How to Read/Listen? This is an “emergent script”; a script written after one or more open world TTRPG Sessions. These are then “Musically Scored” with a Spotify playlist available at the very bottom of this post. So, you do you. My suggestion is that you start the Playlist at the very bottom and just come back up here and read. Then stop reading and listen when appropriate. Or pause the music and then catch to up the “score” if it starts getting ahead of the scenes.
Name Key Below – Green is for Player Characters, Orange is for Party Companions (regular NPCs).
Scene 1: “North Northeast”
The scene opens on a two young Boy Scouts. Their uniforms have a US flag on them. They are in a tropical, beachy sort of area. They are taking down a tent. “When does the bus leave?” asks one. He has dark brown hair and eyes and is wearing glasses. He is about 13. The other answers, “In an hour. But we have to get everything packed and loaded before then so we can see it before we leave.” The second boy is blonde and a bit older, maybe 14. They keep packing up the tent and the campsite.
Cut to the two boys approaching a school bus. We see a Boy Scout troop gathered, evidently ready to watch something. They all vary in ages from 13 to 18. Almost all have binoculars. There are three adult men, middle aged, in Scoutmaster uniforms present. “Hurry up boys,, you’ll miss it!” says a 35ish man with a short, cropped haircut. He has dark hair. “Ok, Mr. Bellini!” says the younger boy. “You should call him, Major Bellini, its his rank”, whispers the older boy, a bit harshly. “Ok, Todd”, the other boy whispers. “I’m tired. I don’t know if I can play D&D on the bus. I might fall asleep.” “You have to because you’re the Cleric”, Todd whispers back. They finish loading the bags and get in a formation with the other boys. We see they have binoculars as well.
An older Scoutmaster, about 50is looking at his watch. “OK! It should be any minute now!”, he announces loudly. We see all the participants get out binoculars and look into the sky. We see the 13 year old dark haired boy put binoculars to his eyeglasses. We then have his POV at the sky. We hear the older Scoutmaster announce loudly, “Remember, look North Northeast! about 345 degrees!” We see the binocular POV adjust in the sky and murmuring and talking in the background. Then it fades. We hear silence. The silence lingers a bit, we hear birds. Then they stop.
Music (Track One, below) begins and plays in this scene in the foreground for the rest of the scene.
We see two booster rockets attached to an external tank and a Space Shuttle on a large orange external tank. The Shuttle and the booster rockets are firing. They move slowly upward at our POV on the horizon above a tree line. They look only a mile away. We follow and we look upwards. The rockets seem to accelerate faster and faster as we follow them upward and we see the booster rockets separate. We then leave the binocular POV and we see the Shuttle continue with the external tank and then it separates. The sky gets darker and darker blue as we see the shuttle continue into space, outside of the atmosphere. The area around the shuttle is now black. We cut and we see the shuttle with its payload doors open. An arm is reaching inside. It removes a cylindrical satellite and maneuvers and releases it. The satellite drifts and enters an orbit as we slowly move towards it until see a close-up of the satellite. There is a plate on the side. It says “DOD-728ARZZ7” We see an amber light flashing on the plate. It flashes for a few second. Then it goes green and stays constantly lit. End Scene. Hard Cut.
Track 1: “Sirius“ by The Alan Parsons Project, 1982.
Scene 2: Opening Credits
Actor and Main personnel credits over montage scenes of militaries moving, Jets flying, politicians talking through the Cold War in B&W and up to the current date of setting where it becomes color after the anti-Gorbachev Coup of the timeline, with shots of combat, protests in streets, and finally nukes, destruction etc.
Main Cast: 1SG Adler Keller (Bryce), 2LT Kathryn Twarowski (Gordon), 2LT Donovan Duffy (Ned), SSG Bob Beck (Scott), SGT Paul Holman (Paul), SSG Ash Marsh (Shannon).
Track 2: “Fascination Street“ by The Cure, 1987.
Scene 3: “Nothing Significant”
The camera opens facing SSG Beck and 1SG Keller both prone looking out of binoculars while Music (Track Three, below) begins and plays in this scene either in the foreground or in the background while dialogue occurs. “1140 16 JUL 2000” flashes on the screen. The camera gives us a close up of SSG Beck. It lingers a bit. Then a close up of 1SG Keller. It lingers a bit. Then we see 2LT Duffy sitting on the ground behind them. He has a notebook and a pencil. He looks listless. The camera lingers on this shot a bit. Then we see SSG Marsh sitting on the ground next to 2LT Duffy. He is holding a radio. We see a binocular pov of a control tower. Then we see a patrol of men with rifles walking along a fence line perimeter.
“Perimeter patrol has reached its last checkpoint. They should be relived in a half an hour when they complete their shift. No changes,” says SSG Beck. “Noted,” says 2LT Duffy. “Nothing happening at the entry checkpoint or identified OPs,” says 1SG Keller. He continues, “Some female when to the front gate. I think she’s begging or looking to make some kind of exchange for food.” “Noted,” says 2LT Duffy. We hear the radio “Brick this is Bear, I am clear and moving onto your position soon,” 2LT Twarowski crackles. “Affirmative,” SSG Marsh says. He sighs, “I hope this singleton recon she did was worth it. We’ve been here almost 24 hours at 1415.” “Well, Sergeant Marsh, we needed these security patterns and their night and day routine, ” 1SG Keller says from behind binoculars. “I know, but what else do we need?” SSG Marsh responds, continuing, “I mean you saw how dangerous it was for them last night. We need to coordinate with them tonight and get in there. Just talking with us exposes them.” “I’m sure we’ll start planning when the 2LT gets back,” says 1SG Keller. “Well, time is of the essence,” SSG Marsh responds, “And also I think…” I think you might need to shut the fuck up, Sergeant Marsh,” Beck says plainly, “I am fucking tired and its distracting with you yammering. They remain quiet. We see the camera do a cycle again of close ups on them again, lingering with each shot.. It lingers. The attitudes are the same. Postures are the same. SSG Marsh has an annoyed look on his face.
The music continues. Minutes pass We hear the radio crackle again with SGT Holman’s voice, “Brick this is Cougar. Checking in. Nothing Significant to Report. Over. Please report?” SSG Marsh responds, “Copy. Nothing Significant to Report. No Orders or Instructions. Over.” The radio crackles again, “Copy.” SSG Marsh speaks up, “Okay its 1200, switch.” We see them all change positions; SSG Marsh and 2LT Duffy each go prone and take binoculars switching places with 1SG Keller and SSG Beck, who each take a notebook and pencil; SSG Beck takes the walkie talkie. They begin to look around. The music continues. They all look bored and tired. Beck settles in to nap while waiting.
Music Stops. “Activity at the gate, UAZ-469 arriving. It has an LMG mount!” Marsh announces. He continues, “Its entering. Going West. Its at the control tower. Russians exiting vehicle! 4. One Polish BGB NCO accompanying!” “Russians!” 1SG Keller states in a surprised tone. “What branch? Unit?” “I don’t know!” exclaims Marsh, “Here!” he sits up and offers the binoculars to Keller. Keller quickly tries to get a bead on where they are. We see a POV of the binoculars jumping around a view of an abandoned airbase in close up trying to find something specific. Finally they settle on 4 well armed and well put-together looking Red Army soldiers turning a corner out of view.
“Dammit! I barely saw them!” Keller hits the dirt with his fist. 2LT Twarowski arrives dressed in shabby civilian clothes, “What’s the commotion?”
SSG Beck has had his eyes closed. He opens them, “The Russians are coming.” End Scene.
Track 3: “Watching the Wheels“ by John Lennon, 1981.
Scene 4: “Information Gaps”
The camera opens on PFC Ramirez reporting to SGT Holman. “Relieving you”, She says. It is pitch dark. We hear the sound of an idle car engine running. “0130 17 JUL 2000” flashes on the screen. Ramirez continues, “Did we coordinate to get in there and get them?” “We are still working on some important information gaps”, Holman replies. He continues, “The Observation Post is still recording nighttime security measures. Just hang tight. We’ll get them. Make sure you record any summaries they give you”, gesturing at a notebook on the seat of the HUMMWV. There is a radio microphone there, its cord reaching back to the rear left seat of the vehicle where a large radio sits. “You’ll need to use the walkie because the LT and SSG Beck will be using the radio to contact Masterlez here soon.” “Roger that, Sergeant”, Ramirez says, stretching on her tiptoes and stretching her back like a ballerina, “I hope we move soon. I heard that they are in a really bad situation.” “The LT is on it”, Holman assures her, “Just stay alert.”
Cut to 2LT Twarowski next to SSG Beck. Music (Track Four, below) begins and plays in this scene either in the background while dialogue occurs. They are at a HUMMWV, Twarowski staring at a radio mike on a tailgate sitting on a crate, and jabbing at a a notebook with a pencil, distractedly. Beck is disconnecting the receiver. Morning twilight is beginning to turn darkness into day. “0430 17 JUL 2000” flashes on the screen. 2LT Duffy, 1SG Keller, SSG Marsh and SGT Holman are approaching, yawning. “Any word from Masterlez?” asks Keller. “Nothing. I don’t know why I bothered. They’re not operating up this far North”, Twarowski mutters. “Well, we need to do something, Ma’am!” Marsh interjects, “Did you hear what they had to go through last night just to communicate with us?” “Yeah, I know Sergeant”, Twarowski replies. “Its crazy. The bunker they are hiding in is right near the control tower. And the microwave transmitter they are using for morse code is above the same hangar those Russians are in”, Duffy adds. Keller looks at Holman, “Any ID on those Russians? Type? Branch? Anything?” “No First Sergeant”, Holman replies, “No further information yet.”
Keller draws in the dirt, we see his perspective, “OK this is what we have in terms of the basics. One, except for these Russians they are all ORMO, Polish Junta National Guard-equivalent. And they are all recent recruits to fill out the ranks. Occupation troops. Two, every day from 0600-1800, beginning in the East, a squad of 11 men patrol the fence line until 1800. It takes three hours to make the circuit. Three, 4 Men in a UAZ-469 parked at the control tower make a drive around an inner perimeter every hour. It takes 15 minutes and the UAZ-469 makes four stops. Probably at Observations posts we can’t make out. Four, The Main gate has 2 men. The Shifts seem to be every 8 hours. Five, the number of men in the control tower vary from 1 to 5. When there are 5, 2 men are using binoculars to search N and S in 180 degree arcs. Six, the main barracks seems to be Hangar 2. Last and Seventh, there is a searchlight at the top of the control tower. it is active from 2000 and searches quadrants; north, east, south, west, in that order, spending 15 minutes in each quadrant.”
“Any questions?” Keller asks. No one responds. “OK, he continues, “We’re here to the South of the whole air base. We’ve identified a one man OP here near the airstrip to the south of of the tower and this hangar we’ll call ‘hangar 2’ and another on top of a ruined hangar to the west of the tower. LT, what do we know about the team?” Duffy responds, “Based on their description and the engineering limitations and generally how airbases like this are put together, they are in a bunker underneath, or darn near underneath hangar 2.” Where these Russians are”, Keller interjects. Duffy continues, “And the microwave relay is on the roof of hangar 2. They are describing an access tunnel from their location to the control tower basement and have confirmed there is a large generator there.” Marsh interjects, “So its simple, we need to go in as soon as possible. Sneak in, meet them, get them out here.”
Twarowski responds, “It’s not that simple. We don’t know who those Russians are. Why are here? Also we need to coordinate with the team.” The next communication is for 0000 tonight”, Beck offers, “I really would hate to see them go through that again, but its scheduled and we have no choice. Its our only communication. They are so exposed.” “Well, we need to get that figured out!” Marsh raises his voice, We can’t leave them there another day. We have to do something! Its been two days now!” “At ease, Sergeant”, Keller says briskly, and turns to Twarowski, “Ma’am I recommend we continue to identify the Russians today. As well, we do whatever reconnaissance we can do today to fill any additional information gaps. But we should have a detailed plan to relay to them tonight at least from their perspective, about what they need to do. And a ‘go time’ for tomorrow night. Twarowski looks down, thinking. She seems stressed. Marsh looks strained, as if he’d explode if he said something and is restraining it. Finally Twarowski speaks lowly, “OK First Sergeant. What is the light condition tomorrow night?” “”Sunset at 2000 Full Moon out by 2200. Good for us, but still dark”, Keller answers. “Ok, we’ll tell them to hit the generator at 2245. We’ll back plan from there. The objective they are to make for is here”, she points, “This read about 200 meters south of the control tower. Any questions or suggestions?”, she glares at Marsh. Beck looks from Marsh to Twarowski, “We should collapse the Observation Post and consolidate everyone else here at the Command Post loaded and ready to go at 1900 tomorrow.” Beck continues, pulling out a map, “Then go South, Southeast. We should stay off the main roads. Maybe hole up in these woods. Lets make a coordinate here in the woods for a Rendezvous Point in case it all goes tits up. Let them know tonight.” “Ok, any more questions or suggestions?”, Twarowski looks at them all. It is quiet and a bit tense. “Ok, I am going to get some rest.” Music Stops. End Scene.
Track 4: “Energy Fools the Magician“ by Brian Eno, 1977.
Scene 5: “Communication Method”
The camera opens on 2LT Twarowski sitting next to the communications HUMMWV holding a walkie talkie. SSG Beck is at a keyboard sitting in the passenger seat of the HUMMWV. There is a small microwave transmitter that looks like a commercial satellite TV receiver raised on a extension pole. SPC Lane is on top of the HUMMWV fiddling with the pole. He looks down at Beck, “We’re good Sergeant.” OK, ma’am, we’re ready here”, Beck says looking at his watch, “Its 2355.” “2355 17 JUL 2000 ” flashes on the screen. “Brick this is Cougar”, Twarowski says into the walkie talkie. “Brick reporting”, we hear 1SG Keller say on the radio. “Five mikes. Are they there yet?” Twarowski asks. “Not yet”, Keller replies. “Notify us when they are making their way there”, Twarowski responds. “Lets not tell them the Russians are GRU“, she adds verbally to Beck. “Roger that, Ma’am”, Beck replies. The camera lingers. Nothing happens. “Here they come!”, Keller says on the radio.
Cut to Keller at the Observation Post in pitch darkness next to 2LT Duffy. Duffy is looking through binoculars. POV switches to his view. Music (Track Five, below) begins and plays in this scene in the foreground. We see two figures at the corner of the control tower. One is a US Army Female NCO of medium height. One is a US Army Male NCO of average height. The female NCO has a natural tan complexion but has blackening on her face. The male NCO his a dark complexion and also has blackening on his face. He runs. He runs from the Control tower to Hangar 2 and braces with his back against the wall scanning alertly, almost desperately for any threat. We see the female NCO. She says, “Go.” We see a tiny female US Army Specialist with a light coffee cream complexion and face blackened like the others. She runs. She runs next to the first, male, NCO and immediately climbs a ladder going up the hangar wall. The camera pans and we see it goes up about 5 stories. The female NCO has just run over to where the male NCO was standing. She assumes the position he had and he immediately makes his way up the ladder following the Specialist. The camera pans again and we see them climbing. Up and up. They become distant figures. Up and up. We see the dot that is from our POV the Specialist disappear, apparently on the roof of the Hangar. Then we keep following the male NCO as he gets smaller and smaller. And eventually he disappears too. We see the female NCO get small and hunch down as we hear two Polish ORMO soldiers talking in Polish and evidently walking nearby. We hear a car start. We see from the female NCO POV that a searchlight is searching an area about 100 meters away.
POV switches to Duffy‘s binocular view. And we see the tiny Specialist at a large satellite receiver on top of the Hangar. Next to it is a microwave transmitter similar to what we saw on the HUMMWV. The Specialist is crouched down working with some electrical panel. She has headphones on. The male NCO is next to her. He is on one knee and has binoculars out. He is scanning the nearby areas with his other hand on his M16. We see this continue.
Duffy looks at Keller, “They’re doing the Morse Code thing.” Keller asks into the walkie, “Is it coming though?” We hear Twarowski say on the radio, “Its working.” We return to Duffy‘s binocular view. We see the specialists fiddling with the control panel. After a few minutes the male NCO slaps her on the shoulders. She fiddles for a few more seconds. Then she makes her way down the ladder. The male NCO lingers. He looks over the edge and evidently watches her. Then he disappears. Music Stops.
POV switches to the female NCO. She sees the Specialist come down off the ladder and hunch on the ground next to her. They wait. The male NCO hits the ground. The female NCO runs off to the corner of the control tower. She pauses and scans, rifle at the ready. The male NCO says “Go.” The Specialist runs. She runs from the position by the ladder to the corner of the control tower building. Then the Male NCO runs and follows them. Then they disappear one at a time, moving out of our view. First the female NCO. Then the Specialist.. Finally the male NCO. We hear a car engine running in the distance somewhere. It is dark.
Duffy turns to Keller, “They’re done. I guess we need to prepare for tomorrow. I wonder why the GRU are here?”
Hard Cut to black, End Scene.
Track 5: “Double Dare“ by Bauhaus , 1980.
End Credits
Music (Track Six , below) begins and plays in the credits. The credits begin to roll over a scene in space where we see a green light lit up next to a plate that says “DOD-728ARZZ7.” Eventually this live image fades to black as the music continues to play and the credits continue to roll.
Track 6: “Satellite of Love” by Lou Reed, 1972
Full Cast Credits:
Main Cast: 1SG Adler Keller (Bryce), 2LT Kathryn Twarowski (Gordon), 2LT Donovan Duffy (Ned), SSG Bob Beck (Scott), SGT Paul Holman (Paul), SSG Ash Marsh (Shannon).
Recurring Cast: SPC Jacques, SPC Lane, PFC Ramirez, SPC Randall, PVT Rzad, SGT Swain, SFC Diaz, SGT Mason, SPC Haven.