Leaving Planet Earth

by Lewis Hetherington

  MEEKA: Yes we have.

  SAAD: I would do anything to keep us all safe here. You know that?

  MEEKA: Of course. So would I.

  SAAD: I know.

  Pause.

  MEEKA: So?

  SAAD: There's potential for a mission that I want you to lead on. You'd be on your own. No Datalog even. I need someone with exceptional technical ability, who really understands what it took to get us here.

  MEEKA: Right.

  SAAD: How can I say this… Old Earth is an Empty. And so we might have to act.

  Pause.

  MEEKA: I see.

  SAAD: Good. We'll talk more soon.

  MEEKA: Thanks for thinking of me.

  SAAD: Of course.

  They walk off together.

  SAAD: And I do mean it. It is good to see you.

  MEEKA: Don't ruin it by going all soft.

  SAAD: You need to learn to take a compliment.

  MEEKA: Shut up.

  SAAD: Good to see you have as much respect as ever for your superior officers…

  The lights flicker and the scene disappears.

  TRANSPARENCY COORDINATOR TALKS OF NAMING HER LAND

  The Puffersphere Projector comes back to life and out of the semi-darkness EMILIA begins to speak.

  EMILIA: I know what you're thinking. How can I name this piece of land, my piece of New Earth, if I can't see it. I need to go there and feel the earth beneath my feet.

  A light comes up on her. She is standing on a counter. The audience turn to see her. She is holding her piece of gravel. She holds it out to them.

  My husband and I got one of the first pieces of land. We called ours Laika, after the first dog in space. His idea.

  When he got his job with the preparatory team we considered my jumping later – which a lot of partners did – but I didn't want to wait. I was more excited than him. And on arrival my excitement became a bit, well. Manic. I just wanted to absorb everything all at once. He was so patient. I was restless.

  And so when the Pilot showed us our piece of land and told us we couldn't go there, as she just did for you, that was all I wanted to do.

  So, one night I snuck out onto the roof, intent on making it out to Laika. I scrambled across the glass ceiling, right to the edge and saw the huge expanse of empty space spreading out in front of me. I felt elated. I felt, for the first time since I arrived, like I was actually here, living and breathing and awake. My arms prickled with the lovely cold air, and the light of the Golden moon was all over my skin.

  Slowly and tentatively I stood. Ready to step out. With my arms stretched out for balance I looked up. And it was. I couldn't take it all in. Streams and streams of silver white stars. And from somewhere I heard the birds sing their silver white song. My whole head full of blinding silver white. And then my body started to tremble and just before I blacked out I realised every muscle in my body was convulsing shaking and revolting against me.

  I was found much later. Wide-eyed. Covered in bruises. A deep forking crack in the glass roof underneath my body. I was that close to… I had to be sedated for a week.

  As I was recovering, Vela began to visit me. She was interested. She wanted to understand why I had done it and was determined to protect people from doing the same again. And so we talked and after some time she asked me to join the Transparency team. I would be an example to others, because I understand the importance of seeing something when you are ready to see it. I learned the hard way.

  And so now, my Quantifier brings back consistent high results. I feel steady and in control and when I hold on to little Laika, as you hold on to your piece of New Earth, I understand this is the promise, not of what is, but of what is to come. I advise you to be patient and find peace in being present. It is time to name your piece of land.

  TRANSPARENCY DIRECTOR, WELLNESS ENABLER AND PEACEBUILDING COMMISSIONER MEET THE GUARD

  EMILIA and JOST walk through the Cafe doors. EMILIA is showing JOST the skin on her arm.

  EMILIA: It's only a subtle difference but I love it.

  JOST: It looks great. Good for you.

  EMILIA: Thanks. I was going to go for something a little more radical but in the end I decided to play it safe.

  JOST: Is it expensive?

  EMILIA: This was only a couple of hundred credits.

  JOST: Right.

  EMILIA: Have you never done it?

  JOST: No.

  EMILIA: What! You've never changed your skin tone?

  JOST: No.

  EMILIA: That's… So is that the colour of your actual skin?

  JOST: Yeah. I'm a purist.

  EMILIA: Amazing.

  JOST: There's not many of us left.

  EMILIA: That's so interesting.

  JOST: Is it?

  EMILIA: Well. I highly recommend it. Oh, here he is.

  JOHN enters.

  EMILIA: John. Hi.

  JOHN: Hi.

  JOST greets him.

  (To EMILIA.) I thought we were just having a coffee?

  EMILIA: We are, but I thought perhaps it would be useful for Jost to be here.

  JOST: Is that okay with you?

  JOHN: …

  EMILIA: So how's work?

  JOHN: Fine.

  EMILIA: Great. I always say to people working at the Old Earth Museum, you get the best of both worlds!

  Pause.

  JOHN: Is this an official chat?

  EMILIA: Well. It is and it isn't you know the sort of thing.

  JOHN: …

  EMILIA: Well. It is. But that doesn't mean anything.

  JOHN: Doesn't it?

  SAAD enters and joins the meeting.

  SAAD: Sorry I'm a little late.

  EMILIA: Thanks for joining us.

  SAAD: John.

  Pause.

  JOHN: I'm sorry but I'm a little unsure of why you're all here.

  EMILIA: I, I've gotten us off in the wrong way. We wanted to meet with you, in an official capacity to discuss a couple of things. But also just to, to have an open conversation to allow you to say anything you –

  SAAD: We want to talk to you about Vela.

  EMILIA: That's right.

  SAAD: She's been accessing the memory bank a lot recently and we wanted to get your response.

  JOHN: Well she's expected to access the memory bank like everyone else.

  SAAD: How frequently is she accessing her memories?

  JOHN: You should check the records.

  SAAD: We did and she's been visiting with increasing frequency.

  JOHN: Well, if that's what the record says.

  SAAD: You must have noticed she's been in a lot?

  JOHN: I have and I put it in the record.

  JOST: We are not questioning you in any way. We are just trying to make sense of a few things.

  JOHN: OK.

  EMILIA: We're wondering how she's appeared to you.

  JOHN: I always like to see her. She always has a bit of time for me. Just to say hello, you know.

  EMILIA: That's nice.

  JOHN: Yes. We always have a little chat.

  SAAD: What do you talk about?

  JOHN: Oh you know. The latest new arrivals. How it's all going. Small talk.

  SAAD: What exactly do you say?

  JOHN: Like I say it's small talk.

  SAAD: What is her emotional state when she comes to the museum?

  JOHN: I'm not sure how to –

  JOST: Let's be careful not to –

  SAAD: What?

  JOST: Just, let's try and focus on questions which are specific, not open ended and –

  SAAD: OK. Does she seem tense?

  JOHN: She's a very focused person. She's always thinking.

  SAAD: Do you feel you know her?

  JOHN: Well yes I suppose so. A bit.

  EMILIA: Do you worry about her?

  JOHN: She does work incredibly hard and I do say I hope she gets a break occasionally, but that's the person she is. You know this whole thing, it'
s her thing isn't it?

  EMILIA: It's our thing. It's everyone's thing.

  JOHN: Yes of course.

  JOST: Do you have any contact outside of the museum?

  JOHN: We live behind different walls.

  SAAD: There's one particular memory she keeps accessing. Do you know anything about that. Does she talk about that?

  JOHN: I know it's of her sister. But she doesn't talk about it. It's private.

  JOST: Absolutely.

  JOHN: Is something wrong?

  JOST: Not at all. We are just. We are wanting to get a sense of how Vela is doing.

  JOHN: You should talk to her.

  JOST: We are. Of course.

  EMILIA: It strikes me that you have a very balanced, objective manner, and we think it could be useful to meet more regularly so we can talk about Vela, and what's changing, if anything. Would that be OK?

  JOHN: I don't think I'll have much to add.

  EMILIA: It will be very relaxed.

  JOHN: Really?

  EMILIA: Of course.

  SAAD: The man isn't stupid. Of course there is a degree of seriousness to this, let's not pretend otherwise.

  JOST: We're not pretending

  SAAD: She is at the memory bank constantly and so we need to watch her

  JOST: It's nothing to be concerned about. We're looking out for her.

  SAAD: We need to have a strategy in place, in case –

  JOST: In case what?

  SAAD: There is no guarantee that Vela's sister will arrive with the final jumpers, we all know she wasn't exactly enthusiastic about the GFO. Final closure is fast approaching and –

  EMILIA: I think. I don't think we should go into this now. I'd like to remind everyone that everything said here is of course confidential. It is our concern, matched with our professional duty in our roles here to make sure people are safe, and looked after. John, there's nothing untoward or unusual about any of these questions. I want you to feel totally safe in that knowledge. We just need you to keep your eyes open and meet with us every other cycle.

  JOHN: Every other cycle! Even if I have nothing to tell you?

  JOST: I think it is quite possible there will nothing to report. I hope so. Your concern is natural but don't worry about this conversation.

  SAAD: We just need you to feedback objectively.

  JOHN: I don't know how easy that will be.

  EMILIA: Trust your instincts.

  JOHN: My instinct is really I'd rather not.

  EMILIA: Well, as you know we've all taken the oath. So you've already made that choice. Thanks for coming. We really appreciate it.

  JOHN: Okay.

  EMILIA: I'll walk you out.

  They stand and shake his hand again.

  EMILIA and JOHN exit.

  JOST: I think that was wildly unprofessional, putting him in that situation.

  SAAD: We are just asking him to document her –

  JOST: He already does that, for all the visitors. You can't ask him to ascertain how she is feeling. To intrude.

  SAAD: His face type inspires trust, he's exactly the sort of person she could talk to.

  JOST: Vela will talk to any one of us about how she is.

  SAAD: I disagree. She is changing.

  JOST: I don't understand where this suspicion is coming from?

  SAAD: Who monitors her? She monitors everything. Who is monitoring her?

  You must understand if she falls to pieces then –

  JOST: She's not falling to pieces. She's probably, I don't know she's probably testing the system. She's testing to see if we are checking and recording; ready to catch people before they begin to fall through the cracks.

  SAAD: What! Why would she? Her vision is about transparency.

  JOST: Yes but she. The spike in her behaviour is perfectly understandable given that her sister is not yet here.

  SAAD: What if she is succumbing to The Pull?

  JOST: She mapped it out herself. She will struggle until her sister arrives.

  SAAD: So which is it? Is she testing us, or upset about her bloody sister?

  JOST: Her sister will arrive soon. And that will be that.

  SAAD: My point is, what if she doesn't arrive and Vela breaks?

  JOST: That won't happen.

  SAAD: What if it does?

  Beat.

  JOST: If that were to happen then she would follow the programme like everyone else. And if she had to, she would take the path.

  SAAD: Are you being serious? Vela cannot…

  JOST: That is the system.

  SAAD: I'm sorry but I can't accept that. There is absolutely no way that Vela can take the path. How do you think people would react at her abandoning her own vision? There'd be mass hysteria – riots – we might as well be back…

  JOST: The system has been designed for everyone. No one is above it. It is about the long term survival of humanity not just one or two –

  SAAD: For fuck's sake. I don't need you to tell me that. But people need something, someone to believe in. How would we tell people that Vela has failed within her own system?

  JOST: We won't need to. Because its not going to happen. It's not going to happen.

  The lights flicker and the scene disappears. The audiences’ Quantifiers begin to light up and the Gatekeeper's Bell chimes out. The group's MENTOR comes through the door and invites the audience to exit.

  THE ATRIUM: THREE

  The audience all come out into the Atrium, they are all being ushered on towards the stairs to take them down to the Arena.

  HAL and MEEKA are having a conversation across the space.

  HAL: Meeka. Where you going?

  MEEKA: I've got to go to work.

  HAL: But it's Final Closure! The celebrations –

  MEEKA: I know. You'll cope without me.

  HAL: Yeah but –

  MEEKA: You won't even notice I'm not there. You better head downstairs.

  MEEKA approaches the exit.

  HAL: Meeka! Meeka?

  VELA is coming down the stairs. She and MEEKA pass by each other. HAL watches this.

  HAL: Vela, I did some digging on the Quantifier you asked about – X900 and it never jumped.

  VELA: She didn't jump?

  SAAD approaches HAL and stops him saying any more. HARPER and JOHN come out of the Old Earth Museum and approach VELA, who is silent. Lost for a moment.

  HARPER: Vela. We have some information I think you'd like to see.

  Vela.

  VELA re-engages.

  VELA: Thank you Harper but I think I know all I need to know.

  HARPER: Please, go with the Guard – he can take you to access her pledge. Maybe you can make sense of it.

  JOHN is waiting for her.

  VELA pauses and then decides to go with JOHN to access SINEAD’s pledge. They walk away.

  HARPER: Right everyone. No more interruptions I promise. This is a big moment so let's enjoy ourselves. Please follow the Mentors into the House of the Gatekeeper.

  Everyone is taken into the arena.

  ARENA

  As the audience walk into the space the music surges. JOST, SAAD, EMILIA and HARPER usher them through.

  Across the walls images flash, a light and AV spectacle is building. VELA’s face flashes across the screen, images of New Earth from space, abstract celebration.

  Once everyone is in the space, a final build up film is played, with a voiceover.

  VOICEOVER: There was a moment in history where it felt that humanity had failed. But we have been given a second chance. A new future.

  Today we define that future. And here to guide us; the woman who conquered our minds, the woman who gave us the emotional strength to move out and up, the woman who stopped at nothing to ensure we survived… VELA.VELA. VELA.

  A blast of light and music then cut to silence.

  Up in the Old Earth Museum we see VELA and JOHN, he is showing her something but we can't see what. She begins to break down.

  Proj
ection of SINEAD appears on one of the walls in the Arena.

  SINEAD: It's funny not being able to tell anyone. It's funny that it's worse than ever down here, but also calmer. People are so tired. Even when you hear an explosion, or see a fire, it feels muted. Like everyone is moving through glue towards some inevitable end point. Or maybe it's just me – knowing what's going to happen. Because I have this pass to jump away from it all. Jump right into a shiny new future.

  Silence.

  I bet you check these don't you? Check that everyone's pledges are satisfactory.

  Of course you do.

  She looks directly into the camera.

  Vela.

  That day. You said to me, would I come. Would I come to a better place. You really believed it would be better, didn't you? And I meant it. Of course I would come if it was sure it was better. But. Is it?

  I'm not angry with you. I'm sure it would be different if I were there. But, it's that thing you said, you can't imagine it until you see it.

  I can't see it. I can't see what you're seeing.

  Since you told me about Final Closure. About what it really means. I've known, of course, I should come. But I just can't imagine being able to live in a place like. That I would think that was ever the right thing to do.

  I don't want to just start again.

  Maybe I'm just. If this is it. If this is who we're meant to be then I'm not right for the future. People like me. Perhaps, then you are right to leave us behind.

  But maybe you're not right. And what will you do then?

  I hope you can live with that. I really do. But Vela, I hope even more, that you don't have to.

  She puts her Quantifier down and exits. The footage crackles and then the words VELA appear all over the walls, and the music continues.

  We can see VELA standing in the far corner of the Atrium. She is looking out towards the stairs that lead to the Path, it is pulsing with light.

  A spotlight hits her.

  VOICEOVER: VELA. VELA. VELA.

  She looks at the audience in the Arena. She moves towards the stairs. The spotlight follows her. She stands for a moment at the top of the stairs with her back to us.

  She then walks away from the stairs and exits through another door. Leaving an empty spotlight.

  The bass in the Arena is building. Moving lights fill the room.