A Hero Needed Tonight

by Jaime Savage

  Carof directs them towards the dining room.

  CAROF

  'I talk about the developed world but I imagine that you must be developing an appetite. Please follow me'.

  SCENE: DINING ROOM

  Carof's wife has prepared them a feast-Lemon and roasted chicken served with a plate of steamed vegetables. The three guests devour their meals while Carof smokes a cigar at the head of the table.

  CAROF

  'You'll never believe me-as it is unthinkable today- but I saw a gorilla when I was five years old. I had gone with my father to visit my uncle up in the mountains at the time. There I was playing in the back yard when blow and behold who should appear from the foliage. For as long as I live I'll never forget the sight of that domed head along with those dark human like eyes. Over forty five years have passed since that day and yet I have not seen a gorilla since-either in the wild or in captivity-nor do I expect to ever again. Truly gentle creatures they are. They get a bad rap because of their brute size and strength but they saw no threat in me, a small child, on that particular day'.

  AVA

  'They believe that if probably trained a male gorilla could bench press over four thousand pounds. Plus, their wing spans are far greater than man's greatest basketball players. In saying that, you are correct. Unlike their ape counterparts, the chimpanzees, they are not naturally aggressive creatures. Truly gentle giants in every sense of the word'.

  CAROF

  'Such beautiful specimens. I must say though: It has always surprised me that for the most part they have assimilated so well to captivity. Especially when you consider that some animals of lesser intelligence such as the great white shark have not been able to be introduced to captivity even after all of these years of trying'.

  AVA

  'They believe it has to do with their habitats. Great whites sharks live almost exclusively in the open waters. They are not used to navigating around coastlines which is largely the reason why they have had no success surviving being contained in mere glass aquariums'.

  LUKE

  'Well that just shows you how much of a farce with the Japanese attempting to house a blue whale in an aquarium a few years back. I hope for their sake the three day's admission before the poor thing died was worth the tens of millions of dollars spent on the preposterous project'.

  CAROF

  'How dreadful that was'.

  Rathbone scoffs.

  RATHBONE

  'The Japanese population is dwindling by tens of millions every decade because they aren't having sex anymore apparently yet they have the time to try and contain the largest mammal on this planet'.

  CAROF

  'The Japanese population may be dwindling but they are not the only ones. Perhaps that's why I'm so optimistic about Africa's future. I see populations in the Western world falling yet here in Africa and the Middle East the exact opposite is true. I think the world will be a vastly different place in a century's time-for better or for worse'.

  SCENE: OUTSIDE FARMHOUSE

  Ava and Luke stargaze from sun chairs on a wooden deck at the farmhouse. All around them, the continuous loop that is the night-time orchestra of the jungle sounds out. The ballad is being sung by an unfathomable number of wildlife both big and small. The visibility of the night sky is uninhibited. Despite the beauty of the stars, Hale Bopp's Friend continues to steal the show despite being noticeably smaller than she was a few days ago.

  LUKE

  'You know what? I think I'm going to miss that comet after all'.

  AVA

  'Where do you think she's going next'?

  LUKE

  'Thousands and thousands of light-years into the unknown. Think of the things she will see'.

  They lie there for a few moments taking it all in. Ava starts pointing at the sky.

  AVA

  'Look there's Hercules, there's Gemini, there's Leo'.

  LUKE

  'Where? They all look the same to me'.

  AVA

  'There's Duncan Strepfield'.

  She tries to make the name sound Nordic to fool him. It almost works.

  LUKE

  'That sounds awfully like Duncan?oh shut up'.

  Ava bursts out laughing.

  LUKE

  'I wouldn't joke about that'.

  AVA

  'The man's ego is so high it's no wonder it hasn't scaled into outer space. In fact, it's no wonder Mateus Mcclure hasn't hit him in his spaceship yet'.

  LUKE

  'I wish we could see Mateus Mcclure'.

  AVA

  'Me too. To think that he is all that distance from Earth, all alone. It is a sobering thought'.

  LUKE

  'He does have his can of cola, his signed Duke Football shirt, vintage extra terrestrial game and his My-Mates device'.

  AVA

  'Yeah I heard about that'.

  LUKE

  'Something new, something old, something borrowed and something shit.

  AVA

  'In any particular order'.

  LUKE (grinning)

  'No'.

  AVA

  'What would you have taken to Mars'?

  LUKE

  'I suppose I would have to take my big ass golden crowbar to the city that Mickey gave me'.

  AVA (laughing)

  'I still can't believe he gave you that. It must be worth a fortune'.

  LUKE (grinning)

  'There's no way I would ever sell it. I can open any drain in New York if I want'.

  Ava beams at him.

  AVA

  'Look at you. You're going to own that city when you get back'.

  The thought that the trip was almost at its end suddenly registers in their minds.

  LUKE

  'To think that this is almost all over'.

  AVA

  'It fills me with impending sadness. This has been the greatest time of my life'.

  LUKE

  'The greatest time of our lives'.

  She takes his hand and they gaze out into the incredible vastness above them. Hypnotised by the night sky Luke suddenly becomes philosophical.

  LUKE

  'We are so small in the wider scheme of things. It's like Rathbone said: we're here for this very short period of time in human history and then we exit the scene. Sure, a few select individuals are remembered but if you think about it they really are only remembered by name. Lincoln, Genghis Khan, Julius Caesar?they exist more as characters now, characters that are slaves to contemporary audiences. Perhaps we get too caught up on trying to change the world, trying to be famous and claiming our fifteen minutes. Perhaps we should just enjoy our fifteen minutes on Earth instead'.

  Ava doesn't respond immediately.

  AVA

  'Are you going to tell me the meaning of life'?

  LUKE

  'Maybe we're asking the wrong question'.

  AVA

  'What do you mean'?

  LUKE

  'I have often pondered this. Perhaps we need to ask what the meaning of our own live is instead'.

  Chapter 18

  SCENE: RIVER (MORNING)

  A motorised raft makes its way along a muddy river. Ava is stood at the front of the raft filming the journey on a camera. Luke and Rathbone are seated in the middle while a porter controls the motor at the stern. The raft powers its way along the filthy river at a brisk pace. On the muddy banks of the river a crocodile lazily watches the raft pass.

  SCENE: FARMHOUSE

  In the jungle clearing we see a farmhouse come into view. A tall, slim man is leading Ava, Luke and Rathbone toward the idyllic farmhouse which looks out over a cloud covered valley below. Chickens run amok on the dusty driveway. Ava sizes up the property. She gets the impression that there is something liberating about being lost in the isolation. In other circumstances that didn't require such a hasty exit she could even imagine the abode being therapeutic.

  MAN

  'As incredulous as it may sound
about one hundred yards back the way you came is a mailbox'.

  RATHBONE (laughing)

  'We did notice that when we came in'.

  MAN

  'I wouldn't be posting any mail if you want it to arrive on time though. They are giving us a six to seven month arrival time based on the current circumstances'.

  Everyone laughs at the sound of this.

  MAN

  'I do believe that you would struggle to find a more remote place on Earth as of today'.

  SCENE: GORILLA CAGE

  The small holding facility comes into view. It is a rather disheartening area filled only with hay and-so called-enrichment toys. The family unit of gorillas sit exposed in the middle of the cage. The juvenile gorilla plays with a toy made for a dog while its parents watch on as still as statues. Ava gives Luke a stern glance. It's clear that she did not expect the conditions to be this lamentable.

  MAN

  'Quite a mission to get all the fruit in here it is. These guys would eat enough fruit in a month to feed some of the villages out here for a year. It's hard enough getting even the most basic supplies here at the best of times let alone recently so we started getting helicopters to fly in the last couple of weeks. It's not safe enough to land in the rainforest so they have been forced to drop in supplies Normandy style'.

  AVA

  'You expect this to continue even when the war begins'?

  MAN

  'I do. I imagine that your boss will have to pay a holiday surcharge though'.

  Ava nods. They watch on as the juvenile gorilla continues his game.

  SCENE: FARMHOUSE

  Luke enters a living area where Rathbone and a couple of locals are sat around watching very static footage from an international news channel. A solitary fan and open window are the only resistance against the stifling humidity.

  RATHBONE

  'Luke, have you seen this guy Jup? He has created one of the largest movements in this history of America. Entire highways have been closed off, the police have backed down. There's seemingly nothing they can do to stop them'.

  The footage shows Jup with his now trademark, visor sun glasses. Standing beside him is his right hand man, a fresh faced spokesman with curly hair. The curly haired man is currently speaking to the media in the broadcast.

  LUKE

  'We saw some of the images the other night. It seems to be getting bigger by the hour'.

  RATHBONE

  'The most amazing thing is that there's no record of this guy even existing. No one knows anything about him even now that the world's spotlight is fixed on him. They've dug so deep into his closet and found nothing that if they go any deeper they'll end up in Narnia. It's bizarre really. It's almost as though that comet dropped him off as it passed Earth. I mean he doesn't speak to anyone; Curly there is the only one who talks to the media. No one knows where he's leading all those people, as far as we know he could be a freaking alien'.

  LUKE

  'You know what? Maybe the chaotic nature of the last few weeks has been just what the world needed after all. It has taken a once in a million year occurrence and a series of unique phenomenon to bring us closer. Don't you think that there is something inspirational there'?

  RATHBONE

  'There may be some truth in what you say but it sure as hell hasn't trickled down to Central Africa yet. We might only have hours remaining before this kicks off'.

  Luke looks out the window at Ava who is studiously monitoring the gorilla family unit.

  LUKE

  'When's the earliest we can leave'?

  RATHBONE

  'It's nearly sundown. It would be incredibly unwise to make the journey back at night. We will have to leave at dawn. Any later than that and I'm afraid we will have to bunker down here until the war is over'.

  LUKE

  'And the gorillas will be fine'? Ava's just a little apprehensive about leaving them here'.

  RATHBONE

  'As agreed, they will be shipped later, once the road is repaired. God knows how long that will take though. I doubt it is a priority at the moment. I imagine there is a shortage of construction workers willing to voluntarily put on fluorescent orange construction vest given the current circumstances'.

  LUKE

  'What a debacle'.

  The report on the March for Hope has finished and in its place is the image of a man holding a rifle and undertaking shooting practice. The headline reads: 'Central Africa on the eve of destruction'.

  RATHBONE

  'It could be worse Luke. It can always be worse'.

  SCENE: GORILLA CAGE

  ('This will destroy you' by The Mighty Rio Grande plays.)

  Ava paces alongside the outside of the caged gorilla holding pen. She is hypnotised by the beautiful creatures before her. Standing only yards away is the female gorilla and her infant son. The male gorilla sits at the rear of the holding pen lazily watching on while chewing away on a bamboo shoot. When the gorillas aren't looking Ava stares on into their heavy browed, squashed faces. She notices that their faces seem to glower in the humid air.

  Suddenly, almost as though he is asking for permission the infant gorilla gazes at its mother and then proceeds to push its hand through the cage. Mimicking the infant Ava looks at the mother for permission. Ava might have imagined it but in that moment she thinks she witnessed the mother nod. Ava reaches out and takes the infant's hand gently. She runs her fingers along its beautiful hands. Ava beams at the gorillas. A couple of blue-breasted birds fly directly above them. So transfixed by what is happening Ava does not even notice them. The dying African sun suddenly shines through a break in the trees casting lights of immense tranquillity. Ava maintains the grasp of the infant gorilla's hands. As the music swells, tears of happiness stream down Ava's face. The mother gorilla ruffles her child's head. The infant reaches out and very slowly touches Ava's face. Ava cannot stop the tears of joy. Against the blinding light of the African sunset Ava is overcome with euphoria. It is like an out of body experience.

  ('This will destroy you' by The Mighty Rio Grande ends.)

  SCENE: FRONT PORCH

  Dusk sets in. Ava hangs sheets and blankets she has washed from the gorilla's cage on a clothesline. All of a sudden in the fading light her attention is drawn towards a figure near the front of the farmhouse. It takes her a few seconds to recognise him in the dying light, but there's no mistaking who it is. It's Luke. He appears to be carrying something as he makes his way briskly along the driveway away from the farm. Ava can see that he appears to be holding an envelope. At first she thinks she imagined it but she soon sees the envelope flicker again into view in the capricious light. She thinks about calling out to him but in that moment something compels her not to. Instead she watches on in curiosity as he slowly disappears from view down the driveway.

  Chapter 19

  SCENE: WARZONE (NIGHT)

  It is on this night that the civil war commenced. In the early hours of the morning the first rockets are launched under the fog of war. We watch a series of projectile rushing across the rainforest leaving a streak behind in the dense dark mist. One by one the missiles explode bringing fiery destruction. Hale Bopp's Friend-which has now been diminishing in size with every passing evening-watches on from the skies as the ironic self imposed destruction begins.

  SCENE: BEDROOM (MORNING)

  Luke is awakened by the sounds of a heated argument taking place just outside their room.

  LUKE (fearing the worst)

  'We're too late'.

  Ava has awoken.

  AVA

  'What's going on'?

  LUKE

  'War'.

  The bedroom door is swung open and in walks a very riled up man. He approaches Ava and begins mouthing off in his native language. Luke gets up from bed and pushes the man away from Ava. The man turns and carries on his rant only this time directing his animosity towards Luke.

  LUKE

  'What the hell is he on about'?


  Rathbone has now entered the room.

  LUKE

  'Tell him to fuck off'.

  Rathbone speaks to the man is his native language. His efforts to mediate are futile.

  RATHBONE

  'He says the gorillas are gone. That you have let them out'.

  LUKE

  'What do you mean the gorillas are gone'?

  RATHBONE

  'The cage has been broken into'.

  LUKE

  'Crazy talk. You think we flew half away around the fucking world to let them escape'.

  RATHBONE

  'He says the contract is signed, that you must pay'.

  Luke is fuming.

  LUKE

  'This is a con job. They've moved them. Disgraceful'!

  MAN (in broken English)

  'We have deal. Gorilla gone but we have deal'.

  Rathbone resumes his attempts of playing peacemaker.

  RATHBONE

  'He wants a search party'.

  It's clear that Rathbone is very apprehensive at this. He immediately writes the idea off.