NOW FIND OURSELVES OUTSIDE, NOW IN THE STREET THAT WAS EARLIER PACKED FOR FRIEDRICH’S ARRIVAL. LEON, HEAD BOWED, MAKES HIS WAY UP THE STREET. ASHWORTH’S SPIRE IN THE DISTANCE IS STRIKINGLY LIT UP. HE STOPS AT A CORNER WHERE THE STREET MEETS ANOTHER, NARROWER STREET AND PAUSES, BENDING DOWN TO TIE A SHOELACE. HE DOES NOT NOTICE A HORSE-DRAWN CARRIAGE THAT WAS ALREADY NEARLY AT THE JUNCTURE- IT COMES TO A FORCIBLE HALT, AS THE DRIVER STOPS THE HORSES PULLING IT. LEON FLINCHES AWAY AND GETS TO HIS FEET HASTILY.
DRIVER (IRRITABLE) Don’t you know not to stop in the middle of the street?
LEON (EQUALLY IRRITABLE) I only stopped for a moment.
AT THIS MOMENT AN UPPER-CLASS GENTLEMAN STICKS HIS HEAD OUT OF THE CARRIAGE WINDOW WITH A FROWN.
UPPER-CLASS GENTLEMAN Whatever’s the hold-up?
DRIVER (STILL BAD-TEMPERED) Just a lad in the street, sir. (WAVES HIS HAND AT LEON) Go on, boy, get out of here.
UPPER-CLASS GENTLEMAN (WITH A SNEER) Good thing you spotted him. He blends in well in the dark.
WE HEAR THE OTHER OCCUPANTS OF THE CARRIAGE LAUGH AS LEON TURNS AWAY. THE CARRIAGE BEGINS TO MOVE AGAIN AS LEON WALKS OFF WITH A SIGH. AT THIS POINT WE CUT BACK TO NICK’S BASEMENT, WHERE EVERYONE SEEMS A LITTLE SHOCKED BY WHAT NICK HAS SAID.
MICHAEL (STRICKEN) What?
NICK It makes sense. You know it does.
EMILY (NOT SOUNDING CONFIDENT) No, it doesn’t. You don’t- you don’t kill someone for reading a file. And I didn’t even read it, really-
NICK (TOTALLY CERTAIN HE IS RIGHT) And how’s he to know that? This is Edgar Dedlock we’re talking about- he’s ruthless. Mark, you’ve seen him. Tell them.
MARK (UNSURE) He is ruthless. And completely self-serving. But really, Nick, you think he would kill a girl, risk potential exposure on account of faint suspicion?
TERRY I think Nick’s right.
THE FOCUS SHIFTS TO HIM.
TERRY (IN A REASONED MANNER) I mean it’s not that big of a jump from what we know he’s done. He doesn’t care about ordinary people, they’re just a labour force to him. And he thinks he’s above the law. Why wouldn’t he do something like this?
MARK But what’s so important he needs to kill his own employees to keep it secret?
AT THIS MOMENT THE DOOR OPENS AND LEON WALKS IN. HE HAS A DISGRUNTLED EXPRESSION ON HIS FACE, THOUGH IT FADES SOMEWHAT AS HE TAKES IN THE SCENE. NICK GETS UP TO GREET HIM.
LEON (TO NICK) Sorry I’m late.
NICK (WITH A NOD) It’s fine. We went ahead and started anyway.
LEON SPOTS MICHAEL AND EMILY, AND GESTURES TO THE PAIR OF THEM.
LEON (TO NICK) These the ones you told us about?
NICK (BECKONING MARK OVER) Mark, you can brief him. You can use my room.
MARK NODS. THE TWO OF THEM DISAPPEAR INTO NICK’S ROOM, SHUTTING THE DOOR BEHIND THEM. NICK SITS BACK DOWN AND TERRY COMES OVER TO SIT BESIDE HIM IN MARK’S VACANT SEAT.
EMILY So what am I meant to do? If someone’s out to kill me-
NICK That’s why I sent the two of them out for the moment. I have an idea, but it’s one you have to agree to yourself, and I didn’t want to put you under any additional pressure.
EVERYONE LOOKS INTENTLY AT NICK. TERRY LOOKS AS IF HE KNOWS WHAT IS GOING TO BE SAID.
NICK Edgar Dedlock has sent someone after you because he’s worried you know something about whatever this Clockwork Storm is that he’s been keeping quiet. That’s how it appears to me. For that dangerous a mission, something if it ever got out could ruin him and his company, that someone must be somebody he trusts implicitly.
TERRY (ARRIVING AT THE SAME CONCLUSION) And if it’s somebody he trusts implicitly…
NICK (FINISHING) …then that might not be the only thing Dedlock has told them.
MICHAEL You think the nyctalope knows about it?
NICK More than likely, he at least knows something about what’s going on behind the scenes at Automex. It’s not much, but it’s our only lead.
EMILY So what do you want me to do?
NICK LOOKS AT HER EARNESTLY.
NICK We need to get a hold of whoever they are. And for that, we need to draw them out into the open.
EMILY (REALISATION HITTING HER) You want me to act as bait.
NICK Yes.
MICHAEL (SHAKES HIS HEAD) That’s ridiculous. She could get killed-
NICK Equally, she could get killed if we do nothing. If the assassin’s been hired by Automex, they could have personal details, maybe even know where Emily lives.
MICHAEL Then go to the authorities, or someone who knows what they’re doing-
TERRY LAUGHS BITTERLY.
TERRY (DARKLY AMUSED) Do you think the authorities listen to us?
NICK Chief Constable Barlow has written the lot of us off. We’ve tried showing the police what we’ve found, and they just laugh at us.
MICHAEL Small wonder. You’re both out of your minds if you think-
EMILY I’ll do it.
ALL EYES TURN TO HER. EMILY SWALLOWS, LOOKING AFRAID BUT DETERMINED.
EMILY I want to know what’s happening to me. If there’s a way to find out, or to stop it… then I’ll do it.
NICK (SINCERELY) Thank you.
EMILY Don’t bother. I’m not doing it for you. Either of you.
MICHAEL (AGHAST) But this is insane! Emily, you could die-
NICK Don’t try and make her mind up for her-
MICHAEL (ANGRILY) Why did you even suggest it?
EMILY (TRYING TO STAY CALM) No, Michael, he’s right. I don’t want to have to live in fear of what’s out there. I’ve made up my mind.
THEY BOTH LOOK AT EACH OTHER. MICHAEL HESITATES, THEN SHAKES HIS HEAD.
MICHAEL (DESPERATELY) I’m sorry. Look, I know it all looks bad, but this is Automex we’re talking about. The biggest manufacturing company in the country, probably the whole world- surely, someone, somewhere with the power to stop it would have found out by now if they were up to something?
NICK AND TERRY EXCHANGE LOOKS.
NICK The world doesn’t work that way. The rich and the powerful in this country don’t often have to face consequences, and Edgar Dedlock is more rich and more powerful than anyone. I don’t know if anyone has the power to stop him, but it wouldn’t be in the interests of anyone who might to try it.
TERRY In other words, we’re basically on our own.
NICK There’s no other way. If there was, I promise I’d have suggested it first.
MICHAEL LOOKS FROM NICK TO TERRY TO EMILY. SHE MEETS HIS EYES AGAIN, AND HE SIGHS.
MICHAEL Alright. I think it’s a bad idea, but I can see I’m not talking anyone out of this.
NICK NODS. AT THIS MOMENT, HIS BEDROOM DOOR OPENS AND LEON AND MARK EMERGE. LEON LOOKS UP AT NICK.
LEON (LOOKING DETERMINED) I’m up to speed. What do we do now?
NICK (WITH A SLIGHT SMILE) We’re going to catch an assassin.
LEON (NODS) Fair enough. Let’s get cracking.
HE GRINS, AS THE SCENE ENDS.
ACT TWO, SCENE FOURTEEN- NICK’S BASEMENT, JUST AFTER SCENE THIRTEEN. WE FIND OURSELVES IN NICK’S BEDROOM. THE REST OF THE GROUP ARE CROWDED AROUND NICK, WHO IS KNEELING DOWN IN FRONT OF THE WOODEN CHEST. HE OPENS IT TO REVEAL A VARIED AND UNTIDY ARRAY OF DEADLY IMPLEMENTS, GUNS, AND OTHER MAKESHIFT ITEMS, LOOKING EXCITED BY THE PROSPECT OF WHAT LIES AHEAD. A BRIEF MONTAGE IS SHOWN IN WHICH THE GUARDIANS ARM UP IN FAIRLY EPIC STYLE- GUNS, BLADES, AXES, BOMBS, CHAINS AND MORE UNCONVENTIONAL INSTRUMENTS ARE STOCKED UP ON. EMILY AND MICHAEL WATCH THIS PROCESS WITH SOMETHING BETWEEN AWE AND APPREHENSION. NICK SEES THEIR EXPRESSIONS AND GRINS. THE GROUP CONTINUES GETTING READY AS THEY TALK.
MICHAEL (HALF AWESTRUCK, HALF DISTURBED) Where did you get all this from?
NICK Mostly Leon. (JERKS HIS HEAD TOWARDS LEON) His father has military contacts.
LEON (MUTTERS) Paramilitary might be more accurate.
NICK (CURIOUSLY) I thought he was an army veteran?
LEON That doesn’t mean all his friends kept themselves out of trouble. I think he’s worried I’m doing the same. (AS A MATTER-OF-FACT AFTERTHOUGHT) He hates you, you know.
NICK I’ll have to do something about that. (TURNS TO TERRY) Terry, how are we for ammunition?
TERRY HOLDS UP A BOX AND LOOKS INSIDE IT.
TERRY Seems alright.
NICK Good. Get over here with it.
TERRY STEPS OVER BESIDE NICK. WITH THE TWO OF THEM OCCUPIED FOR THE MOMENT, EMILY MAKES HER WAY OVER TO STAND BESIDE LEON. AT THE SAME MOMENT, MARK EXITS THE ARSENAL CARRYING AN ASSORTMENT OF CANISTERS AND BOTTLES.
EMILY (WITH A NERVOUS SMILE) So, we haven’t really met, have we? I’m Emily. Emily Moss.
LEON (CONCENTRATING MAINLY ON WHAT HE IS DOING) Yeah, Mark filled me in.
EMILY Sorry if I’m in the way, I just thought it’d be worth getting to know everyone just a bit. I mean if I’m meant to trust you all-
LEON I don’t expect you to. To be honest I’m surprised you agreed to this. We probably seem crazy to you.
EMILY Just a little. Nick does seem a bit…
LEON Insane?
EMILY (LAUGHS) Well, I wasn’t going to say that-
LEON He is, just a tad. But in a good way. You start to realise it when you’ve been around him for a while.
EMILY (CURIOUSLY) What’s your father got against him, then?
LEON LOOKS AT HER A LITTLE APPREHENSIVELY. EMILY’S EXPRESSION SUGGESTS SHE IS WORRIED SHE HAS OFFENDED HIM, BUT HE RELAXES AFTER A MOMENT.
LEON (TRYING TO BE CASUAL) He thinks he’s bad news.
EMILY Why does he think that?
LEON I don’t know. Maybe you should ask him.
EMILY SEEMS TO TAKE THIS AS INDICATION NOT TO PUSH THE SUBJECT ANY FURTHER, AND SO CHANGES COURSE.
EMILY So, when you’re not guarding humanity, what do you do?
LEON SMILES A LITTLE AT THIS TURN OF PHRASE.
LEON We run a market stall. My father and I. He got out of the army as soon as he got here.
EMILY Why, where are your family from?
LEON The Antile colonies, originally. My father was a conscript, back when it was still part of the Empire, so my parents ended up being sent here. (HIS VOICE BECOMES A LITTLE RESENTFUL) I was born here in Trinova, not that most people care about that.
EMILY (A LITTLE SURPRISED) What, do people still cause bother about stuff like that?
LEON Not as many as used to. But I’ve never been… well, I’ve always felt like a foreigner, I suppose. That’s what makes the Guardians important to me, they never judged me by anything except who I am, instead of what. They treat me like I’m no different to them.
EMILY (AFTER A SLIGHT HESITATION) You seem different to me. Not because of that. Just you seem… less insane, I suppose. Nicer.
LEON LOOKS A TAD AMUSED AT THIS, AND LOADS HIS GUN.
LEON Do you want someone nice protecting you?
THEY SHARE AN AMUSED SMILE. WE CUT BACK TO THE MAIN ROOM, WHICH MICHAEL RE-ENTERS. OVER AT A WORKTOP, MARK IS FILLING CANISTERS WITH MIXTURES OF THE CONTENTS OF THE ASSORTED BOTTLES. MICHAEL COUGHS HESITANTLY, AND MARK LOOKS UP FROM HIS WORK.
MARK Yes?
MICHAEL Sorry to interrupt. (HE NODS TO THE BOTTLES) What are you doing here, out of curiosity?
MARK They’re explosives. Dualine, it’s a nitroglycerin-based combination. Not that dissimilar to what you’d find in dynamite, actually-
MICHAEL (SHAKES HIS HEAD) No, I mean… here. You didn’t say much before. What made you decide to work together in somebody’s basement with a pack of kids?
MARK CONSIDERS FOR A MOMENT, THEN ANSWERS BLUNTLY AND BRIEFLY.
MARK Because I don’t like Edgar Dedlock.
Michael Is that all?
MARK PAUSES. EVIDENTLY, THIS IS NOT ALL, BUT HE DOES NOT SAY ANY MORE, AND MICHAEL TAKES THE HINT AND MOVES ON TO ANOTHER SUBJECT. HE INDICATES THE EXPLOSIVES.
MICHAEL (A LITTLE CONCERNED) So, that. Is it safe?
MARK (RAISES HIS EYEBROWS) It’s explosive, of course it isn’t safe.
HE FINISHES HIS PREPARATION.
MARK But you can keep yourself safe from it, so long as you aren’t completely stupid. The canisters are a Sobreran design we pinched. They contain their own fuses for ignition, so you just pull the tab and… (HE GESTURES TO INDICATE DETONATION) Like I said, dangerous, but not if you aren’t an idiot.
MICHAEL (NOT SURE WHAT TO SAY TO THIS) Alright.
MARK So, is that all you wanted to know?
MICHAEL Actually, I was going to ask you… I don’t know that much about what Mr Dedlock’s been doing at Eastford. I know he’s been trying to push through this deal with Coburg…
MARK He’s been leading the movement for free trade between us and them. He’s been very vocal on the subject. I’ve seen him in action, and I think he has the Upper House convinced.
MICHAEL So it is going through, then?
MARK (NODS) Almost definitely.
MICHAEL I always thought the Upper House was against Coburg.
MARK Well, some of them are. Some of them are traditionalists, they still see Coburg as the enemy. But the majority are like Dedlock- they know it will make them richer if there’s free trade between the countries, so they’ll back it.
MICHAEL And that’s enough?
MARK Enough for the majority it needs. The Lower House have already agreed on it, it’s just the Upper that’s left. The posh boys’ club.
MICHAEL (A BIT THOUGHTFUL) I’m trying to think of what he might be planning. He said when I met him that this was something he’d designed himself. It has to be important, if it’s come from him alone.
MARK Don’t try to understand Edgar Dedlock. It’ll make your head hurt. We’ll find it, whatever it is. Hopefully.
AT THIS MOMENT, NICK, TERRY AND LEON EMERGE, ARMED TO THE TEETH. NICK MOTIONS TOWARDS MARK AS EMILY EMERGES BEHIND THEM.
NICK Are they ready?
MARK (NODS) Should be.
NICK Alright. Well, we can crack on then. Let’s get going. (HE MOTIONS TO EMILY) Emily, stay close. We’re not letting you out of sight ‘til we get to Pickford’s. The rest of you, keep an eye out for anything. The nyctalope could be anywhere.
MICHAEL What about me?
NICK (RAISES HIS EYEBROWS) What about you?
MICHAEL What am I meant to do?
NICK (RAISES HIS EYEBROWS) I don’t know. What do you usually do in the evenings?
MICHAEL Why do I feel like I’m not being included in this?
NICK I thought you were the one that said it was too dangerous.
MICHAEL (UNABLE TO ARGUE WITH THIS) Well…
TERRY Which would only be more true, if you were to get in the way.
NICK The plan works, and you’re not part of it. We’re going.
THEY MAKE TOWARDS THE EXIT, BUT MICHAEL STOPS THEM.
MICHAEL Alright, hang on just a second. Up until now I’ve been as involved as everyone else has. Even if it is dangerous… (HE LOOKS BRIEFLY TOWARDS EMILY) If you’re all going to plough on ahead and do it anyway, I want to go with you. I’d rather be where things are happening than sat worrying about them.
NICK CONSIDERS MOMENTARILY. MICHAEL PRESSES ON.
MICHAEL If there’s something going on at Automex, I have a right to know about it. I’m meant to be starting a job with them, if they have secrets I’m as entitled to know them as you are.
HE LOOKS EXPECTANTLY AT NICK. HE CONTINUES TO CONSIDER THE PROPOSITION, THEN SIGHS AND BECKONS RELUCTANTLY.
NICK Fine. But don’t expect us to be watching your back the entire time. We’ve got a mission to carry out, first and foremost. (HE GESTURES TO EVERYONE) Alright, let’s head on.
HE LEADS THE WAY AS THE GUARDIANS MAKE THEIR WAY OUT, TERRY JUST BEHIND HIM. EMILY LAGS BEHIND MOMENTARILY ALONGSIDE MICHAEL.
EMILY (QUIETLY) Thank you.
MICHAEL For what?
EMILY For offering to come with us. I was going to ask you, but I didn’t want to make you think you had to… just for me.
MICHAEL (RAISES HIS EYEBROWS IN A SARCASTIC MANNER) Do you think I’m coming along for them?
HE GESTURES TO THE STAIRS THE GUARDIANS HAVE JUST ASCENDED. EMILY SMILES AT THIS, THEN ADOPTS A MORE STOIC EXPRESSION.
EMILY Let’s go, then.
THE TWO OF THEM FOLLOW THE GUARDIANS UP THE STAIRS. END OF SCENE.
ACT TWO, SCENE FIFTEEN- THE ROYAL PALACE, AT NIGHT. OUR FIRST SHOT IS OF THE FACADE OF THE PALACE, WHICH IS BREATHTAKINGLY LIT UP. CARRIAGES ARE LINED UP OUTSIDE IT IN THE CORTYARD, AND MORE ARE CONTINUING TO ARRIVE. THE GUARDS ARE STILL MAKING THEIR PATROLS. WE CUT TO THE PALACE’S BALLROOM, ARRIVING IN THE MIDST OF A MAGNIFICENT SOIREE. ON ONE WALL, WE HOVER FOR A SECOND OVER A PORTRAIT OF KING ALBERT AND A YOUNGER ALICE, WHO IS HOLDING PRESUMABLY AN INFANT JOANNA AND WEARING AN INTRICATE DARK BLUE NECKLACE. THE BALLROOM IS RICHLY DECORATED AND BRIGHTLY LIT, AND THE GREAT AND THE GOOD, ALL IN FINE DRESS, MILL AROUND IT, TALKING, LAUGHING, SHARING STORIES AND SO FORTH. SOME, WE RECOGNISE FROM THE UPPER HOUSE. WE SEE SHERWOOD ARRIVE NEXT TO A CONSIDERABLY YOUNGER AND ATTRACTIVE WOMAN. ALSO PRESENT IS BARLOW, DRESSED FORMALLY RATHER THAN IN POLICE ATTIRE. PIANO MUSIC, SOMETHING RESEMBLING ‘ARABESQUE’ BY FRIEDRICH BURGMULLER, CAN BE HEARD PLAYING IN THE BACKGROUND. SHERWOOD LEAVES HIS PARTNER’S SIDE WHILST SHE TALKS TO A GROUP OF SOCIALITES AND MAKES HIS WAY OVER TO BARLOW.
SHERWOOD Ah. Mr Barlow.
BARLOW LOOKS UP.
SHERWOOD Just who I needed. Now, I have a few arrangements to make tomorrow in regards to security around the area…
HE AND BARLOW BEGIN WALKING AND TALKING, THE LATTER LOOKING NONE TOO PLEASED WITH THE TOPIC OF CONVERSATION. AS WE REACH THE END OF THE PIECE, WE CUT TO ONE CORNER OF THE ROOM, WHERE A SMALL APPRECIATIVE CROWD STANDS AROUND A GRAND PIANO. AT IT SITS DEDLOCK, WEARING HIS MONOCLE, WHO FINISHES PLAYING WITH A FLOURISH. THE SMALL CROWD APPLAUD ENTHUSIASTICALLY. DEDLOCK SMILES IN A GRATIFIED MANNER.
DEDLOCK (WITH FALSE MODESTY) Thank you, thank you.
HE GETS UP FROM THE PIANO AS THE CROWD DISPERSES. THE UPPER-CLASS MAN WE SAW MOCKING LEON EARLIER APPROACHES HIM WITH A SMILE, FOLLOWED BY HIS WIFE, AN EQUALLY UPPER-CLASS WOMAN.
UPPER-CLASS MAN (IN A FAMILIAR TONE) Still keep in practice, then, Edgar?
DEDLOCK If I can ever find the time.
UPPER-CLASS MAN Busy times right now?
DEDLOCK Terribly, I’m afraid. Both of you keeping well, I trust?
UPPER-CLASS MAN Oh, yes, everything’s going splendidly right now. Have we told you about Thomas since we last met?
DEDLOCK I don’t believe so.
THE UPPER-CLASS MAN NODS TO HIS WIFE, WHO IS CLEARLY BURSTING WITH EXCITEMENT AT THIS CONVERSATION TOPIC.
UPPER-CLASS WOMAN (WITH GREAT PRIDE) That tutor you recommended worked wonders. He’s top in mathematics, his teacher’s calling him a genius. He’s up for this year’s Forbes prize and everything.
DEDLOCK (WITH A SMILE) If he’s ever thinking of a career in engineering, you know where to send him.
HE MAKES TO LEAVE, BUT THE WOMAN STOPS HIM, STRUCK BY A THOUGHT.
UPPER-CLASS WOMAN Will you be coming along to the prize ceremony this year?
DEDLOCK Of course, where do you think I get all my ideas from?
THEY SHARE A LAUGH, AND DEDLOCK MOVES ON, PLUCKING A CHAMPAGNE FLUTE OFF THE TRAY OF A PASSING WAITER AS HE DOES SO. WE CUT TO JOANNA, WHO HAS CHANGED INTO A SOMEWHAT LESS VOLUMINOUS BUT STILL EQUALLY DELIGHTFUL DRESS. SHE LOOKS LOVELY BUT SOMEHOW JUST NOT QUITE HERSELF. FRIEDRICH STANDS NEXT TO HER- THE TWO ARE ENGAGED IN CONVERSATION, WHICH HE SEEMS CONSIDERABLY MORE INTERESTED IN THAN HER. NEVERTHELESS, SHE IS DOING HER BEST TO FEIGN INTEREST.
FRIEDRICH (AS IF HE HAS BEEN TELLING A STORY)- and so when we come back, I was given the St. Henry’s Medal.
JOANNA Quite a story.
FRIEDRICH Of course, it is the poor souls who don’t return who deserve to be remembered.
JOANNA And who were they?
FRIEDRICH (WAVES A HAND AIRILY) Eh, just some foot soldiers.
AT THIS MOMENT, DEDLOCK APPEARS WITH A GRIN. JOANNA LOOKS RELIEVED TO SEE HIM. FRIEDRICH GIVES HIM A MEASURED LOOK.
JOANNA Oh, good evening, Mr Dedlock.
DEDLOCK Isn’t it? Charmed as ever, Your Highness. If you would be so kind as to let me borrow our Cobine friend for a few minutes?
JOANNA (A BIT TOO ENTHUSIASTICALLY) Of course! (CATCHES HERSELF) I mean… if you must.
DEDLOCK Thank you.
HE AND FRIEDRICH DEPART. JOANNA SIGHS WITH RELIEF. A MOMENT LATER, STEPHANIE APPEARS AT HER SHOULDER CARRYING A TRAY OF FULL WINE GLASSES.
STEPHANIE Alright, miss?
JOANNA JUMPS SLIGHTLY. SHE TURNS ROUND AND SEEMS RELIEVED TO SEE STEPHANIE, BUT A LITTLE EMBARRASSED BY HER REACTION.
JOANNA Oh. Sorry.
STEPHANIE Can I get you a drink?
JOANNA (IN A LOW VOICE) I think I might need more than just the one.
STEPHANIE (AMUSED) Not having the best of times with his highness, then?
JOANNA TAKES ONE OF THE GLASSES FROM STEPHANIE’S TRAY.
JOANNA Did you know the Cobines have eleven different orders for military bravery?
STEPHANIE As a matter of fact, I did not.
JOANNA Well, now you do. Would you like to know what they’re all called?
STEPHANIE LAUGHS. JOANNA SHAKES HER HEAD IN EXASPERATION.
JOANNA Who knew a party could be so boring?
ALICE, CONSPICUOUS AS SHE IS STILL DRESSED IN ALL BLACK, ARRIVES JUST IN TIME TO CATCH THIS REMARK.
ALICE (DISAPPROVINGLY) Excuse me? I’d appreciate it if you were a little less rude. This whole night was for better relations with the Cobine delegation; do try not to ruin it.
JOANNA (COOLLY AND SARCASTICALLY) I wouldn’t dream of it, Mother.
ALICE LOOKS OVER THE CROWD, AND SPOTS SOMETHING SHE EVIDENTLY ISN’T HAPPY ABOUT.
ALICE In fact, I can see the diplomats on their own over there. We can’t let them think they’re not welcome.
STEPHANIE (RESPONSIBLY) I’ll go and sort it out.
ALICE NODS AND MOVES ON. STEPHANIE PASSES BY JOANNA AND SPEAKS TO HER IN A LOW VOICE.
STEPHANIE I’ll try and think of something to help you out, miss.
SHE DISAPPEARS INTO THE CROWD. JOANNA LOOKS AROUND WITH A HARASSED EXPRESSION. WE CUT TO A SECLUDED CORNER OF THE ROOM, WHERE DEDLOCK AND FRIEDRICH HAVE GONE TO ESCAPE THE HUSTLE AND BUSTLE. FRIEDRICH LOOKS CONSIDERABLY MORE BUSINESSLIKE IN HIS MANNER THAN DEDLOCK, WHO LOOKS TO ONLY BE PAYING ATTENTION UP TO A POINT.
DEDLOCK So, are you enjoying your stay in our humble nation?
FRIEDRICH (IRRITABLY) Do not play games. You called me here for business, yes?
DEDLOCK No need to go straight to business. That’s not usually how we do things here. Is this your first visit to the Commonwealth Islands?
FRIEDRICH DOESN’T LOOK ENTIRELY SATISFIED WITH THIS LINE OF CONVERSATION, BUT GRUDGINGLY GOES ALONG WITH IT. HE SHAKES HIS HEAD.
FRIEDRICH No. I was here once before, as a boy. My father liked to hunt here.
DEDLOCK We do have rather nice woodlands. (HE SMIRKS AS IF AT A PRIVATE JOKE) Or we did, before I got there.
FRIEDRICH (INSISTENT ON THE TOPIC OF CONVERSATION) It’s pleasant. A little… extravagant, maybe.
DEDLOCK Too much butter on bacon?
FRIEDRICH FROWNS, HAVING NEVER HEARD THIS EXPRESSION BEFORE.
FRIEDRICH What?
DEDLOCK (AMENDING) Just an expression. Means too much luxury. If there is such a thing.
FRIEDRICH ROLLS HIS EYES.
FRIEDRICH Is the house backing the trade deal?
DEDLOCK I should think so.
FRIEDRICH Then have you made the order ready?
DEDLOCK Why so keen to move on to business? The night has barely begun.
FRIEDRICH (A LITTLE ANNOYED) Are you taking me serious, Mr Dedlock?
DEDLOCK (EVIDENTLY NOT) Believe me, Friedrich, I’m taking you utterly… serious.
FRIEDRICH I came to here tonight to discuss your work and our deal. You seem very happy just to have fun.
DEDLOCK Fun is the whole meaning of life, dear boy. (HE SMIRKS A LITTLE) Besides, you seemed rather content to be close to the queen.
FRIEDRICH SEEMS NETTLED BY THIS COMMENT. DEDLOCK BECOMES A BIT LESS FACETIOUS.
DEDLOCK Alright, if you want to talk business, come to my company headquarters. You’ll have seen it when you were passing through the city. You can’t miss it.
FRIEDRICH NODS SLOWLY AT THIS.
DEDLOCK Meet me there in an hour, if you still don’t think I’m being serious.
HE DEPARTS WITH A SMILE. FRIEDRICH STARES AFTER HIM WITH A LOOK OF RUMINATION. END OF SCENE.
ACT TWO, SCENE SIXTEEN- PICKFORD’S PUB, NOW SHUT FOR THE NIGHT. WE SEE THE EXTERIOR OF THE BUILDING. OUTSIDE, TERRY, MARK AND LEON HAVE ALL TAKEN UP POSITIONS IN THE SHADOWS, KEEPING WATCH ATTENTIVELY. TERRY PATROLS RESTLESSLY, THE OTHER TWO HOLD THEIR POSITIONS. INSIDE THE PUB, MICHAEL, EMILY AND NICK WAIT, MICHAEL AND EMILY NERVOUSLY, NICK IMPATIENTLY. THE LATTER SEEMS TO HAVE A CONSTANT SUPPLY OF ENERGY THAT MUST BE SPENT IN SOME WAY, AND IS UNLOADING AND RELOADING HIS PISTOL REPETITIVELY. THIS PRODUCES A CONSTANT CLICKING NOISE WHICH SEEMS TO ANNOY MICHAEL, AND AFTER SEVERL REPETITIONS OF THIS HE TURNS TO NICK WITH AN IRRITATED EXPRESSION.
MICHAEL Could you please stop that?
NICK ROLLS HIS EYES DISDAINFULLY BUT DOES SO.
NICK Sorry. I’m getting tired of waiting.
MICHAEL (CURIOUSLY) How does it take more than one round at a time? It looks like a flintlock.
NICK (SMILES) It’s meant to look that way. It’s a period casing, all the mechanisms are modern. I just liked the style.
MICHAEL SHAKES HIS HEAD, BAFFLED BY THIS AMOUNT OF PRETENTIOUSNESS. NICK PRODUCES A BATTERED OLD POCKET WATCH AND FLIPS IT OPEN.
EMILY What time is it?
NICK Just gone midnight.
EMILY TURNS BACK WITH A WORRIED EXPRESSION. NICK BEGINS PACING AGITATEDLY. HE DOES NOT APPEAR TO BE GIVING THE OTHER TWO HIS FULL ATTENTION, SO EMILY STARTS SPEAKING.
EMILY (SLIGHTLY TO HERSELF) Fiona’s probably wondering where I am. I said I didn’t know how long I’d be, but she’s probably worried by now.
MICHAEL She didn’t seem like she worried too much about anything.
FEEBLY, EMILY SMILES AT THIS.
EMILY I suppose not.
AWKWARD SILENCE FALLS FOR A MOMENT. EMILY CONTINUES TO LOOK WORRIED, AND BEGINS SPEAKING AGAIN.
EMILY If Automex really are after me, and know where I live, then that means she’s in danger too.
MICHAEL Let’s not think about that right now.
EMILY (NOT APPRECIATING THIS) What am I meant to think about?
MICHAEL LOOKS AWAY, HAVING NO ANSWER, AND EMILY’S EXPRESSION SOFTENS.
EMILY Sorry. I know you’re trying to help.
MICHAEL I wish I knew how to.
EMILY (FORLORNLY) So do I.
THEY BOTH CONTINUE TO LOOK WORRIED, AS WE END THE SCENE.
ACT TWO, SCENE SEVENTEEN- THE ROYAL PALACE BALLROOM, A LITTLE WHILE AFTER SCENE FIFTEEN. DEDLOCK MAKES TO LEAVE THE ROOM. AS HE DOES SO, HE BUMPS INTO STEPHANIE, WHO IS NOW CARRYING A TRAY WITH SEVERAL EMPTY GLASSES ON IT. THE TRAY FALLS FROM HER HANDS UPON COLLISION, AND DEDLOCK SHOWS SURPRISINGLY FAST REFLEXES TO STOOP AND CATCH IT, GLASSES AND ALL.
DEDLOCK Pardon me, miss.
HE GRACIOUSLY HANDS THE TRAY BACK TO A SHOCKED STEPHANIE, THEN MAKES HIS WAY OUT OF THE BALLROOM. STILL LOOKING A BIT DAZED, STEPHANIE MAKES HER WAY BACK OVER TO JOANNA, WHO IS NOW TALKING TO SHERWOOD AND HIS FEMALE COMPANION, WHO WE ARE STILL NOT ENTIRELY SURE OF WHETHER OR NOT SHE IS HIS WIFE OR POSSIBLY HIS MISTRESS.
JOANNA (TRYING TO MAKE CONVERSATION) It must be stressful times for you right now.
SHERWOOD (LOOKING RELIEVED TO FIND SYMPATHY) Oh, you would scarcely believe. I’ve barely slept, what with everything I’ve been getting through the past few nights-
FEMALE COMPANION (WITH A WINK) Not just work, though, Ainsley.
SHERWOOD SMILES GUILTILY. JOANNA LOOKS A LITTLE REVOLTED.
SHERWOOD Well, I suppose I shouldn’t really complain. Anyway, I won’t take up any more of your time. Enjoy your night, Your Highness.
THE TWO OF THEM DEPART, LEAVING JOANNA ALONE. STEPHANIE NOW APPROACHES HER. JOANNA SEES HER AND LOOKS VISIBLY RELIEVED.
JOANNA (IN HUSHED TONE) Do you know, can you call a vote of no confidence in someone for being too much of a libertine?
STEPHANIE (AMUSED) Well, I wouldn’t recommend it. Anyway, I’ve come up with a plan, tell me what you think of it…
SHE LEANS IN WITH A DEVIOUS LOOK AND WHISPERS IN JOANNA’S EAR. NOT EVEN THE AUDIENCE HEARS WHAT SHE SAYS, BUT JOANNA SEEMS SHOCKED AND SCEPTICAL TOWARDS IT.
JOANNA That’s preposterous, how did you ever think of it?
STEPHANIE That’s just the point of it, miss, nobody would ever think of it, so nobody will think it’s fake.
JOANNA It’s utterly ludicrous, you can’t expect me to-
STEPHANIE (SPOTTING SOMEONE IN THE CROWD) Friedrich’s coming back over.
JOANNA IS DISPLEASED BY THIS, BUT MAINTAINS HER STANCE.
JOANNA I’ll just have to put up with him.
STEPHANIE (PERSUASIVELY) He’s got the whole delegation with him. They all look drunk.
JOANNA’S FACE FALLS AS SHE HEARS THIS. SHE SIGHS GRIMLY.
JOANNA Alright. But if it doesn’t work…
SHE TAKES A DEEP BREATH, AND LOOKS AROUND TO SEE IF ANYBODY IS WATCHING. EVERYONE NEARBY SEEMS ENGAGED IN CONVERSATION. DRAMATICALLY, JOANNA FEIGNS FAINTING, THEATRICALLY KNOCKING THE TRAY OUT OF STEPHANIE’S HANDS AS SHE DOES SO. THIS TIME, IT FALLS TO THE FLOOR AND THE GLASSES ON IT SHATTER. JOANNA LANDS BESIDE IT, AS IF SHE HAS JUST PASSED OUT. HEADS TURN AND A FEW PEOPLE GASP. ALICE APPEARS FROM THE CROWD AND MAKES HER WAY OVER HURRIEDLY, FOLLOWED BY A COUPLE MORE SERVANTS. FRIEDRICH ALSO MAKES HASTE TO GET ON THE SCENE.
ALICE (CONCERNED) What on earth happened?
STEPHANIE (FEIGNS SIMILAR CONCERN) Just fainted, I think, ma’am. She’s been under a lot of strain in the last few days.
ALICE BENDS DOWN AT JOANNA’S SIDE. SHE STIRS JUST A LITTLE.
ALICE Are you alright, dear?
JOANNA (IN AN AFFECTED WOOZY VOICE) I don’t know… I feel dizzy…
SHE MAKES AS IF TO GET UP, BUT ALICE STOPS HER.
ALICE No, no, dear, stay where you are.
JOANNA (UNCERTAINLY) I think I can stand, probably…
FRIEDRICH ARRIVES AT THIS MOMENT LOOKING WORRIED BUT ENERGISED AND READY FOR ACTION. HIS DELEGATION STAND A LITTLE WAY BEHIND HIM, TOTTERING SLIGHTLY; HE APPEARS TO BE THE ONLY ONE OF THEM THAT REMAINS CLEAR-HEADED.
FRIEDRICH Can I help at all?
STEPHANIE I think you’d best keep back.
FRIEDRICH DOESN’T LOOK ENTIRELY HAPPY AT BEING TOLD WHAT TO DO BY A SERVANT, BUT COMPLIES. ALICE BECKONS TO STEPHANIE AND THE OTHER STAFF NEARBY; THEY COME OVER AND HELP JOANNA TO HER FEET. SHE CONTINUES TO ACT THE PART, WOBBLING UNSTEADILY IN A SIMILAR MANNER TO FRIEDRICH’S DRUNKEN ENTOURAGE.
ALICE (REASSURINGLY) There we are, dear.
JOANNA I think I’d better take a lie down.
ALICE I agree. Come on, there we go…
ALICE LEADS THE WAY AS THE GROUP EXITS THE BALLROOM, JOANNA BEING ASSISTED BY THE SERVING STAFF. FRIEDRICH WATCHES ON WITH A LITTLE CONCERN. THE GROUP DEPARTS INTO A SMALLER PARLOUR ADJACENT TO THE BALLROOM, WITH MORE DOORS LEADING TO OTHER ROOMS. JOANNA SITS DOWN AND RECLINES UNSTEADILY ON A CHAISE LONGUE. ALICE TURNS TO THE OTHER STAFF.
ALICE Thank you. You may go.
THEY DO SO, LEAVING ALICE, JOANNA AND STEPHANIE ALONE. ALICE, IN THE MOST DIRECT AND, INDEED, ONLY DISPLAY OF REAL MATERNAL AFFECTION WE HAVE SEEN FROM HER SO FAR, WATCHES JOANNA WITH WORRY.
ALICE How are you feeling?
JOANNA (WITH DISMAY) Not good.
ALICE It’s my fault. I’ve been asking a lot of you, I should have realised I was putting you under pressure…
JOANNA (SHAKES HER HEAD) No. No, don’t say that. I’m alright, really.
ALICE (IN A GUILTY MANNER) Of course you’re not alright. Don’t pretend to be. (SHE SHAKES HER HEAD) You’ve been through a lot, I suppose… perhaps tonight was a bad idea.
JOANNA (IN AGREEMENT) I think you may be right.
ALICE LOOKS AROUND AT HER STAFF.
ALICE I really must get back out to the guests. (TO STEPHANIE) Stephanie, would you mind escorting Joanna back to her bedroom?
STEPHANIE Not a problem, miss.
ALICE Thank you. I’ll make sure to check in on you when everyone’s gone, dear. Goodnight.
SHE DEPARTS. JOANNA AND STEPHANIE WAIT FOR A COUPLE OF SECONDS, THEN LOOK AT EACH OTHER AND LAUGH.
JOANNA How did that ever work?
STEPHANIE Well played, miss.
JOANNA SHAKES HER HEAD IN AMUSEMENT.
JOANNA I’m in your debt. Again.
STEPHANIE Don’t be silly, miss. I’m here to help you, remember?
THEY BOTH SMILE AT ONE ANOTHER. THEN A LITTLE BIT OF GUILT CREEPS INTO JOANNA’S EXPRESSION.
JOANNA Should I feel guilty? I did just trick my mother.
STEPHANIE (FAIRLY) She did seem really quite worried.
JOANNA For once.
STEPHANIE Don’t be too harsh on her. She’s been through a fair bit as well.
JOANNA NODS SLOWLY.
JOANNA I know. Just… everything she said there is true. Did it really take me pretending to faint to make her see that?
STEPHANIE I’m sure things will settle down a little more once this Coburg business is over. I think the two of you could do with a long, honest chat.
JOANNA (NODS) Maybe. I think I need to clear my head.
STEPHANIE Perhaps a walk, miss?
THIS SEEMS TO GIVE JOANNA AN IDEA. SHE BEGINS TO SMILE AGAIN.
JOANNA You know, that’s not a bad idea. Go get me a change of clothes and meet me back at my quarters. I’ll take of my makeup in the meantime.
STEPHANIE (UNSURE) It’s a bit late to be heading out. Are you sure?
JOANNA Positive. There’ll be nobody about to see me. I think I might benefit from some solitude. Come on, let’s go.
SHE GETS UP DECISIVELY AND LEAVES THE ROOM THROUGH ONE OF THE DOORS. AFTER A MOMENT, STEPHANIE LEAVES THROUGH ANOTHER. BACK IN THE BALLROOM, ALICE IS MOVING THROUGH THE CROWD, AND SPOTS FRIEDRICH, WHO IS NOW MAKING HIS WAY TOWARDS THE EXIT.
ALICE Going, Your Majesty?
FRIEDRICH STARTS A LITTLE, BUT RETAINS HIS COMPOSURE AND TURNS ROUND WITH AN AMIABLE SMILE.
FRIEDRICH I am afraid so. I shouldn’t stay too late, I’m expected back here tomorrow…
ALICE Well, goodnight.
FRIEDRICH Goodnight.
ALICE MOVES ON. FRIEDRICH TURNS BACK TOWARDS THE EXIT AND LEAVES WITH A FURTIVE EXPRESSION. END OF SCENE.
ACT TWO, SCENE EIGHTEEN- PICKFORD’S PUB, IN THE DEAD OF NIGHT. THE SCENE IS MUCH AS WE LEFT IT. MICHAEL AND EMILY WAIT NERVOUSLY, NICK REMAINS HIS RESTLESS SELF. TENSION IS IN THE AIR.
NICK (EDGILY) I’m going to check the locks.
MICHAEL You already checked them.
NICK Well, I’m checking them again.
MICHAEL What do you imagine has changed?
NICK (SARCASTICALLY) I don’t know. I mean it’s not as if the last time I’d locked myself in at night somebody managed to get in anyway.
MICHAEL LOOKS GUILTY. NICK RAISES HIS EYEBROWS, THEN DEPARTS THROUGH THE DOOR INTO THE BACK ROOM. MICHAEL SIGHS. EMILY LOOKS A LITTLE AMUSED.
EMILY I think you brought that one on yourself.
MICHAEL Remind me whose idea it was to go into his basement again?
FOR A MOMENT, THEY BOTH LOOK AMUSED, THOUGH IT DOES NOT LAST, AND EMILY’S FACE TAKES ON A NERVOUS LOOK AGAIN. MICHAEL NOTICES THIS.
MICHAEL How are you feeling?
EMILY How’d you expect? I’m waiting for someone to come and try and kill me.
SHE CONTINUES TO LOOK WORRIED. MICHAEL LOOKS AS IF HE IS UNSURE OF WHAT TO SAY, BUT IS EVIDENTLY DETERMINED TO SAY SOMETHING.
MICHAEL (HESITANTLY) Well… Nick seems to know what he’s doing. Credit where it’s due.
EMILY He thinks he does. I’m not so sure… I don’t even know how that thing got in here last night. And this time they know the place.
MICHAEL (TRYING TO BE SUPPORTIVE) But this time you aren’t on your own.
THEY BOTH EXCHANGE A LOOK WHICH CARRIES RATHER A LOT. EMILY BREAKS IT OFF FIRST, STILL LOOKING ANXIOUS.
EMILY Alright. Say we stop whoever it is coming this time. If Nick’s right and it really is Dedlock… what’s to stop him sending somebody else? What do I do then?
MICHAEL (DEFEATED) I don’t know.
THEY LAPSE INTO SILENCE FOR A FEW SECONDS. MICHAEL BEGINS SPEAKING AGAIN.
MICHAEL To be honest, I don’t know where I’m going from here either. If this is what Automex are like, I don’t want to work for them. Which is pretty much my life’s ambition down the drain…
EMILY You’ll find something. Of course you will. You’re a genius, you practically said it yourself before. You, you’ve got options. I don’t. I’m nothing special.
MICHAEL (A LITTLE INDIGNANT) I don’t believe that.
EMILY (CYNICALLY) And how would you know? How long have you known me? A day?
SHE LOOKS AT HIM QUESTIONINGLY. MICHAEL TAKES A MOMENT TO REPLY, CLEARLY THINKING HARD, AND SEEMS TO BE CHOOSING HIS WORDS CAREFULLY AS HE SPEAKS WITH AN AIR OF CAUTION.
MICHAEL The last bit of advice my father gave me before coming here was… he hates Trinova, hates everything metropolitan, in fact. He didn’t want me to come here, but he told me if I was going to, to be careful who I associated with-
EMILY I hope you’re going somewhere with this.
MICHAEL (SMILES) Bear with me. Right, he told me to be careful who I associated with, and just to trust my instincts about people… and my instinct is you seem a bit special to me.
EMILY LOOKS AS IF THIS HAS REALLY STRUCK A CHORD WITH HER, BUT SHE TRIES NOT TO MAKE THIS EVIDENT.
EMILY You said your father talked a lot of nonsense.
MICHAEL Well, that’s true, but… I mean, you have just about the most powerful man in the country on edge right now. That’s something. Maybe I don’t know you, but… I’d like to.
THIS SEEMS TO REALLY MEAN SOMETHING TO EMILY. THE TWO OF THEM EXCHANGE A LOOK OF GENUINE FONDNESS, BUT THIS SOMEWHAT ROMANTICALLY TENSE MOMENT IS SHATTERED AS NICK RETURNS, AGAIN CHECKING HIS POCKET WATCH, INITIALLY OBLIVIOUS TO ANY SITUATION IN THE ROOM.
NICK (BRUSQUE) Right, the others are still keeping watch outside, the place is as secure as I can make it.
BOTH MICHAEL AND EMILY SEEM A TAD STARTLED BY HIS RETURN. NICK SEEMS TO REALISE THAT HE MAY JUST HAVE INTRUDED ON A NICE MOMENT, THOUGH DOES HIS BEST TO AVOID LOOKING ABASHED- HE IS FAR TOO PROUD OF HIS SELF-CONFIDENT IMAGE TO ADMIT SUCH A THING HAS HAPPENED.
NICK So… as you were.
HE SITS DOWN AND LOOKS AT THE FAR WALL. MICHAEL LOOKS AWAY FROM HIM AND BACK AT EMILY, BUT SHE IS NOW STARING FIRMLY AT THE FLOOR. MICHAEL LOOKS AWAY LOOKING DISPIRITED, AS WE END THE SCENE.
ACT TWO, SCENE NINETEEN- AUTOMEX HEADQUARTERS, IN THE DEAD OF NIGHT. AUTOMEX’S HEADQUARTERS ARE A TRULY GIGANTIC FACTORY RINGED BY A METAL FENCE AND GATES, SIGNIFICANTLY LARGER THAN THE FACTORY WE HAVE ALREADY SEEN. FRIEDRICH, LOOKING AROUND EXPECTANTLY, WALKS SLOWLY UP TO THE GATES, SEEMINGLY FAIRLY IMPRESSED BY WHAT HE SEES. HE STOPS JUST INSIDE THE GATES AND LOOKS AROUND.
FRIEDRICH Hello?
NO REPLY COMES INITIALLY. FRIEDRICH PRODUCES A TERRIFICALLY ORNATE POCKET WATCH AND CHECKS THE TIME. AS HE DOES SO, ELECTRIC LIGHTS FLICKER ON AT THIS MOMENT ATOP THE FENCE. FRIEDRICH LOOKS UP IN SURPRISE. A MOMENT LATER, DEDLOCK STEPS INTO THE LIGHT, LOOKING PLEASED TO SEE FRIEDRICH.
DEDLOCK Right on time, Your Majesty.
HE NODS AT FRIEDRICH’S WATCH AS HE SAYS THIS.
DEDLOCK I’d heard about the Cobine watchmakers. Who made that?
FRIEDRICH (AFTER A MOMENT’S CONSIDERATION) It belonged to my father. He employed a clockmaker in his court.
DEDLOCK You’ll have to get me one.
DEDLOCK STARTS WALKING AROUND THE FACTORY’S PERIMETER. FRIEDRICH HASTENS TO CATCH UP WITH HIM.
FRIEDRICH So, what is it I am here for, exactly?
DEDLOCK Well, I suppose you could call it a… demonstration of sorts. You didn’t seem too happy with me earlier, so I thought I’d show you the progress we’ve been making on your order just to put your mind at ease.
THEY STOP WALKING, HAVING NOW REACHED THE REAR OF THE FACTORY. THE WALL OF IT WE ARE FACING LOOKS LIKE THE DOOR OF A GIANT HANGAR- HUGE, VERTICAL AND MADE OF SOLID METAL. DEDLOCK BECKONS TO SOMEONE IN THE SHADOWS.
DEDLOCK (CALLING OUT) Mr Tilford!
TILFORD EMERGES FROM THE SHADOWS, LOOKING A LITTLE MORE NERVOUS THAN DEDLOCK. DEDLOCK GESTURES TO HIM.
DEDLOCK Mr Tilford is one of my factory managers. He oversees production, so he’s totally in the loop with our project, and he’s kindly set up a few of our items a little early so we can showcase what they’re capable of. (HE GESTURES TOWARDS THE FACTORY’S HUGE DOOR) Mr Tilford, if you would.
TILFORD (NODS) Of course, sir.
TILFORD MAKES HIS WAY OVER TO THE DOOR, AND PULLS A LEVER. IT BEGINS TO OPEN SLOWLY. FRIEDRICH LOOKS FORWARDS EXPECTANTLY. DEDLOCK SMILES PORTENTOUSLY. WHEN THE DOOR IS AT LAST FULLY OPEN, WE HEAR A RHYTHMIC CLANKING SOUND, AND FROM THE DARKENED INTERIOR OF THE BUILDING EMERGE A QUARTET OF AUTOMATONS, WHO STAND IN LINE IN FRONT OF DEDLOCK AND FRIEDRICH. THEY ARE ROUGHLY HUMANOID IN SHAPE AND DIMENSIONS, LITHELY BUILT AND ARMOURED IN PLATING THAT IS STYLED TO RESEMBLE FRIEDRICH’S COBINE MILITARY GARB. EACH HAS A RIGHT ARM ENDING IN AN ATTACHMENT RESEMBLING A BOLT-ACTION RIFLE. THEY PRODUCE A CONSTANT, METRICAL TICKING EVEN AS THEY STAND. FRIEDRICH OBSERVES THE AUTOMATONS WITH A LOOK OF SATISFACTION.
DEDLOCK (WITH A SMILE) So, are they to your liking?
FRIEDRICH STEPS FORWARDS AND INSPECTS ONE OF THE MACHINES. HE WALKS IN A SLOW CIRCLE ROUND IT, PAYING CLOSE ATTENTION. AS HE DOES SO, ITS HEAD TURNS CLOCKWISE LIKE AN OWL TO FOLLOW HIS MOVEMENTS. WE SEE FRIEDRICH THROUGH THE MACHINE’S EYES- IT HAS A SIMILAR STARE TO TOM, THOUGH ITS GAZE IS TINTED ORANGE AND COMES WITH A FEED OF INFORMATION. FRIEDRICH COMPLETES A CIRCLE ROUND THE AUTOMATON AND STOPS, LOOKING FASCINATED.
FRIEDRICH Very much so.
FRIEDRICH BEGINS LOOKING AT THE OTHER THREE AUTOMATONS AS DEDLOCK BEGINS EXPLAINING, WITH CLEAR PRIDE IN HIS WORK.
DEDLOCK We fitted all the specifications you demanded. The armour plating is an original design- it’s resistant to most modern projectile weaponry and protects all the vitals. The rifle attachments are standard issue, but detachable and can be replaced with other kinds of equipment. There’s an internal supply of ammunition that reloads automatically. Naturally, they’ll never shirk from orders.
FRIEDRICH NODS SLOWLY AS HE LISTENS TO THIS.
FRIEDRICH Very good. And did you have fitted the, ah… failsafe?
DEDLOCK (NODS) Each automaton has one.
FRIEDRICH (SATISFIED) This is all very much to my liking, Mr Dedlock… how many more are there?
DEDLOCK We met your quota of twenty thousand.
FRIEDRICH (IMPRESSED) How did you create so many without anybody finding out?
DEDLOCK (SMUGLY) Invention is my specialty, don’t forget. You aren’t the first person to think of a machine doing a person’s job. We have machines now that can run an assembly line by themselves. We oversaw the creation of individual components in the ordinary factories, and then completed the manufacture here, without the need for a single worker.
FRIEDRICH Why then do you still employ people at all?
DEDLOCK (SMIRKS) Simple economics. Maybe someday I’ll have a fully automated operation, but for now, it’s much cheaper to employ human beings. They’re far less expensive to maintain, and can be treated similarly poorly, if they’re desperate enough for money. It’s not what it was, of course, since the Empire broke up…
THIS SEEMS TO PERTURB FRIEDRICH JUST A LITTLE, BUT HE SAYS NOTHING OF IT.
FRIEDRICH Are all twenty thousand ready to go?
DEDLOCK Not quite. The assembly is complete, but only the first five hundred have been wired in. But don’t worry, with our mechanics that really takes no time at all.
FRIEDRICH And the rest?
DEDLOCK Will be ready to go when you return to Coburg. Like I said, it takes no time at all.
FRIEDRICH Then I am in your debt, Mr Dedlock.
DEDLOCK (WITH A SLY GRIN) Don’t be silly, Friedrich, you’ve already paid me in full. You must have all but emptied your treasury for it.
FRIEDRICH (CURTLY) That is none of your concern. With these machines, we can take back our riches many times over. War is the quickest route to wealth, Mr Dedlock, or so my father said.
DEDLOCK’S GRIN BECOMES A TAD MENACING.
DEDLOCK Your father, it seems, was a wise man.
FRIEDRICH With your machines, and my land’s resources, Coburg will be again the mightiest of the world. Once, in my father’s time, our army was half a million. Our lands were vast. We were respected and feared. Now, those times can return. I am glad, Mr Dedlock, that you do not dislike my people the way some of your nation still do.
DEDLOCK (SEEMS TO APPROVE OF THIS) We’re not so different, you and I, Friedrich.
FRIEDRICH NODS IN AGREEMENT. HE GESTURES TO THE AUTOMATONS.
FRIEDRICH I have seen enough. You can shut these down again.
DEDLOCK (SHAKES HIS HEAD) Actually, I had a little task for them first. Consider it a test of their capabilities. (CALLS OUT TOWARDS THE SHADOWS) Mr Tom!
TOM EMERGES FROM THE SHADOWS. FRIEDRICH EYES HIM WARILY. DEDLOCK OBSERVES THIS AND GESTURES LIGHTLY TOWARDS THE ASSASSIN.
DEDLOCK No cause for alarm. He’s one of ours. Mr Tom was sent on a job for me last night, and unfortunately found it a bit too much of a challenge…
TOM LOOKS RATHER IRKED BY THIS VERSION OF EVENTS, BUT DOES NOT REACT.
DEDLOCK This time, I thought I had better give him some reinforcements to make sure we avoid failure a second time round. You will get the job done this time, won’t you, Tom?
TOM NODS DECISIVELY. HE BECKONS TO THE AUTOMATONS, AND THEY FALL INTO FORMATION BEHIND HIM. TOM LIFTS THE COVER FROM THE MANHOLE AND SETS IT TO ONE SIDE. HE DISAPPEARS DOWN IT INTO THE SEWERS BELOW, FOLLOWED BY THE AUTOMATONS. THE LAST ONE SEALS THE MANHOLE BEHIND IT. FRIEDRICH WATCHES THIS WITH WONDER. HE LOOKS BACK AT DEDLOCK, WHO SEEMS PLEASED BY HIS REACTION, AND ANOTHER CHANCE TO SHOW OFF HIS INGENUITY.
DEDLOCK The city’s sewer system is a nice way of moving covertly. Not the most pleasant, but like I said, they don’t shirk from orders.
FRIEDRICH SHAKES HIS HEAD SLOWLY WITH A DEGREE OF AWE.
FRIEDRICH You astound me, Mr Dedlock. (HE MAKES A SMALL SALUTE) I will see you at Eastford tomorrow. Goodnight.
HE TURNS AND DEPARTS THROUGH THE GATES. DEDLOCK WATCHES HIM GO WITH A SMALL SMILE. AFTER A FEW MOMENTS TILFORD APPEARS BESIDE HIM.
TILFORD That went rather well, I thought.
DEDLOCK Oh, yes. Magnificently, in fact. I almost feel guilty about it.
TILFORD (SURPRISED) Really, Mr Dedlock?
DEDLOCK (SNORTS) No.
END OF SCENE.
ACT TWO, SCENE TWENTY- VARIOUS LOCATIONS, STILL DEEP IN THE NIGHT. WE BEGIN AT LEON’S HOME. WE FIND OURSELVES IN THE LIVING ROOM, WHICH IS MOSTLY DARK, SAVE FOR A COUPLE OF CANDLES WHICH ARE BURNING. DAVID SITS AWAKE IN AN ARMCHAIR, WATCHING THE CLOCK TICKING ON THE MANTELPIECE WITH A LOOK OF WORRY. WE CUT TO AN OPEN STREET. JOANNA, NOW MAKE-UP FREE, DRESSED IN PLAIN CLOTHES AND LOOKING MUCH MORE LIKE HERSELF, MAKES HER WAY DOWN THE STREET. WE CUT THIS TIME TO OUTSIDE PICKFORD’S PUB. MARK SITS ON A CRATE, SMOKING A CIGARETTE. A FAINT TICKING SOUND BEGINS TO RESONATE SOMEWHERE FAIRLY CLOSE AT HAND. MARK PAUSES AND LOOKS AROUND SLOWLY, LOOKING PERTURBED. ELSEWHERE, TERRY STANDS AT THE EDGE OF AN ALLEYWAY, AND BEGINS TO HEAR SOMETHING SIMILAR. IT OBVIOUSLY WORRIES HIM. FINALLY, LEON IS PATROLLING AN AREA SOME WAY BEHIND THE PUB. HE TOO BEGINS TO HEAR THE NOISE, AND LOOKS AROUND FOR ITS SOURCE. WE SEE HIM THROUGH THE ORANGE-TINTED GAZE OF ONE OF THE AUTOMATONS, WHICH BEGINS TO MOVE SLOWLY TOWARDS HIM. LEON BACKS UP SLOWLY, LOOKING AROUND HIMSELF, UNTIL HE REACHES A GAP BETWEEN TWO BUILDINGS, WHERE AN AUTOMATON IS WAITING. IT WAITS FOR HIM TO DRAW CLOSER, OBLIVIOUS, THEN SUDDENLY LUNGES FORWARDS AND SEIZES HIM. LEON ATTEMPTS TO SHOUT OUT, BUT THIS IS QUICKLY STIFLED BY HIS ATTACKER. LEON IS PULLED BACKWARDS INTO THE DARKNESS AND DISAPPEARS FROM VIEW. BACK INSIDE THE PUB, NICK RETURNS TO THE BACK ROOM AND UNLOCKS THE BACK DOOR, STEPPING OUTSIDE AND SHUTTING IT BEHIND HIM. HE LOOKS DOWN ONE END OF THE ALLEY, AND SEEMS SURPRISED TO SEE NOTHING THERE. HE STARES DOWN IT FOR SEVERAL SECONDS, THEN SEEMS TO BECOME AWARE OF SOMETHING BEHIND HIM. NICK TURNS SLOWLY ROUND TO FACE THE ENTRANCE TO THE ALLEYWAY. IN IT, TOM HAS SUDDENLY APPEARED, AND LOOMS OMINOUSLY, SILHOUETTED BY THE MOONLIGHT. NICK DRAWS HIS PISTOL AND AIMS IT AT TOM’S HEAD.
NICK (GIVING AN ORDER) State your business.
TOM, NATURALLY, DOES NOT DO SO. HE RAISES HIS HEAD TO LOOK MORE CLOSELY AT NICK WITH HIS MECHANICAL VISION. NICK NOTICES THE OPTICAL ENHANCEMENTS HE HAS, AND SMILES JUST A LITTLE.
NICK (SARDONIC) Well, well. A real life nyctalope. What a privilege. Now, state your business. What are you here for?
TOM DOES NOTHING. NICK GLARES AT HIM.
NICK What do you want with Emily Moss?
TOM DOES NOTHING. NICK’S GLARE INTENSIFIES.
NICK (ONCE MORE SARDONIC) Maybe I haven’t made myself clear. Let me rephrase. If you don’t tell me who you are and what you’re here for in the next ten seconds, we’ll find just how much of you Automex can replace. You’re in no position to defend yourself-
AT THIS MOMENT, THE FOUR AUTOMEX AUTOMATONS APPEAR BEHIND TOM. THEY MOVE TO FLANK HIM ON EITHER SIDE. TOM RAISES HIS MECHANICAL ARM, AND AN ARRAY OF CUTTING ATTACHMENTS SPRING FROM ITS END. NICK WATCHES HIS NEW ADVERSARIES WITH A MIXTURE OF FEAR AND SHOCK, BUT HOLDS HIS POSITION AND KEEPS HIS GUN RAISED.
NICK What are they?
AGAIN, NO ANSWER IS GIVEN. THIS DRAWS NICK’S IRE.
NICK I said what are they?
THE AUTOMEX CONTINGENT CONTINUE THEIR LACK OF REACTION. NICK TIGHTENS HIS GRIP ON HIS PISTOL.
NICK (SLOWLY) Alright. Ignore me, then.
HE SWITCHES HIS AIM FROM TOM TO ONE OF THE MACHINES FLANKING HIM, AND SHOOTS IT IN THE HEAD. IT IS KNOCKED TO THE GROUND IN AN AWKWARD SPRAWL. ELSEWHERE, TERRY AND MARK HEAR THIS NOISE AND TURN TOWARDS ITS SOURCE. NICK LOOKS BACK AT TOM.
NICK Maybe you’ll take me seriously this time. Now, who-
HE FALTERS AS SLOWLY THE DOWNED AUTOMATON PICKS ITSELF BACK UP AND GETS TO ITS FEET. ITS METAL HEAD IS DENTED SLIGHTLY BUT NOT VISIBLY DAMAGED TO ANY GREAT DEGREE. NICK SLOWLY TAKES A STEP BACK.
NICK Right. They don’t die. Good to know. In that case…
NICK RAISES HIS GUN ABOVE HIS HEAD AND FIRES IT SEVERAL TIMES INTO THE AIR. WE SEE THAT THIS DRAWS TERRY AND MARK’S ATTENTION, AND THEY MAKE THEIR WAY BACK TOWARDS THE PUB. NICK GRINS AND DISAPPEARS BACK INSIDE THROUGH THE BACK DOOR. HE LOCKS IT BEHIND HIM AND PUSHES SEVERAL CRATES IN FRONT OF IT. HE RUSHES BACK INTO THE MAIN ROOM, CAUSING MICHAEL AND EMILY TO TURN TOWARDS HIM, LOOKING CONCERNED. NICK RELOADS HIS PISTOL AND GRINS AT THEM- DANGEROUS AS THE SITUATION MAY BE, HE LOOKS EXCITED AT THE PROSPECT OF ACTION.
NICK The nyctalope’s here. And he’s brought company.
AT THIS MOMENT WE HEAR A CRASHING SOUND FROM SOMETHING BATTERING AGAINST THE BACK DOOR. NICK TURNS TOWARDS THE BACK ROOM AND RAISES HIS PISTOL. AT THIS MOMENT, THE FRONT DOOR IS UNLOCKED AND TERRY AND MARK ENTER, SHUTTING IT QUICKLY BEHIND THEM AND PRODUCING WEAPONS OF THEIR OWN.
TERRY (TO NICK) What’s happening?
NICK It turns out Automex actually has been inventing people, and they’re not very good at dying.
TERRY (ALARMED) What?
NICK Some kind of humanoid machines. They’re here, with the nyctalope. We’ve got a fight on our hands.
NICK WAVES A HAND TOWARDS MICHAEL AND EMILY, WHO BOTH NOW NATURALLY LOOK DEEPLY AFRAID.
NICK You two might want to get out of the way.
EMILY LOOKS TOWARDS THE CORRIDOR LEADING TO THE PARLOUR ROOMS AND GRABS MICHAEL’S HAND.
EMILY Come on, down here-
THEY START TOWARDS IT, BUT STOP ABRUPTLY AS THE BACK DOOR CAVES IN. THE FIRST OF THE FOUR AUTOMATONS ADVANCES INTO THE BACK ROOM. NICK GESTURES FOR THEM NOT TO MOVE.
NICK Wait. (TURNS TO MARK) Mark…?
MARK NODS, AND PRODUCES ONE OF THE CANISTERS WE SAW HIM FILLING EARLIER. HE PULLS THE TAB AS HE ILLUSTRATED EARLIER AND THROWS IT INTO THE BACK ROOM AS THE AUTOMATONS MOVE TOWARDS THEM. IT EXPLODES VIOLENTLY, SIMILAR IN NATURE, AS MARK SAID EARLIER, TO DYNAMITE. SMOKE BILLOWS FROM THE DOORWAY. FROM THE SMOKE, THE OTHER THREE AUTOMATONS EMERGE. EVERYONE DUCKS FOR THE NEAREST COVER THEY CAN FIND AS THE SHOOTING BEGINS. A SHOOTOUT ENSUES, IN WHICH THE AUTOMATONS EVIDENTLY HAVE THE UPPER HAND, AIDED BY THEIR RESISTANCE TO GUNSHOTS. THE AUTOMATONS’ ATTENTION IS HELD BY THE GUARDIANS, WHICH EMILY NOTICES, AND SO SHE GESTURES FOR MICHAEL TO FOLLOW HER.
EMILY (URGENTLY) Come on, while they’re distracted-
THE TWO OF THEM ATTEMPT TO MAKE A BREAK TOWARDS THE CORRIDOR, BUT THE MOMENT THEY DO SO, A BLADE FLIES PAST THE PAIR OF THEM AND BURIES ITSELF IN THE WALL. STARTLED, BOTH TURN TO SEE TOM EMERGING FROM THE BACK ROOM- HIS MECHANICAL ARM SEEMS TO HAVE LAUNCHED ONE OF ITS ATTACHMENTS TOWARDS THE PAIR OF THEM. HE MAKES A MOVE TO THROW ONE AGAIN, BUT ANOTHER ONE OF MARK’S EXPLOSIVES LANDS IN THE VICINITY OF THE ANTAGONISTS, AND ALL ARE FORCED TO DIVE FOR COVER AS IT GOES OFF. THE GUARDIANS TAKE THIS OPPORTUNITY TO ADVANCE, SEEKING AN ADVANTAGE IN CLOSE QUARTERS AGAINST THEIR OPPONENTS, WHOSE WEAPONS ARE AWKWARD TO USE AT THIS RANGE. A FRANTIC MELEE ENSUES, DURING WHICH TERRY DRAWS WHAT RESEMBLES A MILITARY-ISSUE SABRE AND HACKS OFF ONE AUTOMATON’S RIFLE ARM AT THE ELBOW JOINT. TERRY SEEMS SURPRISED BY THE RESULTS AND SHOUTS ADVICE TO HIS COMRADES.
TERRY Aim for the joints!
MEANWHILE, EMILY AND MICHAEL ONCE AGAIN ATTEMPT TO REACH THE CORRIDOR, BUT A DISORIENTED TOM LURCHES TOWARDS THE PAIR OF THEM- HE SEEMS TO HAVE FARED BADLY FROM THE EXPLOSION, HIS ENHANCED HEARING RENDERING HIM PARTICULARLY SUSCEPTIBLE TO BLAST INJURY. STILL, HE SLASHES DANGEROUSLY AT THEM WITH AN ARRAY OF BLADES, SOME OF WHICH WHIR LIKE SAWS. THE PAIR MANAGE TO EVADE HIM- TOM FOCUSES PRIMARILY ON EMILY, AND SO LOSES AWARENESS OF MICHAEL’S POSITION, ALLOWING HIM TO PICK UP A CHAIR AND CLOUT TOM ACROSS THE BACK WITH IT, KNOCKING HIM ASIDE FOR THE MOMENT. MICHAEL GESTURES FOR EMILY TO RETREAT DOWN THE CORRIDOR.
MICHAEL Go! You’re the one he wants!
AFTER A BRIEF MOMENT OF INDECISION, EMILY COMPLIES, SHOOTING OFF DOWN THE PASSAGE. SHE PRODUCES A ROOM KEY AND LETS HERSELF IN TO ONE OF THE PARLOURS, SHUTTING THE DOOR BEHIND HER. MICHAEL DUCKS DOWN BEHIND A TABLE AS MORE GUNSHOTS WHISTLE BY. NICK, MEANWHILE, FINDS HIMSELF CAUGHT UP WITH A THIRD AUTOMATON, WHICH HE SHOOTS PRECISELY IN EACH EYE, SEEMINGLY DOING ENOUGH TO NEUTRALISE IT AS A THREAT. HIS RESPITE IS SHORT-LIVED AS A MOMENT LATER TOM REGAINS HIS FOOTING AND LUNGES AT HIM, KNOCKING HIS PISTOL FROM HIS HANDS AND TO THE OTHER SIDE OF THE ROOM, NEAR THE DOOR. THE TWO GRAPPLE, NICK ATTEMPTING TO KEEP TOM’S BLADES AWAY FROM HIM. NICK WARDS HIM OFF LONG ENOUGH TO RETRIEVE HIS GUN, BUT TOM DIVES ON HIM AGAIN, SENDING THE PAIR OUT THE DOOR AND INTO THE STREET OUTSIDE. NICK’S GUN AGAIN SHOOTS OFF AWAY FROM THE PAIR OF THEM. THEY CONTINUE TO FIGHT; TOM ATTEMPTS TO PRODUCE HIS GUN ATTACHMENT, BUT NICK SWATS IT AWAY. SOMEWHERE ALONG THE LINE, TOM’S SHIRT IS TORN, REVEALING AN ABDOMEN WHICH IS A FUSION OF STITCHED SKIN AND METAL. TOM ALTERS HIS TACK AND AIMS A SLASH AT HIS OPPONENT; NICK BLOCKS IT BUT SUSTAINS A CUT ON HIS THIGH, AND THEN SNAPS THE BLADE FROM TOM’S ARM. IT FALLS TO THE GROUND. AT THE END OF ANOTHER SKIRMISH, TOM MANAGES TO KNOCK NICK TO THE GROUND AND STAGGERS AWAY HOLDING HIS HEAD. HE MAKES HIS WAY TO THE MANHOLE COVER AND OPENS IT. BACK INSIDE THE PUB, MICHAEL DUCKS OUT FROM BEHIND COVER, AND IS IMMEDIATELY TARGETED BY THE ONE-ARMED SECOND AUTOMATON. WITH ITS REMAINING HAND IT GRABS HIM BY THE THROAT AND PINS HIM AGAINST THE WALL. MICHAEL ATTEMPTS TO BREAK ITS HOLD, TO NO AVAIL, BUT IN GRABBING THE BACK OF ITS HEAD DETECTS A KEYHOLE THERE. HE PRODUCES HIS SKELETON KEY AND OPENS A COMPARTMENT ON THE BACK OF THE AUTOMATON’S HEAD, TUGGING OUT A SPOOL OF WIRING. ITS NECK SNAPS FORWARDS AND IT SHUTS DOWN IMMEDIATELY, RELEASING ITS HOLD ON HIM, AND HE DROPS TO THE FLOOR WITH A GASP, RUBBING HIS NECK GINGERLY. MARK SHOOTS THE FOURTH AND FINAL AUTOMATON IN THE CHEST AT CLOSE RANGE, SENDING IT BACK OUT INTO THE STREET. IT PICKS ITSELF UP AND FOLLOWS TOM’S LEAD BY MAKING A BREAK FOR IT. NICK, WHO IS GETTING TO HIS FEET, SEES IT AND SNATCHES UP HIS GUN. WITH A MOMENTARY GLANCE TOWARDS THE MANHOLE TOM DISAPPEARED DOWN, HE DECIDES THE AUTOMATON IS THE GREATER THREAT AND SETS OFF AFTER IT. INSIDE, THE CARNAGE BEGINS TO SETTLE. MICHAEL GETS UP AND STOWS AWAY HIS SKELETON KEY. MARK AND TERRY COME OVER AND INSPECT THE FALLEN AUTOMATON IN FRONT OF HIM. TERRY LOOKS INSIDE ITS NOW OPEN CRANIUM- ITS HEAD IS LOLLING LOOSELY TO ONE SIDE. INSIDE, THE AUTOMEX LOGO IS VISIBLE, NEXT TO A FIVE DIGIT SERIAL NUMBER.
TERRY How did you get it open?
MICHAEL (QUIETLY) Just a matter of knowing how.
TERRY PULLS ON THE DANGLING MECHANICAL HEAD, AND IT SNAPS OFF. HE STANDS UP AND HOLDS THE MACHINE’S HEAD IN BOTH HANDS, LOOKING AT IT IN WONDER.
TERRY (STUNNED) It’s really true. Everything we thought about Automex, it’s all true.
MARK (EQUALLY STUNNED) And a bit more besides.
TERRY I mean this is more than just mechanised humans, those were machines. Machines that acted like people. We don’t even know how many more there could be.
TERRY THINKS ABOUT THIS FOR SEVERAL SECONDS, THEN ABRUPTLY GETS BACK ON TOPIC.
TERRY Automex just tried to kill all of us, didn’t they?
MARK Tried very hard, too.
AT THIS MOMENT THE DOOR TO THE PARLOUR ROOM OPENS AND EMILY EMERGES CAUTIOUSLY FROM IT. SHE AND MICHAEL GO OVER TO ONE ANOTHER. SHE LOOKS RELIEVED TO SEE HIM.
EMILY You’re alright.
MICHAEL Mostly. I think it’s safe to say Automex have gone off me.
EMILY LOOKS ROUND WITH A HORROR-STRUCK EXPRESSION.
EMILY How am I ever going to explain all this to Mr Pickford?
MICHAEL I think that’s the least of our concerns at the minute.
EMILY NODS SLOWLY. THEN HER EXPRESSION BECOMES MORE CURIOUS.
EMILY Wait, where’s Nick?
HIS ABSENCE NOW DAWNS ON EVERYONE. THEY ALL LOOK UNSURE.
TERRY I saw him end up outside. For that matter, where’s Leon?
MARK (A BIT CONCERNED) He never arrived. He should have been patrolling the street over.
CAUTIOUSLY, THEY ALL STEP OUTSIDE INTO THE STREET. HERE, EVIDENCE OF NICK AND TOM’S BRAWL CAN BE SEEN- A FEW TORN BITS OF CLOTHING HERE AND THERE, AND TOM’S DISCARDED BLADE AND GUN. TERRY, WHO CONTINUES TO HOLD THE METAL HEAD, GOES OVER TO THE BLADE AND CROUCHES DOWN BESIDE IT, PICKING IT UP AND TURNING IT OVER IN HIS HANDS. HE NOTES THE TRACES OF BLOOD ON IT, AND ON THE GROUND BELOW, WITH A PUZZLED EXPRESSION. THE OTHERS WATCH HIM AS HE DOES SO.
MICHAEL What do you think, then?
TERRY I don’t know. Perhaps they took him as a hostage. There’s only three of those machines inside, that means one is missing. That and the nyctalope.
MICHAEL They didn’t seem interested in taking anyone alive.
TERRY (FIRM) We’ll keep looking, then. Maybe we can find out where Leon’s got to while we’re at it.
HE GETS TO HIS FEET AND BECKONS TO THE OTHERS- HIS DEMEANOUR SUGGESTS HE SEES HIMSELF AS BEING IN CHARGE IN NICK’S ABSENCE. AS MICHAEL ARRIVES, HE PASSES HIM THE AUTOMATON’S HEAD TO HOLD, WHICH HE ACCEPTS NERVOUSLY.
TERRY Come on.
THE OTHERS FOLLOW BEHIND TERRY, AS THE SCENE ENDS.
ACT TWO, SCENE TWENTY-ONE- THE ROYAL PALACE, DEEP IN THE NIGHT. THE PALACE IS NOW DARKENED, SUGGESTING THAT ALL THE GUESTS HAVE NOW GONE HOME. WE CUT TO A HALLWAY OUTSIDE JOANNA’S BEDROOM. ALICE, PROCEEDING CAUTIOUSLY, MAKES HER WAY OVER TO JOANNA’S BEDROOM DOOR AND KNOCKS SOFTLY.
ALICE Joanna? The guests have all left. Do you feel better at all?
NATURALLY, NO RESPONSE COMES FROM THE OTHER SIDE OF THE DOOR. ALICE TRIES AGAIN.
ALICE Joanna, are you still awake, darling?
AGAIN, SILENCE. ALICE FROWNS. SHE LOOKS AT THE DOOR HANDLE WITH CONSIDERATION AND WARINESS, THEN SLOWLY OPENS THE DOOR AND LOOKS INSIDE.
ALICE Joanna?
THE ROOM, OF COURSE, IS EMPTY. ALICE LOOKS AROUND IT WITH A CONFUSED EXPRESSION, WHICH AFTER A FEW SECONDS BECOMES A LITTLE BAD-TEMPERED. END OF SCENE.
ACT TWO, SCENE TWENTY-TWO- A STREET NEAR PICKFORD’S PUB, JUST AFTER SCENE TWENTY. MICHAEL, EMILY, TERRY AND MARK STICK FAIRLY CLOSE TOGETHER. TERRY AND MARK BOTH CARRY TORCHES, WHICH LOOK PRIMITIVE BUT EMIT BRIGHT BEAMS WHICH THEY DIRECT AHEAD OF THE GROUP. MICHAEL IS STILL HOLDING THE AUTOMATON’S HEAD. BOTH MICHAEL AND EMILY LOOK WARY.
MICHAEL What are we looking for, exactly?
TERRY I’m not sure myself. But all four of them could potentially still be in the area.
THERE IS A PAUSE. THEN-
TERRY (WITH WORRY) Leon should be here. This was where he went to patrol. He can’t have gone far.
MARK Perhaps we should split up.
TERRY (SHAKES HIS HEAD FIRMLY) No. Safety first. For all we know there’s more of those things out there.
THEY REACH THE AREA WHERE WE SAW LEON STANDING BEFORE. THE GAP HE WAS PULLED INTO IS A LITTLE AHEAD OF THEM TO ONE SIDE. MARK PROCEEDS TOWARDS THE OTHER SIDE OF THE STREET, SHINING THE BEAM OF HIS TORCH AT THE GROUND BELOW. MICHAEL MOVES TO FOLLOW HIM. TERRY INSPECTS THE STREET IN THE LIGHT OF HIS OWN TORCH BEAM, BROW FURROWED. EMILY PROCEEDS FORWARDS, REACHING THE GAP BETWEEN THE BUILDINGS. LOOKING STRAIGHT AHEAD, SHE PROCEEDS INTO IT, STRUGGLING TO SEE WITHOUT THE AID OF A LIGHT OF HER OWN. SHE TAKES A FEW CAUTIOUS STEPS INTO THE SMALL ALLEYWAY, THEN SUDDENLY TRIPS AND LANDS AWKWARDLY ON THE GROUND. WITH A GRIMACE SHE MOVES TO GET UP. SHE TURNS HER HEAD TO THE SIDE, THEN SHRIEKS IN HORROR. BESIDE HER ON THE GROUND IS WHAT SHE TRIPPED OVER- LEON’S PRONE BODY. HE LIES ON THE GROUND WITH HIS HEAD IN A POOL OF HIS OWN BLOOD, WHICH IS RUNNING FROM A BULLET WOUND IN THE BACK OF HIS SKULL, THE EXIT WOUND OF WHICH IS VISIBLE ON HIS NECK. EMILY HAS FOUND HERSELF FACE TO FACE WITH THE CORPSE. ITS EXPRESSION IS BLANK. HORRIFIED, EMILY SCRAMBLES TO HER FEET AND STEPS BACK HASTILY, HANDS OVER HER MOUTH, STARING TRANSFIXED AT LEON ON THE GROUND. TERRY APPEARS LOOKING STARTLED.
TERRY What is it?
HE DIRECTS HIS TORCH BEAM DOWNWARDS, ILLUMINATING LEON’S BODY, AND GASPS.
TERRY (SOFTLY, IN SHOCK) Leon…
HE FALLS TO HIS KNEES BESIDE THE CORPSE AS MICHAEL AND MARK ARRIVE AT THE ALLEY ENTRANCE BEHIND HIM.
MICHAEL (PANICKED) What happened?
MARK’S TORCH BEAM JOINS TERRY’S, ADDING TO THE ILLUMINATION ON THE GROUND. BOTH HE AND MICHAEL FLINCH AS THEY SEE WHAT IS THERE.
MARK (SICKENED) Oh my…
A HORROR-STRICKEN EMILY BACKS OUT OF THE ALLEY. INSTINCTIVELY, MICHAEL STEPS CLOSER TO HER AND PUTS HIS ARM PROTECTIVELY AROUND HER SHOULDERS. SHE SEEMS ON THE BRINK OF TEARS.
EMILY (HER VOICE QUIVERING) I just found him here- I don’t know what happened to him-
AN EQUALLY EMOTIONAL TERRY KNEELS BESIDE LEON’S BODY, CRADLING HIS HEAD AND LOOKING AT HIM AS IF HOPING FOR SOME KIND OF RESPONSE.
TERRY Leon… what happened to you? What did we let happen to you? Tell me to catch myself on, you hate it when I get like this…
MARK (TRYING TO REMAIN CALM) Terry, don’t-
TERRY (EMOTIONALLY) Don’t what? (CRACKING) Who thought what they were doing was worth this? What is so important that Leon had to die for it?
HE HOLDS MARK’S GAZE IN A CHALLENGING MANNER, AND HIS COMRADE HAS NO ANSWERS. MICHAEL AND EMILY WATCH THIS WITH PAINFULLY UNCOMFORTABLE EXPRESSIONS, GUILTY THAT THEY ARE INTRUDING ON SOMEONE’S MOURNING FOR ONE OF THEIR FRIENDS. TERRY TURNS BACK TO LEON AS IF LOOKING FOR AN ANSWER TO HIS QUESTIONS, AND FINDS NONE. HIS SHOULDERS SAG.
TERRY (TO HIMSELF) This isn’t fair.
HE TAKES A BREATH, THEN IS HIT BY A JOLT OF DEFIANCE. HE LOOKS UP.
TERRY (ANGRILY AND DIRECTED TOWARDS THE WORLD AT LARGE) This is not fair!
HE LOOKS AROUND AS IF DARING ANYONE TO DISAGREE. HE SEES ONLY PEOPLE SHARING HIS GRIEF, AND JUST AS SOON AS THE DEFIANCE ARRIVED, IT IS GONE AGAIN. MARK STEPS FORWARDS AND PUTS A HAND ON HIS SHOULDER.
MARK (TRYING TO BE FRANK, BUT WITH OBVIOUS EMOTION) Terry, we can’t stay here. For all we know there could be more of those machines out here. We have to go, now.
TERRY Go where?
MARK Headquarters. Back to Nick’s. We’ll wait for him and see if he turns up, but we have to get out of here, now.
TERRY (GESTURING TO THE CORPSE) What about him?
MARK (PAINED BUT RESOLUTE) There’s nothing we can do for him.
TERRY (DESPERATELY) We can’t just leave him here!
MARK (NOW A LITTLE IMPATIENT) Then what do you suggest? We carry him back to Nick’s? Terry, there are lives on the line here. And not just our own.
HE LOOKS POIGNANTLY AT MICHAEL AND EMILY. MICHAEL LOOKS SOMEWHAT SHAKEN BUT IS ATTEMPTING TO COVER UP THIS FACT AS HE TRIES TO COMFORT EMILY, WHO IS ALMOST AS DISTRAUGHT AS TERRY. TERRY HIMSELF FOLLOWS MARK’S GAZE, AND SEEMS TO ACKNOWLEDGE WHAT HE IS SAYING. HE NODS SLOWLY, THOUGH LOOKS A LITTLE AS IF HE IS NOT IN CONTROL OF HIMSELF.
TERRY Alright.
MARK Come on, then.
HE PULLS TERRY TO HIS FEET WITH AN ALMOST FATHERLY SENSE OF AUTHORITY. MARK SEEMS TO ACKNOWLEDGE THAT HE IS NOW IN CHARGE, WHAT WITH NICK’S ABSENCE AND TERRY’S EMOTIONAL STATE.
MARK Let’s get moving.
KEEPING CLOSE BESIDE TERRY, HE BEGINS LEADING THE GROUP AWAY, SHINING HIS TORCH AHEAD OF THEM. MICHAEL AND EMILY FOLLOW A COUPLE OF PACES BEHIND. END OF SCENE.
ACT TWO, SCENE TWENTY-THREE- A SIDE STREET, TIME RUNNING CONCURRENTLY WITH SCENE TWENTY-TWO. NICK, GUN IN HAND, RUNS DOWN THE STREET, HIS EXPRESSION SOMEWHAT MANIC. HE SKIDS TO A HALT AT THE END OF THE STREET, KEEPING CLOSE TO THE WALL, AND STOPS FOR A MOMENT, PANTING. WITH A WINCE, HE PLACES A HAND OVER THE INJURY ON HIS LEG. HE LOOKS SLOWLY ROUND THE CORNER, SEES NOTHING IS THERE, THEN EMERGES FROM BEHIND THE WALL AND STARTS MOVING AGAIN. WE CUT TO A NEARBY, MORE OPEN STREET. JOANNA WALKS SLOWLY DOWN IT, LOOKING FAIRLY AT EASE. SHE STOPS MOMENTARILY STANDING UNDER A STREETLAMP, AS SOMEWHERE IN THE CITY A CLOCK CHIMES ONE. SHE CONSIDERS THIS FOR A MOMENT. THEN, WE BEGIN TO HEAR A METRICAL TICKING, AND SOMETHING OUTSIDE THE LIGHT MOVES SLIGHTLY. JOANNA LOOKS IN ITS DIRECTION, UNSURE OF WHAT IT IS. WE SEE HER SUDDENLY THROUGH THE ORANGE GAZE OF THE FOURTH AND FINAL AUTOMATON. IT LOOKS AT HER, THEN STEPS FORWARDS, JUST INTO THE LIGHT. JOANNA CAN ONLY SEE SOME OF IT, BUT LOOKS SHOCKED AND STEPS BACK HASTILY. IT SLOWLY RAISES ITS WEAPON ARM. AGAIN, WE SEE HER THROUGH THE ORANGE EYES OF THE MACHINE. ITS FEED OF INFORMATION PAUSES, AND ITS VIEW OF JOANNA FLASHES RED. IT FALTERS, STOPPING ITS MOVEMENT AND LOWERING ITS ARM SLOWLY. JOANNA CONTINUES TO EYE IT, WARY AND UNCERTAIN. THEN A GUNSHOT RINGS OUT, AND ONE OF THE AUTOMATON’S LEGS BUCKLES. JOANNA JUMPS, STARTLED. THE AUTOMATON ATTEMPTS TO RIGHT ITSELF, BUT ANOTHER SHOT HITS IT, THIS ONE IN ITS EXPOSED NECK JOINT, AND IT COLLAPSES, SPARKING SLIGHTLY. JOANNA LOOKS ROUND CONFUSEDLY, THEN STARES AS NICK EMERGES, GUN STILL POINTED AT THE MACHINE ON THE GROUND.
JOANNA (STILL STARTLED) Oh my goodness.
NICK (IN AN OFFHAND MANNER) Don’t worry, I think it’s dead.
SHE STARES AT THE DEACTIVATED MACHINE AS NICK ADDRESSES HER.
NICK I can’t be certain, so I won’t expect gratitude, but I may possibly have just saved your life.
HE LOOKS ONCE AT THE MACHINE CRITICALLY, THEN STEPS TOWARDS HER.
NICK Now, are you alright?
JOANNA CONTINUES TO STARE AT THE MACHINE ON THE GROUND. NICK SIGHS.
NICK (TO HIMSELF) Nobody’s in the mood for answering questions tonight, are they?
JOANNA BLINKS, AND SEEMS TO COME BACK TO REALITY.
JOANNA Sorry. Yes, yes, I’m fine.
NICK (AGAIN, MOSTLY TO HIMSELF) You are. And I’m not sure exactly how that is.
JOANNA POINTS SLOWLY TO THE MACHINE ON THE GROUND.
JOANNA What is that thing?
NICK That is an extremely pertinent question…
HE CROUCHES DOWN TO INSPECT THE MACHINE.
NICK And the answer is I don’t know.
JOANNA But you shot it anyway.
NICK (NODS) I did. That’s generally how I do things.
JOANNA Duly noted. (HESITATES SLIGHTLY) Who are you?
NICK (TURNING ROUND) Nicholas Christie. And you?
JOANNA Joanna.
A SECOND LATER SHE SEEMS TO REGRET SAYING THIS. NICK RAISES HIS EYEBROWS.
NICK Named for the queen, were you?
JOANNA SEEMS RELIEVED AT THIS SUGGESTION.
JOANNA (RUSHING TO AGREE) Yes, yes, I imagine so.
NICK TURNS BACK TO THE AUTOMATON AND CONTINUES INSPECTING IT.
JOANNA That thing looks mechanical. It’s a person, but… it’s made out of metal.
NICK (ONLY HALF-LISTNEING) You don’t miss much, do you?
JOANNA SNIFFS JUST A LITTLE- SHE ISN’T USED TO PEOPLE BEING CURT WITH HER.
JOANNA So, what, then, is it an Automex creation?
NICK Again, an extremely pertinent question, and one I plan on finding the answer to.
JOANNA Well, then, we must report it to the authorities. If there are machines like this on the loose-
NICK TURNS TO FACE HER WITH A SARCASTIC EXPRESSION.
NICK (SARCASTICALLY AMUSED) Madam, if you wish to go to the authorities at one o’clock in the morning and tell them you were involved in a fracas with a man made out of metal, by all means, be my guest.
JOANNA GLARES AT HIM JUST A LITTLE.
JOANNA (AS IF ASKING WHO HAS THE GALL TO SPEAK TO HER LIKE THIS) Sorry, who exactly are you?
NICK I already told you.
JOANNA You told me your name, that is hardly the same thing, Mr Christie.
NICK Just call me Nick. Now, I’d better be moving on, I’m rather busy just now-
HE GETS UP, AND MAKES AS IF TO LEAVE, BUT JOANNA STOPS HIM.
JOANNA (INDIGNANT) Excuse me? You can hardly just saunter off and leave me on my own if there are creatures like this running around unchecked.
NICK Watch me.
HE AGAIN ATTEMPTS TO LEAVE, BUT SHE CATCHES HIS ARM.
JOANNA Mr Christie-
NICK (CORRECTING HER) Nick will do fine.
JOANNA (TAKES NO NOTICE OF THIS) Mr Christie, I take my personal safety very seriously. I would ask you to do the same.
NICK I don’t deal in ‘safety’, miss. Believe me, the safest you could be is as far away from me as you can get.
HE BEGINS WALKING AWAY. JOANNA BEGINS FOLLOWING HIM WITH A NOW SOMEWHAT AMUSED EXPRESSION.
JOANNA Really? What makes you so dangerous, then?
NICK (IMPATIENTLY) Let’s just say I don’t lead the most responsible life.
JOANNA So this is normal for you, then? Chasing killers around at night?
NICK (EVASIVELY) Not exactly. It’s hard to explain.
JOANNA Then explain it well.
NICK I would, but I have neither the time nor the inclination.
JOANNA So, what’s it to be, then? “Oh, I saved your life, wasn’t that fun, now sod off”?
NICK Couldn’t have put it better myself, actually.
JOANNA Mr Christie-
NICK (WEARILY) Just Nick.
JOANNA (AGAIN TAKING NO NOTICE) I think you’re being just a tad discourteous. What could you possibly have to do at this hour that’s so pressing?
NICK If you must know, I’m still on the trail of somebody else.
JOANNA (TAKEN ABACK) Oh.
A PAUSE, THEN-
JOANNA Well, then, if there’s someone else like that on the loose, you most certainly can’t leave me on my own.
NICK I suggest you go home. Where do you live?
JOANNA HESITATES A LITTLE, THEN BECOMES FIRM.
JOANNA (DECISIVELY) At the palace. (THEN-) I work there.
NICK (INTRIGUED) You’re very well spoken, for a domestic worker.
JOANNA That’s rather classist of you, Mr Christie.
NICK (THINKING OF TERRY) Oh, don’t start. And could you just call me Nick? Call me Nick and leave me alone, that’s not so much to ask.
JOANNA I’m not leaving. Certainly not unless you explain what’s really going on. Besides, perhaps you need someone to keep you out of danger.
NICK (ARROGANTLY AMUSED) I think I can handle myself.
HE TURNS AWAY, THEN PROMPTLY TRIPS ON A KERB AND FALLS OVER. HE SITS UP WITH A GRIMACE, RUBBING HIS LEG INJURY.
JOANNA (DRYLY) Clearly.
SHE NOTICES HIS INJURY.
JOANNA What happened there?
NICK (CASUALLY) It’s not important.
JOANNA Well, stop for a minute, let me take a look at it. Here-
SHE CROUCHES DOWN IN FRONT OF HIM AND PRODUCES A HANDKERCHIEF FROM HER SLEEVE. NICK SITS ON THE KERB AND RELUCTANTLY ALLOWS HER TO TEND TO THE CUT.
JOANNA (PURSING HER LIPS) It’s not that deep. Still, though, did you really just ignore it until now?
NICK (SHRUGS) I wasn’t really thinking about it. Adrenaline, I suppose you’d call it.
JOANNA SMIRKS A LITTLE AT THE WORD “ADRENALINE.”
JOANNA (FINISHING UP) That’s all I can do for it, I’m no nurse.
AS SHE SPEAKS, NICK PRODUCES HIS WATCH AND CHECKS IT. HE LOOKS DISGRUNTLED.
NICK I’ve wasted a lot of time. Too much to stay on the trail, probably.
JOANNA Then I’m sticking with you to make sure you keep out of trouble.
NICK (A TAD AMUSED) You aren’t used to being told “no”, are you?
JOANNA SHAKES HER HEAD WITH A SMILE. AFTER A MOMENT, NICK RETURNS IT AND STANDS UP.
NICK (CONCEDING DEFEAT) Come on, then.
GRINNING, SHE FOLLOWS HIM OFF INTO THE DARKNESS. END OF SCENE.
ACT TWO, SCENE TWENTY-FOUR- NICK’S BASEMENT, A FEW MINUTES AFTER SCENE TWENTY-TWO. THE DOOR TO NICK’S BASEMENT OPENS, AND MARK ENTERS, TURNING ON SOME LIGHTS. TERRY, LOOKING EXTREMELY SUBDUED, FOLLOWS AFTER HIM. HE GOES TO THE TABLE AND SITS IN A CHAIR, ELBOWS RESTING ON THE TABLETOP, STARING BLANKLY DOWNWARDS. EMILY ARRIVES LOOKING LESS SHAKEN THAN BEFORE BUT STILL NERVOUS. MICHAEL ENTERS LAST, SHUTTING THE DOOR BEHIND HIM, STILL CARRYING THE SEVERED METAL HEAD. HIS EXPRESSION IS UNSURE. EMILY GOES TO SIT DOWN, AND HE FOLLOWS HER. MARK STANDS LEANING AGAINST A WALL.
MARK Well, I think we can all agree that that was a complete disaster.
NOBODY REALLY RESPONDS. MICHAEL NODS SLOWLY BUT HALF-HEARTEDLY. EMILY SNIFFS.
EMILY That settles it. Automex want me dead.
MICHAEL (QUIETLY) I think now they probably want us all dead.
MARK (BLEAKLY) Other than the fact that Automex have a weapon they’ve been hiding, we know little more than before. We’ve potentially lost two of our number, we let our one and only lead get away, demolished a building badly enough the constabulary will more than likely want to speak to us, and the deal at the centre of it all is being agreed upon… tomorrow.
THERE IS A MOMENT OF DISHEARTENED SILENCE.
MICHAEL (SIDETRACKED) What doesn’t make any sense to me is how Automex managed to program them all like that. There’s been concept designs for automatons for decades, but it’s the way the automatons all seemed to be in sync. That should be impossible.
MARK (WITH AN INCREDIBLY HOLLOW SNORT OF LAUGHTER) I don’t think any of us understood a word of that.
MICHAEL NOTES THIS, SIGHS AND LOOKS AWAY. HIS EXPRESSION IS DISCONTENT.
MICHAEL This just isn’t right. I used to do drawings of Automex factories- you could see the chimneys of one out of my kitchen window. I spent my whole life wishing I could be part of it. Create something that would really help people. (SHAKES HIS HEAD) Who could want to use that kind of technology for things like this?
MARK (DARKLY) Never underestimate what Edgar Dedlock will do if it plays into his hands.
GLUM SILENCE FOLLOWS. IT LASTS QUITE A WHILE UNTIL TERRY SPEAKS.
TERRY So, what do we do now?
NOBODY ANSWERS FOR A WHILE. EVERYONE SEEMS TO THINK THIS OVER. FINALLY MARK REPLIES.
MARK (DEFEATED) I don’t know. END OF SCENE.
ACT TWO, SCENE TWENTY-FIVE- ANOTHER OPEN STREET, NOT LONG AFTER SCENE TWENTY-THREE. JOANNA FOLLOWS JUST BEHIND NICK. THE TWO NOW SEEM QUITE RELAXED AROUND ONE ANOTHER, AND THERE IS AN AIR OF FLIRTATION BETWEEN THE TWO OF THEM. THEY WILL END UP MAKING THEIR WAY THROUGH THE STREETS TO NICK’S BASEMENT HIDEAWAY.
JOANNA So, what are you, then, an adventurer?
NICK Would-be-adventurer, perhaps. I have a habit of winding up places where things are happening.
JOANNA So when you aren’t getting into trouble, what do you get up to?
NICK I get into trouble for a living. Well, not a living, but it’s unavoidable.
JOANNA SMIRKS, AND NICK EVASIVELY CHANGES THE SUBJECT.
NICK Why were you out on your own in the city at this time of night, anyway?
JOANNA I like the city at night. It’s peaceful.
NICK Trinova’s not the sort of place you want to go wandering at night. You never know who you could run into.
JOANNA (PLAYFULLY) Hypocrite. I ran into you, did I not?
NICK And you’re very fortunate you did. Not many people out at this time are as pleasant as I am.
JOANNA You’re a terrible show-off, Mr Christie.
NICK (OSTENTATIOUSLY) I’d hate to deprive the world of all I have to offer. Modesty may make me more likeable but think how much more dull the world would be.
A BRIEF SILENCE FOLLOWS. THE TWO SEEM QUITE CONTENT IN ONE ANOTHER’S COMPANY.
JOANNA So, if those creatures were Automex, why isn’t this bigger news? The whole country should know about this.
NICK Good luck proving anything against Edgar Dedlock. But you’re right. It should be.
JOANNA (MUSINGLY) I never did trust him.
NICK (SURPRISEDLY) Do you know him?
JOANNA (HASTILY) No, of course not. Just he always seemed… duplicitous, I suppose you might say.
NICK I’d advise caution around anything Automex related in the near future, anyway.
JOANNA Why is that?
NICK THINKS FOR A MOMENT, UNWILLING TO REVEAL TOO MUCH, AND SETTLES ON AN ANSWER.
NICK (CAREFULLY) Well… it’s like you said. Dedlock isn’t to be trusted. There’s something going on to do with him and the deal with Coburg and King Friedrich. I’d be careful around anything to do with him.
JOANNA PONDERS THIS, BUT HER THOUGHT PROCESS IS HALTED AS NICK STOPS WALKING IN FRONT OF HER- THEY HAVE REACHED THE ENTRANCE TO HIS ALLEYWAY.
NICK This is my stop, I’m afraid.
JOANNA (LOOKING AT HIM SCEPTICALLY) You live in an alleyway?
NICK (FEIGNS INSULT) Don’t be absurd, Joanna. I live under an alleyway.
HE TURNS AWAY AND WALKS INTO THE ALLEY ENTRANCE.
NICK Stay out of trouble.
JOANNA (IN AMUSEMENT) You brought me trouble, Mr Christie.
HE SMILES TO HIMSELF AS SHE TURNS AWAY AND DISAPPEARS BACK THE WAY SHE CAME. LOOKING RATHER PLEASED WITH HIMSELF, NICK MAKES HIS WAY TO THE GROUND LEVEL ENTRANCE, UNLOCKS IT AND STEPS INSIDE. WE CUT BACK DOWN TO THE BASEMENT ROOM. EVERYONE HAD BEEN LOOKING QUITE DESOLATE, BUT THEY ALL LOOK UP, SUDDENLY INTERESTED, AS THE SOUND OF FOOTSTEPS ON THE STAIRS RING OUT. THEY ALL LOOK TOWARDS THE DOOR AS IT OPENS AND NICK ENTERS.
TERRY (INDIGNANTLY) Where have you been?
NICK Trying to track down the last of those machines. And the nyctalope, naturally. Got the machine, lost track of the other, met a rather nice girl as well, if a touch bricky. Enjoyable night, all in all, even if it didn’t go entirely to plan.
HE LOOKS AROUND WITH QUITE A CHEERFUL EXPRESSION, AND SEES ONLY DISBELIEVING AND DISCONTENT FACES STARING BACK AT HIM. AFTER A COUPLE OF SECONDS HE NOTICES SOMETHING IS WRONG.
NICK Where’s Leon?
TERRY LOOKS AWAY. MARK GIVES NICK A SERIOUS LOOK. NICK’S EXPRESSION FALLS FROM JOVIAL TO AFRAID. END OF SCENE.
ACT TWO, SCENE TWENTY-SIX- AN OPEN STREET, SOMEWHERE IN THE INDUSTRIAL DISTRICT, STILL DEEP IN THE NIGHT. A MANHOLE COVER OPENS UP AT STREET LEVEL. A GRUBBY AND DISGRUNTLED-LOOKING TOM EMERGES FROM THE GROUND AND DRAGS IT BACK INTO PLACE. HE GIVES HIS HEAD A SLIGHT SHAKE, THEN BEGINS WALKING AWAY. WE CUT BACK TO NICK’S BASEMENT. NICK NOW SITS IN A CHAIR, LOOKING STUNNED. EVERYONE ELSE IS AS THEY WERE.
NICK I don’t believe it.
MARK We saw it ourselves. I’m sorry, but it’s the truth.
THERE IS A BRIEF SILENCE.
NICK This is my fault.
MARK Don’t say that-
NICK (ANGRILY) Well, how is it not my fault? This whole stupid thing was my idea. Leon should never have been on his own, none of you should have. I didn’t plan it at all. (DEJECTED) I’m an idiot.
TERRY How were you meant to know that Automex had something like that up their sleeve? It wasn’t the plan that was the problem. If it had gone to plan, this would never have happened.
NICK How could Automex have hidden something this huge from the public? This is so far beyond anything we suspected. (BITTERLY) Well, at least now we’ve got a fair idea of what Clockwork Storm is.
MICHAEL (CONCERNEDLY) They shouldn’t be able to. It’s far beyond their capabilities. This can’t be the only thing that they’ve been keeping secret.
NICK TAKES NO NOTICE OF THIS.
NICK Maybe the lot of us are in over our heads. I tried picking a fight with the richest corporation in the country and this is the result. I should never have dragged the rest of you into this.
TERRY You didn’t drag us in. We all agreed to it.
NICK Well, maybe you shouldn’t have.
EVERYONE LAPSES INTO SILENCE. EMILY SITS FORWARDS LOOKING A BIT MORE DETERMINED THAN THE REST.
EMILY Alright, we could talk about this forever and still get nowhere, the way we’re going. We need to decide what we’re going to do next. Automex are still after me, and it’s not just me that’s in danger- you all are too just by being with me, and I’ve got family in this city who I’m sure it wouldn’t be difficult to track down. We have to come up with something.
SHE LOOKS AROUND EXPECTANTLY. NICK SHRUGS HALFHEARTEDLY.
NICK I’m not sure what we can do. The trade deal will in all likelihood be agreed tomorrow. We know what Dedlock’s been doing now, but we’ve got no chance of convincing the powers that be of that by tomorrow afternoon.
SILENCE FALLS AGAIN. TERRY AND MARK BOTH LOOK AS IF THEY ARE THINKING HARD. FINALLY, TERRY SPEAKS.
TERRY What if we just killed him?
NICK (TAKEN ABACK) What?
TERRY (A LITTLE ZEALOUS) We know Dedlock will be at Eastford tomorrow. What if we went to the galleries and-
MARK (DISMISSIVELY) Even if you could get weaponry past the guards, security inside would be tight enough to prevent anyone even attempting it. Do you think we’re the first people to ever have it in for someone in the Upper House?
TERRY LOOKS DOWN AT THE TABLETOP.
NICK Besides, even if you could do it, you would never be able to escape afterwards.
TERRY Perhaps it would be worth it.
THEY AGAIN FALL SILENT, THOUGH ONLY BRIEFLY THIS TIME.
MARK She is right, though. We do have to do something.
NICK Do we? Every time we’ve tried, it’s just made everything worse. Maybe you just can’t win against Dedlock.
TERRY (DISBELIEVING AND DISAPPOINTED) So you’re giving up?
NICK (INDIGNANT) I’m not giving up. I just don’t want anybody else to suffer because of my stupidity.
TERRY (IRATE) Well, it’s a little late for that now. Is that what Leon would want, d’you think? Us to give up and not try and avenge him, or make his death worth at least something?
NICK (EQUALLY IRATE) I wouldn’t know. (HE GETS UP) All I know is that I can’t ask Leon what he would… (BREAKS OFF) There’s things more important than revenge, alright?
TERRY (ALSO GETTING UP) No. Not alright. You said it yourself, Automex is enemy number one, everything else is secondary. We are not just going to stand by and do nothing.
NICK So what do we do, then? Because I can’t see a single way we can fix this. If you are so sure, then tell me. What do we do?
TERRY FALTERS.
TERRY I don’t know.
EVERYONE SITS IN SILENCE IN THE AFTERMATH OF THIS. MARK EVENTUALLY CHIMES IN.
MARK Perhaps we should just write tonight off. We aren’t going to come up with anything by just arguing. I say we wait until morning and try and do some serious thinking then.
BOTH NICK AND TERRY CONSIDER THIS.
NICK Yeah. You’re right.
TERRY What will be so different in the morning?
MARK Possibly nothing. But we obviously aren’t going anywhere tonight.
TERRY THINKS, THEN NODS SLOWLY.
TERRY (IN AGREEMENT) No. We’re not.
TERRY SITS SLOWLY BACK DOWN. NICK STAYS ON HIS FEET.
NICK Speaking of which, in the interests of not losing anybody else, I suggest everyone stays here tonight.
MICHAEL Have you got the space?
NICK (WITH A TOUCH OF HIS PREVIOUS SARCASM) Well, that depends how high your expectations are.
THEY DIGEST THIS INFORMATION.
MARK Well, my house is on the other side of the industrial district, so… I think between death and the floor, I’ll take the floor.
NICK WALKS OVER TO BESIDE EMILY. HIS EXPRESSION IS APOLOGETIC.
NICK In the interests of chivalry, and since none of this whatsoever is your fault… I suppose I had better offer you my room.
EMILY LOOKS AT HIM IN AN UNIMPRESSED MANNER.
EMILY Maybe I’m the first girl to turn down your bed, Nicholas Christie, but I promise, I won’t be the last.
NICK TAKES THIS IN THE MANNER OF SOMEONE WHO HAS NO FEELINGS LEFT TO HURT. HE WALKS OFF AND DISAPPEARS INTO HIS ROOM. EMILY AND MICHAEL GLANCE AT ONE ANOTHER, AND SHE MOVES TO SIT A LITTLE CLOSER TO HIM. TERRY BEGINS SHUTTING OFF THE LIGHTS AS THE SCENE ENDS.
ACT TWO, SCENE TWENTY-SEVEN- THE ROYAL PALACE, DEEP IN THE NIGHT. JOANNA CAUTIOUSLY ENTERS THE CORRIDOR LEADING TO HER ROOM. SHE TIPTOES TO HER DOOR, THROWING LOOKS OVER HER SHOULDER EVERY FEW SECONDS. SHE RELAXES A LITTLE WHEN SHE REACHES THE DOOR, WHICH SHE PUSHES OPEN AND STEPS RELIEVEDLY INSIDE. ONCE INSIDE, HOWEVER, HER FACE FALLS- ALICE SITS ON THE BED, AND UPON SEEING JOANNA ASSUMES A SARCASTICALLY KIND EXPRESSION.
ALICE (SARCASTICALLY) Oh, how gracious of you to drop in, dear.
JOANNA (CAUGHT OUT) Oh… Mother-
ALICE (CROSSLY) After one in the morning, and you swan in like it’s nothing. I suppose it didn’t take too long for you to start feeling better. Where have you been? And why are you dressed like that?
JOANNA (LOOKING AT HERSELF) Like what?
ALICE (WASPISHLY) Like a peasant.
JOANNA LOOKS DOWN AT HERSELF, THEN BACK AT HER MOTHER.
JOANNA Can’t this wait until the morning?
ALICE (CONTEMPTUOUSLY) Oh, so you can go gallivanting about at any hour but not answer a simple question?
JOANNA HESITATES.
ALICE And I will know if you are lying to me.
JOANNA SIGHS.
JOANNA Alright. I’ve been out in the city.
ALICE In the city? Why were you ever out there at this hour?
JOANNA Because it’s a break from here.
ALICE You cannot simply go wandering out there. Have you no regard for your own safety? It’s highly improper for the queen to be out unattended.
JOANNA Nobody I’ve met out there knows I’m the queen, Mother. That’s why I’m dressed like this.
ALICE Don’t be absurd, why wouldn’t anyone recognise you?
JOANNA (CYNICALLY) I wonder. Perhaps because any time I go out as queen, I go out as something other than myself. Perhaps because everyone else thinks the same as you do, that the real Joanna isn’t good enough to be queen.
ALICE (INCREDULOUSLY) And it makes you feel better to associate with plebeians who don’t even realise who you are?
JOANNA (RESOLUTELY) Yes, it does. Because I know any admiration I earn from them is fairly won. You finally realise what people really think of you when they aren’t worried about offending you.
ALICE What does it matter what the commoners think? You aren’t out to impress them.
JOANNA (ANGRILY) Don’t be so classist, Mother. If you spent five minutes out there you would realise that aurums aren’t the measure of what someone is worth. The thoughts of any single one of them matters more to me than that of a hundred Friedrichs. Who, in case you may have missed it, I have about as much interest in as you have in changing your opinions.
ALICE TAKES THIS INFORMATION IN SLOWLY. SHE SEEMS UNSURE OF WHAT TO SAY. FINALLY, SHE SPEAKS.
ALICE You have too much of your father in you.
JOANNA PAUSES, LOOKING A LITTLE HURT, THEN SHAKES HER HEAD.
JOANNA (STILL ANGRY) No, Mother. I have too much of you in me. If you wanted a daughter who would obey you, perhaps you shouldn’t have raised one as stubborn as yourself.
ALICE PAUSES FOR THOUGHT, THEN GETS UP AND WALKS TOWARDS THE DOOR, PASSING JOANNA ON THE WAY.
ALICE (WEARILY) I’m too tired to argue with you.
JOANNA WATCHES HER AS SHE STEPS OUTSIDE INTO THE HALLWAY.
ALICE Get some sleep, dear. You’ll need it for the morning.
SHE SHUTS THE DOOR AND DEPARTS. JOANNA BREATHES DEEPLY AND WALKS OVER TOWARDS THE BED. SHE SITS DOWN ON IT, AS WE FADE OUT AND THE SCENE ENDS. END OF ACT TWO.
ACT THREE, SCENE ONE- NICK’S BASEMENT, NOW PRESUMABLY IN MORNING. THE SCENE BEGINS IN TOTAL DARKNESS- NATURALLY, NO NATURAL LIGHT GETS INTO THE BASEMENT. AFTER A FEW SECONDS OF THIS, A PAINFULLY LOUD OLD-FASHIONED ALARM CLOCK BEGINS RINGING. WE HEAR A FEW SOUNDS OF SURPRISE, AND AFTER SOME BUMBLING ABOUT, A LAMP IS PUT ON BY TERRY. THE ALARM IS SHUT OFF, AND A FEW SECONDS LATER, NICK’S DOOR OPENS AND HE EMERGES LOOKING APOLOGETIC.
NICK Sorry. No light gets down here, so I had to set it.
TERRY NODS. EVERYONE BLEARILY GETS UP FROM WHERE THEY HAVE BEEN SLEEPING. MICHAEL, WHO HAD NOT BEEN WEARING HIS GLASSES, PUTS THEM BACK ON. EMILY BEGINS PINNING HER HAIR BACK UP.
MICHAEL What time is it?
NICK Just after eight.
MICHAEL (PEEVISH) I think I slept for a grand total of about four minutes.
NICK CROSSES OVER TO THE TABLE, ON WHICH THE SEVERED AUTOMATON’S HEAD NOW RESTS. NICK PULLS OUT A CHAIR AND SITS DOWN. HE BECKONS TO THE OTHERS.
NICK Right. What time are the house members assembling at Eastford?
MARK Probably around noon. Friedrich and his entourage will be there earlier. The vote’ll be cast and the result will be confirmed by about half past. If the Upper House passes it, which it will, then Friedrich and the Queen will be invited to sign it and make it official.
NICK So we have about four hours to come up with a plan.
EVERYONE ASSEMBLES AROUND THE TABLE. MICHAEL AND EMILY SIT NEXT TO ONE ANOTHER, AND NICK SITS AT THE HEAD OF THE TABLE. HE SEEMS A LITTLE MORE LIKE HIS DECISIVE SELF THAN LAST NIGHT, BUT IS STILL MISSING HIS PREVIOUS CONFIDENT SWAGGER.
NICK (FIRMLY AND EFFICIENTLY) Right. We don’t know what exactly Dedlock’s next move is going to be- we completely failed at predicting his last one- so we may have to delay a little longer and wait for him to show his hand before we take any decisive action.
NICK LOOKS AROUND TO SEE THE REACTION OF THE OTHERS TO THIS. EVERYONE BAR TERRY SEEMS TO ACCEPT THIS. TERRY LOOKS DISPLEASED BUT KEEPS SILENT, WHICH NICK TAKES AS INDICATION TO CONTINUE.
NICK For now, Dedlock doesn’t know that much about us- maybe he doesn’t even know any of us are still alive, if he hasn’t heard back from the nyctalope yet. I say we try and keep it that way.
AGAIN, NICK LOOKS AROUND TO JUDGE THE REACTION. EVERYONE NODS SLOWLY. HE CONTINUES.
NICK There really is very little we can do until we know more about what Dedlock is actually going to do. I think we can assume we know what Clockwork Storm is- it’s something to do with the machines he’s been creating- but we don’t know for what purpose they’ve been created. So, I think we have to let him make a move before we do anything serious.
MICHAEL SEEMS TO APPROVE OF THIS SENTIMENT BUT TERRY LOOKS SCEPTICAL.
TERRY So, we are going to do nothing?
NICK For now, yes.
TERRY (SHAKES HIS HEAD) No. We barely have any time left as it is, we can’t bide it any longer.
NICK This time yesterday, I would have said the same thing. But… there’s no point taking a huge risk right now. I’m not placing anybody in danger when the chances of actually gaining anything from it are so remote. (MORE IMPLORINGLY AS TERRY STILL LOOKS UNCONVINCED) Terry, I don’t want you to get hurt.
TERRY SIGHS.
TERRY Alright. So, what do we do in the meantime?
EMILY (INTERJECTING) Um, if it’s alright with everybody else… (SHE LOOKS A LITTLE HESITANT AS ALL EYES TURN TO HER) I want to go and see my sister. She could be in danger as well, if there’s someone this determined to get to me. She needs to know the truth.
NICK (UNSURE) We hardly even know the truth ourselves.
EMILY (BESEECHINGLY) Please, Nick. She’s done nothing wrong, I can’t let anything happen to her because of me.
NICK THINKS. EVENTUALLY HE NODS.
NICK Alright. But take Michael with you, in the interests of security. I have somewhere I have to go as well. I don’t know how long it might take. Once you’re finished, I need the pair of you to do something else for me.
HE PICKS UP THE METAL SEVERED HEAD.
NICK We need to be prepared for what’s happening later today. If we can’t move against Dedlock right now, the best we can do is to be ready to act when the time comes. I need you two to take this to Barlow at the police station and see if he’ll listen to you. Tell him everything that’s happened in the last two days. He’s decided the rest of us are lunatics, but you two may have a chance at getting through to him. He can’t ignore something like this… hopefully.
NICK PASSES THE HEAD TO EMILY, WHO TAKES IT CAUTIOUSLY. SHE LOOKS UP AND NODS SLOWLY.
EMILY Alright.
NICK Fantastic. (HE TURNS TO MARK AND TERRY) Right, I suggest the two of you go and scout out what’s happening at Eastford- Terry, take a look at the public access, Mark, find out what’s happening inside. The rest of us will meet you there once we’re done. Everyone agreed?
EVERYONE LOOKS AROUND, SEEING WHAT OTHERS THINK. EVENTUALLY, EVERYONE NODS AND AD-LIBS ASSENT.
NICK Good. Finally, something settled. Okay, let’s get ready to go.
EVERYONE BEGINS TO DO SO. NICK RETURNS TO HIS ROOM, AND TERRY FOLLOWS HIM IN.
NICK (REALISING HE IS THERE) If you want to check in on your family as well, I don’t mind that-
TERRY (SHAKES HIS HEAD) No point. Automex don’t know where they are, it’s probably safer to keep away until this is over.
NICK Then what is it?
TERRY You said you had somewhere to go. I want to know where.
NICK PAUSES, LOOKING RELUCTANT TO SAY MUCH. HE GATHERS UP A FEW BITS AND PIECES IN PREPARATION FOR LEAVING AS HE AND TERRY SPEAK.
NICK (UNENTHUSIASTICALLY) I’m going to see Leon’s father.
TERRY (TAKEN ABACK) What?
NICK I owe him an explanation. What happened was my fault and it’s better I come clean now than he finds out from a patrolman at his door.
TERRY But David hates you. Leon said it himself.
NICK Well, perhaps he was right to.
TERRY He’ll kill you.
NICK (DETACHEDLY) Well, perhaps he’s right to do that, too.
TERRY (INCREDULOUS) No, seriously, he’s ex-military, and he will blame you for everything that’s happened. Don’t you remember Leon telling us his mother died years ago of typhoid? He was all his father had. He will literally kill you.
NICK (SOLEMNLY) I have to tell him. I can’t do anything to change what happened. All I can do is face up to the consequences.
TERRY SIGHS AGAIN.
TERRY Alright. But at least let me go with you.
NICK (SHAKES HIS HEAD) No. This is something I have to do by myself. Besides, you already have a job, and we don’t have any more time to waste as it is.
TERRY LOOKS AGGRIEVED, BUT HOLDS HIMSELF BACK.
TERRY Fine.
NICK Good. I’ll tell you how it went when I come back.
HE MAKES AS IF TO LEAVE, BUT TURNS BACK MOMENTARILY WITH AN AIR OF SERIOUSNESS.
NICK Try to keep out of trouble. I don’t think I can manage having to do this more than once.
HE EXITS THE ROOM. TERRY WATCHES HIM GO WITH A PAINED EXPRESSION. END OF SCENE.
ACT THREE, SCENE TWO- TRINOVA POLICE STATION, A CORRIDOR, EARLY MORNING. BARLOW, TRAILED BY HIS YOUNG CONSTABLE, MAKES HIS WAY THROUGH THE BUILDING QUICKLY, SO THAT HIS COMPANION HAS TO MAKE HASTE TO KEEP UP. BARLOW RATTLES OFF QUESTIONS WITHOUT LOOKING ROUND. HE IS BUSINESSLIKE, HIS COMPANION CLEARLY WANTS TO IMPRESS.
BARLOW Everyone has been given their arrival times?
YOUNG CONSTABLE Yes, sir.
BARLOW And everyone has their positions?
YOUNG CONSTABLE Yes, sir.
BARLOW LOOKS VISIBLY RELIEVED.
BARLOW Perhaps this won’t be a total catastrophe after all. As soon as that bloody king is out of here I’m reserving a few hours just to do nothing at all.
HE TURNS TO THE YOUNG CONSTABLE.
BARLOW Very well, tell everyone to make preparations to leave. I’ll be down to see you out in a few minutes, I just need to check to see if I’ve been sent anything at the last minute from the palace.
YOUNG CONSTABLE Will do, sir.
HE DEPARTS IN ONE DIRECTION. BARLOW MAKES HIS WAY OFF IN THE OTHER, TOWARDS HIS OFFICE. HE OPENS THE DOOR UPON REACHING AND STEPS INSIDE. UPON ENTERING, HE FLINCHES A LITTLE IN SURPRISE. DEDLOCK SITS IN HIS CHAIR BEHIND HIS DESK.
DEDLOCK Good day, Chief Constable Barlow.
BARLOW IS CLEARLY FAZED BY HIS PRESENCE, BUT RECOVERS QUICKLY. HE DOES NOT BOTHER WITH PLEASANTRIES.
BARLOW What do you want?
DEDLOCK What, is that it? I don’t even get a welcome? This is a rather important day for me, Mr Barlow, in case you didn’t remember. A little courtesy won’t imposition you too much.
BARLOW SEEMS EDGY AROUND DEDLOCK. HE SHUTS THE DOOR AND STEPS FORWARDS SLOWLY.
DEDLOCK Very well, straight to business as it is. As a matter of fact I haven’t the time this morning for much else. I understand you’re in charge of the security arrangements later today at Eastford?
BARLOW Correct.
DEDLOCK Well, in that case, I thought I’d just pop in to remind you of our agreement…
HE PROUDCES A BROWN CASE AND SETS IT ON THE DESK, ATOP THE STACKS OF PAPER. BARLOW PROCEEDS CAUTIOUSLY OVER AND OPENS IT SLOWLY. THE INSIDE IS LINED WITH BANKNOTES, MOST BEARING THE FACE OF THE LATE KING ALBERT.
DEDLOCK (SMIRKING) Not a bad little retirement kitty, is it?
BARLOW SHUTS THE CASE AND MAKES TO TAKE IT, BUT DEDLOCK STOPS HIM.
DEDLOCK Now, in exchange for this, Mr Barlow, I’m going to have to ask a favour. Today, as I mentioned, is just a tad important to me. It cannot go wrong. I’ve encountered a few difficulties lately. Somebody trying to make an enemy of me. Whatever I do today, you’ll ensure that it goes ahead. Are we clear?
BARLOW HESITATES.
BARLOW I’d feel a lot more comfortable with this if I knew exactly what you were planning.
DEDLOCK That is for me to know. I’ve been very good to your constabulary down the years, Mr Barlow. I don’t expect insubordination from you at this stage. It’s taken me a long time to get to the position I am in now. I will not see it ruined now. Are we clear?
RELUCTANTLY, BARLOW NODS.
BARLOW Yes, Mr Dedlock.
DEDLOCK Superb.
HE PUSHES THE CASE TOWARDS BARLOW, CARELESSLY KNOCKING A FEW PAPERS TO THE GROUND. BARLOW CATCHES THE CASE AND STOOPS TO PICK UP THE PAPERS. DEDLOCK GETS UP FROM THE CHAIR.
DEDLOCK Now, I had best be off. I have preparations to make before the vote is cast. Enjoy your day, Mr Barlow.
DEDLOCK EXITS, LOOKING IN GOOD SPIRITS. BARLOW SETS THE PAPERS BACK ON THE DESK AND PUTS THE CASE TO ONE SIDE, LOOKING A TAD TROUBLED. AT THIS MOMENT, THE YOUNG CONSTABLE RETURNS.
YOUNG CONSTABLE All ready to go. The men are awaiting your orders, sir.
BARLOW TENSES MOMENTARILY, THEN RELAXES AGAIN. HE TURNS TO FACE THE NEW ARRIVAL. THE YOUNG CONSTABLE JERKS HIS THUMB IN THE DIRECTION OF THE DOOR.
YOUNG CONSTABLE Was that Edgar Dedlock I saw just now?
BARLOW (AFTER A SECOND LOST IN THOUGHT) It was, yes. Just checking in to see we have everything covered for today.
YOUNG CONSTABLE No need for him to worry, though, really. From what I’ve heard, he’s set to win by a landslide. Hard man to disagree with, I suppose.
BARLOW NODS A LITTLE GRAVELY.
BARLOW (HALF TO HIMSELF) Yes. He is indeed.
HE MOVES TOWARDS THE DOOR.
BARLOW Alright, let’s get a move on.
THE PAIR EXIT THROUGH THE DOOR. END OF SCENE.
ACT TWO, SCENE THREE- LEON AND DAVID’S HOUSE, FROM THE OUTSIDE, EARLY MORNING. NICK, TRENCH COAT ON, KNOCKS ON THE DOOR. HE LOOKS TO BE DREADING WHAT IS COMING NEXT. HE WAITS FOR A FEW SECONDS, BEFORE THE DOOR IS OPENED BY DAVID. HE LOOKS OUT, AND SEES WHO IT IS. HIS EXPRESSION SOURS A LITTLE.
DAVID Oh. It’s you.
NICK Can I come in?
DAVID LOOKS APPREHENSIVE.
DAVID Leon isn’t here, I’m afraid. I haven’t seen him since last night.
NICK’S EXPRESSION IS ONE OF TREPIDATION, BUT HE PLOUGHS ON.
NICK It’s about Leon, sir.
DAVID’S APPREHENSION GIVES WAY TO CONCERN. AFTER A BRIEF HESIATION, HE STEPS ASIDE, AND NICK STEPS OVER THE THRESHOLD. DAVID SHUTS THE DOOR AND WALKS IN TO THE LIVING AREA, FACING TOWARDS THE MANTELPIECE.
DAVID So, where is he, then? I assumed he would be with you.
NICK That’s what I came to talk to you about.
DAVID Well, where is he?
NICK’S EXPRESSION IS GRIM. HE SAYS NOTHING INITIALLY. DAVID TURNS ROUND TO FACE HIM, HIS CONCERN GROWING.
DAVID What’s happened to him?
NICK’S FACE TAKES ON A RESIGNED LOOK. WE CUT AWAY TO THE MOSS HOUSEHOLD. FIONA SITS AT THE KITCHEN TABLE, CURLING HER HAIR IN FRONT OF A SMALL MIRROR USING CURLING TONGS. A WOMEN’S MAGAZINE SITS OPEN ON THE TABLE BESIDE HER, SHOWING THE STEPS TO ACHIEVING THE DESIRED STYLE ALONG WITH A SKETCH OF WHAT THE RESULT WILL LOOK LIKE. SHE LOOKS UP FROM THIS AS THE DOOR OPENS. EMILY AND MICHAEL ENTER, THE FORMER CARRYING THE AUTOMATON’S HEAD. FIONA LOOKS SURPRISED AND RELIEVED TO SEE THE PAIR OF THEM, BUT HER TONE OF VOICE IS INDIGNANT.
FIONA Where on earth have the pair of you been? And don’t tell me it’s a long story.
EMILY (SHORTLY) I wasn’t going to.
SHE CROSSES OVER TO THE TABLE AND SETS THE METAL HEAD DOWN ON IT WITH A THUMP. FIONA LOOKS AT IT IN BEMUSEMENT. WE CUT BACK TO LEON’S HOUSE. DAVID NOW STANDS FACING AWAY FROM NICK, TOWARDS THE MANTELPIECE. NICK WATCHES HIM WARILY.
NICK Sir?
DAVID PROVIDES NO REACTION. NICK LOOKS VISIBLY WORRIED.
NICK (WITH CONCERN) Sir, please say something.
DAVID AGAIN DOES NOT REACT. CAUTIOUSLY, NICK TAKES A FEW STEPS CLOSER TO HIM.
NICK I understand that this can’t be easy-
WITHOUT WARNING, DAVID TURNS ROUND AND PUNCHES HIM. NICK LANDS DAZEDLY IN A CHAIR.
DAVID You just couldn’t leave anything well alone, could you?
NICK LISTENS, LOOKING NOT ENTIRELY SURPRISED BY BEING MET WITH A TIRADE. DAVID LOOKS AT HIM WITH DISGUST.
DAVID (ANGRILY SARCASTIC) Of course not. It’s not enough for you to just go looking for trouble, is it? You have to drag other people into it, and who cares how your actions might affect them, so long as you’re having fun?
NICK SEEMS TO AGREE. DAVID CONTINUES.
DAVID And you can’t control the consequences as soon as you involve others. Do you know what the last thing I said to Leon was before he left, the last time I saw him? That I didn’t care. That maybe he would learn from what he was doing. That’s the last impression he ever got of me. And now, thanks to you, I can never fix that.
NICK (EMOTIONALLY) I swear, I never meant for any of this to happen-
DAVID (SICKENED) Of course you didn’t. Do you know why I didn’t want my son to associate with you? Because I’ve seen what groups like yours are like. Impressionable people who don’t mean anyone any harm meet people like you, people who think the world is there for their amusement. People who do whatever they please, and to hell with the consequences, because you know it will never be you who has to deal with them. It’s always the other people that take the fall. People like Leon. And then, it falls to people like me to try and pick up the pieces.
NICK LOOKS AWAY.
NICK (INERTLY) If you’re saying it should have been me, honestly, I think you might be right.
WE CUT BACK TO THE MOSS HOUSEHOLD. HERE, MICHAEL STANDS BY WHILST THE TWO MOSS SISTERS SIT OPPOSITE ONE ANOTHER AT THE TABLE. FIONA NOW HOLDS THE SEVERED HEAD, WHICH SHE LOOKS AT WITH CONSIDERATION.
FIONA And it’s really true?
EMILY I’m afraid so.
FIONA PAUSES MUSINGLY.
FIONA I never did take to Automex. Not many people had good stories to tell about them, anyway.
EMILY The important thing now is for you to stay safe. I’m sorry, but if I’m in danger, chances are you are too.
FIONA (SHRUGS) Fair enough.
EMILY (TAKEN ABACK) What, you aren’t worried?
FIONA (NONCHALANTLY) Not at all. (SHE SETS DOWN THE METAL HEAD) I’m good with coping, remember? It’s my job to worry about you, not the other way round. I kept you right after mum and dad died, didn’t I?
EMILY (SMILING THINLY) I think you’re flattering yourself just a tiny bit.
FIONA I’ll be fine. Don’t worry about that. Just, do what you need to do. When it’s all over we’ll see how we all are. Alright?
EMILY Alright.
FIONA So, where are the pair of you off to now, then? The Upper House?
MICHAEL (SHAKES HIS HEAD) The police station, first. Hopefully they might take an interest in this.
AS HE SAYS THE WORD “THIS” HE PICKS UP THE AUTOMATON’S HEAD.
FIONA You’d best get going then. Here, you can take the monorail. It goes right past it. You can borrow my card for it, I never use it, anyway.
EMILY Thanks.
SHE GETS UP AND MAKES HER WAY OVER TO FIONA’S ROOM.
FIONA It should be just on the dresser. And get a bag, as well, that head might be a little bit noticeable.
AS EMILY DISAPPEARS INTO THE OTHER ROOM, FIONA TURNS TO MICHAEL.
FIONA Alright. I’m still not entirely sure who you are, but my sister seems to think rather highly of you. I’m counting on you not to let her down. If she’s in danger, you see to it that she stays safe. That understood?
SHE RAISES THE CURLING TONGS IN A SLIGHTLY THREATENING MANNER. EMILY CALLS OUT FROM THE OTHER ROOM.
EMILY (FROM THE OTHER ROOM) It’s not on the dresser.
FIONA (TO EMILY) Check in the drawers.
SHE TURNS BACK TO MICHAEL. HE ATTEMPTS TO BE NONCHALANT.
MICHAEL I think Emily can take care of herself.
FIONA IS UNIMPRESSED.
FIONA You’re both going to be in danger. You know that. You need to promise me you won’t let anything happen to her. Alright?
MICHAEL CONSIDERS MOMENTARILY, KNOWING THAT REALISTICALLY THIS ISN’T A PROMISE THAT HE CAN MAKE. HOWEVER, HE NODS RESOLUTELY.
MICHAEL I’ll keep her safe.
FIONA Good.
EMILY EMERGES FROM FIONA’S ROOM, CARRYING A SMALL WHITE CARD STAMPED WITH A LETTER M, ALONG WITH A LADY’S BAG, WHICH SHE PROCEEDS TO STORE THE AUTOMATON’S HEAD INSIDE.
EMILY Alright. Let’s get going. (TO FIONA) Don’t answer the door to anyone unless you’re positive of who it is. If anyone asks for either of us, say we’ve gone out.
FIONA Stop worrying. I’ll be fine.
EMILY HUGS HER FORCEFULLY.
EMILY I’ll see you after all this is over.
SHE STEPS BACK AND HEADS TOWARDS THE DOOR.
EMILY Let’s head on.
SHE AND MICHAEL EXIT. FIONA WATCHES THEM BOTH GO WITH AN ALMOST MATERNAL LOOK OF CONCERN. WE CUT BACK TO DAVID’S HOUSE. NICK STANDS UP AND STEPS TOWARDS DAVID.
NICK I know who did this. I know it can’t possibly repair the damage, but you have to understand that I want to try. If I don’t… I’m fairly certain it won’t just be people that I’ve involved that will be in danger.
DAVID CONSIDERS THIS. HE TURNS BACK TO THE MANTELPIECE AND PICKS UP THE MILITARY CROSS RESIDING IN ITS BOX.
DAVID Did Leon ever tell you what I got this for?
NICK (SHAKES HIS HEAD) He just said you’d served in the military.
DAVID TAKES THE CROSS OUT OF ITS BOX.
DAVID (SLIGHTLY REMINISCENT TONE) Valour. Or so it was called, anyway. We had a rule, back in the Antile divisions. You were never allowed to shoot anybody unarmed. Everyone was entitled to a fair trial. Even if you feel it’s the right thing to do, you don’t have the power to make that decision. Because everyone gets a chance at redemption, if they want it. (HE REPLACES THE CROSS IN ITS BOX) You said you wanted to make this right. What are you planning on doing?
NICK I - we- are going to wait and see what Dedlock does next. He’ll be at Eastford today for the trade agreement. We’re going to watch his actions there.
DAVID Then I’m going with you.
NICK I’m not sure that’s a good idea.
DAVID And I’m not sure what makes you think I’m going to take your advice. If you’re right, and Edgar Dedlock is the reason my son is dead, I want to know what exactly is so important to him that he had to die.
HE GESTURES TOWARDS THE DOOR.
DAVID Go ahead. I’ll be right behind you.
WITH A LOOK OF ADMIRATION, NICK DOES SO, AND EXITS THE HOUSE. AFTER WAITING FOR A MOMENT, DAVID GOES OVER TO THE MANTELPIECE AND OPENS THE BOX ON IT. INSIDE IS AN OLD REVOLVER AND A NUMBER OF LOOSE BULLETS. DAVID LOADS IT AND SLIPS IT INTO HIS JACKET, BEFORE SHUTTING THE BOX AND FOLLOWING NICK OUT THE DOOR. END OF SCENE.
ACT THREE, SCENE FOUR- EASTFORD, A LITTLE LATER IN THE MORNING. THE POLICE FORCE ARE ASSEMBLING AT THE ENTRANCE TO THE SITE, MARHSALLING ARRIVALS. TERRY AND MARK WATCH THIS FROM A DISTANCE.
MARK (MUSINGLY) They aren’t searching the arrivals.
TERRY Then we might be able to bring what we need inside.
MARK (CAUTIOUS) It would still certainly be a risk.
TERRY (DECISIVE) We’ve come this far.
HE SETS OFF TOWARDS THE ENTRANCE, AND MARK FOLLOWS HIM. INSIDE, FRIEDRICH, FLANKED BY A FEW OF HIS AMBASSADORS, MAKES HIS WAY TOWARDS THE UPPER HOUSE. HE ENTERS THE BUILDING, WHERE IN THE FOYER AREA SHERWOOD IS SPEAKING TO THE SECRETARY WE SAW IN ACT ONE. THEY ABRUPTLY STOP AS FRIEDRICH ENTERS.
SHERWOOD Ah. Your Majesty.
FRIEDRICH Is my presence needed yet, Chairman?
SHERWOOD Not at this time. The vote hasn’t yet been cast by the House members. Once it has been, the council and I will be joining the members of the Lower and Upper Houses in the Grand Chamber to hear the result. I suggest you wait there- the galleries should be available. We’ll notify you as events unfold.
FRIEDRICH Of course.
SHERWOOD’S SECRETARY LEAVES HIS SIDE AND ESCORTS FRIEDRICH AND THE OTHERS AWAY. WE CUT INSIDE TO THE ROYAL PALACE AND JOANNA’S BEDROOM. ONCE AGAIN DRESSED FORMALLY, SHE SITS AT HER WINDOW WITH A BROODING EXPRESSION. AFTER A FEW SECONDS, STEPHANIE ARRIVES IN THE ROOM AS WELL.
STEPHANIE Miss, I’ve seen the King outside there. It might be time to head on down.
JOANNA (UNENTHUSIASTICALLY) Probably.
STEPHANIE COMES OVER AND PLACES A HAND ON HER SHOULDER.
STEPHANIE I know you probably don’t feel wonderful about today…
JOANNA Everyone seems to regard the deal as a certainty. I can’t be selfish, I know it’s what’s best for the nation… but if I sign it, I’m signing over my freedom. If we become partners with Coburg, I’ll be expected to marry Friedrich. That’s all there is to it.
STEPHANIE Nobody can force you to do anything, remember.
JOANNA I’m not so sure about that.
THERE IS A CERTAIN CLOSENESS BETWEEN THE PAIR OF THEM. IN A SURPRISINGLY FORWARD MOVE, STEPHANIE SITS DOWN BESIDE HER AND HUGS HER IN A SORORAL MANNER.
STEPHANIE (FIRMLY) It’ll be alright, miss. It always is.
JOANNA I hope you’re right.
END OF SCENE.
ACT THREE, SCENE FIVE- THE STREET OUTSIDE TRINOVA POLICE STATION, TIME CONCURRENT WITH SCENE FOUR. THE MONORAIL RATTLES BY ON ITS TRACK OVERHEAD, HEADING OFF TO ANOTHER DESTINATION. EMILY AND MICHAEL HEAD DOWN THE STEPS FROM THE MONORAIL STATION INTO THE STREET BELOW. THEY MAKE THEIR WAY ACROSS TO THE POLICE STATION AND HEAD INSIDE. THE RECEPTION AREA IS EMPTY, WITH NOBODY EVEN BEHIND THE COUNTER. THE PAIR WALK UP TO THE COUNTER AND MICHAEL RINGS A BELL HE FINDS THERE. AFTER A FEW SECONDS, THE YOUNG CONSTABLE APPEARS LOOKING HARASSED.
YOUNG CONSTABLE Look, unless someone is literally being murdered right at this minute, it’s going to have to wait.
MICHAEL (SERIOUSLY) We need to speak to Chief Constable Barlow.
YOUNG CONSTABLE Mr Barlow is very busy at this time. He’s taking charge of the security at Eastford.
MICHAEL In that case, we definitely need to speak to him.
YOUNG CONSTABLE I’m afraid this will have to wait until tomorrow.
EMILY (VEHEMENTLY) It can’t wait until tomorrow.
YOUNG CONSTABLE (SHORTLY) Well, it’s going to have to. I’ve already explained, I don’t care to do so again.
EMILY Well, perhaps you can explain this as well, then.
SHE PRODUCES THE AUTOMATON’S HEAD AND SETS IT DOWN ON THE COUNTER WITH A THUMP. THE YOUNG CONSTABLE LOOKS AT IT IN BEWILDERMENT.
YOUNG CONSTABLE (STARING) What in the world is that?
EMILY You tell me.
THE YOUNG CONSTABLE LOOKS AT IT FOR SEVERAL MORE SECONDS, THEN WALKS IN TO THE CORRIDOR BEHIND THE DESK.
YOUNG CONSTABLE (LOUDLY) Mr Barlow!
HE DISAPPEARS DOWN THE CORRIDOR. MICHAEL AND EMILY EXCHANGE A LOOK AS THEY WAIT FOR HIM TO RETURN. INSTEAD, IT IS BARLOW WHO ARRIVES BEFORE THEM.
BARLOW I’m extremely busy right now, so this had really better be-
HE STOPS SHORT AS HE SEES THE HEAD ON THE COUNTER.
MICHAEL It’s about Automex Industries, sir.
BARLOW STARES AT IT FOR A FEW MORE SECONDS WITH A TROUBLED LOOK.
BARLOW I see.
HE LOOKS UP AND BECKONS TO THEM.
BARLOW You’d better both come through.
THEY FOLLOW BARLOW INTO THE BACK CORRIDOR TOWARDS HIS OFFICE. END OF SCENE.
ACT THREE, SCENE SIX- THE GRAND CHAMBER, NOT LONG AFTER SCENE FOUR. FRIEDRICH, MINUS HIS AMBASSADORS, MAKES HIS WAY UP A FLIGHT OF PLUSH CARPETED STAIRS. HE REACHES A DOOR WHICH OPENS INTO A GALLERY AREA OVERLOOKING THE CHAMBER- IT IS A LARGE AND GRAND AMPHITHEATRE WITH ENOUGH SPACE TO ACCOMMODATE AT LEAST A THOUSAND PEOPLE, WITH A CLEAR SPACE IN THE CENTRE, MUCH AS THERE WOULD BE IN A PARLIAMENT CHAMBER, WITH A LARGE TABLE IN THE CENTRE OF IT. A FEW SIDE PASSAGES LEAD ELSEWHERE, OUTWARDS FROM THIS CENTRAL SPACE. SOME OLD-FASHIONED SPEAKERS ARE DOTTED AROUND THE WALLS. THE GALLERY FEATURES TIERED BENCHES FOR VIEWERS TO SIT ON. FRONT AND CENTRE HERE SITS DEDLOCK, WHO LOOKS UP WITH A SMILE AS FRIEDRICH ARRIVES. FRIEDRICH IS NATURALLY TAKEN ABACK TO SEE HIM.
DEDLOCK Ah, Your Majesty. You are here earlier than expected.
FRIEDRICH WALKS OVER AND SITS DOWN BESIDE HIM.
FRIEDRICH (SURPRISED) I thought that you would have been in the Upper House.
DEDLOCK No need. I’m leading the motion for, they have counted my vote already.
FRIEDRICH And is it all going to plan?
DEDLOCK Well, we’ve had one or two hiccups along the way, but yes, I should think so…
WE CUT AWAY TO AUTOMEX’S CENTRAL FACTORY HEADQUARTERS. TILFORD MAKES HIS WAY TO THE HANGAR DOOR. INSIDE, WE SEE THE OTHER SIDE OF THE DOOR THROUGH AN AUTOMATON’S EYES. TILFORD REACHES FOR THE LEVER TO OPEN THE DOOR AND PULLS DOWN ON IT. AGAIN THROUGH THE AUTOMATON’S EYES, WE SEE THE DOOR BEGIN TO OPEN. END OF SCENE.
ACT THREE, SCENE SEVEN- BARLOW’S OFFICE, TRINOVA POLICE STATION, JUST AFTER SCENE FIVE. BARLOW SITS BEHIND HIS DESK, MICHAEL AND EMILY STANDING OPPOSITE HIM ON ITS OTHER SIDE. BARLOW HOLDS THE AUTOMATON’S HEAD IN A RUMINATING MANNER.
BARLOW My God.
MICHAEL I know.
BARLOW To think, something like this had been going on all this time…
MICHAEL (PASSIONATE) I know it’s incredibly late notice, but you need to detain Edgar Dedlock, now. He’s a danger to the whole city whilst he’s left unchecked.
EMILY (EQUALLY SO) And you have to do something to restrain Automex.
BARLOW (JUST A LITTLE UNMOVED) So it would appear.
HE SETS DOWN THE AUTOMATON’S HEAD.
BARLOW This has come at a bad time.
MICHAEL We know that. Dedlock’s probably already at Eastford.
BARLOW Along with most of my force.
EMILY (AS IF THIS SHOULD BE OBVIOUS) Well, then, tell them to stop him. There’s still time-
BARLOW It may not be that simple.
EMILY (DISBELIEVING) How can it not be? Look, we’ve explained to you already, Trinova is in danger, it’s your job to stop that-
BARLOW Alright. I understand, this is a matter of the utmost importance. I’ll need your help before I can start to sort things out.
HE GETS UP AND MAKES HIS WAY TOWARDS THE DOOR.
BARLOW Follow me.
MICHAEL AND EMILY BOTH DO SO. BARLOW LEADS THEM DOWN THROUGH SEVERAL CORRIDORS, EVENTUALLY STOPPING AT A METAL DOOR AT THE REAR OF THE BUILDING. HE PRODUCES A GIGANTIC BUNDLE OF KEYS, AND BEGINS SIFTING THROUGH THEM.
BARLOW I can never find the right one…
MICHAEL (WITH A SMILE) Perhaps I can help.
HE PRODUCES HIS SKELETON KEY AND STEPS FORWARDS, UNLOCKING THE DOOR. HE STEPS INSIDE THE ROOM, AND EMILY FOLLOWS HIM. THEY ARE SOMEWHAT CONFUSED BY WHAT THEY FIND INSIDE- THE ROOM IS ENTIRELY METAL, DIVIDED IN TWO BY A METAL WALL IN THE CENTRE WITH AN OPEN DOOR FEATURING A SLIT AT EYE LEVEL, LEADING TO A BARREN CELL ON THE OTHER SIDE LIT BY ONE SINGLE BULB. ON THE SIDE OF THE ROOM CLOSER TO THEM IS A METAL DESK, AS WELL AS A LARGE CABINET SET INTO THE WALL. MICHAEL STEPS FORWARDS FURTHER INTO THE ROOM WITH A PUZZLED LOOK.
MICHAEL I don’t understand…
WE HEAR A CLICK BEHIND THEM.
BARLOW Good. You don’t need to.
BOTH MICHAEL AND EMILY TURN ROUND SLOWLY. BARLOW STANDS OUT IN THE CORRIDOR AND HAS A PISTOL AIMED AT BOTH OF THEM.
BARLOW (GESTURING TO IT) I’ll take that key, now, if you don’t mind.
MICHAEL What’s going on?
BARLOW (IN A SERIOUS MANNER) No time for questions. I can’t afford to dawdle.
EMILY (SCATHINGLY) You’d think you could afford near anything. Dedlock must be paying you well.
BARLOW (COLDLY) That’s none of your concern.
EMILY We should have guessed, really. All those favours Automex does the police. I suppose you knew everything we were going to tell you before we’d said a word.
BARLOW Again, that’s none of your concern. (TO MICHAEL) Now, give me that key.
MICHAEL RELUCTANTLY THROWS IT TO HIM, AND BARLOW CATCHES IT.
BARLOW Good.
MICHAEL So, what, then? Dedlock pays you to protect him?
BARLOW I protect all of the citizens of this city.
MICHAEL Except the ones that are dispensable, apparently.
BARLOW (IRATE AND A BIT DEFENSIVE) You don’t understand. It’s impossible to protect everyone. For most of our lives the constabulary in this city were barely of use to anyone. Then Dedlock came along, and said he could help us. That we could work together. He gave us the resources the government didn’t, and made Trinova safer than it’s ever been before.
EMILY And in exchange, you let him do whatever he wants.
BARLOW It’s a sacrifice worth making. After all Dedlock’s done, I’m happy to let him have his deal with Coburg.
MICHAEL And what if what he’s doing puts Trinova in danger?
BARLOW (DISMISSIVELY) It’s for the greater good. Now, the people of Trinova can feel safe in their beds at night-
EMILY (IN DISGUST) Unless they happen to do something that Automex Industries doesn’t like. You’re a disgrace.
BARLOW SEEMS A LITTLE BIT BOTHERED BY THESE WORDS, BUT GESTURES TOWARDS THE BACK OF THE ROOM.
BARLOW (BLUNTLY) Get in the cell. Both of you.
EMILY Or what? You’re going to kill us, to prove how safe the citizens of Trinova are?
BARLOW (MORE FORCEFULLY) I said get in the cell.
RELUCTANTLY, BOTH MICHAEL AND EMILY DO SO. BARLOW MOVES ALONG AT THE SAME PACE, SHUTTING THE DOOR WITH A CLANG AND LOCKING IT. HE LOOKS IN AT THE PAIR OF THEM.
BARLOW I’m only doing what I have to do to protect this city.
MICHAEL If you let Dedlock keep on doing what he’s doing, then you’re placing it in danger.
BARLOW SCOWLS.
BARLOW I have to go. I’ll be needed at Eastford. It’ll be up to Dedlock what to do with the pair of you.
HE SHUTS THE HATCH AND BOLTS IT, THEN WALKS AWAY. END OF SCENE.
ACT THREE, SCENE EIGHT- EASTFORD, SOME TIME AFTER SCENE SIX. TERRY SITS ON A BENCH IN THE COURTYARD, WATCHING THE POLITICIANS ARRIVE. HE APPEARS LOST IN THOUGHT FOR THE MOMENT, BUT RETURNS TO REALITY AS NICK SITS DOWN BESIDE HIM.
NICK What have you seen?
TERRY LOOKS BACK AT THE CROWD OF POLITICIANS, AND AT THE POLICE DIRECTING THEM.
TERRY Security’s tight, but not totally thorough, at least out here. Mark’s gone into the Grand Chamber to take a look around. It’s mostly empty at this point. If we’re discreet-
NICK What, like this?
HE PRODUCES HIS PISTOL UNDER THE COVER OF HIS COAT. TERRY HURRIEDLY PUSHES IT BACK AND GLARES AT HIM DISBELIEVINGLY.
TERRY (ANXIOUS) Put that away- you’ll get us arrested-
AT THIS POINT, DAVID APPEARS ON TERRY’S OTHER SIDE AND STANDS WITH A HAND RESTING ON THE BENCH.
DAVID (MUSINGLY) So, now you care about safety.
TERRY LOOKS UP, SEES WHO IT IS, AND INSTANTLY LOOKS AWAY GUILTILY.
TERRY (UNCOMFORTABLE) Oh. I… I didn’t know you were coming.
DAVID Neither did I.
NICK (EXPLAINING) He decided he wanted to be here after I explained what happened.
TERRY (TRYING TO MAKE THE BEST OF A BAD SITUATION) Well, it’s an honour to have your help…
DAVID (COLDLY) Don’t flatter yourself. I’m not here to help you. As far as I’m concerned, you’re all equally responsible for Leon’s death. But… unfortunate as it is, you also seem to be the only people prepared to do anything about it.
TERRY We will make this right, I promise.
DAVID I hope so.
NICK GETS TO HIS FEET.
NICK Let’s go inside, then. I want to get a look at the place. What about Emily and Michael, are they here yet?
TERRY (SHAKES HIS HEAD) They’re running late.
NICK (BROODINGLY) That’s odd… (SHAKES HIS HEAD) Well, we can’t wait for them. Maybe Barlow’s actually doing something and he needs their help. Come on, let’s go.
HE PROCEEDS TOWARDS THE GRAND CHAMBER, AND TERRY AND DAVID FOLLOW HIM, THE FORMER SHYING AWAY FROM THE LATTER AS IF A LITTLE AFRAID. END OF SCENE.
ACT THREE, SCENE NINE- TRINOVA POLICE STATION, INSIDE THE HIGH SECURITY CELL. IN A DISGRUNTLED AND DISPIRITED MANNER, EMILY GOES OVER TO STAND AGAINST THE BACK WALL. SHE SLIDES DOWN IT TO SIT ON THE FLOOR AND CROSSES HER ARMS.
EMILY (SARCASTICALLY) Well, isn’t this fantastic.
MICHAEL INSPECTS THE EDGE OF THE DOOR WHERE IT MEETS THE FRAME.
MICHAEL (ANXIOUS TONE) I’m a little worried this might be airtight.
EMILY I’d doubt it. You heard what he said. As soon as they’re done up at Eastford, Dedlock’s coming here to deal with us.
MICHAEL TURNS ROUND WITH A SIGH.
MICHAEL I suppose we’d just better hope that Nick and the others can cope on their own.
EMILY (FAINTLY HYSTERICAL) Never mind Nick, what are we going to do? If we don’t get out of here in the next couple of hours-
MICHAEL Let’s not think like that.
EMILY ROLLS HER EYES.
EMILY (SARCASTICALLY) Oh, I’m sorry. By all means, try to take my mind off of my impending death. Perhaps we could play I-Spy. Might get a little boring, since there’s nothing in here.
SHE SIGHS BLEAKLY.
EMILY (GLUMLY) Oh, this is just ridiculous. Two days ago, I thought I’d never have to deal with Automex Industries ever again. That bit of my life was over. And now…
SHE LOOKS DEJECTEDLY AT THE FLOOR AND DOESN’T FINISH THE SENTENCE. MICHAEL HESITANTLY MAKES HIS WAY OVER AND SITS DOWN BESIDE HER.
MICHAEL About two days ago I was on a train thinking I was heading towards a new life. I’d heard all the stories about Trinova. I knew it wasn’t perfect, but… I suppose I never thought anything like that would ever happen to me.
EMILY (WITH A SLIGHT HUMOURLESS LAUGH) I’ve been here for sixteen years. Nothing like this ever happened to me before…
MICHAEL (WRYLY) Before you met me?
EMILY (WITH ANOTHER SLIGHT LAUGH) I suppose. Don’t blame yourself. All you’ve done is try and help me.
CARINGLY, MICHAEL PUTS AN ARM AROUND HER SHOULDERS. THIS SEEMS TO REASSURE EMILY JUST A LITTLE.
MICHAEL Maybe I’m bad luck.
EMILY Maybe.
SHE LOOKS AT HIM WITH A SAD SMILE.
EMILY All the same… I’m glad I met you, Michael Perkins.
SHE RESTS HER HEAD ON HIS SHOULDER. MICHAEL SEEMS A LITTLE SURPRISED BY THIS, BUT ALSO RATHER CONTENTED.
MICHAEL I’m glad I met you too, Emily Moss.
THEY CONTINUE TO SIT LIKE THIS, AS THE SCENE FADES OUT AND ENDS.
ACT THREE, SCENE TEN- EASTFORD, THE GRAND CHAMBER, BRIEFLY AFTER SCENE EIGHT. MARK SITS IN ANOTHER GALLERY, THIS ONE ALSO EMPTY BUT FOR HIM. HE LOOKS UP AS THE DOOR OPENS AND NICK, TERRY AND DAVID ENTER. MARK SCRUINISES THE GROUP.
MARK Michael and Emily not here?
NICK SHAKES HIS HEAD.
MARK (GESTURING TO THEIR SURROUNDINGS) We’ve got this one to ourselves. Apparently nobody else felt like spending their Sunday here.
NICK Can’t imagine why.
MARK LOOKS BEYOND HIM TOWARDS DAVID.
MARK (SOBERLY) Leon’s father, I presume?
DAVID NODS SLIGHTLY. MARK DIGESTS THIS WITH A SOLEMN LOOK, THEN LOOKS BACK DOWN TOWARDS THE CHAMBER FLOOR.
DAVID (TO MARK) Is Dedlock here?
WITHOUT LOOKING AWAY, MARK NODS. DAVID TAKES THIS ON BOARD WITH A SIMILAR LOOK TO MARK’S A MOMENT AGO. IT IS NOW ALMOST ENTIRELY FULL, AND DEDLOCK IS AMONGST THE CROWD. MOST IN THE CROWD ARE CHATTERING AWAY TO ONE ANOTHER. A FEW PALACE GUARDS STAND HERE AND THERE. THE SPEAKER, ALONGSIDE SHERWOOD, STAND IN THE CENTRE OF THE FLOOR. WAITING NEARBY IN SEATS ON OPPOSITE SIDES ARE JOANNA AND FRIEDRICH. IN THE ROW BEHIND SHERWOOD SITS SIX PEOPLE ON A BENCH OF THEIR OWN, PRESUMABLY THE PARLIAMENTARY COUNCIL. NICK FOLLOWS MARK’S GAZE. HE STANDS AT THE EDGE OF THE GALLERY AND LOOKS DOWNWARDS. THE OTHERS TAKE THEIR SEATS.
NICK (DIRECTLY TO MARK) What stage are we at?
MARK (SURVEYING THE FLOOR) Just about everyone is here. I can only assume they’re ahead of schedule. I’d expect to hear the result any minute now.
NICK And then?
MARK If it’s what we expect, then the settlement will be signed, and that’ll be that.
NICK TURNS BACK TO STARE DOWN AT THE FLOOR AS THE OTHERS TAKE THEIR SEATS. WE CUT AWAY TO THE GATES OF EASTFORD. BARLOW STRIDES BRISKLY THROUGH THEM. A FEW MEMBERS OF HIS CONSTABULARY LOITER AROUND IN THE AREA. PURPOSEFULLY, BARLOW PROCEEDS TOWARDS THE GRAND CHAMBER. BACK IN THE GALLERY, NICK, TERRY, MARK AND DAVID SIT AND WAIT. NICK PRODUCES HIS POCKET WATCH AND CHECKS IT.
MARK Shouldn’t be long now…
AGAIN, WE CUT AWAY, THIS TIME TO A DARKENED UNDERGROUND PASSAGE. IN LOCKED FORMATION, AUTOMATONS MOVE THROUGH THE PASSAGE IN SINGLE FILE, ORANGE EYES GLEAMING, ALL TICKING AWAY LIKE METRONOMES. WE CUT BACK TO THE UPPER HOUSE. SHERWOOD’S FEMALE SECRETARY APPEARS FROM THE CROWD, HOLDING AN ENVELOPE, WHICH SHE PASSES TO THE SPEAKER.
MARK (BECKONING TO THE OTHERS) Hang on, here we go…
NICK, TERRY AND DAVID COME OVER TO WATCH AS THE SPEAKER OPENS THE ENVELOPE AND PRODUCES A PIECE OF PAPER, WHICH HE READS. THE SPEAKER LOOKS UP AND CLEARS HIS THROAT.
SPEAKER (TO THE ROOM AT LARGE) People of parliament…
FEW PEOPLE HAVE THEIR ATTENTION CAUGHT. THE SPEAKER FROWNS. THE SECRETARY DISAPPEARS FOR THE MOMENT. MEANWHILE, UP IN THE GALLERIES, THE DOOR OPENS, AND BARLOW STEPS INSIDE. HE LOOKS DOWN AT THE SCENE BELOW. NICK REALISES WHO IT IS, AND NUDGES TERRY.
NICK (QUIETLY) It’s Barlow.
TERRY (NOTICING AS WELL) Must be here with the police outside.
DOWN BELOW, THE SECRETARY REAPPEARS WITH A CARBON MICROPHONE.
NICK I’m going to try and speak to him.
TERRY He’ll just ignore you.
NICK Let him try.
NICK MAKES HIS WAY ACROSS TO BARLOW. THE SECRETARY PASSES THE CARBON MICROPHONE TO THE SPEAKER, AND HE SPEAKS INTO IT.
SPEAKER (AMPLIFIED, INTO THE MICROPHONE) People of parliament…
THE CHATTER STOPS, AND EVERYONE NOW TURNS TO FACE THE CENTRE OF THE CHAMBER AND THE SPEAKER. MARK, TERRY AND DAVID WATCH ON KEENLY. NICK WALKS UP TO BARLOW, WHO LOOKS ROUND, SEES WHO IT IS, AND FROWNS.
NICK ‘Morning, Mr Barlow.
BARLOW (EXASPERATED) What are you doing here?
DOWN BELOW, THE SPEAKER STARTS ADDRESSING THE CROWD.
SPEAKER (AMPLIFIED) The members of the Upper House were today asked to vote on the agreement of a trade settlement with the state of Coburg, as approved and passed by the Lower House…
IN THE GALLERY, NICK CONTINUES TO TALK TO BARLOW.
NICK (WITH URGENCY) Listen to me. For once, please, listen to me.
BARLOW I don’t have time for this-
NICK I know a couple of people who went to speak to you earlier. Obviously, they didn’t get through to you.
BARLOW PUTS TWO AND TWO TOGETHER IN HIS HEAD, AND BEGINS TO LOOK GUILTY.
NICK So just let me speak. I can’t tell you exactly what Dedlock’s planning, but whatever it is, it’s dangerous, and now he’s managed to involve the whole nation-
HE GESTURES TO THE FLOOR.
NICK -and you can’t just do nothing about it.
BACK ON THE FLOOR, THE SPEAKER CONTINUES.
SPEAKER The settlement, as drawn up by the Parliamentary Council- (HE NODS TO SHERWOOD AND THOSE BEHIND HIM) �"was also agreed upon by Coburg’s head of state, King Friedrich II. I can now tell you that the motion has been passed, by a majority of two hundred and eleven to eighty-nine.
THIS IS MET BY A LARGELY APPROVING RECEPTION FROM THE ASSEMBLED POLITICANS. IN THE CROWD, SOMEONE NUDGES DEDLOCK- HE HAD BEEN CHECKING HIS WATCH, BUT LOOKS UP AND SMILES AT THIS MOMENT. IN THE GALLERIES, MARK AND TERRY EXCHANGE A LOOK. NICK RETURNS HIS ATTENTION TO BARLOW.
NICK If you had investigated Dedlock sooner and he’d been suspended from his Upper House duties, this might not even be happening.
BARLOW It’s not up to me to decide what the nation does.
NICK (INSISTENTLY) But it is up to you to protect this city. You must know something is going on.
DOWN ON THE FLOOR, THE SPEAKER INVITES SHERWOOD FORWARDS AND PASSES HIM THE CARBON MICROPHONE. SHERWOOD SPEAKS INTO IT.
SHERWOOD (AMPLIFIED) The Upper House has spoken. The future of this country has been decided. Hopefully, we may now all take a positive step forwards into an era of amity and international solidarity.
THE SECRETARY REAPPEARS, NOW CARRYING A BRIEFCASE. SHERWOOD SETS IT ON THE CENTRAL TABLE AND OPENS IT. FROM THE INSIDE, HE PRODUCES A FRAMED OFFICIAL DOCUMENT, WITH SPACE AT THE BOTTOM FOR TWO SIGNATURES. SHERWOOD BECKONS TO JOANNA.
SHERWOOD Your Highness, if you would…
JOANNA SLOWLY APPROACHES THE TABLE, AND SHERWOOD HANDS HER A FOUNTAIN PEN. UP IN THE GALLERIES, THE OTHERS KEEP ON WATCHING, AND NICK KEEPS ON PRESSURING BARLOW, WHO LOOKS UNCOMFORTABLE.
NICK (IMPLORINGLY) Come on, Barlow, I’m counting on you here.
BARLOW LOOKS UNSURE. ON THE FLOOR, JOANNA LOOKS BRIEFLY AT FRIEDRICH, THEN AT THE CROWD. WITH A REGRETFUL LOOK SHE SIGNS THE DOCUMENT AND RETURNS TO WHERE SHE HAD BEEN BEFORE. SHERWOOD MOTIONS TOWARDS FRIEDRICH. DEDLOCK CHECKS HIS WATCH AGAIN. FRIEDRICH COMES UP TO THE TABLE. HE MOVES TOWARDS SHERWOOD AND GESTURES TO THE CARBON MICROPHONE.
FRIEDRICH May I…?
AFTER A SLIGHT CONSIDERATION, SHERWOOD PASSES IT TO HIM. FRIEDRICH SMILES GRACIOUSLY.
FRIEDRICH Thank you.
HE SPEAKS INTO THE MICROPHONE.
FRIEDRICH (AMPLIFIED) People of the United Commonwealth Islands…
A SLIGHT TREMOR RUNS THROUGH THE BUILDING. A FEW HEADS TURN, INCLUDING THOSE OF TERRY AND MARK IN THE GALLERY, AND FRIEDRICH PAUSES FOR A SECOND. NICK CONTINUES TALKING TO BARLOW IN HUSHED TONES. IN THE BACKGROUND, FRIEDRICH CONTINUES TO SPEAK- AD-LIB SOME WAFFLE ABOUT COMRADESHIP AND UNITY.
NICK Well?
HE LOOKS EXPECTANTLY AT BARLOW. SLOWLY, BARLOW SHAKES HIS HEAD.
BARLOW I’m sorry. I can’t help you.
NICK LOOKS DEEPLY DISAPPOINTED. HE SIGHS.
NICK (FRUSTRATED TONE) Fine. I suppose if you didn’t listen to Michael and Emily you weren’t going to listen to me. (AFTER A MOMENT’S THOUGHT) I don’t suppose you know where they are, by the way? They should be here…
BARLOW LOOKS AWAY ASHAMEDLY, AND FEIGNS INTEREST IN THE PROCEEDINGS BELOW. NICK FOLLOWS HIS GAZE BACK DOWN. AT THE SAME MOMENT, JOANNA LOOKS UP AT THE GALLERIES AND SEES NICK FOR THE FIRST TIME. SHE PAUSES IN RECOGNITION.
JOANNA (TO HERSELF) It couldn’t be…?
FRIEDRICH HAS BEEN SPEAKING ALL THIS TIME.
FRIEDRICH -I look forward to our two nations working with more closeness from here onwards…
HE CONTINUES TO WAFFLE ON IN THE BACKGROUND. NICK TURNS BARLOW BACK TOWARDS HIM SHARPLY.
NICK They said they’d come straight here after seeing you. You must have seen them leave.
BARLOW DOESN’T ANSWER. NICK GLARES AT HIM SUSPICIOUSLY.
NICK Where are they?
BARLOW AGAIN DOESN’T ANSWER. NICK STEPS CLOSER TO HIM IN A THREATENING MANNER.
NICK Barlow, where are they?
THEY STAND OFF IN AN AGGRESSIVE MANNER. DOWN ON THE FLOOR, FRIEDRICH KEEPS ON TALKING. MEANWHILE, DEDLOCK CHECKS HIS WATCH AGAIN AND RAISES HIS EYEBROWS.
DEDLOCK (TO HIMSELF) My goodness, is that the time already?
FRIEDRICH …as we move now in to what I hope is a time of peace-
SOMETHING EXPLOSIVE ROCKS THE ENTIRE BUILDING. NICK AND BARLOW PAUSE THEIR STANDOFF AND LOOK DOWN AT THE FLOOR. TERRY, MARK AND DAVID CONTINUE TO STARE. FRIEDRICH HALTS HIS SPEECH. THE CROWD, SEVERAL OF WHOM HAVE BEEN THROWN FROM THEIR SEATS, LOOK AROUND NERVOUSLY. SEVERAL GUARDS STEP SWIFTLY FORWARDS AND USHER JOANNA AWAY DOWN ONE OF THE SIDE PASSAGES- SHE HAD BEEN STILL LOOKING UP AT THE GALLERIES. DEDLOCK, UNMOVED, CONTINUES TO SMILE.
BARLOW (ON EDGE) What was that?
NICK (NOW ANIMATED) You’re in charge of security. You tell me.
FRIEDRICH LOOKS AT SHERWOOD.
FRIEDRICH What is happening?
SHERWOOD (BAFFLED) I don’t know-
ANOTHER SHOCKWAVE HITS THE BUILDING, THIS TIME FROM BELOW. SECTIONS OF THE FLOOR SHATTER. DUST AND PARTICLES OF RUBBLE FLY INTO THE AIR. MANY IN THE CROWD SHOUT OUT. FRIEDRICH AND SHERWOOD LOOK AROUND SUSPICIOUSLY. WHEN THE DUST SETTLES, FIGURATIVELY AND LITERALLY, DEDLOCK’S AUTOMATONS EMERGE IN MASSES FROM THE CHASMS THAT HAVE OPENED UP IN THE CHAMBER FLOOR. THEY MOVE TO STAND IN THE AISLES, AND SURROUND THE FLOOR. THOSE BELOW WATCH THEM IN FEAR AND ASTONISHMENT. TERRY AND MARK BOTH DUCK DOWN, AND AFTER A SECOND DAVID FOLLOWS THEIR LEAD. BARLOW WATCHES ON IN A HYPNOTISED MANNER, AND NICK PULLS HIM DOWN AND OUT OF SIGHT ALONGSIDE HIM AS WELL. AFTER A SECOND, NICK LOOKS UP AND PEERS OVER THE EDGE OF THE BALCONY DOWN TOWARDS THE SCENE BELOW. WITHOUT ANYONE REALLY NOTICING, DEDLOCK STEPS OUT FROM THE CROWD AND MAKES HIS WAY DOWN TO THE FLOOR, CARRYING HIS CANE. FRIEDRICH EYES THE MACHINES WITH CONFUSION. SHERWOOD LOOKS AROUND WITH A CHALLENGING EXPRESSION.
SHERWOOD Anyone care to tell me what on earth is going on?
DEDLOCK COUGHS. SHERWOOD TURNS TO HIM. DEDLOCK SMIRKS, AND SEVERAL AUTOMATONS MOVE TO FLANK HIM. SHERWOOD STARES AT HIM.
SHERWOOD (AGGRESSIVELY) Edgar, what is the meaning of this? What are these things?
DEDLOCK (GRANDIOSE) These, Chairman? These are the future.
UP IN THE GALLERIES, DAVID LOOKS DOWN AT DEDLOCK WITH A HORRIFIED EXPRESSION. IT BEGINS SLOWLY TO MORPH INTO FURY. TERRY NOTICES THIS, STOPS HIM, SHAKES HIS HEAD AND MOUTHS THE WORD “NO.” DOWN BELOW, FRIEDRICH WALKS TOWARDS DEDLOCK, LOOKING CONFUSED AND ANGRY.
FRIEDRICH What is going on, Mr Dedlock? I feel myself confused- you told me the others would not yet be awoken.
SHERWOOD TURNS TO FRIEDRICH IN SHOCKED INCREDULITY.
SHERWOOD You knew about these?
DEDLOCK (AMUSEDLY) He certainly did.
FRIEDRICH (ANGRILY) What happened to our agreement?
DEDLOCK Our agreement means nothing.
DEDLOCK PROCEEDS FORWARDS, PAST THE FLABBERGASTED DUO OF SHERWOOD AND FRIEDRICH, AND PICKS UP THE FALLEN CARBON MICROPHONE. HE LOOKS MOCKINGLY AT SHERWOOD AS IF FOR PERMISSION.
DEDLOCK If I may…?
SHERWOOD OFFERS NO REPLY. DEDLOCK BEGINS SPEAKING.
DEDLOCK My fellow parliamentarians…
HE SEGUES INTO SOME SMUG, SELF-INDULGENT DRIVEL. THIS IS IN THE BACKGROUND, WHILST IN THE FOREGROUND, WE RETURN TO THE GALLERIES, AND TO NICK AND BARLOW. NICK TURNS TO BARLOW WITH A LOOK THAT MIXES ANGER AND A SLIGHT KIND OF PRIDE AT HIS VINDICATION. THE TWO SPEAK IN WHISPERS.
NICK Do you believe me yet?
BARLOW (AGHAST) I don’t know what’s happening-
NICK What you let happen.
WE RETURN TO THE SCENE BELOW. DEDLOCK TURNS SLOWLY AS HE SPEAKS TO THOSE AROUND HIM, LOOKING EXTREMELY PLEASED WITH HIMSELF, AND RATHER RELIEVED THAT HE NOW GETS TO BOAST AFTER KEEPING HIS PLANS SECRET THUS FAR.
DEDLOCK …you see, I have felt in recent times that our glorious Commonwealth has been losing its way. Increasingly, we’re becoming timid, withdrawn, unwilling to exercise the full extent of our might. This nation was not built on such things. We got to where we are today through demolishing our opponents, taking the world by the scruff of the neck and telling it that from now on, it would be doing things our way. Whole nations of savages learned to appreciate culture…
DAVID’S EXPRESSION DARKENS UP IN THE GALLERIES.
DEDLOCK …but all of you here seem to have conveniently forgotten that fact. This deal with Coburg, as suggested by the Chairman, typifies this. Our nation used to conquer all before it. Now, even our old adversaries we are forced to turn to for help.
SHERWOOD (ANGRY) You supported the deal!
FRIEDRICH You told me the machines would be mine as soon as it was done. I don’t understand this-
DEDLOCK (AWAY FROM THE MICROPHONE) I wouldn’t expect you to. (TO SHERWOOD) Either of you. If anyone typifies all I’ve said, it’s you. You are everything that’s wrong with this nation today. Seeking power only for your own entertainment, spending your time swanning around with harlots half your age and selling out this country’s history. You’re a traitor, Mr Chairman. You allowed this Empire to fall apart and this country’s identity to be taken away, you and everyone else here, and I’m taking it back. (INTO THE MICROPHONE) Today, this nation begins to reclaim its heritage. On behalf of the people, I am rescuing the United Commonwealth Islands. Today, a revolution begins.
UP IN THE GALLERIES, NICK TURNS TO BARLOW AGAIN.
NICK Last chance. You may have already bollixed this beyond repair, but if there’s any chance of sorting this mess out, I need you tell me where Emily Moss and Michael Perkins are, now.
BARLOW LOOKS DOWN AT THE SCENE UNFOLDING BELOW, THEN REACHES INTO HIS JACKET AND PULLS OUT HIS BUNDLE OF KEYS. HE REMOVES TWO KEYS FROM IT AND PASSES THEM TO NICK.
BARLOW They’re in high security, back at the station. There’s the key for it. The other one is for the cell.
NICK TURNS BACK AND PEEKS OVER AT THE SCENE BELOW.
BARLOW (IMPLORINGLY) I swear, I had no idea-
NICK IGNORES HIM COMPLETELY. BARLOW LOOKS PITIFUL. BELOW DEDLOCK CONTINUES TO SPEAK.
DEDLOCK (INTO THE MICROPHONE) The mistakes of the last few years will be undone, and those who made them brought low enough that they can never harm our country again.
HE GESTURES TO THE MACHINES AROUND THEM.
DEDLOCK What you see around you is but a single division of an army. The full extent of my creation is enough to make us the greatest military power the world has ever seen. Today is merely the first step down a long road of accomplishment. Today, we lay claim to our own nation. Tomorrow, perhaps the world will follow.
HE TURNS TO FRIEDRICH.
DEDLOCK Starting here, with our old enemies.
FRIEDRICH NOW LOOKS RATHER AFRAID.
FRIEDRICH You are going to attack my nation?
DEDLOCK Attack it, invade it, crush it militarily, strip it of resources and declare it a sub-kingdom of the United Commonwealth Islands.
HE GRINS.
DEDLOCK And the best part, Friedrich, is that I’m going to do it all with an army that you paid for out of your nation’s own pocket. How are you ever going to explain that one to them? After all, war is the quickest route to riches. You said it yourself.
HE LOOKS HIGHLY AMUSED, FRIEDRICH UTTERLY HORRIFIED. SHERWOOD GLARES AT DEDLOCK.
SHERWOOD I shouldn’t even be surprised by your behaviour. You always were a law unto yourself, Edgar.
DEDLOCK And you’ve always been a master of podsnappery. Well, that’s all changing. Now, I’m going to be a law unto everyone.
HE SPEAKS INTO THE MICROPHONE AGAIN.
DEDLOCK (AMPLIFIED) With Coburg’s resources to fuel it, our national industry can expand beyond all parameters we may have previously foreseen. We will become, again, the most powerful nation on the planet.
EVERYONE IN THE AREA TAKES IN THIS INFORMATION. THE FIVE IN THE GALLERY CONTINUE TO STEAL LOOKS DOWN AT DEDLOCK. SHERWOOD LOOKS APPALLED.
SHERWOOD I can’t make sense of this. Why? Why keep so many secrets from us? Why pretend to support the trade deal?
DEDLOCK SMIRKS. HE GESTURES TO FRIEDRICH.
DEDLOCK Well, aside from being a rather convenient way of fleecing His Majesty… having the lot of you here all at once just as my army reached completion was perfect timing. I said I’d bring down those that had let this country fall away. My automatons occupy Eastford. You have no choice but to surrender, Chairman, and surrender control of Trinova to me.
SHERWOOD (SHAKES HIS HEAD) I won’t. I can’t.
DEDLOCK And what are you going to do to stop me?
SHERWOOD IS STUMPED. DEDLOCK RAISES THE MICROPHONE AGAIN AND SPEAKS INTO IT ONCE MORE.
DEDLOCK Today, the revolution begins, but there’s no need for unnecessary bloodshed. All I ask is that you yield to my demands and transfer control of this nation to me. (WITH A FACETIOUS SMILE) I practically run the place anyway, it shouldn’t feel too different. (MORE SERIOUSLY) I have no intention of killing any of you- I would never see a citizen of this country harmed for no good reason…
UP IN THE GALLERIES, DAVID STANDS UP. TERRY ATTEMPTS TO STOP HIM, BUT FAILS. DAVID LOOKS DOWN AT DEDLOCK.
DAVID (BLUNTLY, AND LOUDLY ENOUGH THAT IT ECHOES IN THIS HUGE ROOM) That’s a lie.
DEDLOCK TURNS ROUND IN SURPRISE. HE LOOKS UP AT THE GALLERY AND SQUINTS HIS EYES.
DEDLOCK Excuse me?
DAVID IS UNMOVED, AND CONTINUES TO LOOK DOWN AT DEDLOCK. EVERYONE IS STILL AND SILENT. NICK WATCHES HIM WITH A MIXTURE OF FEAR AND AWE.
DAVID (REPEATS HIMSELF IN AN UNALTERED TONE OF VOICE) I said, that’s a lie.
ALL EYES IN THE BUILDING NOW TURN TO DAVID. SOME OF THE UPPER HOUSE CONTINGENT CLEARLY SHARE DEDLOCK’S SENTIMENT, BUT MOST ARE MERELY STUNNED THAT SOMEONE IS DARING TO CHALLENGE HIM.
DAVID (VOICE IS CALM BUT BODY LANGUAGE BETRAYS ANGER) My son, Mr Dedlock. You killed my son. Perhaps you forgot, or never noticed in the first place.
DEDLOCK SEEMS EQUALLY SURPRISED THAT ANYONE HAS CHALLENGED HIM. HE LOOKS UP AT DAVID HAUGHTILY.
DEDLOCK And by what stretch of the imagination are you one of my citizens, exactly?
DAVID I fought for the Commonwealth. To protect it. I made that choice. You did not choose where you were born.
DEDLOCK And you expect… what, exactly? A well done?
DAVID LEANS OVER THE EDGE OF THE GALLERY.
DAVID It was its own reward. I fought to protect the Commonwealth, and I’ll do so again.
HE JUMPS OFF THE EDGE OF THE GALLERY AND LANDS ON TOP OF A ROW OF SEATS BELOW, DRAWING GASPS FROM THOSE IN THE CROWD AND EXCLAMATIONS OF SHOCK FROM THOSE HE LANDS AMONGST. HE RUSHES DOWN TOWARDS THE FLOOR, PRODUCING HIS GUN AT THE SAME TIME. DEDLOCK RAISES HIS CANE AS DAVID APPROACHES THE EDGE OF THE BENCHES, AND PULLS ON THE END OF IT. A BLADE THE LENGTH OF A SWORD EMERGES FROM THE END OF IT, WHICH HE LEVELS AT DAVID’S CHEST, AND HE SKIDS TO A HALT JUST IN TIME TO AVOID BEING SKEWERED BY IT. AGAIN, THIS DRAWS GASPS FROM THOSE PRESENT. UNMOVED, DEDLOCK SNAPS THE FINGERS OF HIS FREE HAND, AND A PAIR OF AUTOMATONS APPEAR ON EITHER SIDE OF DAVID TO RESTRAIN HIM. HIS GUN IS WRESTED FROM HIS GRIP, AND THEN THROWN TO DEDLOCK, WHO CATCHES IT AND THEN THROWS IT AWAY DISMISSIVELY.
DEDLOCK Can’t be had with guns. They’re so… crude, I suppose you might say.
HE SNEERS AT DAVID. UP IN THE GALLERIES, DOWN BEHIND COVER, TERRY MOUTHS AT NICK “DO SOMETHING!” HE MOUTHS BACK “DO WHAT?”
DEDLOCK Now, how did you ever manage to convince yourself that that was a good idea?
DAVID DOES NOT REPLY, BUT DOES HOLD HIS GAZE.
DEDLOCK (JUST A LITTLE ANGRY) You want to talk about birth? I was born into nothing. Nothing at all. I built up the greatest business empire the world has ever seen off the back of nothing but my own ingenuity. I’m worth as much as I am because I earned it.
DAVID GLARES AT HIM.
DAVID What makes my son worth anything less than you?
DEDLOCK (HAUGHTILY) Well, just looking at you, I can think of several reasons off of the top of my head.
HE LOOKS CONSIDERINGLY AT THE BLADE IN HIS HAND.
DEDLOCK (MUSINGLY) I could kill you. It wouldn’t cost me a thought. There’s no room in this nation for dilution of our people. But this is a day that’s going to be remembered for a very long time, and quite frankly… your name doesn’t deserve to be on a memorial.
HE SHEATHES HIS CANE-SWORD, THEN APPEARS TO BE STRUCK BY AN AFTERTHOUGHT.
DEDLOCK Having said that…
HE PUNCHES DAVID IN THE FACE, AND THE AUTOMATONS ALLOW HIM TO FALL BACK INTO THE NEXT ROW OF BENCHES. DEDLOCK SMIRKS IN A SATISFIED MANNER. HE TURNS BACK TO THE CROWD, WHO HAVE WATCHED THE DRAMA IN STUNNED SILENCE.
DEDLOCK I’ve offered you my terms. Surrender, I hope you realise, is your only option. Either way, my work here is done. I shall leave you in the company of my creations. Try not to upset them.
WITH A LAST MOCKING LOOK AT SHERWOOD, DEDLOCK MAKES HIS WAY TOWARDS THE EXIT, FLANKED BY AUTOMATONS, THOUGH MANY MORE REMAIN BEHIND. UP IN THE GALLERIES, NICK SLOWLY PRODUCES HIS PISTOL. TERRY SEES HIM AND SHAKES HIS HEAD SLOWLY. NICK IGNORES HIM, AND STANDS UP. HE AIMS AT DEDLOCK AND FIRES OFF SEVERAL SHOTS. AT THE LAST SECOND, DEDLOCK’S AUTOMATONS MOVE INTO FORMATION TO SHIELD HIM. SEVERAL ARE HIT BY BULLETS BUT QUICKLY RECOVER. THERE ARE MORE EXCLAMATIONS OF SHOCK AND TERROR. DEDLOCK LOOKS UP AT THE GALLERY AGAIN, SEES NICK, AND LOOKS MILDLY SURPRISED.
DEDLOCK Another one?
NICK DOESN’T MOVE. BARLOW WATCHES HIM IN ASTONISHMENT, MARK AND TERRY WITH DISMAY. DEDLOCK LOOKS AT HIS AUTOMATONS AND SNAPS HIS FINGERS AGAIN.
DEDLOCK Dispose of him.
THE AUTOMATONS RAISE THEIR WEAPONS. NICK SEEMS TOO SHOCKED TO MOVE. TERRY SPRINGS UPRIGHT AND TACKLES HIM, AND THE PAIR LAND BEHIND THE WALL NEXT TO THE DOOR AS GUNSHOTS WHISTLE BY. CALMLY, DEDLOCK EXITS, HIS PERSONAL GUARD OF AUTOMATONS FOLLOWING. PANDEMONIUM REIGNS IN THE GRAND CHAMBER. PEOPLE RUN FROM THE CROWDS AND ATTEMPT TO ESCAPE THE BUILDING. SOME, THE AUTOMATONS MANAGE TO APPREHEND. OTHERS ESCAPE DOWN THE SIDE PASSAGES, OR MAKE FOR THE DOORS. THERE IS A CONSTANT DIN OF GUNSHOTS AND SCREAMS. BEHIND THE WALL, TERRY GLARES AT NICK.
TERRY (AMAZED AND ANGRY) What were you thinking?
NICK I wasn’t thinking.
TERRY GETS TO HIS FEET AND PULLS NICK UPRIGHT.
TERRY No, you weren’t. Now, come on, we have to get out of here.
HE TURNS TO MARK, WHO IS BELOW COVER ON THE OTHER SIDE OF THE GALLERY. TERRY BECKONS TO HIM.
TERRY (WHISPER-SHOUTED) Mark, get over here.
HESITANTLY, KEEPING AS LOW AS POSSIBLE, MARK DOES SO. BARLOW REMAINS HUNCHED ON THE FLOOR, UNABLE TO QUITE BELIEVE WHAT IS HAPPENING.
MARK Well, what now?
NICK (OPENING THE DOOR TO EXIT THE GALLERY) We get out of here. After that, I don’t know.
HE LOOKS BACK AT BARLOW, WHO IS STILL BEHIND COVER, AND SMILES RUEFULLY.
NICK You seem to have a bit of a security problem on your hands, Chief Constable. But I’m sure you can sort it out.
HELPLESSLY, BARLOW WATCHES THE THREE OF THEM AS THEY EXIT THE GALLERY, NICK IN THE LEAD. END OF SCENE.
ACT THREE, SCENE ELEVEN- EASTFORD, JUST AFTER SCENE TEN. PEOPLE STREAM OUT OF THE GRAND CHAMBER, FRIEDRICH AMONGST THEM. THE MAJORITY RUN TOWARDS THE PALACE. INSIDE, NICK, TERRY AND MARK REACH THE BOTTOM OF THE GALLERY STAIRCASE. AN AUTOMATON APPEARS IN THEIR PATH, WHICH NICK SHOOTS IN THE JOINT OF ITS NECK, CAUSING IT TO COLLAPSE. MARK AND TERRY TURN AUTOMATICALLY TOWARDS THE DOORS, BUT NICK HEADS BACK INTO THE CENTRE OF THE FRAY, AND THEY RELUCTANTLY FOLLOW HIM. THEY ARRIVE IN THE CENTRE OF THE FLOOR. DAVID IS THERE, GUN IN HAND, AND HE CROSSES OVER TO THE OTHER THREE.
NICK (EXASPERATEDLY, TO DAVID) What were you thinking?
DAVID (BLUNTLY) That he killed my son and was going to get away with it.
NICK Try not to do anything like that again.
THE STATE OF CONFUSED PANIC CONTINUES- THE QUARTET MANAGE TO FIND SHERWOOD IN THE MIDST OF THE CONFLICT AND SAVE HIM FROM AN APPROACHING AUTOMATON. SHERWOOD LOOKS AT THEM QUIZZICALLY.
SHERWOOD Who are you?
NICK (CURTLY) Nicholas Christie. Come with us, no time to explain.
NICK LEADS THE GROUP OUT OF THE FRAY. THEY BURST THROUGH THE DOORS AND OUT INTO THE COURTYARD. THE POLICE PRESENCE IS NOW SCRAMBLING TO GET INTO POSITION, PRODUCING WEAPONS TO RESPOND TO THE THREAT. INITIALLY, NICK LEADS THE OTHERS TOWARDS THE EXITS, BUT THEY STOP SHORT UPON SEEING THAT YET MORE AUTOMATONS ARE MOVING IN FORMATION TOWARDS THE AREA.
NICK Oh, for goodness sake…
WE CUT TO THE INSIDE OF THE PALACE. THE GUARDS WE SAW EARLIER IN THE GRAND CHAMBER ESCORT JOANNA THROUGH THE FOYER, WHERE MEMBERS OF PARLIAMENT AND PALACE STAFF ARE SCRAMBLING AROUND IN A PANIC. PALACE GUARDS ALSO RUSH OUT TOWARDS THE FRONT DOORS. THEY AD LIB ORDERS AND INSTRUCTIONS TO ONE ANOTHER. JOANNA’S GUARD USHERS HER UP TOWARDS THE STAIRS.
JOANNA’S GUARD Get upstairs. Your safety is priority.
JOANNA DOES SO. SHE RUSHES QUICKLY UP TO HER ROOM AND PUSHES THE DOOR OPEN. INSIDE, STEPHANIE IS WAITING- SHE LOOKS RELIEVED TO SEE JOANNA AND COMES OVER TO HER IN AN URGENT MANNER.
STEPHANIE Good. You’re alright. I was worrying-
JOANNA (CUTTING ACROSS HER) First things first, what’s going on?
STEPHANIE (GESTURING TO THE WINDOW) I’m not sure. The people downstairs were saying something about a revolt, and Edgar Dedlock. But it’s trouble, whatever it is. Miss, you need to get out of here.
JOANNA (SHOCKED) What?
STEPHANIE For your own safety. It’s my job to look after you, and I’m doing it. Take the passage you used before, get out into the city.
JOANNA I can’t abandon you all here! Besides, where would I go-
STEPHANIE Somewhere safer than here.
JOANNA (CONTINUING)- and dressed like this, I’d be instantly recognisable.
SHE GESTURES TO HER DRESS. STEPHANIE NODS IN AGREEMENT.
STEPHANIE I’d thought of that. So you’re going to swap clothes with me.
JOANNA (TAKEN ABACK) What?
STEPHANIE You heard me. Come on, there’s not much time by the looks of things-
JOANNA But then what will you do?
STEPHANIE Don’t worry about that.
JOANNA Well, if I can’t stay here, neither can you. It’s just as dangerous for you as it is for me-
STEPHANIE (STRONGLY) Of course it isn’t. You’re the queen, I’m just a servant. If there’s really a revolution going on down there, who do you think’s going to be the first person they target? Besides, my place is here, I’ve got a duty.
SHE LOOKS SOMEWHAT SCARED HERSELF, BUT DETERMINED ALL THE SAME.
STEPHANIE (URGENTLY) Come on, while there’s still time.
SLOWLY, JOANNA NODS. THEY LOOK AT EACH OTHER SADLY, THEN EMOTIONALLY THE PAIR HUG ONE ANOTHER AGAIN. BACK OUTSIDE, THINGS ARE AS THEY WERE. NICK AND THE OTHERS CONTINUE TO WATCH THE APPROACHING SWARM OF AUTOMATONS. THE THREE GUARDIANS APPEAR RESIGNED AS TO THE DANGER, WHILST DAVID AND SHERWOOD, HAVING NEVER FOUGHT THEM BEFORE, LOOK MORE CONFUSED.
DAVID Is anybody going to tell me what they are?
NOBODY OBLIGES.
TERRY (TO NICK) How did they get here without anyone noticing?
NICK Never mind that, how did they get into the Chamber?
SHERWOOD From underneath. You could feel it through the floor. There’s passages underneath Eastford, they date back centuries.
NICK (SARCASTICALLY) Oh, brilliant. Fantastic piece of architecture, that was. Anything else we should know before we proceed?
SHERWOOD No, I think I’m about as lost as the rest of you are.
NICK Well, then, to summarise… these things are hard to kill, all armed, all out to destroy anything they can find, and I don’t know any reliable way to stop them.
A HELMETED POLICE OFFICER RUNS PAST THEM TOWARDS THE PALACE. HE STOPS AND TURNS TO THE GROUP.
HELMETED POLICE OFFICER (HURRIEDLY) You there. Don’t just stand around gawking. Get back to the palace, all of you. It’s the only place of safety left.
HE RUNS OFF AGAIN. AS HE DOES SO, HE CALLS OUT TO THOSE NEAREST THE ENTRANCE.
HELEMTED POLICE OFFICER (LOUDLY) Somebody get the gates!
SHERWOOD BECKONS TO THEM.
SHERWOOD (URGENTLY) You heard him, let’s get moving, before we’re shut out.
EVERYONE BUT NICK MOVES. TERRY STOPS WHEN HE SEES NICK IS STAYING STILL.
TERRY Nick, come on.
NICK WATCHES THE APPROACHING MASS OF MACHINES, CLEARLY THINKING HARD.
NICK We can’t just let them take this place.
SHERWOOD And what exactly can the five of us do about it?
TERRY (PULLS NICK BACK) We’ll try to come up with a plan. But for now, let’s just get inside.
RELUCTANTLY, NICK FOLLOWS HIM AND THE OTHERS AS THEY RETREAT TOWARDS THE PALACE. AS THEY MOVE BACK, THE GATES ARE SEALED SHUT. ARMED GUARDS EMERGE FROM THE VICINITY OF THE PALACE AND RUSH OUT INTO THE COURTYARD. THEY ARE JOINED BY BARLOW’S CONSTABULARY. NICK AND THE OTHERS ENTER THE PALACE ENTRANCE CHAMBER, WHICH IS TEEMING WITH PEOPLE. AT THE SAME TIME, JOANNA EMERGES FROM HER ROOM UPSTAIRS, HAVING NOW SWAPPED OUTFITS WITH STEPHANIE, AND DISAPPEARS DOWN THE HALL. BACK IN THE ENTRANCE CHAMBER, NICK FROWNS AS PEOPLE MILL AROUND THEM. THERE CAN BE LITTLE ELSE HEARD BUT PEOPLE SHOUTING.
NICK We need to come up with something. I can’t hear myself think in here.
NICK SPOTS A CORRIDOR LEADING OUT OF THE ROOM, WHICH NOBODY SEEMS TO BE OCCUPYING. HE BECKONS TO THE OTHERS AND GESTURES TO THE CORRIDOR.
NICK Come on.
THEY BEGIN MAKING THEIR WAY THROUGH THE CROWD, FOLLOWING NICK’S LEAD. ELSEWHERE IN THE PALACE, JOANNA MAKES HER WAY DOWN A BACK STARICASE AND REACHES A GROUND FLOOR CORRIDOR. WE SEE BOTH NICK’S GROUP AND JOANNA MAKING THEIR WAY THROUGH THE CORRIDORS OF THE PALACE. TERRY CATCHES UP TO NICK TO TALK TO HIM. THEY HAVE ARRIVED IN A CORRIDOR INTERSECTING WITH THE CORRIDOR HOUSING THE SECRET PASSAGE.
TERRY Where are we going, exactly?
JOANNA, MEANWHILE, REACHES THE STATUE COVERING THE SECRET PASSAGE. SHE IS ABOUT TO OPEN IT WHEN LOOKING UP, SHE SPOTS NICK’S GROUP, AND MORE IMPORTANTLY NICK HIMSELF, THOUGH HE IS FACING AWAY FROM HER. SHE STARES CURIOUSLY.
JOANNA (TO HERSELF) It isn’t…
NICK TURNS ROUND SLOWLY, AWAY FROM TERRY.
NICK I don’t know. Somewhere we can come up with ideas in peace.
JOANNA CAN NOW SEE HIS FACE.
JOANNA (AGAIN, TO HERSELF) It is!
SHE HURRIES TOWARDS THEM.
JOANNA Nicholas Christie!
NICK LOOKS UP, AND IS TAKEN ABACK.
NICK Joanna?
THE OTHERS, NATURALLY, DO NOT RECOGNISE HER. TERRY LOOKS AT HER IN BEMUSEMENT.
JOANNA (DIRECTLY TO NICK) I could have sworn I saw you earlier. What are you doing here?
TERRY (TO NICK) Sorry, who is she?
NICK (TO TERRY) I’ll explain later, now isn’t the best time. (TO JOANNA) Actually, that goes for the pair of you.
JOANNA Well, perhaps you can tell me, what’s going on out there?
NICK Chaos. There’s a small army about to invade this place. You remember that thing you and I found last night?
JOANNA Yes. (NOW WORRIED) You mean there’s more than one of those?
NICK (GRIMLY) Rather a lot more. They’re here, right at the gates. Dedlock’s doing. It looks like we might have no choice but to try and defend the palace.
JOANNA SHAKES HER HEAD.
JOANNA No. There’s another way. (BECKONS TO THEM) Come on.
SHE WALKS BACK TOWARDS THE STATUE. NICK AND THE OTHERS CURIOUSLY FOLLOW HER. SHE PULLS THE STATUE’S ARM, AND THE PASSAGE OPENS UP. NICK AND THE OTHERS MARVEL AT THIS.
NICK (SCEPTICALLY) A hole?
JOANNA A tunnel. It leads right out of Eastford.
NICK (AMAZED) What, really?
JOANNA A-ha. I’ve used it before. If the palace is under attack, we can evacuate it through here-
TERRY (SCEPTICALLY) That sounds a bit impractical.
NICK (AGREEING) And rather more importantly, we can’t let this place fall. I don’t mean to be dramatic, but there’s a revolution happening right at our doors. If we let Eastford fall to Dedlock, we might as well hand Trinova over to him.
NICK TURNS TO TERRY, MARK AND DAVID.
NICK Barlow told me why Michael and Emily never appeared. He has them both incarcerated at the police station. It’s safe to assume they’re both in danger as well.
TERRY And nobody else knows?
NICK (SHAKES HIS HEAD) Aside from Barlow, I’d imagine not.
TERRY Then you have to help them. If it wasn’t for us they wouldn’t be involved in any of this.
NICK And what about the rest of you?
TERRY LOOKS AT THE OTHERS.
TERRY I say we stay here. Try and help with the defensive efforts.
MARK (NODS) We’re the only ones that have fought these machines before. You were right in what you said, if Eastford falls that’s Trinova practically in Dedlock’s hands.
NICK IS EVIDENTLY TORN IN WHAT COURSE OF ACTION TO TAKE.
NICK I shouldn’t leave. We’re the Guardians of Humanity, we should stand together. (HE ADDRESSES DAVID) And you, this isn’t your fight either-
DAVID I made it my fight. I chose to come here. If it’s to stop that man, I’ll stand with you, this once.
TERRY (TO NICK) You’re the one that said Automex is enemy number one. Even with us here, I don’t know how long the palace can hold out against those things. We don’t even know how many there are. Our best chance- maybe our only chance- of stopping Dedlock is if you can find Michael and Emily. At least they might know something about Automex that we don’t that might be of some help. And you heard what Dedlock said- there’s more of those machines out there somewhere. You have to find out where those are being kept.
NICK HESITATES.
NICK What if I don’t find anything? What if there is no way to stop them? I don’t even know where to start looking…
JOANNA LOOKS AT HIM WITH SOME DISAPPROVAL.
JOANNA You aren’t really conceding defeat, are you? After everything you said last night?
TERRY LOOKS SURPRISED.
TERRY Wait, this is the girl you met last night?
NICK NODS SLIGHTLY. JOANNA CONTINUES.
JOANNA Perhaps I got the wrong impression of you, but I didn’t have you down as someone who just gave up when things got difficult. Your friends are right, if you’re right and this turmoil is Automex’s doing then we simply have to find a way to stop them. Of course there’s a way out there, there’s a way to do anything.
NICK’S SCEPTICISM DOESN’T FADE ENTIRELY, BUT HE LOOKS DECISIVELY TOWARDS THE PASSAGE ENTRANCE AS IF CONVINCED.
NICK (GESTURING TO THE PASSAGE) Can you show me out of here and into the city?
JOANNA (NODS) Easily.
NICK Then lead the way.
JOANNA DOES SO, AND BEGINS CLAMBERING DOWN INTO THE PASSAGE. ONCE SHE DISAPPEARS FROM VIEW, NICK FOLLOWS HER DOWN. JUST BEFORE HE DISAPPEARS FROM SIGHT, HE TURNS BACK TO THE OTHERS ONE LAST TIME.
NICK If I can’t find anything…
TERRY (FIRMLY) You will.
NICK APPEARS UNSURE.
NICK I’ll see you all afterwards.
TERRY Count on it.
NICK DISAPPEARS FROM VIEW. END OF SCENE.
ACT THREE, SCENE TWELVE- THE SECRET PASSAGE, JUST AFTER THE END OF SCENE ELEVEN. THE PASSAGE IS IN ALMOST TOTAL DARKNESS, WITH THE ONLY LIGHT COMING FROM THE OPENING ABOVE. A LADDER STRETCHES UP ONE SIDE OF IT, AND NICK DESCENDS THE LAST FEW RUNGS OF THIS BEFORE LANDING BESIDE JOANNA, WHO IS WAITING FOR HIM.
NICK Well, this is rather impressive.
THE OPENING SHUTS ABOVE THEM, CUTTING OUT THE LAST OF THE LIGHT.
NICK Bugger.
JOANNA Hold on…
AFTER A MOMENT, A TORCH CLICKS ON. JOANNA HOLDS IT UP AND SHINES IT AROUND, EVENTUALLY AIMING IT IN FRONT OF THEM INTO THE DISTANCE. NICK NODS IN APPROVAL.
NICK Good thing one of us was thinking ahead.
HE PUTS A HAND ON THE ROCK-HEWN SIDES OF THE PASSAGE.
NICK What exactly is this place?
JOANNA I’m not entirely sure myself.
THEY START WALKING. THE PASSAGE IS WIDE ENOUGH FOR THEM TO WALK SIDE BY SIDE.
JOANNA I found it once by accident, when I was little. We were playing hide and seek, I tried to get behind the statue covering it, and… well, it just opened up.
NICK (MUSINGLY) The Chairman mentioned something about passages under here. I’ll bet it dates back to when the original sewer system was put in place. Eastford I know got them installed long before the rest of the city…
JOANNA (DOUBTFULLY) Sewers, underneath a statue in the hall?
NICK (SHRUGS) A maintenance hatch, possibly? One that got forgotten over time? If so, if we follow this passage far enough, we may end up in the modern sewers ourselves.
JOANNA I’m not sure. I never tried going that far. There is an exit that comes out not far from Eastford, but the passage does go beyond that.
NICK We don’t need to go far. Just far enough to get into the city itself. Once we’re there, we’re heading to the police station.
JOANNA And then what?
NICK Well, I have a couple of… well, maybe friends isn’t the word, but they’re both involved in this. One used to work at Automex, the other is apparently a genius, so if there’s a way to stop those machines, hopefully between the three of us we can find it.
JOANNA Excuse me? The three of us?
SHE LOOKS AT HIM IN A CHALLENGING MANNER.
NICK I was trying not to put you in danger, in case you hadn’t noticed.
JOANNA (DISPARAGINGLY) I think that ship sailed a long time ago. You’re stuck with me, Mr Christie, whether you like it or not.
NICK (SIGHING) Don’t I know it.
THEY PROCEED ON. AFTER A FEW SECONDS, A THOUGHT SEEMS TO STRIKE JOANNA.
JOANNA You knew this was going to happen, didn’t you? Everything you said last night about Dedlock and Automex Industries…
NICK I knew a little. Not everything. I had a feeling something was going to happen… but I never expected this. Hopefully I haven’t left it too late to repair the damage-
HE STOPS AS THEY ARRIVE AT ANOTHER SET OF RUNGS ATTACHED TO THE WALL.
NICK (GESTURING) This it?
JOANNA (NODS) It comes out just outside the start of the monorail line.
NICK (TAKING OUT HIS WATCH AND CHECKING IT) Good, we can get on it, it stops just outside the police station and we are… (LOOKS AT HIS WATCH AND LOOKS PLEASANTLY SURPRISED) …quite remarkably, just in time for it.
HE GESTURES TO THE LADDER RUNGS.
NICK After you.
JOANNA RAISES HER EYEBROWS.
JOANNA In this dress? I think not, Mr Christie.
NICK (REALISING) Oh. Sorry.
HE LOOKS AWAY IN AN EMBARRASSED MANNER, AND CLAMBERS UP ONTO THE LADDER.
NICK (TRYING TO PRETEND THIS LAST EXCHANGE HASN’T HAPPENED) Right. Onwards and upwards.
JOANNA FOLLOWS HIM UP THE LADDER. THEY EMERGE OUT OF A MANHOLE COVER AND OUT ONTO AN EMPTY STREET. NEARBY IS A SET OF STEPS LEADING UP TO A LARGE MONORAIL STATION. NICK AND JOANNA BOTH HURRY TOWARDS IT. END OF SCENE.
ACT THREE, SCENE THIRTEEN- EASTFORD, NOT LONG AFTER SCENE ELEVEN. THE COURTYARD IS NOW BEING FORTIFIED. GUARDS AND POLICE OFFICERS BUILD MAKESHIFT BARRICADES IN PREPARATION FOR THE APPROACHING CONFLICT. FROM THE DOORWAY OF THE GRAND CHAMBER, BARLOW EMERGES, LOOKING RUFFLED. TERRY, MARK AND DAVID MAKE THEIR WAY OUT INTO THE COURTYARD. BARLOW CROSSES URGENTLY OVER TO THEM.
BARLOW Where has Nicholas Christie gone?
TERRY (COLDLY) He’s gone out into the city. Trying to find a way to clean up your mess.
BARLOW This isn’t my fault, I had no idea-
TERRY After all the times you didn’t listen to us, I really hope you aren’t expecting us to listen to you.
BARLOW LOOKS INDIGNANT, BUT FORCES HIMSELF TO REMAIN CALM.
BARLOW (EXASPERATED BUT SINCERE) Alright. I’m sorry. I should have taken you seriously. I failed at my job. But now, you have to help me. You’re the only people here that seem to know a thing about what Automex have been doing. I’m still in charge of security here, and I need your help to minimise the damage. Now, are you willing to work with me?
TERRY CONSIDERS, LOOKING AT THE OTHER TWO FOR APPROVAL. THEY INDICATE THAT IT IS UP TO HIM. HE NODS SLOWLY.
TERRY We know how to fight these things. Not flawlessly, but it’s all you have to go on.
BARLOW (CLEARLY NOT TOO HAPPY) Then strange as it is… I’m willing to take orders from you. You have my forces at your disposal.
TERRY SMILES SLIGHTLY.
TERRY (DARKLY AMUSED) A sick little bit of me might just enjoy this.
END OF SCENE.
ACT THREE, SCENE FOURTEEN- THE STREET OUTSIDE TRINOVA POLICE STATION, SOME TIME AFTER SCENE TWELVE. NICK AND JOANNA RACE DOWN THE STEPS OUTSIDE THE MONORAIL STATION, NICK LEADING THE WAY. JOANNA HOLDS ONTO HER SKIRT.
JOANNA Can you slow down just a little?
NICK I can’t think of a reason to.
JOANNA Have you ever tried running in a dress?
NICK Funnily enough, I haven’t.
THEY CROSS THE STREET AND BURST THROUGH THE DOORS INTO THE POLICE STATION. THE YOUNG CONSTABLE SITS BEHIND THE DESK, READING THE PAPER, AND LOOKS UP AT THEM IRRITABLY AS THEY ENTER.
YOUNG CONSTABLE (TACITURN) Look, if you’re here to see Barlow, you’ll have to-
NICK PULLS HIS PISTOL AND AIMS IT AT HIM. THE YOUNG CONSTABLE DROPS HIS PAPER.
NICK (THREATENINGLY) Tell me where high security is, now.
THE YOUNG CONSTABLE SWALLOWS NERVOUSLY, AND GESTURES DOWN THE HALL.
YOUNG CONSTABLE Go down there, straight ahead to the back of the building. You can’t miss it.
NICK Thank you.
HE AND JOANNA RACE PAST HIM. THE YOUNG CONSTABLE SIGHS AND REACHES DOWN TO PICK UP HIS NEWSPAPER. NICK AND JOANNA HURRY TO THE BACK OF THE BUILDING AS INSTRUCTED, WHERE THEY FIND THE DOOR TO HIGH SECURITY THAT WE SAW PREVIOUSLY. NICK STOPS, PRODUCES THE FIRST KEY BARLOW GAVE HIM AND UNLOCKS IT, FUMBLING A LITTLE IN HIS HASTE. WE CUT TO INSIDE THE CELL, WHERE MICHAEL AND EMILY, BOTH SITTING AGAINST THE BACK WALL, HEAR THE NOISE AND GET TO THEIR FEET NERVOUSLY.
EMILY (WORRIED) Is that Barlow back?
MICHAEL (UNSURE) He can’t be done already…
NICK OPENS THE DOOR AND STEPS INSIDE, JOANNA AT HIS HEELS. HE CROSSES OVER TO THE CELL DOOR, PRODUCES THE OTHER KEY AND BEGINS UNLOCKING IT. MICHAEL AND EMILY BOTH WATCH THE DOOR WITH LOOKS OF TREPIDATION. AFTER A MOMENT, NICK UNLOCKS IT AND PULLS IT OPEN. BOTH MICHAEL AND EMILY ARE STARTLED TO SEE HIM.
MICHAEL (TAKEN ABACK) Nick? What’s going on-
NICK (BECKONING TO THEM) It’s complicated, now get out here.
MICHAEL AND EMILY BOTH WARILY DO SO. THEY BOTH LOOK SURPRISEDLY AT JOANNA. A SLIGHT TRACE OF RECOGNITION APPEARS ON MICHAEL’S FACE.
MICHAEL Have we met before?
JOANNA I can’t think how.
EMILY (TO NICK) How did you find us?
NICK Barlow. I met him at Eastford, he told me everything.
MICHAEL He told you about the police corruption?
NICK IS TAKEN ABACK.
NICK (UNSURE) No?
MICHAEL I’ll explain in a minute. First, help me find my skeleton key, he took it off me.
THE TWO BEGIN ROOTING AROUND IN THE DRAWERS OF THE METAL DESK. JOANNA CAUTIOUSLY APPROACHES EMILY, WHO LOOKS AT HER WARILY.
JOANNA (POLITELY, BUT WITH A SLIGHT HINT OF MISGIVING) So, you’re a friend of his, then?
EMILY Who, Nick?
JOANNA NODS. EMILY SHRUGS.
EMILY I suppose.
SHE LOOKS AT HER WITH A HINT OF SUSPICION.
EMILY Why do you ask?
JOANNA (CASUALLY) No reason in particular.
OVER AT THE DESK, NICK BEGINS SPEAKING WHILST CONTINUING TO SEARCH.
NICK Now, I suppose I’d better explain… actually, wait, there’s too much. I’ll condense it. Dedlock has revolted. He’s taken a battalion of those automaton creatures- turns out there were more after all- and he’s trying to take Eastford. The others are back at the palace trying to keep them out right now.
HE GESTURES TO JOANNA.
NICK (OFFHAND) This is Joanna, by the way, she works at the palace.
JOANNA (BASHFULLY) Hello.
NICK (CONTINUING) As I was saying, there’s a resistance going on at the palace. The two of us escaped, came here to free the pair of you, and now, we hope, we can between us come up with a way to stop Dedlock and hopefully avoid potential monumental disaster.
EMILY (SARCASTICALLY AND A BIT BLOWN AWAY) Is that all?
MICHAEL So, wait, how big was this battalion?
NICK (SHRUGS) I’m not sure. Hundreds, by the looks of it.
MICHAEL (THINKING HARD) That doesn’t make sense. There shouldn’t be a way to control that many automatons at once. Programming them would be one thing, but… I can’t understand it.
NICK Well, you’re going to have to try. Right now, it’s the four of us versus Automex, and we can’t expect any further help.
MICHAEL There must be something else they’re keeping secret. Something more.
EMILY Like what?
MICHAEL (UNSURE) I don’t know.
JOANNA (TO NICK, MAINLY) Then what do we do next?
NICK PAUSES FOR THOUGHT. AFTER A SECOND HE APPEARS TO COME TO A DECISION.
NICK We go to Automex’s headquarters. If they’ve got secrets, that’s where they’ll be. Nothing ever gets out of there. Maybe there’s a way to stop the machines, an override or something else like it.
MICHAEL (DOUBTFULLY) It sounds like quite a remote possibility.
NICK If there’s even an outside chance, it’s worth checking… wait, here we are.
NICK PRODUCES A KEY FROM ONE DRAWER WITH A TRIUMPHANT LOOK, AND SHOWS IT TO MICHAEL.
NICK Is this it?
MICHAEL (SHAKES HIS HEAD) No. It must belong to Barlow.
NICK LOOKS DISAPPOINTED. MICHAEL JERKS HIS THUMB AT THE METAL CLOSET BEHIND THEM.
MICHAEL For that, probably.
NICK I’ll give it a try.
NICK STEPS OVER TO THE CLOSET, UNLOCKS IT AND OPENS IT. HE BLOCKS ITS CONTENTS FROM THE VIEWER’S LINE OF SIGHT, BUT HIS FACE VISIBLY BREAKS OUT INTO A GRIN. MICHAEL NOTICES THIS.
MICHAEL What is it? What’s in there?
NICK STEPS BACK. THE CLOSET IS FILLED WITH POLICE WEAPONRY, SOPHISTICATED, MODERN FIREARMS STAMPED WITH THE AUTOMEX SEAL. AN AMMUNITION VEST HANGS UP BESIDE THEM. NICK PICKS UP A SHOTGUN AND SMIRKS.
NICK I don’t think Barlow will mind me borrowing a few of these.
HE GRINS AT THE OTHERS, AS WE END THE SCENE.
ACT THREE, SCENE FIFTEEN- EASTFORD, PRESUMABLY SOME TIME AFTER SCENE FOURTEEN. THE DEFENDERS- PALACE GUARDS, BARLOW’S POLICE PRESENCE, THE TWO GUARDIANS AND DAVID- NOW ALL WAIT, POISED AND READY, IN THE COURTYARD. THE BATTALION OF DEDLOCK’S AUTOMATONS- ROUGHLY FIVE HUNDRED IN NUMBER- WAIT AT THE GATES. WE OBSERVE THE COURTYARD THROUGH THEIR ORANGE GAZE. TERRY AND BARLOW ARE NEXT TO ONE ANOTHER, AND BOTH NOW HOLD AUTOMEX-MANUFACTURED POLICE RIFLES.
BARLOW (WATCHING THE AUTOMATONS) They aren’t attacking.
TERRY They’re waiting for us to surrender.
BARLOW How long do you think they’ll wait?
AS IF IN ANSWER TO THIS QUESTION, THE AUTOMATONS AT THE GATES RAISE THEIR WEAPONS IN A MENACING FASHION.
TERRY Well, there’s your answer.
BARLOW NODS GRIMLY. HE CALLS OUT TO HIS POLICE FORCE.
BARLOW Take aim.
EVERYONE DOES SO. THERE IS AN ANTICIPATORY SILENCE FOR A FEW MOMENTS. THEN-
BARLOW (TO ALL PRESENT) Open fire!
THE DEFENDERS DO SO. THE AUTOMATONS BEGIN TO RETURN FIRE AS THE SCENE ENDS.
ACT THREE, SCENE SIXTEEN- AUTOMEX HEADQUARTERS, SOME TIME AFTER SCENE FOURTEEN. NICK LEADS THE QUARTET UP TO THE GATES. HE NOW WEARS THE AMMUNITION VEST UNDER HIS COAT, AND IT IS LOADED WITH THE FIREARMS WE SAW HIM FIND EARLIER. AS THEY REACH THE GATES, THE FOUR REALISE THEY ARE CHAINED SHUT, HELD WITH A LARGE PADLOCK.
MICHAEL (OBSERVING THE LOCK) Dedlock’s planned ahead. (REGRETFULLY) If only I had my key…
JOANNA Is there another way in?
EMILY Probably not. The factory I worked in only had one entrance. (MUSINGLY) I suppose we could try and climb over-
MICHAEL Or look for some other way around-
AS THEY TALK, NICK PRODUCES A PUMP-ACTION POLICE SHOTGUN AND TAKES AIM AT THE LOCK.
NICK Or alternatively-
HE SHOOTS THE LOCK, AND IT SHATTERS. THE OTHERS WINCE.
MICHAEL (INDIGNANTLY) You could have told us to stand back. It’s not entirely safe.
NICK I think under the circumstances you can forgive me for not thinking about safety.
HE PUSHES THE GATES OPEN. THEY SWING BACK SLOWLY. NICK LEADS THE OTHERS FORWARDS, AND THEY MAKE THEIR WAY TOWARDS THE DOORS, ENTERING THE BUILDING. DIRECTLY IN FRONT OF THEM IS A LONG METAL STAIRCASE, WHICH THEY FOLLOW UPWARDS UNTIL IT EMERGES ONTO A METAL FLOOR. THERE ARE NO WINDOWS IN THE FACTORY, SO NATURALLY THERE IS NO LIGHT.
JOANNA Is there a light switch anywhere?
MICHAEL Hang on-
WE HEAR HIM PULL SEVERAL LEVERS, AND THE LIGHTS ARE TURNED ON. THE FOUR OF THEM MARVEL AT THE SCENE ABOVE THEM- IT IS A SCALED-UP VERSION OF THE TIMBER STREET FACTORY, COMPLETE WITH EVEN MORE SPIRALING METAL STAIRCASES, BALCONIES, CATWALKS ETC. THE FLOOR IS A MASS OF CONVEYOR BELTS AND HUGE MACHINES. ALSO POSITIONED AROUND THE ROOM ARE HUGE MECHANICAL ARM-LIKE DEVICES, SELF-RUNNING MACHINES DESIGNED TO BUILD OTHER PRODUCTS. UPON MICHAEL PULLING THE LEVERS, MANY OF THESE BOOT UP AND BEGIN OPERATING IN TANDEM. ONE OF THESE, RIGHT UP AT CEILING LEVEL, INCLUDES A LARGE CRANE BEARING A HUGE MAGNET, WHICH PICKS UP SCRAP METAL AS IT SWINGS SLOWLY IN AN ANTICLOCLWISE DIRECTION. EVERYONE, PARTICULARLY MICHAEL, STARES AT THIS SCENE IN AWE.
MICHAEL (ENTHRALLED) Oh my God…
EMILY (ALSO ENTHRALLED, THOUGH LESS SO) This place is unbelievable.
MICHAEL (A BIT OVERWHELMED BY EVERYTHING) Where do we start?
NICK ALSO WATCHES THE MACHINES WITH WONDER, AND A LITTLE ENMITY. HE TURNS TO THE OTHERS SLOWLY.
NICK We’ve got two jobs here. Find the rest of Dedlock’s automatons and see if we can destroy them before they get activated, and see if we can find a way to stop the ones that are already awake.
MICHAEL (TO NICK) Something tells me you might suit destruction better.
NICK (AGREEING) Plus I don’t know a thing about technology. You go and see what you can find on shutting them down.
EMILY (TO MICHAEL) I’ll go with you. I know my way around an Automex factory, they can’t all be that different.
MICHAEL SEEMS A LITTLE MORE CONFIDENT UPON HEARING THIS.
NICK (NODDING) Alright.
HE TURNS TO JOANNA.
NICK In that case, you’re with me.
JOANNA (INTRIGUED) Destruction. Sounds exciting.
NICK Well, we can hope. Alright, let’s go.
HE AND JOANNA MAKE THEIR WAY TOWARDS A STAIRCASE LEADING DOWN TO FLOOR LEVEL, WHILST EMILY LEADS MICHAEL OFF IN THE OPPOSITE DIRECTION, TOWARDS A STAIRCASE LEADING UPWARDS. WE STAY WITH NICK AND JOANNA AS THEY MAKE THEIR WAY DOWN TOWARDS THE FLOOR, WHICH THEY THEN PROCEED TO MAKE THEIR WAY ACROSS AS THEY TALK.
JOANNA So, what exactly are we looking for?
NICK (SPECULATIVE) I’m not entirely sure. First port of call is to see if we can find the rest of these machines, but I’m not sure how to go about disposing of them when we do. Hopefully they’re more easily damaged when dormant than when awake.
JOANNA (CONTEMPLATIVELY) If there was a way to stop them being activated, there would be no need to destroy them…
NICK But then what if Dedlock can reverse that? I’d feel a lot better knowing they’d all been obliterated.
JOANNA (COYLY) What was it you said the other night? Shoot first and ask questions later?
NICK Something to that effect.
THEY ARRIVE AT A DOOR SET IN AGAINST THE FAR WALL. NICK MOMENTARILY RESTS HIS HAND ON THE HANDLE AND TAKES OUT HIS PISTOL AND MOTIONS FOR JOANNA TO STAND NEXT TO HIM. SHE DOES SO, AND AFTER A MOMENT NICK OPENS THE DOOR AND PROCEEDS INSIDE. THE ROOM THEY ENTER IS DARKENED AND ONLY A CHINK OF LIGHT FROM THE OTHER SIDE OF THE DOOR ILLUMINATES IT.
NICK Are there lights anywhere?
JOANNA Just a second…
SHE FINDS A LEVER AND PULLS IT. THE LIGHTS COME ON. NICK AND JOANNA FIND THEY HAVE WANDERED INTO A HUGE, HANGAR-LIKE SECTION OF THE BUILDING. A METAL CATWALK WITH SEVERAL DOORS LEADING OFF OF IT RUNS ALL THE WAY AROUND THE ROOM. NEARBY IS A BOOTH WITH LARGE GLASS WINDOWS. THE REST OF THE HUGE ROOM IS TAKEN UP ENTIRELY BY ROWS AND ROWS OF INANIMATE AUTOMATONS, STANDING UPRIGHT AND PACKED CLOSELY TOGETHER. NICK AND JOANNA PROCEED INSIDE, STARING AT THE MACHINES ALL AROUND THEM.
JOANNA (SOFTLY) Oh my…
SHE LOOKS AROUND WITH AN OVERWHELMED EXPRESSION. NICK LOOKS AT THE MACHINES IN A MANNER THAT SUGGESTS HE UNDERSTANDS JUST HOW DANGEROUS THEY MAY BE. WE CUT AWAY TO CATCH UP WITH MICHAEL AND EMILY. THE TWO ARE MAKING THEIR WAY UP THROUGH THE STOREYS OF THE BUILDING, EMILY LEADING THE WAY.
EMILY So, any ideas?
MICHAEL None. All I can think of is that there must be some way to program all of the machines at once, so perhaps there’s a way to reverse it as well.
EMILY How?
MICHAEL Well, I could try and explain, but I doubt you’d understand it.
EMILY (MIFFED) Oh, charming.
MICHAEL Don’t take it personally.
AT THE TOP OF A FLIGHT OF STEPS, EMILY ARRIVES AT A METAL DOOR RESEMBLING THE KIND ONE MIGHT FIND ON A SUBMARINE. SHE MOTIONS TOWARDS MICHAEL AND HE STOPS BESIDE HER. EMILY INDICATES THE DOOR.
EMILY What do you think, worth a look?
MICHAEL LOOKS AT THE DOOR, THEN AT THE METAL STAIRS CONTINUING UPWARDS. AFTER A MOMENT’S CONSIDERATION HE NODS DECISIVELY.
MICHAEL Can’t hurt to check.
HE OPENS THE DOOR AND THE PAIR OF THEM PROCEED INSIDE. INSIDE IS A LARGE ROOM WITH A RAISED PLATFORM AT ONE END. OPPOSITE IT IS A WALL FEATURING A HIGH BALCONY WITH A RAILING AND A LADDER LEADING UP TO IT. MOST NOTICEABLY, ON THE RAISED PLATFORM IS A HUGE CONTRAPTION THAT IS WHIRRING AWAY. IT MAY BE A LARGER MODEL AND A MORE REFINED DESIGN- AN UPGRADE- BUT IT IS UNMISTAKEABLY THE SAME MAINFRAME MACHINE WE SAW IN MICHAEL’S FLASHBACK RIGHT BACK AT THE BEGINNING. MICHAEL IS THE FIRST OF THE TWO TO SPOT THIS CONTRAPTION, AND HIS FACE FALLS UPON SEEING IT, THOUGH HE ALSO SEEMS TO BE STRUCK BY REALISATION.
MICHAEL (SHOCKED) Oh, no…
EMILY TURNS TO SEE WHAT HE IS LOOKING AT. SHE LOOKS AT THE MACHINE WITHOUT COMPREHENSION.
EMILY What is it? Is it bad?
MICHAEL (GRIMLY) It’s bad, alright.
HE PROCEEDS TOWARDS IT TO INSPECT IT.
EMILY Well, what is it? One of Automex’s inventions?
MICHAEL No. One of mine.
EMILY (TAKEN ABACK) You made this? By yourself?
MICHAEL (INDICATING THE MACHINE) Not this one. But it’s my design. I invented it in my final year at school. Took the whole year to finish.
EMILY (TRYING TO LIGHTEN THE TENSION) Great social life you must have had.
MICHAEL PRETENDS NOT TO HEAR THIS. DESPITE THE PERILOUS SITUATION, HE SEEMS GRATIFIED BY SIMPLY NOW BEING ABLE TO COMPREHEND THE SITUATION, AND SEEMS TO TAKE SOME SATISFACTION FROM NOW BEING ABLE TO EXPLAIN IT.
MICHAEL It’s logical, recognises real world information by translating it into numbers and symbols. That’s how Dedlock controls the automatons. Information from this. They can all operate as one unit because they’re all receiving instructions from the same source. Genius, really.
DEDLOCK (VOICE FROM OFF-SCREEN) Glad to hear you think so, young Master Perkins.
STARTLED, BOTH EMILY AND MICHAEL TURN AROUND AND LOOK UP AT THE BALCONY. DEDLOCK, HOLDING HIS CANE, EMERGES ONTO IT, LOOKING DOWN AT THEM WITH SOME SURPRISE. MICHAEL LOOKS BACK AT HIM WITH A DISLIKE WE HADN’T YET SEEN.
DEDLOCK I must say, I’m surprised I still have to deal with the pair of you. I had the notion you both might be on to me, but I never guessed you would make it this far.
MICHAEL You mean after you tried to have us both killed?
DEDLOCK (CASUALLY) It was nothing personal. I assure you, of all the people I’ve tried to have killed, I hold you in by far the highest regard.
HE POINTS TO THE MACHINE BEHIND THE PAIR OF THEM WITH HIS CANE.
DEDLOCK After all, without your ingenuity, Clockwork Storm would never have been possible.
THIS REALITY SEEMS PARTICULARLY TO BOTHER MICHAEL.
MICHAEL You’ve made a few modifications, I noticed. How’s it work, then?
DEDLOCK (AMUSEDLY) Well, you tell me. It’s your design, after all.
MICHAEL (ANGRILY) Not any more, it’s not. But, let’s see… analogue feedback gets sent from the robots to the mainframe, it gets translated, it checks its database, chooses an appropriate response, sends it to the necessary machines, and they act accordingly?
DEDLOCK (GENUINELY IMPRESSED) Very good. You’d have been a worthy addition to this project if you’d arrived soon enough.
EMILY LOOKS FROM MICHAEL, TO DEDLOCK, THEN BACK AGAIN.
EMILY Anyone care to explain that without the jargon?
DEDLOCK SWITCHES HIS GAZE TO HER, AND IT BECOMES CONDESCENDING.
DEDLOCK Miss Moss. Sorry if we’re boring you with our tête-à-tête.
MICHAEL (DIRECTLY TO EMILY) The mainframe is connected to the automatons. It tells them what to do. Control the mainframe, you control the machines.
DEDLOCK You’ve ended up being rather a thorn in my side, while I’ve been trying to complete this project.
EMILY I didn’t even mean to find what I found. It was an accident.
DEDLOCK I believe you. Nothing personal, like I said. But you’ve caused my company and I rather too many problems of late, and that’s not going to be continuing.
MENACINGLY, TOM APPEARS ON THE BALCONY BESIDE HIM. BOTH MICHAEL AND EMILY EYE HIM APPREHENSIVELY. DEDLOCK GESTURES TO HIM.
DEDLOCK You’ve rather irritated Tom with your antics in the last few days.
EMILY (TAKEN ABACK) It has a name?
BOTH TOM AND DEDLOCK LOOK GENUINELY OFFENDED.
DEDLOCK Of course he has a name! Tom’s a human being, just like you or I.
HE LOOKS AT TOM THOUGHTFULLY FOR A MOMENT, THEN SMILES AND LOOKS BACK.
DEDLOCK Well, perhaps not quite like you or I. In fact, he’s more steel than flesh these days. Tom does my dirty work. He’s had a very long and distinguished career that’s taken quite a toll on him… most of the damage, however, we have been able to fix. Upgrade, even. Isn’t that right, my friend?
TOM, NATURALLY, REMAINS SILENT.
DEDLOCK My apologies. Like I said, Tom’s lost rather a lot over the years, and we haven’t yet found a way to replace the tongue…
BOTH MICHAEL AND EMILY LOOK REVOLTED BY THIS.
DEDLOCK …still, I do prefer people who talk too little to those that talk too much. If I ever encounter anyone who talks too much… Tom tends to deal with them. For a fee, naturally.
TOM STEPS UP TO THE BALCONY RAILING.
DEDLOCK On this occasion, though, he’s decided to waive the fee. You’ve rather upset him, it seems.
TOM RAISES HIS MECHANICAL ARM, WHICH NOW ENDS IN A WHIRRING SAW BLADE. BOTH MICHAEL AND EMILY LOOK TOWARDS THE DOOR AND THEN BACK AT TOM FEARFULLY. DEDLOCK MOTIONS TOWARDS THE PAIR OF THEM IN A CASUAL MANNER.
DEDLOCK (TO TOM) Tom, have at them.
TOM VAULTS OVER THE BALCONY RAILING AND LANDS ON THE FLOOR BELOW. BOTH MICHAEL AND EMILY FLEE OUT THE DOOR, AND TOM SETS OFF IN PURSUIT, MOVING FAR MORE ATHLETICALLY THAN WE HAVE SEEN PRIOR TO THIS, METAL LEG CLANKING EVERY OTHER STEP. END OF SCENE.
ACT THREE,SCENE SEVENTEEN- AUTOMEX HEADUQARTERS, THE AUTOMATON HANGAR, JUST AFTER SCENE SIXTEEN. NICK AND JOANNA ARE IN THE PROCESS OF TAKING APART THE SMALL OFFICE-LIKE BOOTH. IT HAS A DESK AGAINST ONE WALL AND CUPBOARDS AND SHELVES FILLED WITH FILES. BOTH NICK AND JOANNA ARE SKIMMING THESE AND DISCARDING THEM, OFTEN AFTER MERELY LOOKING AT THE TITLE. LOOSE PAGES ARE FALLING EVERYWHERE. NICK’S COAT HAS BEEN SLUNG OVER ONE CABINET.
JOANNA (WHILST PERUSING FILES) What words should we be looking out for?
NICK (ALSO LOOKING THROUGH FILES) Anything to do with final designs. Maybe Michael can figure something out from that.
JOANNA You’re putting a lot of trust in him, aren’t you? How long have you two known each other?
NICK (WITHOUT LOOKING UP) About two days.
JOANNA (TAKEN ABACK) Two days?
NICK (CONFIRMING) Two days.
JOANNA Why do you trust him so much, then?
NICK (SHRUGS) I don’t, really. I wouldn’t be depending on him if I didn’t have to. But he’s the only person I know with a brain as good as Dedlock’s, except he has some morals to go with it.
THERE IS A MOMENTARY LULL IN CONVERSATION AS THE TWO SEARCH THROUGH MORE STACKS OF FILES. THEN JOANNA SPEAKS AND ATTEMPTS TO BE CASUAL.
JOANNA That Emily girl seems nice.
NICK (SHRUGS AGAIN) I suppose so.
JOANNA (STILL ATTEMPTING TO BE CASUAL) And how long…
NICK (LOOKING UP) Yes?
JOANNA (AWKWARDLY) Well, I mean… are the two of you…?
NICK COTTONS ON, AND APPEARS BOTH SURPRISED AND EMBARRASSED.
NICK (SHAKING HIS HEAD RAPIDLY) Oh, no, no, the two of us are… I mean, I hadn’t ever even thought along those lines… no, no, I’m not really courting anyone, actually.
JOANNA (LOOKING RELIEVED) Oh. Oh, good.
AFTER A MOMENT SHE NOTICES HER OWN REACTION AND ATTEMPTS TO STOP LOOKING SO VISIBLY PLEASED. NICK RETURNS TO HIS FORAGING THROUGH THE FILES.
NICK (NOT LOOKING UP FROM HIS WORK) What about you, then, mixing it up with the gentry? Anyone trying to catch your eye?
JOANNA (EVASIVELY) A few. None I care for.
NICK Nobles can be wearisome. All they’re interested in is themselves.
JOANNA (IN TOTAL AGREEMENT) I know. They’re all so self-absorbed, and the worst part is they expect you to be as interested in them as they are-
NICK (INTERRUPTING MID-SENTENCE) Aha!
NICK CUTS HER OFF AS HE JUMPS TO HIS FEET HOLDING A FILE, LOOKING TRIUMPHANT.
NICK (READING ITS TITLE ALOUD) Design Evaluation.
HE OPENS THE FILE AND SKIMS THROUGH ITS PAGES, STOPPING ON ONE FAIRLY EARLY ON. JOANNA COMES OVER AND STANDS ON HER TIPTOES TO READ OVER HIS SHOULDER. THE PAGE, SHOWS SKETCHES OF AN AUTOMATON’S DESIGN, FEATURING LABELS AND A SIZEABLE VOLUME OF TEXT.
NICK This looks promising…
JOANNA SPOTS SOMETHING ON THE PAGE AND POINTS TO IT.
JOANNA Look at this.
NICK DOES SO. SHE HAS INDICATED A LABEL, WHICH READS ‘END FUNCTION’ WITH AN ACCOMPANYING ARROW POINTING TO THE AUTOMATON’S CHEST CAVITY. THE SKETCH SHOWS THE AUTOMATON AS HOLLOW, AND A CYLINDRICAL OBJECT IS SUSPENDED WITHIN ITS TORSO.
JOANNA (READING THE TEXT) “On further review, whilst the failsafe explosive is an integral component in the event of capture so as to prevent design theft, its elements may require alteration to ensure minimum danger of premature detonation.”
SHE TURNS TO NICK.
JOANNA It’s got a self-destructive capability.
NICK (REALISING) Of course. Dedlock could never let anyone copy his design.
JOANNA Mr Christie, do you realise what this means? If we could set it off-
NICK (ARRIVING AT THE SAME CONCLUSION) �"we could wipe out the entire army right here, and all the automatons that have already been activated.
HE TAKES THE PAGE, FOLDS IT UP AND POCKETS IT.
NICK Come on, we have to find Michael. This might be all he needs-
THE CAMERA SHOT SHOWS THE FILE BEING HELD UP BY NICK. AS HE CASTS IT AWAY, IT STOPS BLOCKING WHAT WAS BEHIND IT- A PAIR OF AUTOMATONS, STANDING ON THE METAL CATWALK OPPOSITE THE BOOTH. JOANNA LOOKS UP AND NOTICES THEM AT THE LAST SECOND AS THEY RAISE THEIR WEAPONISED ARMS TO FIRE. SHE PUSHES NICK TO THE FLOOR AND THE PAIR OF THEM LAND AWKWARDLY AS GUNSHOTS RING OUT, SHATTERING THE GLASS OF THE BOOTH AND SCATTERING BROKEN SHARDS EVERYWHERE. NICK SITS UP AND PRODUCES A GUN OF HIS OWN- NOT HIS PISTOL, A MORE SOPHISTICATED, AUTOMEX-MANUFACTURED POLICE WEAPON- AND RETURNS FIRE. STAYING LOW, HE MOVES TOWARDS THE DOOR AND MOTIONS FOR JOANNA TO FOLLOW HIM. SHE DOES SO WORRIEDLY.
JOANNA What’s going on?
NICK More automatons. Dedlock must be here as well.
THEY STEP OUTSIDE THE BOOTH. NICK FIRES AT BOTH AUTOMATONS AGAIN, AND THEY BOTH FALL. HE SEEMS SURPRISED AND LOOKS AT HIS GUN IN AMAZEMENT.
NICK These Automex weapons are wonderful. If we survive this, I’m never giving them back-
JOANNA (IMPATIENTLY) Come on!
SHE GRABS HIM AND DRAGS HIM TOWARDS A METAL STAIRCASE THAT LEADS UP TO THE CATWALK, WHICH IS CLOSER THAN THE DOOR THEY CAME THROUGH. THE AUTOMATONS REGAIN THEIR FEET AS JOANNA AND NICK RUN UP THE STEPS. NICK FIRES OFF ANOTHER FEW ROUNDS IN THEIR DIRECTION AS THEY REACH THE CATWALK AND RUN THROUGH ANOTHER DOORWAY INTO ANOTHER SECTION OF THE FACTORY.
NICK (CASUALLY) I suppose that’s us even now. Thanks for saving my life back there.
JOANNA (A TAD INDIGNANT) Even? Aren’t you forgetting I got us safely out of the palace?
NICK (CONCEDING) 2-1, then. Fair enough.
NICK’S GUN CLICKS EMPTY AFTER HE FIRES THE FINAL SHOT. HE THROWS IT AWAY IMPATIENTLY AS HE AND JOANNA CONTINUE TO FLEE. WE CUT AWAY TO CATCH UP WITH MICHAEL AND EMILY. THE PAIR OF THEM FLEE THROUGH THE BUILDING WITH TOM IN PURSUIT. THEY EMERGE ONTO A CATWALK, BUT SPOT SEVERAL AUTOMATONS ON A LOWER LEVEL. THE AUTOMATONS ATTEMPT TO FIRE AT THEM BUT THE TWO DUCK BACK INSIDE AND RUN OFF IN A DIFFERENT DIRECTION.
EMILY (FRANTICALLY) What do we do now?
MICHAEL (IN A HARASSED MANNER) I don’t know!
WE CUT BACK TO THE MAINFRAME ROOM. DEDLOCK STEPS SLOWLY INSIDE AND MAKES HIS WAY OVER TO THE MACHINE. HE PRODUCES A KEY, UNLOCKS AND THEN OPENS A PANEL ON THE FRONT OF IT, AND A SELECTION OF SWITCHES AND DIALS ARE REVEALED. A PAIR OF AUTOMATONS APPEAR BESIDE HIM, AND DEDLOCK SPEAKS TO THEM WITHOUT LOOKING AWAY FROM THE MAINFRAME MACHINE.
DEDLOCK (MUSINGLY) I had hoped to keep the rest of your brethren dormant until Trinova was under control. This project has had far too many complications already. But there’s no more time to waste…
HE TURNS THE DIAL TO THE RIGHT AND FLICKS ONE SWITCH. WE CUT TO THE HANGAR, WHERE THE EYES OF THE DORMANT AUTOMATONS BEGIN TO LIGHT UP. BACK IN THE MAINFRAME ROOM, DEDLOCK CLOSES AND LOCKS THE PANEL OF SWITCHES. HE GESTURES TO THE DOOR.
DEDLOCK Speaking of which, go and rid us of those two wretches.
THE TWO AUTOMATONS OBEDIENTLY MOVE TOWARDS THE DOOR. END OF SCENE.
ACT THREE, SCENE EIGHTEEN- EASTFORD, CONGRUENT WITH THE END OF SCENE SEVENTEEN. A PITCHED BATTLE IS NOW BEING FOUGHT. THE PALACE DEFENDERS AND DEDLOCK’S AUTOMATONS FIRE ON ONE ANOTHER CONSTANTLY. THE DEFENDERS’ SHOTS, EVEN THOSE FROM THE HIGHER CALIBRE WEAPONS OF THE POLICE, HAVE LITTLE EFFECT ON THE AUTOMATONS AND LARGELY SERVE TO JUST HOLD THEM AT BAY. THERE ARE CONSIDERABLY MORE FALLEN ON THE DEFENDERS’ SIDE THAN ON THE ATTACKERS’. AS THE BATTLE CONTINUES, MARK CREEPS OVER TO BESIDE TERRY, WHO IS BEHIND COVER AND IS PAUSING TO RELOAD.
MARK How are we doing?
TERRY (SHAKES HIS HEAD) Not well.
MARK You told Barlow about aiming for the joints?
TERRY NODS.
TERRY But nobody can shoot with enough accuracy over this distance.
MARK (DARKLY) And if they get inside the gates, we’re doomed.
TERRY (RESIGNEDLY) I’m not sure we can hold out either way.
THEY BOTH EXCHANGE A WORRIED LOOK.
TERRY Not unless Nick can find something and find a way to get it back to us.
SOMEWHERE CLOSE AT HAND, SOMETHING EXPLODES. BOTH TERRY AND MARK WINCE AS THE SCENE ENDS.
ACT THREE, SCENE NINETEEN- AUTOMEX HEADQUARTERS, JUST AFTER THE END OF SCENE SEVENTEEN. NICK AND JOANNA RUN THROUGH THE UPPER REACHES OF THE FACTORY, RACING ACROSS CATWALKS AND THROUGH ROOMS OF ALL FUNCTION. NICK NOW HOLDS THE POLICE SHOTGUN WE SAW EARLIER. AFTER RUNNING UP A COUPLE OF FLIGHTS OF STAIRS, THEY STOP AT A DOORWAY AS A TICKING AUTOMATON COMES LURCHING TOWARDS THEM. NICK SHOOTS IT AND IT FALLS DOWN THE STAIRWELL, NOW NO LONGER TICKING.
NICK (EXCLAIMING) God, that’s satisfying.
HE SEEMS ALMOST INTENT ON ADMIRING HIS WORK, BUT JOANNA DRAGS HIM OFF IN THE OTHER DIRECTION. AS THEY MAKE THEIR WAY THROUGH A SERIES OF CORRIDORS LINED WITH PIPES, THEY ENCOUNTER MORE AUTOMATONS- ONE SHOT IS ENOUGH TO STOP EACH, BUT SOME GET BACK UP AFTER A FEW SECONDS AND CONTINUE PURSUING THEM, INCLUDING ONE THAT HAS HAD A GAPING HOLE IN ITS TORSO ARMOUR BLOWN OPEN BY THE SHOT. WHEN OUT OF AMMUNITION, NICK THROWS THE SHOTGUN AWAY AND PRODUCES A RIFLE OF THE SAME KIND THE POLICE HAVE BEEN SEEN USING AT EASTFORD. THE TWO OF THEM EMERGE ONTO ANOTHER CATWALK RUNNING ROUND A PERIMETER AREA- ON A LOWER DOWN LEVEL, SEVERAL AUTOMATONS WAIT, AND UPON SPOTTING THIS NICK AND JOANNA BOTH RETREAT BACK INSIDE. THE AUTOMATONS AND NICK BRIEFLY EXCHANGE FIRE BEFORE HE AND JOANNA RUN OFF IN ANOTHER DIRECTION, AND THE AUTOMATONS MOVE TO PURSUE THEM. WE SEE THEM THROUGH THE EYES OF THE AUTOMATONS ONCE OR TWICE AS THEY DO SO. EVENTUALLY, THEY REACH A ROOM FEATURING LARGE STEAM ENGINES, PRESUMABLY FOR POWERING MACHINERY BELOW, WHICH NICK LOOKS AT IN CONSIDERATION. PIPES CRISSCROSS THE WALLS AND CEILING. THERE IS A DOOR AT THE OTHER END OF THE ROOM, AND AS THE PAIR REACH IT, NICK STOPS AND MOTIONS FOR HER TO GO THROUGH IT.
NICK You go on. I’ve had an idea.
JOANNA You mean you’re stopping?
NICK (CONFIDENTLY) I’ll be fine. If you end up anywhere with a choice of directions, take left, so I’ll know how to find you again. Now go on, I’ll be right behind you.
LOOKING NOT WHOLLY CONVINCED, JOANNA RELUCTANTLY DOES SO. ONCE SHE HAS GONE, NICK BEGINS SHOOTING PIPES CONNECTED TO THE ENGINES, AND STEAM BEGINS JETTING OUT. THE AUTOMATONS ARRIVE AT THE OTHER END OF THE ROOM. THROUGH THEIR EYES, WE SEE THAT THEIR VISION HAS BEEN RENDERED COMPLETELY USELESS. WITH A VICTORIOUS SMIRK, NICK SETS OFF AFTER JOANNA. SHE ARRIVES AT A CATWALK AT THE VERY TOP FLOOR OF THE BUILDING. BELOW, MANY FACTORY MACHINES WHIR AWAY, INCLUDING SOMETHING RESEMBLING A CAR CRUSHER THAT IS SIMPLY LABELLED “SCRAP METAL”. JOANNA RUNS ACROSS THE CATWALK, WHICH WOBBLES UNSTEADILY SEVERAL TIMES- WE SEE THAT IT IS LOOSELY BOLTED AT THE FAR END. AFTER THE FIRST WOBBLE, SHE CASTS A WORRIED GLANCE DOWN BELOW, AND FROM THERE ON KEEPS ONE HAND FIRMLY ON THE RAILING UNTIL SHE REACHES THE OTHER SIDE, WHERE THERE IS A PLATFORM FOLLOWED BY ANOTHER DOOR, WITH A STAIRCASE LEADING DOWNWARDS OFF TO ONE SIDE. ONCE SHE IS THERE, SHE TURNS AROUND AND LOOKS BACK THE WAY SHE CAME. A MOMENT LATER, NICK APPEARS AT THE OTHER END OF THE CATWALK, RIFLE STILL IN HAND, AND BEGINS RUNNING TOWARDS HER. REMEMBERING HER EXPERIENCE A MOMENT EARLIER, JOANNA RAISES A HAND IN A CAUTIONARY MANNER.
JOANNA Be careful!
NICK ROLLS HIS EYES, APPEARING BOTH AMUSED AND EXASPERATED.
NICK It’s got a railing, I’m hardly going to fall off-
AT THIS MOMENT, AN AUTOMATON APPEARS ON THE CATWALK BEHIND HIM- MORE SPECIFICALLY, THE AUTOMATON WITH THE CHEST CAVITY WOUND WE SAW NICK SHOOT EARLIER, WHICH IS NOW SPARKING IN A DANGEROUS-LOOKING MANNER. JOANNA SPOTS IT AND GESTURES URGENTLY TO NICK.
JOANNA Behind you!
NICK TURNS ROUND AND SPOTS THE AUTOMATON AS IT RAISES ITS ARM. HE MOVES OUT OF THE WAY OF WHERE IT IS AIMING AS A SHOT WHISTLES BY, TAKING A FEW HURRIED STEPS BACK, BUT AT THIS MOMENT, THE CATWALK BECOMES UNBOLTED IN ONE PLACE AND SHAKES SUDDENLY AND VIOLENTLY BENEATH HIM. WITH A SHOUT OF SURPRISE NICK FALLS BAKCWARDS AND LANDS IN AN AWKWARD MANNER RIGHT AT THE END OF THE CATWALK. THE GUN SKITTERS OUT OF HIS HANDS AND LANDS NEAR TO JOANNA. NICK LOOKS DOWNWARDS, SEES THE CRUSHING MACHINE BELOW THE CATWALK, AND SHAKES HIS HEAD IN DISBELIEF.
NICK There must have been a better place to put that than below the walkway.
HE LOOKS UP AS THE AUTOMATON ADVANCES TOWARDS HIM AND PUSHES HIMSELF BACK SO THAT HE IS NO LONGER ACTUALLY ON THE CATWALK. SLOWLY, JOANNA PICKS UP NICK’S DISCARDED GUN AND TAKES AIM AT THE AUTOMATON. NICK LOOKS FROM HER TO THE AUTOMATON AS IT PAUSES, ALMOST IN A CONSIDERING MANNER, LOOKING FROM ONE PERSON TO THE OTHER, TRYING TO GAUGE WHO THE MORE IMMEDIATE THREAT IS.
NICK (IN AN IMPLORING MANNER) Kill it. Never mind me, just shoot it. It’s armour’s broken, one shot’ll be enough.
JOANNA LOOKS FROM ONE TO THE OTHER, LOOKING INDECISIVE. NICK LOOKS AFRAID BUT DETERMINED.
NICK (DOGGEDLY) Just do it!
THE AUTOMATON’S EYES FLASH. IT RAISES ITS WEAPON IN A MORE THREATENING MANNER. JOANNA LOOKS AT IT, THEN MOMENTARILY GLANCES DOWN AT THE BOLTED CATWALK. SLOWLY, SHE SIGHS AND LOWERS THE GUN.
JOANNA I can’t.
NICK LOOKS AT HER DISBELIEVINGLY, THEN BACK AT THE AUTOMATON. IT BEGINS TO TICK A LITTLE FASTER. THEN JOANNA FIRES, SPECIFICALLY AT THE OTHER REMAINING LOOSE BOLT HOLDING UP THE CATWALK. THE CATWALK IS NOW TOTALLY UNATTACHED AT ONE END, AND THE AUTOMATON PLUNGES DOWNWARDS, DROPPING IN TO THE ACTIVE CRUSHER, WHICH PROCEEDS TO COMPOUND IT. NICK REFLEXIVELY PUSHES HIMSELF FURTHER BACK FROM THE EDGE AS THIS HAPPENS. HE LOOKS UP AT JOANNA AND LAUGHS.
NICK (A TINY BIT HYSTERICAL) You scared me for a moment, there.
JOANNA (DISBELIEVINGLY) I scared you?
SHE HELPS NICK UPRIGHT, AND HE LOOKS AT HER WITH ADMIRATION, THEN GESTURES TO THE FALLEN CATWALK.
NICK (AWESTRUCK) I don’t think anyone’s going to be following us now. Where did you learn to shoot a gun like that?
JOANNA (WITHOUT THINKING) My father. He was rather expecting a male heir, I think, and got me instead. He insisted on teaching me boyish things.
NICK (IMPRESSED) That came in handy. I suppose I owe you twice now.
HE STARTS WALKING AGAIN.
NICK Right, now we need to find Michael, before anything else-
HE PAUSES, STRUCK BY A THOUGHT, AND APPEARS CONFUSED. HE TURNS SLOWLY TO JOANNA IN A COLUMBO-ESQUE MANNER.
NICK Hang on… if your family were palace staff why would your father need a male heir?
JOANNA LOOKS AWAY GUILTILY.
NICK You aren’t just a maid, are you?
SLOWLY, JOANNA SHAKES HER HEAD, AND THEN LOOKS UP AT HIM. NICK LOOKS AT HER MORE CLOSELY, AND REALISATION SLOWLY DAWNS ON HIM. HIS MOUTH FALLS OPEN IN SHOCK.
NICK (ASTOUNDED) Oh my God…
JOANNA NODS IN A SAD MANNER. NICK LOOKS DUMBFOUNDED.
NICK Why did you lie? Why didn’t you say something?
JOANNA I didn’t want you to know.
NICK Why not? (SHAKES HIS HEAD) How did I not recognise you? I must be an idiot-
JOANNA Because this is what I actually am. Not an artist’s depiction, or dolled up for a coronation.
NICK SHAKES HIS HEAD AGAIN DISBELIEVINGLY.
NICK (STRUGGLING TO COMPREHEND) Why didn’t you tell me?
JOANNA (EXPRESSIVELY) Because you’re the first person I’ve ever met that did something for me without it being about who I was. My entire life has just been about titles and responsibilities and nothing else. I end up feeling like-
NICK (RECOGNISING) Like a figure, instead of a person.
JOANNA (RELIEVED HE UNDERSTANDS) Exactly! Except since I met you. You’re completely mad in the head, Mr Christie, but you treat me like a person and don’t ask for anything in return for it. I didn’t want to alter your perception of me.
NICK LOOKS RATHER TOUCHED BY THIS, BUT ALSO A TAD INCREDULOUS.
NICK (DISBELIEVING) You were worried about my opinion of you? Every time we run into one another, one of us nearly dies. You couldn’t make me think less of you if you tried.
SURPRISED, JOANNA STRUGGLES TO TAKE THIS IN INSTANTLY AND DOES NOT RESPOND. ABOUT THIS TIME, A LOUD, LAYERED TICKING NOISE STARTS UP SOMEWHERE IN THE DISTANCE. THEY SHARE A FOND LOOK. A BIT NERVOUSLY, NICK STEPS TOWARDS JOANNA AND TAKES BOTH OF HER HANDS IN HIS. SHE CATCHES HER BREATH.
NICK Your Highness-
JOANNA Don’t call me that.
NICK (AMENDING) Sorry. Joanna… would it be terribly forward if I…
JOANNA (NERVOUS WITH ANTICIPATION) If you what?
THERE IS A VERY PREGNANT PAUSE BETWEEN THEM AS THEY BOTH LOOK AT ONE ANOTHER, NICK UNCHARACTERISTICALLY UNSURE OF HIMSELF. THEN THE MOMENT IS PUNCTURED, AS BOTH NOTICE THE TICKING SOUND, WHICH IS BUILDING OMINOUSLY SOMEWHERE NOT SO FAR AWAY. THEY TURN THEIR HEADS SLOWLY TOWARDS THE DOORWAY IN A CONFUSED MANNER.
NICK What is that?
SLOWLY HE PROCEEDS TOWARDS THE DOORWAY. A DISAPPOINTED-LOOKING JOANNA FOLLOWS HIM. THEY STEP OUT ONTO THE WALKWAY OVERLOOKING IT, AND LOOK DOWN. FAR BELOW THEM IS THE HANGAR FLOOR, AND ON IT, THE THOUSANDS OF DORMANT AUTOMATONS HAVE FULLY COME TO LIFE. NICK SIGHS GLUMLY.
NICK (CYNICALLY) Oh, joy.
AS ONE, THE AUTOMATONS LOOK UP AT THEM. THEY RAISE THEIR WEAPONS AND POINT THEM UPWARDS AT THEM. NICK AND JOANNA BOTH TURN AND FLEE BACK INSIDE AS THE GUNSHOTS RING OUT BEHIND THEM. NICK PULLS OUT A PAIR OF AUTOMEX PISTOLS AND PASSES ONE TO JOANNA AS THEY RUSH DOWN THE STAIRS. WE CUT AWAY TO MICHAEL AND EMILY, WHO ARE IN ANOTHER PART OF THE FACTORY. TOM CLOSES IN ONE THEM FROM ONE DIRECTION, SEVERAL AUTOMATONS FROM ANOTHER. THEY DUCK THROUGH ANOTHER METAL DOORWAY AND SEAL IT BEHIND THEMSELVES, PAUSING FOR JUST A MOMENT, BOTH APPEARING TIRED.
MICHAEL This is hopeless. Unless we can get back to the mainframe, we’re just playing for time.
EMILY Can you shut it down?
MICHAEL Probably. I put it together, it shouldn’t be beyond me to take it apart. I just need to get it open.
EMILY Can you do that without your key?
MICHAEL (DISMISSIVELY) It wouldn’t have worked anyway. I made the lock myself to make it impervious to skeleton keys.
EMILY GLARES AT HIM INDIGNANTLY, AND MICHAEL NOTICES.
MICHAEL (DEFENSIVELY) Well, it seemed sensible at the time, I didn’t want anyone to copy the design-
EMILY (BORDERLINE HYSTERICAL) Well, somebody copied it anyway!
MICHAEL (DARKLY) The irony is not lost on me.
SOMETHING STRIKES THE OTHER SIDE OF THE METAL DOOR, MAKING THEM BOTH JUMP.
MICHAEL I’ll need time. I think I can do it, but I need a clear run at it.
HE SEEMS STUMPED BY THIS PROBLEM. EMILY LOOKS AT THE DOOR MEDITATIVELY, THEN COMES TO A DETERMINED CONCLUSION.
EMILY (INTREPIDLY) I’ll distract them. I’m the one they’ve really been after all this time, you get back to that thing and take it apart.
MICHAEL No chance. I’m not abandoning you.
EMILY We don’t have any other choice.
MICHAEL KNOWS THIS, BUT IS EVIDENTLY TORN BETWEEN THIS REALITY AND THE PROMISE HE MADE TO FIONA EARLIER.
MICHAEL I can’t. I promised I’d protect you-
EMILY (FLATLY) Well, you shouldn’t have. That’s a promise that you just can’t keep. I’ve taken care of myself for the last ten years, I think I can manage for another few minutes. Now, get back to that control room.
HER TONE SEEMS TO SHOCK MICHAEL. THEY BOTH SAY NOTHING FOR SEVERAL MOMENTS, THOUGH SHE STARES AT HIM DETERMINEDLY. THE SILENCE IS PUNCTUATED AS SUDDENLY TOM’S SAW COMES SLICING THROUGH THE METAL OF THE DOOR AND BEGINS MOVING DOWNWARDS, CUTTING THROUGH THE HINGES. THEY BOTH JUMP, TURN TOWARDS THE HORRIFIC SOUND OF METAL SCREECHING AGAINST MORE METAL AND REALISE WHAT IS HAPPENING. EMILY TURNS BACK TO MICHAEL AND GESTURES TO HIM TO GET MOVING.
EMILY (FORCEFULLY) Go!
RELUCTANTLY, MICHAEL OBEYS HER COMMAND. EMILY TAKES ANOTHER EDGY LOOK AT THE SAW BLADE EMBEDDED IN THE DOOR, THEN SETS OFF IN A DIFFERENT DIRECTION. THE SAW CONTINUES TO SLICE DOWNWARDS UNTIL THE HINGES HAVE BEEN BROKEN. ONCE THIS HAS HAPPENED, TOM KICKS IN THE DOOR AGGRESSIVELY AND STEPS INTO THE CORRIDOR, TAKING OFF IN PURSUIT AFTER EMILY. WE STAY WITH MICHAEL AS HE RACES BACK DOWN THROUGH THE BUILDING VIA AN ALTERNATE ROUTE, OCCASIONALLY HAVING TO DOUBLE BACK AFTER TAKING WRONG TURNS, AND EVENTUALLY REACHING THE CONTROL ROOM WITH THE MAINFRAME. HE SKIDS TO A HALT INSIDE AS HE SEES DEDLOCK, AND THE LATTER TURNS TO HIM WITH A MILDLY SURPRISED EXPRESSION.
DEDLOCK (SURPRISED) You aren’t dead.
MICHAEL Well observed.
DEDLOCK Come to witness your machine’s part in the grand finale?
MICHAEL (SHAKES HIS HEAD) It’s not mine any longer. You know, I really used to look up to you. I wanted to invent to make the world a better place, like I thought you did. Not to see technology used for evil.
DEDLOCK (LAZILY) Don’t be so melodramatic. There’s no such thing as evil, there are only opinions, and people who can’t comprehend opinions that differ from their own.
MICHAEL GLARES AT HIM.
MICHAEL I won’t let you do this.
DEDLOCK (PATRONISINGLY) And what exactly do you plan to do to stop me?
MICHAEL (MAKING A MOVE TOWARDS HIM) A more pertinent question would be what do you plan on doing to stop me-
HE IS ALMOST AT THE MAINFRAME WHEN DEDLOCK UNSCREWS THE TOP OF HIS CANE AND PRODUCES THE SABRE CONCEALED INSIDE. MICHAEL LOOKS AT IT WITH A MIXTURE OF AWE AND WORRY, THEN BACK TO DEDLOCK AGAIN.
MICHAEL (FLUMMOXED) Ah. That’s quite impressive.
DEDLOCK (GRACIOUSLY) Thank you.
HE MOVES IN A MENACING FASHION TOWARDS MICHAEL, WHO BEGINS TO BACK AWAY. END OF SCENE.
ACT THREE, SCENE TWENTY- AUTOMEX HEADQUARTERS, JUST AFTER SCENE NINETEEN. WE BEGIN WITH EMILY, WHO IS RUNNING THROUGH THE UPPER STOREYS OF THE FACTORY, TOM CLOSE BEHIND HER. SHE ASCENDS A FLIGHT OF STAIRS AND REACHES ANOTHER METAL DOOR, WHICH SHE THROWS OPEN AND DUCKS INSIDE. SHE SHUTS IT BEHIND HER AS TOM ARRIVES AND MAKES A DESPERATE LUNGE- THE BLADE OF HIS SAW MANAGES TO CROSS THE THRESHOLD BEFORE EMILY SLAMS THE DOOR ON IT. THE FORCE OF THE DOOR SLAMMING SNAPS THE HANDLE OF THE SAW AND THE BLADE FALLS TO THE GROUND AS THE DOOR SLAMS SHUT. STEPPING HASTILY AWAY FROM IT, EMILY LOCKS THE DOOR AND CONTINUES RUNNING. BACK WITH MICHAEL, WE WATCH HIM RUN UP THE STAIRS OUTSIDE THE MAINFRAME ROOM AND DUCK BEHIND A WALL, ATTACHED TO WHICH IS A PEARL ASH FIRE EXTINGUISHER. DEDLOCK LAZILY ADVANCES THE STAIRS AFTER HIM.
DEDLOCK (CASUALLY) You can’t possibly escape. This is my factory, I know it from top to bottom, and even if I don’t find you, my automatons will.
MICHAEL (TO HIMSELF, ACRIMONIOUSLY) Nick couldn’t have given me just one of those guns. Just one-
DEDLOCK I can hear you!
MICHAEL STOPS TALKING ABRUPTLY. HE LOOKS AROUND, AND SPOTS THE FIRE EXTINGUISHER, WHICH HE GRABS FROM OFF THE WALL. DEDLOCK REACHES THE TOP OF THE STAIRS AND ROUNDS THE CORNER.
DEDLOCK Now, let’s put an end to these childish games-
AS HE ROUNDS THE CORNER, MICHAEL STEPS OUT AND SPRAYS HIM WITH THE FIRE EXTINGUISHER, UNLEASHING A STREAM OF POTASSIUM CARBONATE SOLUTION. STARTLED, DEDLOCK SHOUTS OUT AND STUMBLES BACKWARDS. MICHAEL CONTINUES TO DIRECT THE SPRAY TOWARDS HIM AS HE BACKS AWAY HURRIEDLY. WE RETURN TO SEE NICK AND JOANNA FLEEING DOWN INTO THE LOWER REACHES OF THE FACTORY. AS THEY REACH THE LOWER LEVELS, AUTOMATONS BEGIN ARRIVING FROM SEVERAL DIFFERENT DIRECTIONS. BOTH NICK AND JOANNA BEGIN FIRING ON THEM AS THEY TAKE EVASIVE ACTION AND DUCK DOWN ANOTHER CORRIDOR.
JOANNA What are we meant to do now?
NICK (WITHOUT HUMOUR) Try not to get killed.
JOANNA (DESPAIRINGLY) We can’t run forever.
NICK (RESIGNEDLY) I know. It’s all up to Michael now.
WE CUT BACK TO EMILY, WHO IS NOW IN THE VERY UPPER REACHES OF THE BUILDING. SHE REACHES A DOORWAY AND EMERGES OUT ONTO A SMALL PLATFORM. A SHORT CATWALK STRETCHES OUT AHEAD OF HER, REACHING ANOTHER IDENTICAL PLATFORM WITH AN IDENTICAL DOOR, THIS ONE OPEN. JUST OVERHEAD IS THE MAGNETIC CRANE, SWINGING SLOWLY IN CIRCLES. EMILY LOOKS UP AT IT FOR A MOMENT. THEN, JUST AS SHE LOOKS BACK, TOM APPEARS IN THE DOORWAY ON THE OTHER SIDE. EMILY LOOKS AT HIM AND ATTEMPTS TO KEEP CALM.
EMILY Hope you’re not too cross with me for snapping your arm off.
WE SEE EMILY THROUGH TOM’S GREEN MECHANICAL STARE. INSIDE HIS HEAD, HIS BREATHING IS LOUDER AND LESS MEASURED THAN NORMAL. TOM’S MECHANICAL FIST CLENCHES AT HIS SIDE. MEANWHILE, THE MAGNETIC CRANE SLOWLY BEGINS COMING BACK AROUND. WHEN IT COMES BACK, IT WILL BE PASSING OVER THE CATWALK. EMILY EYES IT, AND SEEMS TO BE STRUCK BY INSPIRATION.
EMILY (MOCKINGLY) You must really hate me by now. Do you think you’ll ever work again if your employers find out a sixteen-year-old girl got the better of you?
TOM DOES NOT RESPOND. THE CRANE KEEPS ON MOVING.
EMILY I could understand you being insecure. I mean now Dedlock’s got pure machines to work with, he won’t want a mongrel any longer, will he?
AGAIN, TOM DOES NOT RESPOND, AND THE CRANE KEEPS ON MOVING. EMILY GIVES IT THE TINIEST GLANCE BEFORE CONTINUING.
EMILY Unless, of course, you killed me. Got your reputation back. Back in Automex’s good books. So, what’s stopping you?
TOM LOOKS DIRECTLY AT HER, AND IN A SURPRISING SHOW OF EXPRESSION, SMILES THINLY. EMILY RETURNS THIS. THE CRANE IS NOW NEARBY.
EMILY (PROVOKINGLY) Come on, then.
TOM RUSHES FORWARDS IN A PREDATORY MANNER. EMILY LOOKS CONFIDENT INITIALLY, THEN SLIGHTLY LESS SO AS SHE BEGINS TO WORRY SHE HAS TIMED THIS INCORRECTLY, OR THAT HER PLAN MAY NOT WORK. TOM GETS CLOSER, WORRYINGLY CLOSE, BUT AS HE LUNGES TOWARDS HER, THE HUGE CRANE MAGNET PASSES OVERHEAD AND DRAGS HIM UP THROUGH THE AIR UNTIL HE SLAMS INTO IT WITH A STOMACH-TURNING, BONE-SHATTERING CRUNCH. LIKE A HORRIFIC ORNAMENT, THE CRANE WITH TOM ATTACHED TO IT BEGINS SWINGING ROUND AGAIN WHILST HE DANGLES LIFELESSLY FROM IT. EMILY CASTS A GLANCE AT IT, LOOKING DISGUSTED BUT A TINY BIT SATISFIED, BEFORE RUNNING ACROSS THE CATWALK TO THE OTHER SIDE. WE RETURN TO MICHAEL AND DEDLOCK. MICHAEL RETREATS UP ANOTHER SET OF STEPS AS DEDLOCK SWIPES AT HIM WITH HIS CANE-SWORD.
DEDLOCK You could have been so much. Could have revolutionised this company, this country, perhaps. It’s tragic it has to end like this.
MICHAEL (UNDER HIS BREATH) I’m inclined to agree.
MICHAEL RETREATS FURTHER, AND SPOTS A SIZEABLE WRENCH LYING NEARBY ROUND THE CORNER. STEPPING MOMENTARILY OUT OF DEDLOCK’S LINE OF SIGHT, HE GRABS IT AND AIMS AT A SWING AT HIM AS HE REAPPEARS.
MICHAEL (AS HE DOES SO) In fact, it’s positively heart-wrenching-
AMUSEDLY, DEDLOCK EVADES THIS AND KNOCKS THE WRENCH OUT OF HIS HANDS.
DEDLOCK That sounded a lot better in your head, didn’t it?
MICHAEL (MEEKLY) It always does.
HE BEGINS BACKING AWAY AGAIN. WE CUT BACK TO EMILY, WHO IS NOW MAKING HER WAY DOWNWARDS. SHE REACHES ANOTHER METAL HATCH DOOR WITH A METAL ROD LEANING NEARBY. SHE OPENS IT, AND TO HER HORROR FINDS AN AUTOMATON WAITING ON THE OTHER SIDE WITH ITS BACK TO HER. SHE HASTILY SLAMS THE DOOR SHUT, LOCKS IT AND JAMS THE METAL ROD BENEATH THE WHEEL/HANDLE/WHATEVER THAT THING ON SUBMARINE DOORS IS CALLED, THEN SETS OFF AT A RUN IN ANOTHER DIRECTION. BACK WITH MICHAEL AND DEDLOCK, THEY HAVE NOW REACHED THE ROOM BEHIND THE BALCONY DEDLOCK APPEARED ON INITIALLY. BELOW, NATURALLY, IS THE MAINFRAME, AND TO THE OTHER SIDE IS A CONTROL BOOTH. IN FRONT OF THAT IS A PRODUCTION LINE SPORTING A GIANT CUTTING BLADE IDENTICAL TO THE ONE WE SAW IN THE TIMBER STREET FACTORY, AGAIN WITH A CRANE ABOVE IT. DEDLOCK GETS TOO CLOSE TO MICHAEL AND HEMAKES A GRAB FOR THE CANE-SWORD. THEY BOTH STRUGGLE FOR IT- EVENTUALLY, DEDLOCK RELINQUISHES IT AND SIMPLY PUNCHES HIM BEFORE HE CAN GET A GRIP OF IT, CAUSING HIM TO DROP IT. AN UNARMED SCRAP DEVELOPS, WHICH IS EVIDENTLY NOT ONE OF MICHAEL’S AREAS OF EXPERTISE. EVENTUALLY, DEDLOCK KNOCKS HIM DOWN IN FRONT OF THE CONTROL BOOTH, THEN PICKS UP HIS CANE-SWORD.
DEDLOCK Congratulations, you have managed to waste several minutes of my time.
MICHAEL (PAINED) Small victories.
DEDLOCK Indeed.
HE STEPS FORWARDS IN A MENACING MANNER. MICHAEL SITS UP SLOWLY, AND REGISTERS WHAT HIS SURROUNDINGS ARE. DEDLOCK NOTICES WHAT IS BEHIND HIM, AND SEEMS INTRIGUED BY IT.
DEDLOCK (MUSINGLY) Funny. It’s been a long time since I actually killed anyone personally. I don’t suppose I ever will again, now I have my automatons. I’m going to miss this feeling. It’s very… invigorating.
HE GRABS MICHAEL AND HAULS HIM UPRIGHT, AND LOOKS AT THE CONTROLS OF THE BOOTH WITH AN INTRIGUED EXPRESSION.
DEDLOCK So if this is really the last time, I really have to make it memorable.
HE PULLS ONE OF THE LEVERS. MICHAEL FOLLOWS THIS MOVEMENT WITH HIS EYES. BEHIND THEM, THE CONVEYOR LEADING TOWARDS THE CUTTING BLADE TILTS UPWARDS AT A SLOPING ANGLE.
DEDLOCK Any parting words?
BEHIND HIS BACK, MICHAEL GRASPS THE LEVER FOR THE CRANE, AND DOES NOT REPLY.
DEDLOCK (DISSATISFIED) Disappointing.
HE MAKES AS IF TO THROW MICHAEL ONTO THE CONVEYOR. MICHAEL PRESSES DOWN THE LEVER AS FAR AS IT WILL GO. THE CRANE LURCHES FORWARDS SUDDENLY. MICHAEL DUCKS, DEDLOCK REALISES WHAT IS HAPPENING, BUT IS TOO SLOW TO REACT. THE CRANE REACHES THE END OF ITS LINE, SWINGS FORWARDS WITH ITS MOMENTUM, SMASHES THE GLASS OF THE BOOTH AND SLAMS INTO HIM. DEDLOCK IS LAUNCHED BACKWARDS, SMASHES INTO THE BALCONY RAILING, SPILLS OVER IT AND LANDS ON THE MAINFRAME ROOM’S FLOOR. HIS FALLEN SWORD LANDS NEXT TO HIM. MICHAEL, HAVING BEEN CUT BY SEVERAL SHARDS OF GLASS, GETS UP GINGERLY AND SURVEYS THE DESTRUCTION AROUND HIM. WE RETURN TO CATCH UP WITH EMILY. SHE MAKES HER WAY TOWARDS ONE CORRIDOR AND SEES AUTOMATONS ADVANCING DOWN IT, AND QUICKLY CHANGES COURSE. ELSEWHERE, NICK AND JOANNA BACK AWAY DOWN THE SAME CORRIDOR, SHOOTING AT APPROACHING AUTOMATONS. NICK’S FINAL BORROWED POLICE WEAPON CLICKS EMPTY, AND HE DROPS IT AND PULLS OUT HIS OWN PISTOL. BACK WITH MICHAEL, HE RE-ENTERS THE MAINFRAME ROOM, STILL MOVING GINGERLY BUT HURRYING ALONG, AND CARRYING THE WRENCH HE HAD EARLIER. HE SEARCHES THE FRONT OF THE MAINFRAME MACHINE UNTIL HE FINDS A PANEL WHICH HE HITS WITH THE WRENCH UNTIL IT CAVES IN. AT THE OTHER END OF THE ROOM, DEDLOCK STIRS JUST A LITTLE BUT DOES NOT GET UP. MICHAEL CASTS A NERVOUS GLANCE AT HIM BEFORE HE BEGINS SEARCHING INSIDE THE MACHINE, SEEMING BAMBOOZLED INITIALLY BY ITS INNER WORKINGS. HE FOLLOWS THE PATHS OF SEVERAL WIRES, AND ONLY FINDS HIMSELF MORE CONFUSED.
MICHAEL (TO HIMSELF, IN A HARASSED MANNER) Come on, where’s the power?
HE CONTINUES SEARCHING IN A DESPERATE MANNER. ELSEWHERE, EMILY FINDS HERSELF TRAPPED IN AN INTERSECTING POINT BETWEEN TWO CORRIDORS. AUTOMATONS CLOSE IN FROM BOTH DIRECTIONS. IN ANOTHER PART OF THE FACTORY, JOANNA AND NICK HAVE REACHED A DEAD END. HER GUN IS NOW ALSO EMPTY, AND HE STANDS IN FRONT OF HER IN A DEFENSIVE MANNER, PISTOL STILL IN HAND, AS MORE MACHINES ADVANCE UPON THEM. BACK AT EASTFORD, THE AUTOMATON FORCES MAKE A PUSH FORWARDS AND MANAGE TO BREAK THROUGH THE GATES. THE REMAINING DEFENDERS, AMONGST THEM TERRY, MARK, DAVID AND BARLOW, BAND TOGETHER IN AN ATTEMPT TO STOP THEM PROCEEDING ANY FURTHER. BACK IN THE MAINFRAME ROOM, MICHAEL CONTINUES HIS ATTEMPTS TO SHUT DOWN THE MACHINE. HE LOCATES A SEEMINGLY ENDLESS REEL OF TAPE BENEATH A “HEAD” READING IT. ABOVE IT, A SEPARATE PIECE OF REEL READS “END FUNCTION,” WITH A COMPLEX ARRAY OF SYMBOLS BELOW. MICHAEL READS THE WORDS AGAIN, THEN HESITATES, LOOKING UP AT THE “HEAD” ABOVE IT. HE READS THE WORDS A THIRD TIME, LOOKING INDECISIVE, THEN SUDDENLY GRASPS THE READING HEAD AND SHIFTS IT TO BE OVER THE “END FUNCTION” TAPE. ELSEWHERE IN THE FACTORY, AND ON THE BATTLE GROUND AT EASTFORD, THE AUTOMATONS SUDDENLY CEASE MOVING. THEIR WOULD-BE-VICTIMS PAUSE AND LOOK AT THEM IN HESITANT DISBELIEF. SLOWLY, THE MECHANICAL CREATURES BEGIN TO SPUTTER. A FEW SPARKS FLY OUT FROM CRACKS BETWEEN ARMOUR PLATES. DAVID TURNS TO THE OTHERS WITH INTIMIDATING AUTHORITY.
DAVID (VEHEMENTLY) Get behind cover!
THE DEFENDERS FOLLOW HIS ORDER UNQUESTIONINGLY. NICK ALSO ANTICIPATES IT, AND TURNS SHARPLY TO JOANNA, PUSHING HER BACK INTO THE CORNER OF THE CORRIDOR THEY ARE IN AND TURNING TOWARDS HER TO SHIELD HER FROM THE BLAST. IN NEAR-PERFECT UNISON, THE AUTOMATONS DETONATE, FILLING THE AIR WITH SMOKE AND SHARDS OF SHRAPNEL. EMILY REFLEXIVELY DUCKS AND COVERS HER HEAD. WITHIN THE FACTORY, THE FORCE OF TWENTY THOUSAND MACHINES EXPLODING SIMULTAENOUSLY ROCKS THE ENTIRE BUILDING, DESTROYING A FAIR AMOUNT OF IT IN THE PROCESS. THIS IN PART IS VIEWED FROM THE EXTERIOR- THE EXPLOSION ATTRACTS THE ATTENTION OF MANY IN THE CITY, WHO STEP OUTSIDE INTO THE STREETS AND LOOK IN ASTONISHMENT TOWARDS AUTOMEX’S HEADQUARTERS. AMONGST THE CROWD ARE A FEW FACES WE RECOGNISE- LILY, BESS, DORIS, AND BUNCE. AT THE POLICE STATION, BARLOW’S YOUNG DEPUTY STEPS OUTSIDE AND LOOKS OFF INTO THE DISTANCE TOWARDS IT, THEN HURRIEDLY DUCKS BACK INSIDE. INSIDE THE FACTORY, EMILY GETS UP HESITANTLY, AND LOOKS AROUND HER. SHATTERED FRAGMENTS OF THE AUTOMATONS LIE ALL AROUND. SHE LOOKS CONFUSED, AND BREATHES DEEPLY, TRYING TO COPE WITH THE FACT THAT SHE HAS NARROWLY ESCAPED DEATH AGAIN. AT EASTFORD, THE DUST SETTLES SLOWLY, AND EVERYONE TENTATIVELY EMERGES FROM COVER. THEY ARE STUNNED BY WHAT THEY SEE- THE BUILDINGS HAVE BEEN DAMAGED AND THE COURTYARD ITSELF IS IN PIECES, AND THE MACHINES LIE IN BITS AROUND THEM.
DAVID What just happened?
TERRY IS THE FIRST TO LEAVE COVER. HE DOES SO CAUTIOUSLY, AND TAKES A FEW STEPS UNTIL HE COMES TO AN AUTOMATON’S SHATTERED ARM. HE PICKS IT UP SLOWLY AND LOOKS AT IT.
TERRY I have no idea.
WE CUT BACK TO AUTOMEX’S HEADQUARTERS. NICK AND JOANNA STILL STAND AS THEY WERE. BOTH HAD THEIR EYES CLOSED AT THE TIME OF THE BLAST, AND THEY OPEN THEM NOW SLOWLY, FACING EACH OTHER. THE TWO ARE CLOSE ENOUGH TO KISS. A MOMENT LATER, THEY BOTH REALISE THIS FACT AND LURCH BACKWARDS HASTILY.
NICK Are you alright?
JOANNA I think so.
SLOWLY, THEY MOVE APART. THEY BOTH LOOK AT THE SPOT THEIR AUTOMATON ASSAILANTS HAD A MOMENT EARLIER BEEN OCCUPYING. NICK BENDS DOWN AND PICKS UP THE LARGEST PIECE OF DEBRIS HE CAN FIND, WHICH HE INSPECTS BROODINGLY.
JOANNA What was that?
NICK Michael. It had to be. He must have found a way to set off the end function without us.
JOANNA How?
NICK I don’t know.
A SECTION OF CEILING CAVES IN AND FALLS AWAY A FEW METRES AWAY. NICK WATCHES IT WARILY.
NICK This place can’t be safe after that. We need to find him. Him and Emily.
JUST AFTER SHE SAYS THIS, WE RETURN TO THE MAINFRAME ROOM. DEDLOCK STIRS, THEN REACHES OUT AND GRABS HIS SWORD. HE PICKS HIMSELF UP GINGERLY, THEN STEPS SLOWLY TOWARDS THE DOOR. OUTSIDE, MOST OF THE FACTORY FLOOR IS IN RUINS, MACHINES SMASHED TO PIECES. THE AUTOMATON HANGAR HAS COLLAPSED COMPLETELY. DEDLOCK LOOKS AT THESE RUINS IN SHOCK FOR SEVERAL SECONDS, THEN TURNS SLOWLY, AND SPOTS MICHAEL.
DEDLOCK (AGHAST) What did you do?
MICHAEL (A BIT TAKEN ABACK) To be honest, I didn’t expect that either.
DEDLOCK LOOKS BACK AT THE RUINS OUTSIDE.
DEDLOCK It’s gone! All of it, it’s all gone!
MICHAEL SMILES A LITTLE.
DEDLOCK (TO HIMSELF, HORRIFIED) Everything I worked for…
HE TURNS TO MICHAEL AGGRESSIVELY. MICHAEL’S SMILE SLOWLY FADES.
DEDLOCK Oh, you are going to regret this-
HE ADVANCES IN A THREATENING MANNER, BRANDISHING THE CANE-SWORD. THEN A CLICK SOUNDS SOMEWHERE IN THE BACKGROUND.
NICK Why don’t you put that down?
DEDLOCK STIFFENS, THEN TURNS SLOWLY AROUND. NICK AND JOANNA BOTH STAND IN THE DOORWAY, THE FORMER AIMING HIS PISTOL AT DEDLOCK’S HEAD. NICK SMILES IN AN ENDEARINGLY CONCEITED MANNER. END OF SCENE.
ACT THREE, SCENE TWENTY-TWO- EASTFORD, IN THE IMMEDIATE AFTERMATH OF SCENE TWENTY. AN ATMOSPHERE OF RELIEVED CONFUSION PREVAILS. THE DEFENDERS INSPECT THE DAMAGE WITH UNCERTAINTY. TERRY AND MARK MAKE THEIR WAY OVER TO DAVID, AND HE TURNS TO THEM, BUT BEFORE ANYONE CAN SAY ANYTHING SHERWOOD MATERIALISES NEXT TO THEM, CONVENIENTLY BACK NOW THAT THE VIOLENCE HAS DESISTED.
SHERWOOD What happened out here?
TERRY None of us are entirely sure.
SHERWOOD We felt the shockwaves inside the palace. I can’t understand it-
WHILST THE OTHER THREE FOCUS ON ONE ANOTHER, DAVID SPOTS SOMETHING IN THE DISTANCE. HE RAISES ONE ARM AND POINTS TO IT.
DAVID (SERIOUSLY) There you have your answer.
THEY TURN TO LOOK AT WHAT HE IS POINTING TOWARDS. NOT THAT FAR IN THE DISTANCE, AUTOMEX’S HEADQUARTERS SMOULDERS, AND A TRAIL OF SMOKE RISES ABOVE IT. THIS APPEARS TO ENTHUSE TERRY.
TERRY It must have been Nick. It had to be.
HE TURNS SHARPLY TO SHERWOOD.
TERRY Chairman, how quickly could you get me there?
SHERWOOD Hang on just a minute. First, somebody has to explain-
TERRY If you want answers, you’ll find them there. I’m positive.
SHERWOOD CONSIDERS FOR A MOMENT, THEN TURNS BACK TOWARDS THE PALACE AND BECKONS FOR TERRY TO FOLLOW HIM.
SHERWOOD Alright. Follow on.
THEY DISAPPEAR FOR A MOMENT. MARK WATCHES THEM GO INITIALLY, THEN TURNS TO DAVID.
MARK If he’s right, that may mean Dedlock has actually been foiled.
DAVID PROVIDES LITTLE REACTION, SO MARK GOES ON.
MARK I know it cannot in any way replace what you’ve lost…
DAVID (CURTLY) No. It can’t.
MARK LOOKS DISAPPOINTED.
DAVID But… the world does feel a little less unjust for it.
THERE IS A MOMENT OF SILENCE BETWEEN THEM.
DAVID Do you have any children?
MARK SHAKES HIS HEAD. DAVID NODS JUST A TAD TO SHOW HE ACKNOWLEDGES THIS.
MARK I must say, under the circumstances, you’re remarkably composed.
DAVID SHRUGS IN A FORCED MANNER.
DAVID I don’t think it’s sunk in. I haven’t been back to my home since. I don’t know what it will be like, opening the door and finding there’s no one else there.
MARK NODS SLOWLY.
MARK I know what that’s like.
DAVID (WITH GENUINE CURIOSITY) Does it get any better?
MARK (SHAKES HIS HEAD) No.
A THOUGHTFUL PAUSE. THEN-
MARK But you get used to it.
THEY STAND LIKE THIS, AS WE CUT AWAY, BACK TO TERRY AND SHERWOOD, WHO ARE PREPARING A CARRIAGE. WHILST THEY DO THIS, ALICE APPEARS AND COMES RUNNING TOWARDS THEM. SHE RUSHES OVER TO SHERWOOD. TERRY WATCHES ON WITH UNCERTAINTY.
ALICE (IN A PANIC) Chairman! I thought you might have left. Thank goodness you’re still here.
SHERWOOD (TAKEN ABACK) Queen Mother, I’m not sure you should be out here, it may still be dangerous-
ALICE (STILL PANICKING) It’s an urgent matter, Chairman, I simply don’t know where else to go-
SHERWOOD (RAISING A HAND) Alright, calm down. We’ve just fought off an armed coup, I’m sure whatever this is pales in comparison-
ALICE My daughter is missing.
SHERWOOD IS A TAD STUNNED.
SHERWOOD (AS IF UNSURE OF WHAT HE HEARD) The Queen is missing?
ALICE The staff have searched for her, and they’ve found nothing. I don’t know what to do. I found out last night that she’s been making forays out into the city unaccompanied, I’m just worried that-
TERRY Wait, hang on a second. She’s been going out into the city?
ALICE SEEMS SURPRISED BY HIS INPUT BUT UNDER THE CIRCUMSTANCES DOES NOT QUESTION IT.
ALICE Yes. I don’t know for how long.
TERRY And she was out in the city last night?
ALICE (NODS) Yes.
TERRY NODS, CONTENT HE KNOWS THE ANSWER.
TERRY Madam, I think I might have the faintest idea where your daughter might be.
SHERWOOD (SCEPTICALLY) You know where the Queen is?
TERRY Well, I have a hunch. (TO ALICE) You might want to come with us.
HE CLAMBERS UP INTO THE BACK OF THE CARRIAGE, AS WE END THE SCENE.
ACT THREE, SCENE TWENTY-TWO- AUTOMEX’S HEADQUARTERS, RIGHT AFTER SCENE TWENTY. DEDLOCK AND MICHAEL BOTH STARE AT NICK.
MICHAEL (RELIEVED) You both survived.
NICK (WITH A SMILE) Just about. I take it that explosion was you?
MICHAEL So I’m told.
NICK NODS SLOWLY. HE WHO MAKES A SLIGHT MOTION TOWARDS THE GROUND WITH HIS PISTOL.
NICK Drop it. I won’t ask again.
AFTER A MOMENT OF INDECISION, DEDLOCK RELUCTANTLY COMPLIES.
NICK Very good.
HE GRINS.
NICK So, Edgar Dedlock. An honour would be the wrong word, but it’s interesting to meet you at last.
DEDLOCK Who are you?
NICK Nicholas Christie.
DEDLOCK Well, Nicholas-
NICK (SHAKES HIS HEAD) No, no. Mr Christie, to you.
DEDLOCK IS NOT USED TO BEING TREATED IN THIS MANNER, AND CHOOSES NOT TO REPLY. NICK LOOKS DELIGHTED.
NICK (SMUGLY) You’ve lost, Mr Dedlock. Lost it all. I imagine it’s quite a new feeling. Had you ever lost anything before this?
DEDLOCK LOOKS REVOLTED, TO NICK’S EVIDENT PLEASURE.
NICK You’ve lost. To us. At your very own game, as well, on your own patch. That’s quite remarkable, when you think about it.
DEDLOCK (CURTLY) If you’re going to shoot me, Mr Christie, I suggest you do it and leave the semantics for later.
MICHAEL You’re going to kill him?
NICK (IGNORING HIM) I’ll do things my way, thank you.
DEDLOCK Oh, of course. You can take as long as you want. But we both know, really, that every second you deliberate is an attempt to distance yourself from the trigger you refuse to pull. If you really had it in you to kill me, you would have done it when my back was turned.
NICK (WARNINGLY) Don’t goad me.
DEDLOCK (CONFIDENTLY) And why not? Afraid you’ll do something you’ll regret, have something on your conscience you can’t live with?
NICK (HONESTLY) No. I could kill you. I wouldn’t feel too bad for it. I might even enjoy it. But it’s not up to me to decide what’s right and what’s wrong. I’m not going to drop down to your level. You’ve lived by a different set of rules for far too long. You’ll stand trial and face your sentence, just like anybody else.
DEDLOCK (SCOFFING) And you think any court in this nation will convict me? Ashworth’s Spire will toll again before any judge sends me down. I have friends everywhere, Mr Christie, you don’t have a high enough authority to so much as touch me.
JOANNA (RAISING HER EYEBROWS) Is that so?
SHE STEPS TOWARDS DEDLOCK. NICK HALF-ATTEMPTS TO STOP HER, BUT SHE BRUSHES HIS ARM AWAY IMPATIENTLY, AND LOOKS DEDLOCK RIGHT IN THE EYE.
JOANNA If you think we lack the authority… perhaps you haven’t been paying close enough attention to me, Mr Dedlock.
DEDLOCK RETURNS HER GAZE. FOR THE FIRST TIME HE TAKES HER IN PROPERLY, AND REALISATION SLOWLY HITS HIM. HIS AIR OF CONFIDENCE ERODES COMPLETELY. JOANNA SIMPLY SMILES. AT THIS MOMENT, EMILY ARRIVES IN THE ROOM IN A HURRY. SHE LOOKS HUGELY THANKFUL TO SEE THEM ALL.
EMILY You’re all here! Oh, thank God, when I heard the explosion I thought-
SHE STOPS ABRUPTLY AS MICHAEL COMES OVER AND HUGS HER. SHE SMILES CONTENTEDLY.
EMILY Alright, missed you too.
MICHAEL (REASSURED) I thought I’d killed you.
EMILY So did I. What happened, exactly?
JOANNA We can explain afterwards.
MICHAEL Where’s the nyctalope?
EMILY (FLIPPANTLY) Hanging around somewhere.
EMILY AND MICHAEL DETACH FROM ONE ANOTHER, AND SHE SPOTS DEDLOCK FOR THE FIRST TIME. NICK HASN’T WAVERED REMOTELY, AND IS STILL POINTING THE GUN AT HIM. EMILY GLARES AT DEDLOCK.
EMILY (DISPLEASED) So, he survived too, then? Not for much longer, I hope.
NICK I’m afraid so.
EMILY You going to kill him, then?
NICK (SHAKES HIS HEAD) Not this time.
EMILY (INDIGNANT) After everything he did?
NICK (NODS) After everything he did. It’s not our place to play God. He’ll face the courts, like everybody else.
EMILY FROWNS, BUT ADOPTS A LOOK OF ACCEPTANCE.
EMILY So be it.
SHE TURNS TO DEDLOCK, NOW GRINNING SLYLY.
EMILY So, I take it that’s the rest of your life stuck behind bars, then. Funny thing is, Mr Dedlock, I only read the first page of that file, and didn’t understand a word of it. If you’d just left me alone, you might just have got away with this. But… there’s no point dwelling on what might have been.
SHE SMILES AT HIM SWEETLY. DEDLOCK LOOKS AT HER WITH LOATHING, BUT KNOWS HE CANNOT DO A THING ABOUT IT. NICK GRABS THE BACK OF HIS COAT AND POINTS THE GUN AT THE NAPE OF HIS NECK.
NICK Let’s get going.
HE PRODS DEDLOCK WITH THE GUN, AND HE OBSTINATELY BEGINS WALKING. JOANNA FOLLOWS JUST BEHIND NICK. MICHAEL AND EMILY EXCHANGE A LOOK OF SIMPLE GRATITUDE THAT THE OTHER IS ALRIGHT, THEN PROCEED AFTER THEM. WE CUT TO THE OUTSIDE OF THE FACTORY. A POLICE PRESENCE HAS FORMED IN THE FORECOURT INSIDE THE GATES. THE CARRIAGE BEARING TERRY, SHERWOOD AND ALICE STOPS AT THE GATES, WHERE A NUMBER OF CURIOUS ONLOOKERS HAVE ASSEMBLED. THESE ARE BEING HELD BACK BY A FURTHER POLICE PRESENCE. A SENIOR CONSTABLE CROSSES OVER TO THE CARRIAGE, LOOKING AS IF HE IS GOING TO TELL IT TO HALT, UNTIL HE REALISES WHO IS INSIDE IT.
SENIOR CONSTABLE Chairman! I’m not sure this is the safest place for you to be right at this minute-
SHERWOOD (WAVING A HAND IMPATIENTLY) I’ll be the judge of that. Let us through.
RELUCTANTLY, HE LETS IT PAST. IT HALTS INSIDE THE GATES. ANOTHER MORE JUNIOR CONSTABLE OPENS THE DOOR, AND SEEMS STAGGERED AS FIRST SHERWOOD AND THEN ALICE EMERGE, AND MAKE THEIR WAY OVER TO THE CROWD INSIDE THE FORECOURT. TERRY ATTEMPTS TO FOLLOW THEM, BUT THE JUNIOR CONSTABLE STOPS HIM.
JUNIOR CONSTABLE I’m sorry, sir, but I haven’t got clearance.
TERRY Sod clearance, my friend’s in there!
JUNIOR CONSTABLE You’ll have to wait.
IN A DISGRUNTLED MANNER, TERRY DOES AS HE IS TOLD, AND TURNS HIS HEAD TO LOOK AT THE FACTORY. THE DOOR SWINGS OPEN, AND NICK AND DEDLOCK EMERGE, FOLLOWED BY JOANNA, THEN EMILY, AND THEN MICHAEL, IN THAT ORDER. SHERWOOD BREAKS THROUGH THE CROWD AND MAKES HIS WAY OVER TO THEM.
SHERWOOD (TO NICK) How did you get here? I saw you at the palace all of an hour ago!
NICK (EVASIVELY) Ways and means.
WITH A SMILE, SHERWOOD ACCEPTS THIS. THEN, WITH A HARSH LOOK, HE TURNS HIS ATTENTION TO DEDLOCK.
SHERWOOD Well, well, Edgar. This has been quite a day for you.
DEDLOCK For all of us, I should think.
SHERWOOD You’ve disgraced this nation.
DEDLOCK You did that before I even got near it.
THEY GLARE AT EACH OTHER IN A HOSTILE MANNER. THIS CONTINUES UNTIL SEVERAL OFFICERS APPEAR BESIDE THEM. THEY GRAB AND CUFF DEDLOCK AND HAUL HIM AWAY. SHERWOOD, NICK, MICHAEL, JOANNA AND EMILY ALL WATCH HIM GO WITH APPREHENSION. THEN SHERWOOD TURNS TO THEM.
SHERWOOD So, unless I’m much mistaken, I owe the salvation of this city to you…
SHERWOOD SMILES GRACIOUSLY. THEN, LOOKING BEYOND NICK, HE SPOTS JOANNA, AND RECOGNISES HER. HE LOOKS STAGGERED.
SHERWOOD (STUNNED) Your Highness?
JOANNA LOOKS DISTINCTLY UNCOMFORTABLE.
SHERWOOD (STRUGGLING FOR WORDS) How… I mean, what- what on earth are you doing here? And why are you dressed like that?
JOANNA (IN A LOW VOICE) It’s a long story. Just for the love of God, please don’t tell my-
ALICE HURTLES THROUGH THE CROWD, PUSHES IMPATIENTLY PAST SHERWOOD AND NICK AND HUGS JOANNA FORCEFULLY.
JOANNA (FINISHING) …Mother.
ALICE (IN A RUSH) Oh, my goodness, darling, you have no idea… I was so worried… but you’re safe… what happened? No, that’s not important, what matters is you’re here…
JOANNA SEEMS A LITTLE SHOCKED BY THIS OUTPOURING. IN THE FIRST REAL SHOW OF GENUINE MOTHER-DAUGHTER CLOSENESS, JOANNA EMBRACES HER MOTHER IN RETURN. SHERWOOD, MICHAEL AND EMILY WATCH THIS IN AN APPROVING MANNER.
JOANNA (SOFTLY) I’m alright, Mother.
ALICE You are… you are…
WITH A FINAL SQUEEZE SHE STEPS BACK FROM JOANNA, THEN PROMPTLY EMBRACES NICK, WHO DOES NOT KNOW HOW TO REACT. JOANNA WATCHES HIS DISCOMFORT WITH AMUSED RELISH.
ALICE You- whoever you are- thank you. For keeping my daughter safe.
NICK (BASHFULLY) That’s not quite how I remember it.
BEHIND, MICHAEL AND EMILY EXCHANGE AN UNCERTAIN LOOK.
MICHAEL (IN A LIGHT-HEARTED MANNER) We are here, aren’t we? I’m the one that blew the place up.
EMILY GIGGLES JUST A LITTLE. ALICE RELEASES HIM AND STEPS BACK, THEN TURNS AGAIN TO JOANNA.
ALICE Later, you will have to do some very thorough explaining.
JOANNA (STILL SMILING) I don’t doubt it.
ALICE LEADS THE QUEEN AWAY. SHE CASTS A WARM LOOK BACK AT NICK AS THEY DEPART. HE WATCHES HER GO WITH A LOOK OF SLIGHT PINING. EMILY NUDGES HIM IN THE BACK. NICK LOOKS AT HER WITH SURPRISE. EMILY POINTS IN THE DIRECTION JOANNA LEFT IN WITH HER EYES. NICK HESITATES, THEN WITH A SIGH SETS OFF AFTER HER. EMILY AND MICHAEL EXCHANGE ANOTHER LOOK, AND BOTH SMILE CONTENTEDLY. NICK CATCHES UP WITH JOANNA AND ALICE, AND THEY BOTH TURN TO HIM IN SURPRISE.
NICK (UNCHARACTERISTICALLY LACKING COMPOSURE) Sorry, Your Highness, or Highnesses, I suppose I should say…
ALICE Something the matter?
JOANNA CASTS A LOOK AT HER MOTHER.
JOANNA Mother, perhaps you should get back to the carriage.
ALICE SNIFFS, THEN SIGHS AND DEPARTS, LEAVING THE TWO ALONE.
JOANNA Yes?
NICK Sorry, it just didn’t seem right to let you go without saying goodbye… after everything that just happened.
JOANNA (DELIBERATELY KEEPING SUBDUED) Quite.
NICK (AWKWARDLY) So… goodbye, I suppose.
JOANNA Until we meet again.
SHE BEGINS TURNING AWAY SLOWLY.
NICK Unless, I suppose, if you were still interested in seeing the rather dubious wonders of Trinova, maybe the two of us could go for-
JOANNA (SIGHING EXASPERATEDLY) Oh, for goodness’ sake, Mr Christie…
SHE TURNS BACK TO HIM, GRABS THE FRONT OF HIS SHIRT AND KISSES HIM PASSIONATELY. NICK APPEARS INITIALLY SHOCKED BY THIS, THEN UNQUESTIONINGLY KISSES HER BACK. BEHIND THE POLICE BARRICADE, TERRY CONTINUES ARGUING WITH THE OFFICERS (AD LIB: “I NEED TO GET IN” “OFFICIAL PROCEDURE” “YOU DON’T UNDERSTAND” ETC) UNTIL HE LOOKS UP AND SPOTS NICK IN THE DISTANCE. A LOOK SOMEWHERE BETWEEN AMUSEMENT AND PRIDE ADORNS HIS FEATURES. JOANNA BREAKS OFF THEIR KISS, MOVING BACK JUST A LITTLE, AND THEY LOOK INTO ONE ANOTHER’S EYES.
NICK (SLOWLY) I think you can start calling me Nick now.
THEY BOTH SMILE AFFECTIONATELY AT ONE ANOTHER. MEANWHILE, SHERWOOD LISTENS TO MICHAEL AND EMILY RECOUNTING THE EVENTS.
MICHAEL And then we came out here, and… well, you were there for the rest of it.
SHERWOOD (AWESTRUCK) Incredible. And you built this machine?
MICHAEL (MODESTLY) Well, designed it, at least…
SHERWOOD Incredible. This has been some day, alright… heavens knows where we’re going to go from here.
EMILY What’s going to happen to Automex after this?
SHERWOOD I honestly don’t know. Dedlock’s assets will be seized, and he still owns the company… but we just can’t afford for it to go under. It’s the bedrock of our national industry.
MICHAEL Then why not put it into the public sector?
SHERWOOD (SURPRISED) Excuse me?
MICHAEL Put it into the public sector. Open up a department for industry, make sure all corporations meet standards. Give each individual worker a share of it and a voice, let them decide how it’s run.
SHERWOOD (SCEPTICALLY) I’m not sure we could do that… the Upper House are thoroughly opposed to any hint of collectivism…
EMILY (APPROVINGLY) He’s right. (GESTURES TO MICHAEL) I’ve seen what it’s like, working for Automex. It can’t carry on the way it’s going.
MICHAEL (CONFIDENTLY) You could do it. Give power back to the workers. Anything to prevent something like this happening again.
HE JERKS HIS THUMB AT THE DESTROYED FACTORY BEHIND THEM. SLOWLY, SHERWOOD NODS SLIGHTLY.
SHERWOOD It’s an idea. It needs refining, but… maybe it could work.
HE SMILES APPROVINGLY AT MICHAEL.
SHERWOOD Have you ever considered a career in politics, young Master Perkins? As far as this saga with Automex goes, we on the Council could use your input. I’ll make sure you get a copy of our party manifesto. ‘Til then…
HE WINKS IN AN EXAGGERATED MANNER, THEN EXITS. MICHAEL SIGHS AND SHAKES HIS HEAD. EMILY SMILES FONDLY AT HIM, AND AFTER A MOMENT, HE RETURNS HER LOOK AND PUTS AN ARM AROUND HER. NICK NOW STANDS ON HIS OWN, LOOKING PLEASED WITH HIMSELF. HE IS CONCENTRATING ON NOTHING IN PARTICULAR WHEN TERRY ROLLS UP SUDDENLY BESIDE HIM AND PUTS HIM IN AN AFFECTIONATE HEADLOCK.
NICK Alright. You’re still alive. Good to know.
TERRY (AMUSEDLY) Likewise. So, you could have told me the girl you met was THE QUEEN.
NICK SHOVES HIM AWAY WITH AN EXASPERATED SMILE.
NICK I only found that out myself about twenty minutes ago.
TERRY (SHAKING HIS HEAD) Of all the girls, Nick… all the people you could have met…
NICK I know.
TERRY (AMUSEDLY) Do you know what this makes you?
NICK No?
TERRY A courtesan.
NICK (INDIGNANTLY) I am not a courtesan!
TERRY (DELIGHTED WITH HIMSELF) You’re a courtesan.
NICK Stop saying courtesan.
TERRY (AMUSED) Alright. Sorry.
NICK Good.
LOOKING UP, HE NOTICES SHERWOOD IS STILL LOITERING AROUND.
NICK Give me just a minute.
TERRY NODS IN UNDERSTANDING, AND NICK WALKS AWAY OVER TOWARDS THE CHAIRMAN. AFTER A MOMENT, TERRY CALLS OUT-
TERRY (GOOD-NATUREDLY) Courtesan!
NICK (EQUALLY GOOD-NATUREDLY) Shut up!
DESPITE HIMSELF, NICK BEGINS SMILING. HE APPROACHES SHERWOOD AND ATTRACTS HIS ATTENTION.
NICK Chairman…
SHERWOOD TURNS TO HIM.
NICK …I was wondering if you could tell me, now that Dedlock’s in custody, what exactly is going to happen to him?
SHERWOOD Funny you should ask. In truth, I’d lose no sleep over seeing him face the gallows… but it’s been decades since anyone’s hung for anything less than cold-blooded murder. It would set a precedent.
NICK I’ve been investigating Dedlock for the past few months. I have every reason to believe he has had people murdered.
SHERWOOD (GRIMLY) After all this, I wouldn’t doubt it. But you’ll find it nearly impossible to prove. Most likely, for now he’ll just be confined alone. No visitors, naturally, though I can’t think who’d go. I suggest you ask Chief Constable Barlow for the details.
THIS STRIKES A CHORD WITH NICK.
NICK There’s something you should know about Barlow.
SHERWOOD Yes?
NICK LOOKS AS IF HE IS CONSIDERING HIS POSITION, THEN RESOLUTELY PLOUGHS ON.
NICK He’s been helping Automex. I don’t know the details, you’d have to ask Michael, or better yet, Barlow himself. But he allowed corruption within his police force.
SHERWOOD (TROUBLED) That’s a very serious allegation.
NICK (HONESTLY) It’s the truth. I doubt he’d even deny it himself.
SHERWOOD LOOKS WORRIED BY THIS.
SHERWOOD I shall make an inquiry into it. To think, I thought my workload was piling up before today.
ANOTHER THOUGHT SEEMS TO STRIKE HIM.
SHERWOOD Speaking of inquiries… someone is going to need to lead an inquest into Automex. Find out exactly what went wrong, to make sure we never let anything like it happen again. You said you had been investigating Dedlock?
NICK (NODS) And his company. There was a group of us involved. The Guardians of Humanity. (APOLOGETIC) I know it sounds a bit pretentious…
SHERWOOD Not at all.
HE GESTURES TO THE FACTORY.
SHERWOOD Your friends explained what happened in there. Whatever your part was in that, you’ve helped save this city, quite possibly this nation, in fact. Make no mistake about it. I don’t think it would be stretching the truth too far to call you a hero, Mr Christie.
NICK SMILES AT THIS NOTION.
SHERWOOD Certainly, I’ll be forever in your debt. Doubly, if you and your group would be gracious enough to help any inquiry into Automex Industries… I’m sure I could promise you the entire cooperation of the police.
NICK (SMILING AT THIS) I think I could manage that.
SHERWOOD If there’s anything else I can do for you… don’t hesitate.
WITH A SMILE, SHERWOOD DEPARTS. NICK SEEMS CONTENTED BY THIS FOR A FEW SECONDS. THEN SOMETHING OCCURS TO HIM, AND HE RUSHES TO CATCH UP WITH SHERWOOD, WHO TURNS ROUND AS HE ARRIVES BY HIS SIDE.
SHERWOOD (QUIZZICALLY) Yes?
NICK Actually, Chairman, there is one thing you could do for me.
SHERWOOD Go on…
NICK SIGNALS THEY SHOULD BEGIN WALKING. HE BEGINS, AND SHERWOOD FOLLOWS HIM.
NICK Well, if they’re going to be holding Dedlock for now, there is one person who I think should get to see him…
FADE OUT AS THEY WALK AWAY, END OF SCENE.
ACT THREE, SCENE TWENTY-THREE- THE ROYAL PALACE, AT AROUND NOON. WE SEE FIRST THE EXTERIOR OF THE PALACE, AND EASTFORD’S COURTYARD, WHICH IS STILL LARGELY IN RUINS, THOUGH SOME EFFORT HAS BEEN MADE TO CONCEAL THE DAMAGE TO THE NEARBY BUILDINGS. A FEW CONSTRUCTION WORKERS CAN BE SEEN MILLING ABOUT, BUT A CROWD OF NOBLE FOLK ARE ENTERING THE PALACE IN TWOS AND THREES. WE CUT TO INSIDE, AND INSIDE A NEW ROOM WE HAVE NOT YET SEEN, THE THRONE ROOM. IT IS JUST AS PLUSH AND GRANDIOSE AS ONE WOULD EXPECT, ALL TOWERING PILLARS AND DARK RED CARPET. THE THRONE ITSELF SITS ON A SLIGHTLY RAISED PART OF THE FLOOR AT THE FAR END, AND A PALACE GUARD STANDS ON EITHER SIDE. THE THRONE ITSELF IS NOT YET OCCUPIED. PEOPLE STAND IN AND AMONGST THE PILLARS IN NEAT ROWS, CLEARLY ANTICIPATING SOMETHING. AMONGST THE CROWD ARE MANY MEMBERS OF BARLOW’S CONSTABULARY, THOSE THAT SERVED IN THE BATTLE AGAINST DEDLOCK’S AUTOMATONS, NOW OUT OF UNIFORM AND DRESSED MORE FORMALLY. AT THE VERY FRONT OF THIS SCENE IS SHERWOOD, AND A LITTLE FURTHER BACK AND ON THE OTHER SIDE OF THE ROOM ARE MICHAEL, NICK, TERRY AND MARK, THE FORMER THREE ALL LOOKING IMPATIENT.
MICHAEL It can’t be much longer, can it? Haven’t we suffered enough?
NICK PRODUCES HIS POCKET WATCH AND CHECKS IT.
NICK Shouldn’t be too long now.
WE CUT AWAY TO A SMALL ROOM, PRESUMABLY JUST BESIDE THE THRONE ROOM. JOANNA, DRESSED REGALLY, SITS IN A CHAIR IN FRONT OF A MIRROR WITH HER EYES CLOSED WHILST STEPHANIE MAKES A LAST-MINUTE ADJUSTMENT TO HER HAIR. ON A SMALL CUSHIONED PLINTH NEARBY RESTS THE CROWN. STEPHANIE FINISHES, THEN LOOKS AT IT CRITICALLY.
STEPHANIE What do you think?
JOANNA OPENS HER EYES AND LOOKS AT IT IN AN UNPERTURBED KIND OF WAY.
JOANNA Anything you do is fine.
STEPHANIE SMILES GENTLY. JOANNA TURNS TO HER.
JOANNA You deserve to be out there just as much as anyone. If it wasn’t for what you did, none of what happened would have been possible.
STEPHANIE If we just did things for the credit, nobody would ever do anything meaningful. The people that matter know.
JOANNA (WITH APPROVAL) Someday I hope I can be like you.
STEPHANIE In what way?
JOANNA Totally selfless.
STEPHANIE SHAKES HER HEAD.
STEPHANIE I’m not.
SHE HOLDS A HAND UP AS JOANNA BEGINS TO PROTEST THIS.
STEPHANIE And that’s not a bad thing. Sometimes, you have to take care of yourself, when there’s no-one else around to.
THE TWO SHARE A FOND SMILE.
STEPHANIE You ready to go, then, miss?
JOANNA I will be in a moment.
STEPHANIE (INTRIGUED) Is Nick out there, then?
JOANNA (WITH A SHRUG) He should be.
STEPHANIE Some day for him, isn’t it?
JOANNA I’m not sure he cares about accolades.
STEPHANIE But it does give him rather a higher standing. Perhaps your mother’ll come round to the idea-
JOANNA (LOOKING ENTERTAINED BY THE THOUGHT) For now, I’m not telling her a thing.
STEPHANIE But she might not mind, now King Friedrich’s left…
JOANNA He’s only returned home to sort business, for now. He said something about a parting gift before he left, some act of diplomacy. I fear he might still be after me.
STEPHANIE No need to say yes to him. Not if your mother doesn’t mind about Nick. She might even approve. (PLAYFULLY) Though I suppose that might take the shine off it a bit, in a way-
JOANNA (AMUSED IN SPITE OF HERSELF) Alright, enough. You can leave me to it, I’ll go out in a minute.
STEPHANIE DEPARTS WITH A SMILE. SHE WINKS AS SHE LEAVES THE ROOM, AND JOANNA SIGHS IN FOND EXASPERATION. SHE TURNS BACK TO HER MIRROR. A MOMENT LATER, ALICE ENTERS THE ROOM, HOLDING A SMALL, FLAT BOX. JOANNA SPOTS HER IN THE MIRROR AND TURNS TO HER IN SURPRISE.
JOANNA What is it? Should you not already be out there?
ALICE Possibly, but I wanted to see you first.
SHE PROCEEDS OVER TO STAND BESIDE HER.
ALICE (SINCERELY) I wanted to apologise.
LOOKING SURPRISED, JOANNA ATTEMPTS TO INTERJECT, BUT ALICE STOPS HER. SHE LOOKS AS IF SHE IS STRUGGLING WITH WHAT SHE HAS TO SAY BUT THAT THIS MAKES HER ALL THE MORE DETERMINED TO SAY IT.
ALICE No, no, let me finish. I wanted to apologise if it seemed like I’m not taking your independence seriously. Maybe I’m forgetting what it’s like to be young and wanting to experience the whole world for yourself…
JOANNA (GENTLY) You don’t have to explain it to me, I understand.
ALICE But I want to. The reality is, with you needing to spend so much time on so many things that are in the interests of the state, you should be deciding for yourself what you do with the part of your life that’s your own. And it’s not fair for me to try and control that, even if I think I do know better. I just… I see so much of Albert in you, when we were young he was just as free-spirited as you. You know nothing’s been quite the same since he died…
JOANNA (SOFTLY) Oh, Mother…
ALICE When I see you, I start imagining a second chance for myself. A chance to do everything I did and correct the mistakes. But that’s selfish of me. I wouldn’t have learned anything if I hadn’t been allowed to make my own mistakes the first time round.
JOANNA I understand that. And I want to make you feel proud of me…
ALICE I already do, dear. What you did yesterday… it meant I had to accept, even if it was difficult, that you aren’t my little girl anymore, you’re a woman who’s ready to make her own choices.
JOANNA (WITH AN EMOTIONAL SMILE) Can’t I be both?
THEY ENVELOP ONE ANOTHER IN A HUG. WHEN IT ENDS, ALICE PICKS UP THE BOX SHE BROUGHT IN AND LIFTS THE LID OFF IT.
ALICE Before you go out, I want you to have this.
SHE HOLDS THE BOX UP, AND WE SEE WHAT IS INSIDE IT- AN ORNATE BLUE NECKLACE, THE SAME AS THE ONE SHE WAS WEARING IN THE PORTRAIT IN THE BALLROOM. JOANNA SEEMS TAKEN ABACK BY IT.
JOANNA I recognise this…
ALICE It’s the necklace your father gave me for our engagement. It was passed down from his mother’s side of the family. I haven’t been able to wear it since…
SHE DOESN’T FINISH THE SENTENCE BUT INSTEAD STARTS ANEW.
ALICE I want you to have it for today.
JOANNA Really?
ALICE It’s yours now.
JOANNA ALLOWS HER TO FASTEN IT AROUND HER NECK. WHEN DONE, SHE SMILES TENTATIVELY AND GETS UP. CAREFULLY, SHE PICKS UP THE CROWN AND DONS IT.
JOANNA I think we had better go now.
ALICE LEADS THE WAY AS THE TWO EXIT THE ROOM. WE CUT BACK TO THE THRONE ROOM. THE BOYS CONTINUE TO WAIT IMPATIENTLY. EMILY APPEARS BESIDE THEM- SHE NOW WEARS AN EXQUISITE DRESS AND LOOKS EVERY BIT AS STRIKING AS JOANNA. SHE POKES MICHAEL IN THE ARM.
EMILY (TO HIM) Missed much?
MICHAEL TURNS TO HER, AND SEEMS TAKEN ABACK BY HER APPEARANCE, THOUGH NOT IN ANY KIND OF A BAD WAY.
MICHAEL (GESTURING TO HER DRESS) What- I mean, when-
EMILY (ROLLING HER EYES) They insisted on giving me this when I got here. Apparently it would be unseemly to accept such an honour looking like I do.
MICHAEL What, really?
EMILY (NODS) A-ha.
SHE TOUCHES THE FABRIC LIGHTLY.
EMILY I felt a bit insulted at first, but to be honest I rather like-
SHE STOPS SPEAKING ABRUPTLY AS TERRY NUDGES HER AND NODS DISCREETLY TOWARDS THE FRONT. A TRUMPETER HAS EMERGED, AND HE CALLS ATTENTION TO THE FRONT, WHERE ALICE AND JOANNA HAVE APPEARED. ALICE STANDS TO ONE SIDE OF THE THRONE WHILE JOANNA SITS IN IT AND SURVEYS THE ROOM. ONCE THE TRUMPETER FINISHES, SHERWOOD OUT INTO THE MIDDLE OF THE ROOM, PRODUCES A DOCUMENT AND BEGINS SPEAKING.
SHERWOOD (FORMALLY) Thank you all for coming. Today is both a day of mourning and a day of celebration. Today, we formally acknowledge those lost in what is being called the Battle of Trinova, those who gave their lives in defending not only this palace and this property, but everything both stand for as well- freedom, tradition, and law and order. So to do we honour those survivors that won the day, and protected our nation when it was thrust suddenly into perhaps its darkest hour.
THERE IS A SLIGHT PAUSE, DURING WHICH EVERYBODY IS SILENT.
SHERWOOD Those survivors each shall receive what has already been bestowed posthumously upon the dead, at the behest of the Queen: the Decoration of the Commonwealth, awarded for bravery, valour, and patriotism in defence of the United Commonwealth Islands.
THERE IS A ROUND OF APPLAUSE FROM THOSE PRESENT WHO ARE NOT AMONGST THOSE MENTIONED. TERRY AND MARK DO THEIR BEST TO APPEAR MODEST. DURING THIS, TERRY NUDGES NICK. HE TURNS TO HIM.
TERRY (WHISPERED) Where’s David?
NICK SHRUGS. AFTER A SHORT WHILE, THE APPLAUSE DESISTS, AND SHERWOOD BEGINS AGAIN.
SHERWOOD Furthermore, it is understood by us all that without the actions of a select few, the heroics of those recipients may have been for nought…
ALMOST ALL EYES TURN TO OUR TIGHT-KNIT GROUP OF PROTAGONISTS. MICHAEL LOOKS PARTICULARLY SELF-CONSCIOUS, BUT ALSO UNQUESTIONABLY PROUD OF HIMSELF.
SHERWOOD Myself and the other members of the Parliamentary Council called an impromptu meeting of both houses this morning. In what was, in recorded history, the first ever instance of a unanimous vote in support of the motion, both houses agreed on bestowing the freedom of the city of Trinova upon Michael Perkins, Nicholas Christie and Emily Moss, who will subsequently be elevated to the status of Knight and Dame of the realm, respectively, to now be bestowed by Her Royal Highness.
ANOTHER ROUND OF APPLAUSE. SHERWOOD NODS SLIGHTLY TO JOANNA, AND SHE GETS TO HER FEET. A WIZENED OLD MAN APPEARS FROM SOMEWHERE BEHIND THE THRONE AND HANDS HER A CEREMONIAL SWORD. THERE IS A MOMENT OF SLIGHT DELAY AS THE THREE RECIPIENTS LOOK UNSURE OF THEMSELVES, THEN NICK PUSHES MICHAEL IN THE BACK AND HE MOVES INVOLUNTARILY OUT INTO THE CENTRE OF THE ROOM.
NICK (HUSHED TONES) Well, go on!
LOOKING SELF-CONSCIOUS, MICHAEL PROCEEDS FORWARDS, BRUSHING BACK A STRAND OF HAIR IN A FIDGETY MANNER. EMILY MOVES TO FOLLOW HIM, AND NICK THEN FOLLOWS HER. MICHAEL PROCEEDS TO STAND BEFORE THE QUEEN, WHO DOES NOT BREAK FORMALITY. THEY STAND FACING EACH OTHER FOR A MOMENT, AND AN EXPECTANT SILENCE FILLS THE AIR. NOTHING HAPPENS FOR A MOMENT. THEN MICHAEL REMEMBERS.
MICHAEL (REALISING) Oh, right-
HASTILY HE KNEELS DOWN. THERE IS A SLIGHT RIPPLE OF LAUGHTER AROUND THE ROOM, WHICH MICHAEL HALF-SMILES AT IN THE WAY THAT PEOPLE DO WHEN TRYING TO PRETEND THEY FIND A JOKE AT THEIR EXPENSE AS FUNNY AS EVERYONE ELSE DOES. THE APPLAUSE STARTS AGAIN AS JOANNA CEREMONIALLY TOUCHES THE SWORD TO ONE SHOULDER, THEN THE OTHER. HE GETS UP AND MOVES TO ONE SIDE AS EMILY FOLLOWS HIM UP, AND THE PROCEDURE IS REPEATED. SHE STEPS ASIDE IN SIMILAR FASHION AS NICK FOLLOWS HER. AS SHE KNIGHTS HIM, THEY EXCHANGE AN AFFECTIONATE LOOK. PEOPLE CONTINUE TO APPLAUD. AS THEY DO SO, SHERWOOD MAKES HIS WAY OVER TO MICHAEL AND TAPS HIM ON THE ARM.
SHERWOOD Just wondering if I could have a word.
RELUCTANTLY, MICHAEL FOLLOWS HIM AS HE EXITS. EMILY WATCHES THE PAIR OF THEM GO WITH CURIOSITY, THEN TURNS BACK TO THE REST OF THE ROOM. END OF SCENE.
ACT THREE, SCENE TWENTY-FIVE- TRINOVA POLICE STATION, LATE AFTERNOON. A PAIR OF POLICE OFFICERS ESCORT A HANDCUFFED TILFORD INTO THE FOYER, WHO LOOKS INDIGNANT AND IS ATTEMTPING TO RESIST.
TILFORD (ANGRILY) But this is outrageous, I’m just a floor level manager, I don’t know a thing about any plot-
POLICE OFFICER We’ll be the judge of that, sir.
WE CUT TO A CELL BLOCK. IT IS A SMALL AND DIMLY LIT CORRIDOR- THE CELLS IN IT ARE BARREN AND BLEAK. A DOOR OPENS AT ONE END, AND THE YOUNG CONSTABLE ENTERS, FOLLOWED BY NICK. THOUGH HE SEEMS UNCOMFORTABLE IN NICK’S PRESENCE, HE ESCORTS NICK DOWN TO THE LAST CELL IN THE ROW, WHERE BARLOW SITS WITH A BORED EXPRESSION. HE LOOKS UP AT THE NEW ARRIVALS, AND SIGHS.
NICK (TO HIS ESCORT) Thank you.
THE YOUNG CONSTABLE DEPARTS, RATHER HASTILY. BARLOW NOTICES THIS WITH SOME SURPRISE.
NICK Sorry about that. I don’t think he’s very comfortable being around me. Last time we met I threatened him with a gun.
BARLOW TURNS AWAY AGAIN.
BARLOW Well, you got your wish. I’ve got no choice but to listen to you now.
NICK Then I’ll keep it brief. Mainly, I just came here to give you this.
HE PRODUCES A DECORATIVE MEDAL AND PASSES IT THROUGH THE BARS TO BARLOW, WHO TAKES IT WITH A LOOK OF CONFUSION.
NICK It’s a Decoration of the Commonwealth. Yours, from the Battle of Trinova. I said I’d pass it on to you.
BARLOW (UNENTHUSIASTICALLY) How kind of you.
HE POCKETS IT.
BARLOW I’m not sure how much it’s worth to me in here.
NICK I daresay it’ll be taken into account when you’re sentenced.
BARLOW I’ll get what I deserve. Even if I do get a lighter sentence, I’ll never work in a public capacity again. And yes, I know it’s my own fault. You don’t have to tell me.
NICK I wasn’t planning on it.
THERE IS A BRIEF SILENCE.
NICK In a roundabout fashion, none of this would have happened without you.
BARLOW I know that, I don’t need reminding-
NICK No. Not just that. You may have caused the situation, but you took the action to fix it. You admitted you were wrong.
BARLOW And that makes it alright?
NICK (SHAKES HIS HEAD) Of course not. But it lets me know you actually want to repent. That is worth something.
BARLOW LAUGHS HOLLOWLY.
BARLOW I doubt the courts will see it that way.
NICK Perhaps not. But for what it’s worth, Mr Barlow, you’re not all bad.
NICK EXITS. BARLOW SIGHS, THEN TAKES OUT THE DECORATION OF THE COMMONWEALTH AND LOOKS AT IT BROODINGLY, AS WE END THE SCENE.
ACT THREE, SCENE TWENTY-FIVE- PICKFORD’S PUB, SOMETIME IN THE AFTERNOON. EMILY, NOW DRESSED NORMALLY ONCE AGAIN, MAKES HER WAY TOWARDS THE DOOR OF THE PUB WITH THE LOOK OF SOMEONE WALKING TO THE GALLOWS. TO HER SURPRISE, THE OUTSIDE OF THE PUB IS IN IMPECCABLE CONDITION. CAUTIOUSLY, SHE OPENS THE DOOR AND STEPS INSIDE. THE INTERIOR OF THE PUB IS ALSO IN PERFECT CONDITION, AND MOREOVER IS ABSOLUTELY PACKED WITH REVELLERS, SO THAT THE STAFF ARE RUSHED OFF THEIR FEET. PICKFORD STANDS AT THE BAR, TALKING TO REVELLERS WITH A JOVIAL EXPRESSION. MOUNTED OVER THE BAR ON A BOARD ARE A TRIO OF SEVERED AUTOMATON’S HEADS. LOOKING BEWILDERED, EMILY MAKES HER WAY TOWARDS THE BAR. PEOPLE’S HEADS TURN TOWARDS HER AND SOME WHISPER IN AN EXCITABLE MANNER. EMILY ARRIVES AT THE BAR AS THOSE TALKING TO PICKFORD DEPART, AND HE TURNS TO HER LOOKING DELIGHTED TO SEE HER.
PICKFORD Ah, miss Moss, lovely you could be here.
EMILY (GESTURING ALL AROUND HER) What happened to the place?
PICKFORD A team of builders sent from the palace arrived yesterday morning. Said they’d been dispatched to return it to working order, after what happened.
EMILY APPEARS GREATLY ASHAMED.
EMILY Look, Mr Pickford, I can only apologise. I don’t know what you know about it, but the whole thing was completely my fault. If- I’d understand, if you don’t want me here any longer-
PICKFORD (SURPRISED) Why would I want that?
AN EQUALLY SURPRISED EMILY PAUSES, LOOKING BEWILDERED.
EMILY Do you not know what happened here?
PICKFORD Oh, I know, alright. The whole of Trinova probably knows by now. Which is fantastic, by all accounts.
EMILY (CONFUSED) What do you mean?
PICKFORD GESTURES TO THE ROOM AROUND THEM.
PICKFORD (ENTHUSIASTICALLY) Look around you! There’s so many people clamouring to get in here I think I’m going to have to start a waiting list. I’ll need to hire more staff, as well. Everyone wants to be here, see where a little bit of history happened. People in this city love a good bit of drama. Believe me, those Automex creations are the best thing to ever happen to this place, and I’m cashing in on it for all it’s worth.
EMILY (SHOCKED) So you aren’t angry?
PICKFORD Well, I wouldn’t go quite that far… but I can’t afford to sack you, you’re the most priceless commodity we have.
EMILY LOOKS SUITABLY OFFENDED AT BEING REFERRED TO AS A COMMODITY, BUT IS TOO RELIEVED ABOUT THE SITUATION TO QUESTION IT.
EMILY So I get to keep my job?
PICKFORD Most definitely.
EMILY LOOKS DELIGHTED. PICKFORD POINTS IN THE DIRECTION OF THE UNLIT FIRE.
PICKFORD Speaking of which, if you could empty the ash pan, that’d be very helpful.
HE HANDS HER THE BACK DOOR KEY. EMILY’S DELIGHT FADES SOMEWHAT, BUT SHE DOES SO. AS THIS HAPPENS, SOMEONE COMES UP TO THE BAR AND ASKS FOR A PINT, AND PICKFORD SERVES HIM IN A GLASS SHAPED OUT OF A SEVERED AUTOMATON’S ARM. EMILY TAKES THE PAN THROUGH INTO THE BACK ROOM AND SETS IT DOWN MOMENTARILY TO UNLOCK THE DOOR. SHE STEPS OUTSIDE INTO THE ALLEYWAY, AND FINDS MICHAEL WAITING CASUALLY, SURPRISING HER SUFFICIENTLY TO DROP THE ASH PAN, WHICH TIPS OVER. AD-LIB SURPRISED EXCLAMATION. MICHAEL LOOKS SOMEWHAT EMBARRASSED.
MICHAEL Sorry.
EMILY (IN THAT SOCIALLY POLITE WAY) No, no, it’s fine.
THEY BOTH BEND DOWN TO PICK IT UP AT THE SAME TIME. MICHAEL STOPS HALFWAY AND STEPS BACK AS EMILY PICKS IT UP, NOW WITH ITS CONTENTS SPILLED ACROSS THE ALLEYWAY, AND SETS IT ON THE LID OF THE DUSTBIN.
MICHAEL (GESTURING TO THE PUB) You still here, then?
EMILY (SMILING ABASHEDLY) Somehow. How about you, what did Sherwood want to talk to you about?
MICHAEL Working for him in an advisory capacity. It looks like the whole landscape of the country could be changing.
EMILY Changing to what?
MICHAEL Well, he’s talking about changing industry everywhere. Making it meet welfare standards on workers. Giving them unions that have a say in how the company’s run.
EMILY (GENUINELY IMPRESSED) That sounds amazing.
MICHAEL (LOOKING CHEERFUL) I know. I’m really getting to do what I came down here for. Not just inventing, that was a means to an end. Actually making a difference in the world.
HE LOOKS SINCERELY HAPPY, AND EMILY IN TURN LOOKS AT HIM WITH A LOOK THAT SUGGESTS SHE IS SINCERELY HAPPY FOR HIM.
EMILY So, what now, then?
MICHAEL Well, he’s offered to put me up in a social house for the duration…
EMILY (UNPLEASANTLY SURPRISED) Oh.
MICHAEL (NOT NOTICING) I couldn’t infringe on you any longer, really…
EMILY (TRYING NOT TO LET ON HER DISAPPOINTMENT) Of course. Obviously.
MICHAEL I just wanted to let you know.
EMILY (NODDING MECHANICALLY) Right.
THERE IS A SLIGHTLY AWKWARD PAUSE. MICHAEL HABITUALLY FIXES HIS HAIR.
MICHAEL (AWKWARDLY) So, I suppose this is… well, not goodbye, but-
HE STOPS SPEAKING ABRUPTLY AS EMILY HUGS HIM. AFTER SOME INITIAL SURPRISE, HE SINCERELY RECIPROCATES THE EMBRACE. SOMEWHERE IN THE DISTANCE, ASHWORTH’S SPIRE BEGINS CHIMING SLOWLY. FADE OUT, END OF SCENE. END OF ACT THREE. CREDITS ROLL.
POST-CREDITS SCENE- A RUN-DOWN TRINOVA STREET, IN LATE AFTERNOON. BUNCE IS WALKING ALONE DOWN THE STREET, READING A NEWSPAPER AS HE DOES SO, HIS EXPRESSION INTRIGUED. HE COMMENTS ALOUD, SEEMINGLY FOR HIS OWN BENEFIT, THOUGH THANKFULLY ALSO FOR THE AUDIENCE’S AS WELL.
BUNCE (FOR HIS OWN BENEFIT) Bloody Automex got what they deserved, then… and Dedlock’s not getting away with it this time… goodness, first time I go to church in ten years and I miss all the action. Sod’s law…
HE SCRUMPLES UP THE NEWSPAPER AND DISCARDS IT CARELESSLY. HE ENTERS THE MARKET SQUARE WE SAW IN ACT ONE, NOW PACKED UP FOR THE DAY. BUNCE MAKES HIS WAY OVER TO THE FOUNTAIN IN THE MIDDLE OF THE SQUARE WITH A CRAFTY LOOK.
BUNCE (AGAIN FOR HIS OWN BENEFIT) Alrighty, then, let’s see what we got here…
HE REACHES INTO THE WATER AND BEGINS FISHING ABOUT FOR COINS.
BUNCE Coppers… coppers… come on, somebody give me one worth something…
HE PAUSES AS HE SPOTS SOMETHING UNEXPECTED. CURIOUSLY, HE REACHES DOWN AND SCOOPS IT OUT OF THE WATER. BUNCE HOLDS IT UP TO EXAMINE IT. UNMISTAKEABLY, IT IS DAVID’S MEDAL FOR VALOUR. BUNCE DOES NOT RECOGNISE IT AND IS CONFUSED.
BUNCE Now, what’s this, then?
HE CONTINUES TO LOOK PUZZLED, AS WE CUT AWAY TO THE TRINOVA POLICE STATION, AND HIGH SECURITY. THE DOOR TO IT OPENS, AND A PAIR OF OFFICERS ENTER, DRAGGING DEDLOCK ALONG. HE HAS NOTICEABLY LOST MOST OF HIS VITALITY, BUT RETAINS HIS SUPERIORITY AND IS IF ANYTHING MORE SHARP-TONGUED THAN EVER.
DEDLOCK You can’t really believe I’m going to be staying here. I could buy and sell your whole lives with what I make in an afternoon. Were it not for me, your entire force would still be running around like headless chickens.
THE OFFICERS FLATLY IGNORE HIS DIATRIBE, AS IF THEY HAVE LISTENED TO MUCH ALREADY AND HAVE GROWN IMMUNE TO IT. THEY BRING HIM TO THE CELL DOOR, WHICH IS ALREADY OPEN, AND THROW HIM INSIDE. HE LANDS HEAVILY AND BEGINS SPEAKING AGAIN WITHOUT TURNING ROUND.
DEDLOCK (SPITEFULLY) I’ll be out of here before you next get paid.
DAVID Really?
THE DOOR TO THE CELL SHUTS TO REVEAL HIM STANDING THERE FOREBODINGLY. DEDLOCK TURNS ROUND AND APPEARS ALARMED UPON SEEING HIM.
DAVID (FALSELY LIGHT TONE) So, Mr Dedlock. I think the two of us could do with a little chat.
DAVID LOCKS THE DOOR AND CRACKS HIS KNUCKLES IN A THREATENING MANNER. DEDLOCK WATCHES HIM WITH REAL, GENUINE FEAR, AND DAVID SMILES UPON NOTICING THIS. END OF SCENE. END OF SCREENPLAY.
© 2017 ncwriterAuthor's Note
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Added on May 18, 2017 Last Updated on May 18, 2017 Tags: Steampunk, Fantasy, Science Fiction, Mystery |
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