Season Two Episode Two - No More To Roam
SFX: gentle piano music plays. Water swishing, dishes and cutlery clattering.
CROFT: Uh, pass me that plate.
ELIZABETH: Sure.
CROFT: You excited to see Firewatch again, boss?
SFX: a sink faucet running.
ELIZABETH: Yes and no. I could do without the heat. Might have to get used to it again though.
SFX: sink faucet stops.
CROFT: Oh... you uh... thinking of staying?
ELIZABETH: Ah… I don’t know, maybe.
CROFT: You know we’d really miss you around here. And the Skip...
ELIZABETH: I don’t know... I guess I thought she might think about staying for a while too.
CROFT: Well... I mean…
ELIZABETH: Ah, it’s a later problem.
CROFT: Yeah, just take it as it comes.
SFX: the door whooshes open.
CASS: Hey Croft, Meds and I just finished loading up the Wildcat with that cargo. You can drive out to meet the buyer as soon as we’ve landed.
CROFT: Sounds good.
CASS: Better finish up in here, we’ll be touching down soon.
ELIZABETH: Be there in a sec.
SFX: footsteps climb up metal stairs.
- Scene Change -
SFX: wistful violin music plays. Comm beeps open.
ATC OFFICER: (over comms) Corvette Guinevere, this is Bellamy City spaceport control. You are cleared for horizontal landing at pad twenty C, vector is green.
CASS: Confirmed, Bellamy Control. Initiating landing sequence.
SFX: vector engine bursts and rumbling as the Guin goes through atmospheric entry. Wistful music continues.
CROFT: Landing in three, two...
SFX: a large shudder as the Guin lands. The engine winds down as the music fades out.
CROFT: Touchdown.
SFX: seatbelts unbuckle.
CASS: Meds, Croft, you two go ahead to the Wildcat. I’ll finish up here.
MEDS: You got it.
SFX: the door whooshes open as two sets of footsteps recede.
CROFT: First time on Firewatch! You excited?
MEDS: Ecstatic.
SFX: the door closes.
ELIZABETH: You ready?
CASS: Yeah, yeah I’m ready.
ELIZABETH: Don’t tell me you're nervous about meeting Dad.
CASS: I don’t know... Just want to make a good impression.
ELIZABETH: Don’t worry he doesn't bite. That’s just me. Come on. Let’s go.
CASS: Let’s go.
SFX: Intro music starts - “Wilderness” by Taylor Davis.
NARRATOR: The Sojourn, Season Two Episode Two: No More To Roam by Larissa Thompson. Starring Larissa Thompson as Captain Cassandra Farren, Emily Serdahl as Elizabeth Ancelet, Laura Faye Smith as Tamara Melari, and Ben Prendergast as Mathias Croft.
SFX: Theme music continues.
SFX: haunting violin music plays. Distantly, large HVAC fans can be heard whirring down. General street chatter and cicadas in the background.
ELIZABETH: Ohhh, finally. You have no idea how annoying it is to listen to those extractor fans.
SFX: a lighter lights. Footsteps on a gravel path.
CASS: I have an idea.
ELIZABETH: I’m hoping my dad might be able to help with the pulsar data. I bet retirement is driving him crazy, he could probably use a new problem to solve. It’ll be nice to work with him again too.
CASS: How long has it been since you’ve seen him?
ELIZABETH: Just over a year, eugh. Not the longest we’ve gone without talking, but… eh, it’s pretty close.
CASS: Oh. I didn’t realize you--
ELIZABETH: Oh, not like that. No. We just both get so busy with our own work sometimes that we forget to check in. But when we see each other again, it’s like no time has passed at all.
CASS: That sounds... nice.
HOMELESS MAN: Please, any food to spare?
ELIZABETH: Oh. Uhh… I think I have an energy bar...
SFX: coins clanking, fabric rustling.
ELIZABETH: Yeah. Here you go.
SFX: packaging rustling.
HOMELESS MAN: Thank you.
CASS: Come on. We should keep moving.
SFX: the chatter fades away a bit.
ELIZABETH: It’s never been this bad before.
CASS: The Famine finally caught up here. It was bound to happen eventually.
ELIZABETH: I always knew that, but I-- I guess it just never felt real before.
CASS: This has been a lot of people’s reality for a long time.
ELIZABETH: Yeah...
SFX: footsteps continue. A quadcar flies by overhead.
ELIZABETH: His place is just up here.
SFX: a special knocking pattern on a door.
ELIZABETH: Hello? Dad?
SFX: the special knock repeats.
CASS: I don’t think he’s in there.
ELIZABETH: Yeah, I guess he must be out.
CASS: No. Look at the sign.
SFX: footsteps. String music plays.
ELIZABETH: “Repossessed?” That doesn’t make sense.
CASS: Maybe--
ELIZABETH: The hell is going on here?
CASS: Liz--
ELIZABETH: I’m calling him.
SFX: music continues.
- Scene Change -
SFX: a door opens.
MEDS: Excuse me, are you Ms. Beaumont?
BEAUMONT: Yes? What is it? You’ll oblige me by getting to the point, I’m very busy.
CROFT: Can do. We’ve brought your cargo from Valeria Sibus, here’s the manifest. All ship-shape and waiting to be unloaded.
SFX: typing on a tablet.
BEAUMONT: No, I won’t be buying this.
MEDS: Excuse me?
BEAUMONT: These are pre-owned, used goods. We don’t trade in used goods.
MEDS: Are you kidding? The hell isn’t used goods these days, have you looked around?
CROFT: Hey look, materials are materials. Surely you can find a job this could be useful for.
BEAUMONT: These sheets are not up to the standards of quality we expect. The answer’s no.
MEDS: What do you expect us to do, then?
BEAUMONT: Find a different buyer, chuck it in a volcano, I don’t care.
MEDS: Oh, that’s just great, thanks.
CROFT: Let’s go, Meds.
SFX: footsteps, the door slides open and close. Street chatter and cicadas in the background.
MEDS: Lovely people here.
CROFT: Alright, leave it. We’ll manage another way. Come on, let’s grab some grub and figure out our next step. I’ve heard a lot about the food here.
MEDS: Yeah, so have I.
- Scene Change -
SFX: piano music plays. Pacing footsteps. An outgoing comm call rings.
ELIZABETH: This doesn’t make any sense. He owns this house free and clear, they can’t repossess it.
SFX: a negative beep as the comm goes unanswered. Elizabeth groans in frustration.
ELIZABETH: It’s not connecting.
CASS: That doesn't sound good.
ELIZABETH: I’m sure he’s fine.
CASS: Okay. Does he have any friends you could talk to? Someone who might know where he is?
ELIZABETH: He’s probably been keeping in touch with his old colleagues at the University. Someone there might know what’s going on. Let’s go.
SFX: slightly somber music crescendos, then fades out.
- Scene Change -
SFX: a door opens, a bell quietly tinkling. Quiet muzak plays, some liquid is poured, cutlery and glasses clink.
MEDS: This is where you wanna eat? Let’s just find a normal bar.
CROFT: I think this is a normal bar, for Firewatch.
SFX: footsteps.
WAITER: Welcome to Basalt + Pepper, can I start you off with one of our signature seasonal cocktails?
CROFT: Heh heh, Basalt + Pepper, that’s fun. What are you having Meds?
MEDS: Just give me a Firewatch Whisky, the cheapest one you have.
WAITER: Of course. And yourself, sir?
SFX: sheet of paper rustling.
CROFT: Hmmm, tell me about this “Thyme’s Marrow”.
WAITER: Excellent choice, sir. That’s our premium signature cocktail, which features our bone marrow-washed aged brandy, herbal liqueur with notes of clove and thyme, our award-winning house-made beef stock, red wine, citrus fruit, and black pepper cardamom bitters.
MEDS: You’ve gotta be kidding.
CROFT: Woah... that sounds like... something.
WAITER: (whispering) It’s one of our more controversial drinks.
MEDS: No shit.
CROFT: You know what, I’ll try that then, why not?
WAITER: Excellent, unfortunately, we do only have ersatz citrus as the moment.
MEDS: Almost like there’s a famine or something...
CROFT: Ersatz is fine, thank you.
WAITER: Wonderful, I’ll be right back.
SFX: footsteps recede. Muzak continues.
MEDS: “Thyme’s Marrow”?
CROFT: What? I can’t say no to that kind of wordplay.
MEDS: Man… y’know everything they used to say about this place in the Union, I always thought they must be exaggerating... but god damn. It really is like this.
SFX: a cocktail shaker shakes.
CROFT: Yeah it is a bit much. But hey we’re here, may as well get in the spirit of things. “Spirit...”
MEDS: Oh for god's sake…
SFX: footsteps approach, glasses clink as they are set down on the table.
WAITER: I have your Thyme’s Marrow.
CROFT: Thank you very much.
WAITER: And here is your Firewatch Whisky. It’s an authentic award-winning ten year small batch single-malt from our local distillery Caldera. Because of the high minerality of the groundwater in this region, you’ll notice additional floral, herbal, and peaty notes are unlocked on the nose, and on the tongue you’ll pick up an intense and intriguing chalky texture.
MEDS: I’ll bet.
CROFT: Ooh, let me smell.
SFX: sniffing.
CROFT: Oooh, yeah, I’m definitely getting the floral notes.
MEDS: This is the cheapest you have?
WAITER: I’ll… be back later for your food order.
SFX: footsteps recede.
CROFT: Alright, bottoms up. Fair winds!
MEDS: Fair winds.
SFX: glasses link together. Sipping, then coughing.
CROFT: Oh that’s so weird! How’s yours?
MEDS: I prefer the off-world knockoffs.
- Scene Change -
SFX: melancholic music plays. Three sets of footsteps approach.
INTERN: You can wait here, Professor McCray will be out when he has a moment.
ELIZABETH: Thank you.
SFX: music fades out. A foot taps rapidly as the Intern walks away.
CASS: Your dad knows this professor?
ELIZABETH: Yeah, they’re good friends.
SFX: tapping foot continues. Fabric rustles.
CASS: Liz. I know you don’t want to think about this, but you might have to consider that something could have--
ELIZABETH: No, I don’t. There’s no point thinking about that.
SFX: somber music builds.
CASS: I-- Okay...
- Scene Change -
SFX: music fades out. In the background, cicadas and trucks backing up can be heard. A buzzer, and a door opens.
MEDS: How’d you find this guy?
CROFT: Looked up all the construction companies in town, messaged their materials managers. Only got one bite. He’s only agreed to check the quality of the goods, so we’re gonna have to make a hard sales pitch here.
SFX: a quadcar approaches, then its engine winds down. The door opens.
MEDS: Alright.
MR. OAKLEY: Right then, you say you’ve got some photovoltaic sheeting for me?
CROFT: That’s right, good to meet you Mr. Oakley.
SFX: a handshake.
MR. OAKLEY: Pleasure.
CROFT: We got twenty pallets of VersaRay CAT-14's, very solid design.
MR. OAKLEY: Hmm.
CROFT: Come on, I’ll crack one open for you, you can have a look.
SFX: crates open.
MR. OAKLEY: Yeah, looks genuine. Twenty pallets, you say?
MEDS: That’s right.
MR. OAKLEY: Eh, well... We might find a place to use this. But I’m afraid I can’t buy it at the rate you’re asking for. I can do… eight thousand.
MEDS: That’s less than half!
MR. OAKLEY: Look, I’m sorry but that’s what I can do for you. Reality is, new builds aren’t happening much these days.
CROFT: You can’t just sit on it for the next project?
MR. OAKLEY: That’s the idea. I get where you’re coming from, but I’m already taking a risk buying this off you at all.
MEDS: Okay, what about ten thousand? Okay? That is still a deal for you.
MR. OAKLEY: Well...
CROFT: Prices are only going to go up. I doubt you’ll be seeing much of this stuff shipped all the way out here these days.
MR. OAKLEY: Yeah, you’re right about that. Listen, best I can do is nine.
CROFT: Can do. You’re a good man, Mr. Oakley.
MEDS: Yeah, thank you.
MR. OAKLEY: Pleasure, we’ll start unloading.
SFX: ratchet straps undo.
MEDS: (quietly) This is practically theft.
CROFT: There wasn’t going to be another buyer, Meds. We’re lucky we got nine.
SFX: violin music rises, then transitions into piano.
- Scene Change -
SFX: foot tapping resumes, then stops as a door opens.
PROF. MCCRAY: Elizabeth Ancelet. Now I know I’m hallucinating.
ELIZABETH: Pulling an all-nighter?
PROF. MCCRAY: Yeah, something like that. Come in, come in.
SFX: footsteps, and a door closes. The echoing of the hallway is now dampened in the small office.
ELIZABETH: It’s nice to see you again, Professor. You’re looking good.
PROF. MCCRAY: Heh, finally dropped all that extra weight...
SFX: patting a stomach.
ELIZABETH: Cass, this is Professor Charlie McCray. Professor, this is Captain Cassandra Farren.
SFX: a handshake.
CASS: Nice to meet you.
PROF. MCCRAY: You too.
SFX: footsteps and someone sits.
PROF. MCCRAY: Now, uh... is there something I can help you with? I didn’t know you were... Please, sit, sit.
ELIZABETH: Actually, we’re looking for my Dad, have you seen him lately?
SFX: someone else sits slowly on a leather chair.
PROF. MCCRAY: Oh, er. You mean... You haven’t heard?
ELIZABETH: I haven’t heard anything from him, his house was repossessed. Has he told you what’s going on?
SFX: sad, sinister cello music plays.
PROF. MCCRAY: No I... Elizabeth I’m really sorry but, well I’m afraid he’s no longer with us.
SFX: music builds.
ELIZABETH: No. No way, I...
PROF. MCCRAY: It was about four months ago, I think?
ELIZABETH: No. Wh-- why is this the first time I’m hearing of it?
PROF. MCCRAY: Well... You were gone.
ELIZABETH: I’ve been back for weeks!
PROF. MCCRAY: You know what the inter-system comms are like these days… You’re lucky to get through to anyone.
CASS: What happened?
PROF. MCCRAY: He um... well, he, he was sick. Truth be told… he wasn’t in the greatest health when he retired.
ELIZABETH: He was just overworked. A couple days rest was all he--
PROF. MCCRAY: Well, sure maybe, uh. If he actually had rested... He got really involved in the University while you were away, and... The st– students meant so much to him, you know?
ELIZABETH: What are you saying?
PROF. MCCRAY: Well, he, he… he kept donating his rations…. and with all the volunteering he was doing he just...
ELIZABETH: Wasted away.
PROF. MCCRAY: No. He wasn’t wasted. He was a hero to this department.
CASS: And his house?
PROF. MCCRAY: The city must’ve claimed it, with no one to inherit.
ELIZABETH: Except me.
PROF. MCCRAY: No one thought the Expedition was coming back.
ELIZABETH: Thank you, Charlie.
PROF. MCCRAY: I’m sorry. I wish...
ELIZABETH: Thanks.
SFX: rustling, the door opens, then closes. Footsteps move back into the hallway.
CASS: Liz, I’m sorry I-
ELIZABETH: Weeks. I’ve been back weeks. They knew I was back.
CASS: What do you want to do?
ELIZABETH: I’m going home.
SFX: footsteps recede. Music continues.
- Scene Change -
SFX: doorknob rattles, a shoulder is slammed into a door repeatedly.
ELIZABETH: Damn it, damn it, damn. Damn it…
CASS: Stand back.
SFX: a single gunshot. Music stops. The door creaks open. Footsteps enter, a lightswitch is flicked a few times.
CASS: Hmm. No power.
SFX: footsteps move further into the house.
CASS: Uh… is this the piano you learned on?
ELIZABETH: Yeah. It was my mom’s…
SFX: fingers caress piano keys. A single note is played.
CASS: It’s beautiful.
SFX: chords and a simple, random melody is played.
ELIZABETH: Strandhauer baby grand. One of the only objects from their home that survived the debris strikes. Dad must’ve spent a fortune repairing it.
SFX: playing continues.
ELIZABETH: Still in tune…
SFX: playing stops and a fist hits something wooden. Elizabeth sniffles.
ELIZABETH: Agh. I’m calling someone, heads are gonna roll.
CASS: Alright, I’ll check in with the others. Let me know if you need anything.
SFX: footsteps. Cass clears her throat.
CASS: Croft? How’s it going over there?
CROFT: (over comms) Hey, Skip. Made the sale, but I’m afraid we didn’t get as much as we’d hoped for. How’s it going on your end?
CASS: Edric’s dead.
CROFT: (over comms) What? Oh, man... How’s she holding up?
CASS: Fine, considering. Trying to find some answers.
CROFT: (over comms) Do you want us to come--
CASS: No, that’s okay. Finish up what you were going to do.
CROFT: (over comms) Are you sure? We’re right nearby--
CASS: I’ve got it handled, Croft. Let me know how things go.
- Scene Change -
SFX: the Wildcat’s engine purrs.
CROFT: You hear that?
MEDS: Yeah... Shit’s hitting the fan for all of us now.
CROFT: Yeah. I wish there was something we could do.
MEDS: Let’s just give them some space. Try to find some parts, and then take it from there.
CROFT: Yeah, you’re right.
- Scene Change -
SFX: a quadcar engine approaches. A siren chirps. The quadcar engine shuts down. Sad piano music plays.
ELIZABETH: Elizabeth Ancelet. A-N-C-E-L-E-T.
SFX: Elizabeth’s voice continues in the background. The door creaks open.
CASS: Can I help you?
SGT. FANNING: Afternoon, ma’am. Sergeant Fanning, this is Fencible Kelley, Centran Provost Corps. We got a report from the silent alarm. I’m afraid we’ll have to ask you to leave, you are currently trespassing.
CASS: No, we’re not. This is my partner’s property.
SGT. FANNING: No, ma’am, this is property of the City of Bellamy. No citizens are allowed on the premises.
CASS: We’re on the comm with the city authorities right now.
SGT. FANNING: I’m sorry but you’ll have to do that off the property, ma’am.
CASS: Look. My partner just found out her father is dead and her childhood home is being taken away from her. We’re staying here until she’s sorted things out.
SGT. FANNING: You have our sympathies, ma’am, but-
CASS: Yeah I’m sure, but we are not leaving until she’s ready.
SFX: a quiet whistle goes by. Cicadas sound.
SGT. FANNING: Alright. I can give you twenty minutes. If you have not vacated the premises by then, we will be well within our authority to arrest you.
CASS: Fine.
SFX: music fades out.
- Scene Change -
SFX: metal parts clanking and shifting as someone digs through a scrap pile. A small piece of glass breaks.
CROFT: Hey, this one’s in pretty good nick, considering.
MEDS: Is it something we need?
CROFT: No…
SFX: something is thrown down. A helicopter flies overhead in the background.
MEDS: What about, uhhhh… this?
SFX: Something heavy is moved.
CROFT: Naw, we don’t need that.
MEDS: A few weeks ago we were saving the Cluster from aliens. Now we’re digging for scraps in a dump.
SFX: Croft sighs. A distant warning siren blares as the city’s HVAC system starts up. Digging through salvage continues.
CROFT: Hope Vadric is having better luck out there. Wherever he is.
MEDS: Did he ever say anything to you about leaving?
CROFT: No, that was out of nowhere for me too.
MEDS: Hmm.
SFX: a drone flies overhead.
CROFT: He probably just didn’t want to hurt us.
MEDS: Doesn’t mean he didn’t.
SFX: melancholic music starts playing.
CROFT: Yeah, it sucks. But he’s got people back there I guess, stuff he needs to do. I don’t think he would have felt great just stuck on our ship with nothing to do. You gotta have a purpose, you know?
MEDS: Yeah.
SFX: music fades out.
- Scene Change -
SFX: quick footsteps.
ELIZABETH: I don’t believe it.
CASS: What?
ELIZABETH: I don’t believe it! Because I was declared ‘missing, presumed dead’, they took everything. All his assets, his bank accounts. They even took his paintings, all of his books... Why would they do that?!
CASS: I’m… so sorry.
ELIZABETH: There’s nothing. I have nothing left of him.
SFX: a single note plays on the piano.
ELIZABETH: No one even bothered to tell me. I could have--
SFX: mournful music begins.
CASS: There’s nothing you could have done.
ELIZABETH: I just-- I thought I had more time. I guess I knew he wasn’t in peak health when he retired, but he always just seemed so... solid. He was always there for me, even when we weren’t talking much, I knew he was there.
SFX: a series of descending notes on the piano.
ELIZABETH: I remember when I was learning to play he’d be teaching me about resonance and harmonics…
SFX: a chord plays.
ELIZABETH: He was always like that. But it was never a lecture or anything, it was just how he saw things, saw the science in everything, was always so excited to understand how something worked.
CASS: That sounds familiar.
ELIZABETH: I suppose they’ll take this old thing as well now.
CASS: Wait here a second.
SFX: footsteps. The comm opens.
CASS: Croft, I’m gonna need you guys over here with the Wildcat.
SFX: mournful music crescendos, then fades out.
- Scene Change -
SFX: the Guin’s door whooshes open. Footsteps enter.
CASS: Here, take a seat. Can I get you anything? Coffee, or tea, or...?
ELIZABETH: No, thank you.
SFX: more footsteps approach.
CROFT: Hey boss, I’m really sorry.
MEDS: Yeah. Me too.
ELIZABETH: Thanks guys.
SFX: the Guin’s environmental systems hum quietly.
CASS: Croft, can you bring the piano up to our quarters?
CROFT: Sure thing, then we’d best make tracks in case the fuzz come looking for it.
MEDS: Actually, hold on a second. Cass, can I talk to you quickly first?
SFX: two sets of footsteps move to the side.
CASS: Sure what’s up?
SFX: gentle piano music plays.
MEDS: I’ve been thinking, well, we both know what its like to lose people, and I think it would help if she had a bit more to do around here. So I thought maybe, Quartermaster?
CASS: You sure?
MEDS: Yeah. Yeah, I’m not attached to it, and it’d only make my sickbay work easier. You know it would help, she just... needs some purpose.
CASS: Alright. Thanks Meds.
SFX: footsteps move into the room again.
CASS: Liz, what would you say to a job?
ELIZABETH: A job?
CASS: With us, on the ship. Quartermaster.
ELIZABETH: Quartermaster, isn’t that like second in command? I thought that was you, Meds.
MEDS: This ship is meant to be run with a crew of eight. We all wear a lot of hats.
ELIZABETH: What exactly would I be doing?
CASS: You’d be responsible for the ship’s books, supplies, transit schedules. Not too different to what you were doing for the Expedition.
CROFT: Reckon that’s right up your alley, boss.
CASS: No need to decide now, you can take your time–
ELIZABETH: No, I accept. I’ve been wanting to pull my weight around here.
CROFT: Welcome to the team.
SFX: music continues.
ELIZABETH: Thanks Croft... all of you.
CASS: Alright, now we need to decide what we’re doing next. Were you two able to find any more work?
MEDS: Sorry Cass. There’s not a lot here that people want in the rest of the Cluster, and since things aren’t quite as bad here, there’s no one looking to leave, so no passenger jobs either.
CASS: So I guess all we have is what we made from the cargo sale. That’s not enough. Any ideas?
MEDS: If we’re careful we might be able to take a prize ship around Rialtis. Supposed to be a lot more pirate activity around there now.
CROFT: We’re not as beat up as we were, but I really don’t think we should risk getting into a fight. Maybe we could find passengers or cargo somewhere in the Rialtis system though, but saying that, it's not as if we’ve had much luck so far.
CASS: There’s only one option.
SFX: music gets tense and determined.
MEDS: Cass...
CASS: We all know it's the only real choice.
MEDS: We can figure out something else, we always have before.
CASS: I have a duty to all of you above everything else.
ELIZABETH: Croft, do we have the fuel?
CROFT: On this new tank, just about Boss, yeah.
MEDS: Cass are you sure?
CASS: Croft, lay in a course for Centrum.
SFX: determined music swells, then fades out.
SFX: The Sojourn Ending Theme plays.
NARRATOR: You have been listening to The Sojourn, Season Two Episode Two: No More To Roam, written and directed by Larissa Thompson, story by Lead Writer Daniel Orrett and Staff Writer Larissa Thompson. Produced by Executive Producer Daniel Orrett, and Producers Larissa Thompson and Gabriel Fonseca. Scientific consultation by Gabriel Fonseca. Sound design and audio editing by Kennedy Phillips. Assembly editing by Aiden Brookstone. Audio mixing by Dave Chick. Additional voice direction by Rowan J. Coleman, with additional voices by GM Hakim, Vinay Nariani, Maia Harlaap, Maria Corcobado, Rowan Proud, Skye Weaver, and Cecelia Ramsdale. Music by Sam Redfern. Also featuring “Wilderness” by Taylor Davis which is used with the given permission of Taylor Davis representatives. Continue listening for the next episode.
SFX: The Sojourn Ending Theme continues.