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| {{#ev:youtube|73HzthHWFps|400|}} | | {{#ev:youtube|73HzthHWFps|400|right}} |
| '''L'Histoire de Sadie''' est une histoire audio racontée par les [[enregistrements]] de [[Halo 3 : ODST]]. | | '''L'histoire de Sadie''' (''Sadie's Story'')<ref>[http://halo.bungie.net/projects/odst/guide.aspx Bungie.net - Halo Universe: Halo 3 ODST - Field Guide]</ref><ref name=VB>[https://venturebeat.com/2009/10/09/how-the-startup-fourth-wall-studios-created-a-game-inside-a-game-for-bungie/ VentureBeat - How Fourth Wall Studios hid an artistic radio drama inside Halo 3:ODST]</ref> est une pièce radiophonique racontée par les [[Journaux audio|enregistrements]] de [[Halo 3 : ODST]], accompagnée d'illustrations d'[[Ashley Wood]]. Elle retrace le parcours de la civile [[Sadie Endesha]], alors qu'elle se perd dans la [[Nouvelle Mombasa]] en proie au chaos, et à la folie, lors de l'arrivée des [[Covenants]], un jour avant les évènements de la campagne du jeu. |
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| Elle retrace le parcours de la civile [[Sadie Endesha]], alors qu'elle se perd dans la [[Nouvelle Mombasa]] en proie au chaos, et à la folie, lors de l'arrivée des [[Covenant]]s, un jour avant les évènements de la campagne du jeu.
| | L'histoire a été réalisée par [[Fourth Wall Studios]], une startup créée par d'anciens membres de l'équipe ayant conçu [[Ilovebees]].<ref>[[Canon Fodder - HEV-EN Sent]]</ref> |
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| | ==Transcription== |
| | *Voir : '''[[Journaux audio/Transcription]]''' |
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| ==Personnages== | | ==Personnages== |
| | [[Fichier:Sadie Endesha 2.jpg|right|250px]] |
| *[[Sadie Endesha]] - La protagoniste de l'histoire. Une des jeunes femmes qui veulent s'engager dans l'[[UNSC]]. | | *[[Sadie Endesha]] - La protagoniste de l'histoire. Une des jeunes femmes qui veulent s'engager dans l'[[UNSC]]. |
| *[[Mike Branley]] - Chauffeur du commissaire Kinsler, un officier de police du [[NMPD]] qui vient à la rescousse de Sadie. | | *[[Mike Branley]] - Chauffeur du commissaire Kinsler, un officier de police du [[NMPD]] qui vient à la rescousse de Sadie. |
| *[[Surintendant]] - L'[[IA]] qui gère la ville de la [[Nouvelle Mombasa]]. | | *[[Surintendant]] - L'[[IA]] qui gère la ville de la [[Nouvelle Mombasa]]. |
| *[[Virgil]] - Sous-programme du Surintendant créé par le [[Dr. Endesha]] pour veiller sur sa fille Sadie après que sa mère soit morte. | | *[[Virgil]] - Sous-programme du Surintendant créé par le [[Dr Endesha]] pour veiller sur sa fille Sadie après que sa mère soit morte. |
| *[[Kinsler|Commissaire Kinsler]] - Le commissaire du NMPD corrompu. Utilise sa position lors de l'invasion Covenante pour son propre gain. | | *[[Kinsler|Commissaire Kinsler]] - Le commissaire du NMPD corrompu. Utilise sa position lors de l'invasion covenante pour son propre gain. |
| *[[Dr. Endesha]] - Le père de Sadie qui travaille à l'[[ONI]] sur le Surintendant. Lorsque l'invasion Covenante a commencé, il se retira dans les souterrains de la ville. | | *[[Daniel Endesha]] - Le père de Sadie qui travaille à l'[[ONI]] sur le Surintendant. Lorsque l'invasion covenante a commencé, il se retira dans les souterrains de la ville. |
| *[[Jonas|Jonas le boucher]] - Un homme de 350 kilos qui offre des kebabs gratuitement à ceux qui fuient l'invasion. | | *[[Jonas|Jonas le boucher]] - Un homme de 350 kilos qui offre des kebabs gratuitement à ceux qui fuient l'invasion. |
| *[[Crone]] - Utilise l'invasion Covenante pour voler son jackpot au casino. | | *[[Crone]] - Une femme âgée qui utilise l'invasion covenante pour voler son jackpot au casino. |
| *[[Tom Uberti]] - Un citoyen de la Nouvelle Mombasa qui vend des parements de céramique. Il tenta, en vain, de discuter calmement avec les Covenants. | | *[[Tom Uberti]] - Un citoyen de la Nouvelle Mombasa qui vend des parements de céramique. Il tenta, en vain, de discuter calmement avec les Covenants. |
| *[[Marshall Glick]] - Un ex-officier NMPD. Il utilise la confusion pour se venger en abattant ses anciens collègues. | | *[[Marshall Glick]] - Un ex-officier NMPD. Il utilise la confusion pour se venger en abattant ses anciens collègues. |
| *[[Officier Duty]] - Une femme surmenée dans le département de communication du NMPD. À la capacité de détourner Virgil. | | *[[Duty officer]] - Une femme surmenée dans le département de communication du NMPD. À la capacité de détourner Virgil. |
| *[[Stephen]] - Travaille pour le NMPD en tant qu'agent de propagande, pour ''"donner de l'espoir aux rescapés"''. | | *[[Stephen]] - Travaille pour le NMPD en tant qu'agent de propagande, pour « donner de l'espoir aux rescapés ». |
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| ==Transcription VO== | | ==Résumé== |
| [[Fichier:qadi adesha 2.jpg|right|250px]]
| | {{tocomplete2}} |
| <toggledisplay hidetext=[Masquer]> '''Circle 1, Arc'''
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| | ==Conception== |
| | Avec un temps de développement de seulement 14 mois, [[Joseph Staten]] rédigea le scénario de [[Halo 3 : ODST]] en un mois, centrant l'histoire autour d'un militaire. Désireux de raconter l'histoire parallèle d'un civil durant la [[première bataille de la Nouvelle Mombasa]], Staten entra en contact avec [[Fourth Wall Studios]], un startup de cinq employés créée en 2007 par Elan Lee, qui travailla sur [[Ilovebees]] au sein de [[4orty 2wo Entertainment]]. |
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| SUPERINTENDENT: HELLO, TRAVELER. MOMBASA WELCOMES YOU! ANXIOUS?
| | Fourth Wall Studios pensa le projet comme un [[ARG]] au sein d'un jeu et rédigea un script, qui fut validé par Staten qui détermina également que l'histoire serait racontée sous forme de pièce radiophonique. Le [[Surintendant]], à l'origine conçu pour guider le joueur dans le monde ouvert du jeu, fut intégré au scénario pour faire de la ville un personnage. En référence à l'importance des téléphones publics américains dans Ilovebees, des téléphones publics font partie des objets permettant de débloquer l'histoire de Sadie. L'histoire s'inspire également de L'Enfer de Dantes Alighieri, Sadie progressant métaphoriquement à travers les neufs cercles de l'enfer à mesure qu'elle progresse dans la ville en proie aux combats. |
| STRESSED? PLEASE REMAIN CALM. CONTROL CIRCUITS NOW OPEN -- WITH PRIDE!
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| | L'histoire de Sadie demanda deux fois plus de répliques audio que le reste du jeu combiné. [[Ashley Wood]] fut engagé pour créer des illustrations accompagnant l'histoire. La présence de l'histoire ne fut pas dévoilée avant la sortie du jeu afin de laisser les joueurs la découvrir entièrement.<ref name=VB /> |
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| [SOUND: Vergil chime.]
| | ===Références à L'Enfer=== |
| | | #Les Limbes : Sadie est piégée dans le train dans la banlieue de Mombasa. |
| [SOUND: Trains whistle as morning commuters crowd the station.]
| | #La Luxure : Kinsler enlève Sadie pour la violer. |
| | | #La Gourmandise : Rencontre avec Jonas, le boucher en obésité morbide. |
| KIOSK: (from speaker) Hello, traveler! The Mombasa Transit Authority
| | #L'Avidité : Rencontre avec Crone au casino. |
| welcomes you to Kikowani station. How may I serve you?
| | #La Colère : Sadie et Mike confrontent Kinsler sur le pont. |
| | | #L'Hérésie : Tom Uberti tente de pactiser avec les Covenants. |
| SADIE: One ticket to Old Mombasa, please. Here's my card-- No, scrap that.
| | #La Violence : Marshall Glick menace Sadie avec un fusil et tue Jim Odingo dans le poste de police. |
| Traceable.
| | #La Fraude : Visite au centre de propagande. |
| | | #La Trahison : Kinsler révèle son meurtre de [[Daniel Endesha]]. |
| SADIE: Damn it! Coins, need coins...[Puts coins in the kiosk.]
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| KIOSK: Thank you! What is your final destination?
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| SADIE: Magongo, if I don't get caught...Hell, if I do.
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| KIOSK: Thank you! Transport for one to Magongo!
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| SADIE: Let's go, let's go!
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| KIOSK: Please collect your ticket.
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| SADIE: Wait! Hold the doors, please!
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| [SOUND: train doors slid shut.]
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| TRAIN: (from speakers) All aboard Train number 14.
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| SADIE: That was close...
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| TRAIN: Next stop-- Makupa, Nairobi Road, Hope Station and Magongo-- end
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| of the line.
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| SADIE: Almost there... almost--
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| [SOUND: Train squeals to a stop.]
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| SUPERINTENDENT: (from train) EMERGENCY STOP. PLEASE REMAIN CLAM.
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| EMERGENCY STOP --
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| SADIE: Damn it! He found me.
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| '''Circle 1, Arc 2'''
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| [SOUND: Train grinds to a stop.]
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| CROWD: Is something wrong?
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| CROWD: How long are we going to sit here?
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| SUPERINTENDENT: (from train) EMERGENCY STOP. PLEASE REMAIN CLAM.
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| EMERGENCY STOP--
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| SADIE: Vergil, you can't stop the train! There are other people on board!
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| SUPERINTENDENT: (distorted) EMERGENCY STOP--
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| SADIE: Cut it out, Vergil!
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| PASSENGER: What are you doing, crazy lady? Talking to the train?
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| SADIE: (to Vergil) I wouldn't even be here if you hadn't kept turning all
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| the traffic signals red!
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| SUPERINTENDENT: [Vergil chime.] DETOUR! PROCEED WITH CAUTION!
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| PASSENGER: Whoa. Wait... Train's talking back to you now? What the
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| heck's going on?
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| SADIE: Sir, I'm really sorry about this. I was just trying to get out of
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| the city.
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| SADIE: (whisper) Vergil, I am going to enlist!
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| SUPERINTENDENT: WATCH YOUR SPEED! CHILDREN AT PLAY!
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| SADIE: I'm nineteen.
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| SADIE: And besides, the UNSC is taking everyone it can get!
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| SUPERINTENDENT: [plays recording of traffic accident.]
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| SADIE: That's exactly what Dad would say!
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| PASSENGER: You know...train's got a point. A lot of soldiers are dying
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| these days.
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| SADIE: He's not a train, he's a city.
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| SADIE: (whisper, to Vergil) A bad, bad city!
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| SUPERINTENDENT: [whines like a puppy.]
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| SADIE: That worked when I was a kid, Vergil. Open the doors, now!
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| [SOUND: Train doors hiss open]
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| CROWD: What was that all about?
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| CROWD: Great, so now we have to walk to the station?
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| CROWD: Out of my way! Let me through!
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| SUPERINTENDENT: NOW DEPARTING, HOPE STATION. LEAVING, HOPE STATION--
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| SADIE: Vergil... go to hell.
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| [SOUND: Crackling roar of Covenant slip-space rupture]
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| CROWD: The Covenant! Run!
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| CROWD: Mommy! What's happening?
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| CROWD: They're! They've found us!
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| SADIE: Scratch that... Hell just came here.
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| '''Circle 1, Arc 3'''
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| [SOUND: Cars honk, crowd panics as a Covenant carrier passes overhead.]
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| CROWD: Move! The Covenant are coming!
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| CROWD: Please, mister, you gotta take me! Get me outta here! Please!
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| Wait!
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| CROWD: Can I use your chatter? I gotta call my family!
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| CROWD: I told'em! I told'em this was gonna happen! They don't listen, and
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| now we are all going to die!
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| SADIE: (into Chatter) Vergil? Can you hear me? I'm on my Chatter. But
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| I'm off the train in Old Mombasa and--
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| SUPERINTENDENT: (from Chatter) NO PARKING. VIOLATORS WILL BE TICKETED AND
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| TOWED.
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| SADIE: I know! I can see it! A giant Covenant ship, just hanging above the
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| city center!
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| SADIE: There's a kiosk on the platform! Makupa station. Meet me there,
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| okay?
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| SUPERINTENDENT: [Vergil chime.]
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| SADIE: (pushing through the crowd) Excuse me! Sorry. Hey! Watch it,
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| mister!
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| KIOSK: (from speaker) Please state your destination.
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| SADIE: Vergil, give me eyes on Dad! Quick!
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| KIOSK: I'm sorry. I didn't recognize that-- [distortion]
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| DR ENDESHA: (from kiosk) Sadie? Where are you?
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| SADIE: Train station. Old Mombasa. Dad, there's a ship--
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| DR ENDESHA: Listen sweetheart. I wanted to tell you at breakfast, but you
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| left so early...
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| DR ENDESHA: You know my latest project? The seismic survey for the new
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| construction downtown?
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| SADIE: Dad! There's a Covenant ship--
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| DR ENDESHA: Well, Vergil found something under the city. I've never seen
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| anything like it--
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| SADIE: Dad! Covenant are attacking the city! Do you hear what I'm saying!
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| You've got to get out of there!
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| DR ENDESHA: Don't worry, I'm nine levels underground. And I built Vergil's
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| data-center to be very, very secure.
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| SADIE: Fine. Then I'll come to you.
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| DR ENDESHA: No! Absolutely not! Stay exactly where you are! I'll have
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| Vergil--
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| SADIE: Sorry Dad! (fakes static) There's, uh, something wrong...
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| DR ENDESHA: This is a video connection, Sadie. I can see you making those
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| sounds.
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| SADIE: Right... Well, tough!
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| SAID: Vergil, get that train going in reverse!
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| DR ENDESHA: Sadie Endesha. I will not allow you to put yourself in danger--
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| [SOUND: Whistle of Covenant plasma fire]
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| DR ENDESHA: What's that noise?
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| SADIE: Uh oh... Incoming!
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| [SOUND: Covenant plasma fire slams into station.]
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| '''Circle 2, Arc 1'''
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| [SOUND: Covenant plasma fire slams into station.]
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| CROWD: They blew up the train!
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| CROWD: No! My husband was on board!
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| CROWD: Screw you! I'm outta here!
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| [SOUND: Siren wails as a police car pulls up to the curb beside the
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| station.]
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| SADIE: (moves through the crowd to street, coughs) Ow! Hey! Stop
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| pushing!
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| KINSLER: (from police car) Sadie? Miss Endesha, is that you?
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| SADIE: Commissioner Kinsler!? [to crowd] Ow! Get off of me!
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| KINSLER: Officer Branley! Control this crowd before they trample her into
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| the sidewalk!
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| MIKE: (exiting car) Yes, sir!
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| MIKE: NMPD! Everyone back off!
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| CROWD: Lousy cops.
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| CROWD: Hey! Give us your car!
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| MIKE: I said, back off! (Fires pistol into the air)
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| MIKE: (to Sadie) Are you hurt?
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| SADIE: No, I'll be alright...
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| CROWD: Hey, why don't you help us?
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| CROWD: Yeah, give us your car, cops!
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| KINSLER: Branley! Get her inside!
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| MIKE: Take my hand. We gotta go.
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| [SOUND: Sadie and Mike enter the car and slam the doors.]
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| KINSLER: What the devil are you doing out in the old city?
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| SADIE: There was...something wrong with the train.
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| KINSLER: You don't say...
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| KINSLER: (laughs) I know all about Vergil and his overprotective urges,
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| Sadie.
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| [SOUND: Angry crowd pounds on the car]
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| KINSLER: Branley! Drive!
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| MIKE: Yes sir! [Honks car horn.] What's our destination?
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| KINSLER: That's a very good question...
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| SADIE: My dad. He's at work.
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| KINSLER: The data-center below the ONI building?
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| KINSLER: No, I don't think so. There are too many Covenant in that
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| district.
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| KINSLER: I'd like to take you someplace much more... private.
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| [SOUND: Police car accelerates away from the station.]
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| '''Circle 2, Arc 2'''
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| [SOUND: Police car accelerates away from the station.]
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| KINSLER: Branley? The partition, if you please.
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| MIKE: Yes, sir... [Raise the privacy partition]
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| SADIE: Where are we going?
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| KINSLER: The police department has an emergency bunker outside the city
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| limits. We'll be very safe.
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| SADIE: That's very kind of you, Commissioner. But I can't, I'm sorry. If
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| you would please take me to the city center--
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| KINSLER: Such a serious young women. Just like your mother... 'New
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| Mombasa's most passionate public defender.'
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| KINSLER: Too bad her last client really was a sick, murdering bastard.
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| KINSLER: (sliding across the seat closer to Sadie) She had your eyes...
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| SADIE: (into her Chatter) Vergil, stop the car!
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| KINSLER: As police commissioner it’s my job to uphold the law. And I'm
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| afraid this city has very strict, personal privacy statues.
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| KINSLER: My car is off the grid, Sadie. As far as Vergil is concerned,
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| you just disappeared...
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| [SOUND: Sadie slaps Kinsler's face]
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| KINSLER: (laughs) Assaulting a police officer. That's a serious offence.
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| SADIE: Don't come any closer!
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| KINSLER: (laughs) Just like your mother...
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| SADIE: (struggling) Let go of me!
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| KINSLER: It's the end of the world...
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| SADIE: Vergil! Please! Somebody!
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| KINSLER: Nobody cares what happens to one...lost...soul!
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| [SOUND: Tires squeal as the car comes to an abrupt stop]
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| KINSLER: Officer! Why are we stopping! Keep going!
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| [SOUND: Mike exits the car and opens Kinsler's door]
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| MIKE: Get out.
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| KINSLER: What?!
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| MIKE: You heard me... [Grabs Kinsler]
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| KINSLER: Let go of my coat! What do you think you're doing?
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| MIKE: My job.
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| [SOUND: Mike punches Kinsler, knocking him to the ground]
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| SADIE: I hope that hurt, you son of a bitch!
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| KINSLER: (panting) Not as much as you're going to hurt when I--
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| [SOUND: Mike punches Kinsler again.]
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| MIKE: Commissioner, I'm taking the car.
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| MIKE: You want to get out of the city? You can walk like everyone else.
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| [Enters car, slams door]
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| KINSLER: (spitting blood) You'll pay for this, Branley!
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| MIKE: It's the end of the world... Nobody cares what happens to you.
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| [SOUND: Tires squeal as the car pulls away from Kinsler.]
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| '''Circle 2, Arc 3'''
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| [SOUND: Mike lowers the privacy partition.]
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| MIKE: You okay back there?
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| SADIE: Thanks for...pulling him off me.
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| MIKE: Kinsler had it coming. I've been his driver for two weeks? Seen
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| enough to last a lifetime...
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| MIKE: Name's Mike. Mike Branley.
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| SADIE: Sadie Endesha.
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| SADIE: You know for a cop, you make a pretty good guardian angel.
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| MIKE: Ex-cop.
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| SADIE: Yeah... Sorry about that.
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| MIKE: Ah, I was looking for a career change anyway.
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| SADIE: How about solider?
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| [SOUND: Distant explosions in the city.]
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| MIKE: Does seem like a growth sector...
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| SADIE: Mike. I need to get back over the bridge, to the ONI building
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| downtown.
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| MIKE: Well that's a problem, because I need to keep away from Covenant
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| plasma fire.
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| SADIE: OK...just drop me off here.
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| MIKE: Don't be stupid! What are you going to do?
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| MIKE: Fight your way through a few million refugees just so the Covenant can
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| kill you a little faster?
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| SADIE: (whisper) And this is why you always bring cab fare on a first
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| date...
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| MIKE: I'm trying to save your life!
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| SADIE: You're trying to save your own ass!
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| MIKE: And yours!
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| SADIE: I think I'm the only person in this car who needs to be thinking
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| about my ass!
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| MIKE: Fine.
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| SADIE: Fine!
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| | |
| [SOUND: Tires squeal as the car comes to an abrupt stop.]
| |
| | |
| SADIE: (opening her door) Thanks for saving me for, like three minutes!
| |
| | |
| MIKE: You're welcome!
| |
| | |
| [SOUND: Sadie slams her door, Mike drives away.]
| |
| | |
| SADIE: Well...I sure showed him.
| |
| | |
| | |
| '''Circle 3, Arc 1'''
| |
| | |
| [SOUND: Tires squeal as Mike's car pulls away from Sadie.]
| |
| | |
| SADIE: Great. I'm stranded on the wrong side of the bridge in the middle
| |
| of an alien invasion...
| |
| | |
| SADIE: And I just pissed-off the only person willing to help me out.
| |
| | |
| SADIE: Go me.
| |
| | |
| [SOUND: A goat near Sadie bleats.]
| |
| | |
| SADIE: My feeling exactly...
| |
| | |
| CROWD: Move those animals!
| |
| | |
| CROWD: Step aside! Let us pass!
| |
| | |
| CROWD: Clear those out of the street, we need to move!
| |
| | |
| SADIE: (into her Chatter) Dad?
| |
| | |
| DR ENDESHA: (from the Chatter) Sadie? Thank God! Vergil couldn't find you
| |
| anywhere!
| |
| | |
| SADIE: Yeah, you can thank Kinsler for that.
| |
| | |
| DR ENDESHA: Police Commissioner Kinsler? What do you mean?
| |
| | |
| SADIE: I don't want to talk about it...
| |
| | |
| JONAS: Get your kebabs here!
| |
| | |
| SADIE: Oh my God!
| |
| | |
| DR ENDESHA: What? What is it, Sadie?
| |
| | |
| SADIE: The biggest man I've ever seen!
| |
| | |
| DR ENDESHA: Where are you?
| |
| | |
| SADIE: The Old Town Market. A butcher is giving away his food.
| |
| | |
| SADIE: Too bad it won't keep the Covenant from glassing the city...
| |
| | |
| DR ENDESHA: They won't glass the city!
| |
| | |
| SADIE: (walking to the butcher) Hang on, dad...
| |
| | |
| DR ENDESHA: I'm in contact with an ONI officer. She thinks these Covenant
| |
| are just a reconnaissance force.
| |
| | |
| DR ENDESHA: And I think they are looking for the same thing Vergil found
| |
| in his seismic survey!
| |
| | |
| SADIE: Dad, I'll call you back.
| |
| | |
| [SOUND: Honking car horn]
| |
| | |
| ANGRY DRIVER: Move, you oaf! Get that table out of the road!
| |
| | |
| JONAS: Calm yourself, friend. Stop honking (laughs) and have a kebab.
| |
| | |
| ANGRY DRIVER: For the last time, move your fat ass--
| |
| | |
| [SOUND: The car creaks as Jonas leans on the hood]
| |
| | |
| ANGRY DRIVER: Hey! Get off my car!
| |
| | |
| JONAS: My friend, I am an eight hundred pound man with a large cleaver who
| |
| kills animals every day and chops them into pieces.
| |
| | |
| JONAS: (laughs) Do you really want us to be enemies? Or would you rather
| |
| have a nice kebab?
| |
| | |
| | |
| '''Circle 3, Arc 2'''
| |
| | |
| [SOUND: Bleating goats and a honking car horn.]
| |
| | |
| CROWD: Mommy, that's too loud!
| |
| | |
| CROWD: Somebody make him stop!
| |
| | |
| CROWD: Move that car!
| |
| | |
| ANGRY DRIVER: (honks) For the last time, you blimp! Get out of the road!
| |
| | |
| [SOUND: Jonas hefts his cleaver and smashes it into the car.]
| |
| | |
| ANGRY DRIVER: You put your cleaver through the hood of my car!
| |
| | |
| JONAS: Oh, a thousand pardons. But it was either that or smash your
| |
| windshield, pull you out...
| |
| | |
| JONAS: And make you into kebabs.
| |
| | |
| ANGRY DRIVER: What? No! No-no! Hey wait!
| |
| | |
| JONAS: Then please, stop honking your horn. It frightens the children.
| |
| | |
| [SOUND: The car backs-up quickly.]
| |
| | |
| SADIE: (into her Chatter) Sorry, Dad. There was sort of a...thing here.
| |
| What where you saying?
| |
| | |
| DR ENDESHA: (from the Chatter) Sadie, New Mombasa is the only place on
| |
| Earth the Covenant are attacking.
| |
| | |
| SADIE: What? Why?
| |
| | |
| DR ENDESHA: Vergil's survey! He detected some very unusual seismic activity
| |
| all along the Great Rift.
| |
| | |
| JONAS: (to Sadie) Would you like a kebab, young lady? Chicken, mutton, beef!
| |
| One free for every refugee!
| |
| | |
| SADIE: I'm not a refugee! I'm going...there!
| |
| | |
| JONAS: Across the bridge! To where the aliens are landing?
| |
| | |
| JONAS: Take two kababs...
| |
| | |
| DR ENDESHA: Sadie, stay out of the city center! I don't want you coming
| |
| anywhere near the security zone!
| |
| | |
| SADIE: Sorry, Dad. Gotta go. I'll call you back.
| |
| | |
| DR ENDESHA: Sadie-- (Chatters disconnects)
| |
| | |
| JONAS: Come my friends, don't be shy! Free food for the journey!
| |
| | |
| CROWD: Thank you! Asante. Asante sama.
| |
| | |
| [SOUND: Distant explosions in the city.]
| |
| | |
| JONAS: Now young lady... If you are heading into in the war zone, you must
| |
| eat! Curried lamb? Roast chicken?
| |
| | |
| SADIE: They look delicious. Really. But I'm not hungry.
| |
| | |
| [SOUND: Another explosion near the market.]
| |
| | |
| JONAS: (biting into a kebab) My dear...
| |
| | |
| JONAS: The end of the world is nothing to face...(swallows) on an empty
| |
| stomach.
| |
| | |
| [SOUND: Jonas chews, burps loudly and continues to eat his kebab.]
| |
| | |
| | |
| '''Circle 3, Arc 3'''
| |
| | |
| [SOUND: Jonas ignores nearby explosions and continuous to loudly chew his
| |
| kebab.]
| |
| | |
| SADIE: Listen, what you're doing? Feeding all these hungry people? It's
| |
| really a noble thing...
| |
| | |
| SADIE: But you can't stay here! The fighting is going to spread -- across
| |
| the water, into the old city!
| |
| | |
| JONAS: (chews and swallows) Would you be a dear and run to the wine merchant?
| |
| | |
| JONAS: (burps) This lamb would be perfect with a twenty-three Ida Sirah...
| |
| | |
| SADIE: I understand you're...too heavy to walk very far. But there are
| |
| other options!
| |
| | |
| JONAS: (laughs) You could carry me, perhaps?
| |
| | |
| SADIE: (into the Chatter) Vergil, you listening?
| |
| | |
| SUPERINTENDENT: (from Chatter) [Vergil chimes]
| |
| | |
| SADIE: I need you to divert a city vehicle to my current location. A
| |
| forklift, or maybe an Olifant--
| |
| | |
| JONAS: A garbage truck? I thnk I am insulted.
| |
| | |
| SADIE: If you stay here, you'll die!
| |
| | |
| SADIE: You need to get to the train station. Or the waterfront -- it's
| |
| much closer!
| |
| | |
| JONAS: Look at me...
| |
| | |
| JONAS: Nobody is going to give me a place on a boat, a bus, or a train. I
| |
| would take up five seats.
| |
| | |
| JONAS: I am not worth five people...
| |
| | |
| SADIE: You can't just give up -- throw away your life!
| |
| | |
| JONAS: And what about your life? You seem determined to go to the one place
| |
| you are most likely to die.
| |
| | |
| SADIE: I'm going to find my father. He needs me. Just like all your
| |
| customers need you!
| |
| | |
| JONAS: Very well, young lady. I am convinced. I to will leave Mombasa...
| |
| | |
| SADIE: Good!
| |
| | |
| JONAS: ...As soon as you do.
| |
| | |
| SADIE: No!
| |
| | |
| JONAS: First you make your father safe. Then you come back and rescue me!
| |
| | |
| JONAS: My brave warrior princess, riding her fearless fork-lift! (laughs)
| |
| | |
| SADIE: Deal. Just... don't give up.
| |
| | |
| JONAS: Well if I run out of hope? (laughs) I will still have kebabs!
| |
| | |
| [SOUNDS: Covenant plasma fire slams into the market.]
| |
| | |
| CROWD: The Covenant's getting closer!
| |
| | |
| CROWD: My shop! Everything is gone!
| |
| | |
| SADIE: (pushing through crowd) Excuse me. Ow! Sorry!
| |
| | |
| SADIE: (to Jonas) I'll be back soon!
| |
| | |
| JONAS: Of course you will.
| |
| | |
| CROWD: Wrong way, crazy girl!
| |
| | |
| SADIE: Please, just let me through!
| |
| | |
| SUPERINTENDENT: (from Chatter) CAUTION ONE WAY STREET!
| |
| | |
| SADIE: Stop it, Vergil.
| |
| | |
| SUPERINTENDENT: WARNING! NO U-TURN ALLOWED!
| |
| | |
| SADIE: I'll find Dad. Then I'll come back.
| |
| | |
| SUPERINTENDENT: [whines like a puppy.]
| |
| | |
| SADIE: I'm not crying...
| |
| | |
| SADIE: I'm not.
| |
| | |
| | |
| '''Circle 4, Arc 1'''
| |
| | |
| | |
| [SOUND: Civilians scream as fighting rages in the city.]
| |
| | |
| | |
| CROWD: Oh God, Oh god!
| |
| | |
| | |
| CROWD: Out of the car! We'll go on foot!
| |
| | |
| | |
| CROWD: No! My bags! I have my whole life in there!
| |
| | |
| | |
| CROWD: I don't give a damn! Leave it!
| |
| | |
| | |
| LOOTER: Smash the machines! Take the money!
| |
| | |
| | |
| LOOTER: Get back! This one's mine!
| |
| | |
| | |
| LOOTER: Screw you! There's plenty for everyone!
| |
| | |
| | |
| ATM: (from speaker) Welcome to your African Trust automated teller machine!
| |
| Banking with pride!
| |
| | |
| | |
| SADIE: Finally, an ATM that still works... Vergil, get Dad!
| |
| | |
| | |
| ATM: Please place your right hand-- (distortion)
| |
| | |
| | |
| DR ENDESHA: (from ATM) Sadie! Where are you?
| |
| | |
| | |
| SADIE: Outside one of the casinos, down by the river! I can barely hear
| |
| you, dad! There are looters inside smashing everything!
| |
| | |
| | |
| DR ENDESHA: Covenant troops are spread all over the city center!
| |
| | |
| | |
| DR ENDESHA: I can see them on the monitors in my lab! You've got to get as
| |
| far away as you can--
| |
| | |
| | |
| SADIE: Forget it! I'm coming to get you! End of discussion!
| |
| | |
| | |
| [SOUND: Smashing glass and a scream from inside the casino.]
| |
| | |
| | |
| SUPERINTENDENT: (from ATM) INVEST WISELY! OPEN A PERSONAL SAVINGS ACCOUNT
| |
| TODAY!
| |
| | |
| | |
| DR ENDESHA: Listen to Vergil, Sadie!
| |
| | |
| | |
| SADIE: This looting is just the beginning, dad!
| |
| | |
| | |
| SADIE: Pretty soon we won't need the Covenant to tear us apart -- we'll
| |
| do that all by ourselves!
| |
| | |
| | |
| SADIE: Vergil, you've watched me all my life, kept me safe. Now, you've got
| |
| to save the city!
| |
| | |
| | |
| [SOUND: Vergil plays a recording of a police siren over the PA.]
| |
| | |
| | |
| LOOTER: It's the cops. Run for it!
| |
| | |
| | |
| LOOTER: Crap. Grab what you can and go!
| |
| | |
| | |
| LOOTER: No way I'm getting busted!
| |
| | |
| | |
| SADIE: That-a-boy! Scare them all the way to the river! I know they can
| |
| afford the ferry!
| |
| | |
| | |
| SADIE: Dad, can Vergil track the Covenant as they move? Stream positional
| |
| data to the UNSC?
| |
| | |
| | |
| DR ENDESHA: Yes, I might be able to re-configure the traffic congestion
| |
| cameras to isolate known Covenant vehicle profiles.
| |
| | |
| | |
| SADIE: Maybe the ARGUS sniffers can pick up their soldiers too?
| |
| | |
| | |
| SADIE: I've only seen vids of the different Covenant species, but I bet they
| |
| all stink in their own, special way.
| |
| | |
| | |
| DR ENDESHA: That's an excellent idea! Vergil, get right on it!
| |
| | |
| | |
| SUPERINTENDENT: (from ATM) [Vergil chimes]
| |
| | |
| | |
| DR ENDESHA: Sadie, I know I've been busy, and we don't always have time to
| |
| talk.
| |
| | |
| | |
| DR ENDESHA: But sweetheart...you make me very, very proud.
| |
| | |
| | |
| SADIE: Well...I just figure if we know where the bastards are, we can at
| |
| least run away better.
| |
| | |
| | |
| [SOUND: Shotgun pump.]
| |
| | |
| | |
| CRONE: That was a nice trick with the police sirens, girly. But I ain't
| |
| so stupid.
| |
| | |
| | |
| CRONE: Step away from that cash machine, or I'm going to blow your pretty
| |
| head off!
| |
| | |
| | |
| '''Circle 4, Arc 2'''
| |
| | |
| | |
| [SOUND: Distant explosions mix with the jingle of nearby slot-machines.]
| |
| | |
| | |
| CROWD: She's got a shotgun! Look out!
| |
| | |
| | |
| CROWD: Come on! She's old, we can take her!
| |
| | |
| | |
| CRONE: (shoots into the air) You think I'm deaf?! Last warning! Back away
| |
| from my cash machine!
| |
| | |
| | |
| CRONE: (to Sadie) You too, girly!
| |
| | |
| | |
| DR ENDESHA: (from ATM) Sadie, get out of there!
| |
| | |
| | |
| SADIE: Look, I'm stepping back OK? Why don't you put down your gun--
| |
| | |
| | |
| CRONE: (shoots into the air) Time to break the piggy bank!
| |
| | |
| | |
| SADIE: Hey! You almost hit me!
| |
| | |
| | |
| [SOUND: The Crone smashes the ATM with her fist.]
| |
| | |
| | |
| SUPERINTENDENT: (from ATM) AFRICAN TRUST--
| |
| | |
| | |
| CRONE: Open up!
| |
| | |
| | |
| SUPERINTENDENT: BANKING WITH PRIDE!
| |
| | |
| | |
| CRONE: Open up!
| |
| | |
| | |
| [SOUND: As the Crone continues smashing, a drop ship flies toward the
| |
| casino.]
| |
| | |
| | |
| SADIE: Everyone! Listen! That's a Covenant drop-ship!
| |
| | |
| | |
| LOOTERS: Commies! Let's get out of here!
| |
| | |
| | |
| LOOTERS: Leave the money! Run! Run!
| |
| | |
| | |
| CRONE: Forty years I've been coming to this place. Forty years of losing
| |
| my hard earned cash...
| |
| | |
| | |
| CRONE: Well, today I hit the jackpot! You hear me, you damn machine? I...
| |
| want...my...money!
| |
| | |
| | |
| [SOUND: The Crone shoots the ATM.]
| |
| | |
| | |
| SUPERINTENDENT: [Vergil chime] INCORRECT PASSWORD. PLEASE REMOVE YOUR CARD.
| |
| | |
| | |
| SADIE: Vergil, give her the money! Then we've got to find some cover!
| |
| | |
| | |
| [SOUND: Money whirls out of the ATM.]
| |
| | |
| | |
| CRONE: (laughs) Out of the way, you little slut!
| |
| | |
| | |
| SADIE: (running) Gotta find a place to hide...There! Dumpster. Across the
| |
| street.
| |
| | |
| | |
| [SOUND: Brutes exit the drop-ship and walk to the ATM]
| |
| | |
| | |
| SADIE: (whispers) Brutes! Look how big they are!
| |
| | |
| | |
| CRONE: Jackpot! I win! I win!
| |
| | |
| | |
| SADIE: (whispers) Move! They're right on top of you!
| |
| | |
| | |
| BRUTES: [Angry roar.]
| |
| | |
| | |
| SADIE: Oh my God! It just tore the ATM off the casino wall!
| |
| | |
| | |
| [SOUND: the Brutes slams the ATM into the Crone.]
| |
| | |
| | |
| CRONE: [gurgling scream.]
| |
| | |
| | |
| SUPERINTENDENT: (from Chatter) TRANSACTION COMPLETE! PLEASE COME AGAIN!
| |
| | |
| | |
| '''Circle 4, Arc 3'''
| |
| | |
| | |
| [SOUND: Slot-machines jingle inside the casino.]
| |
| | |
| | |
| CRONE: (dying) Jackpot...jackpot...
| |
| | |
| | |
| SADIE: (whisper) Oh my God! She's crushed under the ATM!
| |
| | |
| | |
| BRUTE: [Angry growl.]
| |
| | |
| | |
| SADIE: (whipser) Please, don't look behind this dumpster, you big dumb Brutes.
| |
| Please, please, please...
| |
| | |
| | |
| BRUTE: [Angry roar.]
| |
| | |
| | |
| CRONE: Alien son of a bitch! Think I'd share any of this with you--
| |
| | |
| | |
| [SOUND: A Brute shoots the Crone then they all march down the street.]
| |
| | |
| | |
| SADIE: That's it... keep walking. Nothing more to see here...
| |
| | |
| | |
| DR ENDESHA: (from the Chatter) Sadie, are you all right?!
| |
| | |
| | |
| [SOUND: The Brutes turn and shoot Sadie's dumpster.]
| |
| | |
| | |
| SADIE: I was!
| |
| | |
| | |
| [SOUND: The Brutes are shooting at Sadie as she runs for cover.]
| |
| | |
| | |
| DR ENDESHA: I'm sorry! Run! Run!
| |
| | |
| | |
| [SOUND: Suddenly, a car races down the street, smashes the Brutes and
| |
| then plows into the casino.]
| |
| | |
| | |
| BRUTES: [Dying growls.]
| |
| | |
| | |
| SADIE: Vergil?! I car just came out of nowhere-- smashed into the Brutes!
| |
| Was that you?
| |
| | |
| | |
| [SOUND: The car door opens with a groan.]
| |
| | |
| | |
| MIKE: (exiting the car) My head...I thought air-bags where supposed to
| |
| stop you from getting hurt.
| |
| | |
| | |
| SADIE: Mike! You came back!
| |
| | |
| | |
| DR ENDESHA: Who's 'Mike'? Sadie, what's going on?
| |
| | |
| | |
| SADIE: Hang on, dad...
| |
| | |
| | |
| SADIE: (to Mike) Let me help you out of there.
| |
| | |
| | |
| MIKE: (groans) I'm OK... Seriously.
| |
| | |
| | |
| SADIE: That whole macho tough-guy thing? It's never really worked for me.
| |
| | |
| | |
| SADIE: Give me your hand...
| |
| | |
| | |
| MIKE: Uhn... Be gentle.
| |
| | |
| | |
| MIKE: Take me around front. Let me see what I hit...
| |
| | |
| | |
| MIKE: Brutes huh?
| |
| | |
| | |
| MIKE: Well that's never coming out of the grille.
| |
| | |
| | |
| '''Circle 5, Arc 1'''
| |
| | |
| | |
| [SOUND: Jingle of slot-machines, groaning car metal.]
| |
| | |
| | |
| DR ENDESHA: Sadie, thank the gentleman.
| |
| | |
| | |
| SADIE: (whisper) Great etiquette tip, Dad! Let me get back to you...
| |
| [Chatter disconnect]
| |
| | |
| | |
| SADIE: My father says I should thank you for saving my life.
| |
| | |
| | |
| MIKE: Couldn't save the car, though. I think there's something stuck in
| |
| the.. Oh.
| |
| | |
| | |
| SADIE: That's a.. Eww.
| |
| | |
| | |
| MIKE: Paw... Yeah. I can see that.
| |
| | |
| | |
| SADIE: Mike. Seriously. Thanks.
| |
| | |
| | |
| MIKE: Hey, I didn't want to be the guy who leaves the damsel in distress.
| |
| | |
| | |
| SADIE: Plus all the lights turned red when you tried to drive away.
| |
| | |
| | |
| MIKE: How did you...?
| |
| | |
| | |
| SADIE: Vergil.
| |
| | |
| | |
| MIKE: Who's that? Your... boyfriend?
| |
| | |
| | |
| SADIE: (laughs) Not quite. You know the Superintendent?
| |
| | |
| | |
| MIKE: Sure. The AI that runs the city. Picks up the garbage, monitors the
| |
| traffic. It helped me trace a license-plate last week.
| |
| | |
| | |
| SADIE: Well... Vergil is part of the Superintendent-- a subroutine my Dad
| |
| wrote to look after me when I was a kid.
| |
| | |
| | |
| MIKE: Look after you?
| |
| | |
| | |
| SADIE: After my mom died, it was just Dad and me. He did his best. But
| |
| his job...
| |
| | |
| | |
| SADIE: When Dad couldn't be there, Vergil was.
| |
| | |
| | |
| SADIE: He helped me get to school on time, made sure I bought a healthy
| |
| lunch and didn't watch too much TV...that sort of thing.
| |
| | |
| | |
| MIKE: Must have been annoying.
| |
| | |
| | |
| SUPERINTENDENT: (from Chatter) YOUR TAX DOLLARS AT WORK!
| |
| | |
| | |
| SADIE: It still is...
| |
| | |
| | |
| SADIE: Mike. Why are you helping me?
| |
| | |
| | |
| MIKE: I'm a cop. 'Service to All,' right?
| |
| | |
| | |
| SADIE: Uh-huh.
| |
| | |
| | |
| MIKE: Look, the city is under attack... A lot of people need help.
| |
| | |
| | |
| MIKE: Well... I can die a hero or I can die a coward but--
| |
| | |
| | |
| SADIE: Got any choices that don't involve dying?
| |
| | |
| | |
| [SOUND: distant explosions in the city center.]
| |
| | |
| | |
| MIKE: Not if you want to go back over that bridge.
| |
| | |
| | |
| '''Circle 5, Arc 2'''
| |
| | |
| | |
| [SOUND: Honking car horns and panicked screams.]
| |
| | |
| | |
| CROWD: Hold my hand, son! Don't look down!
| |
| | |
| | |
| CROWD: Is it true? That they've shut down the tether!?
| |
| | |
| | |
| CROWD: Officer? Where should we when we're off the bridge?
| |
| | |
| | |
| COP: Just keep walking! Get out of the city!
| |
| | |
| | |
| COP: Everyone try and stay calm! Marines will be here soon!
| |
| | |
| | |
| PROPAGANDA: (from PA) Citizens! Your neighbors are resisting!
| |
| | |
| | |
| PROPAGANDA: A popular uprising is inflicting heavy causalities on the
| |
| invaders! We will prevail!
| |
| | |
| | |
| MIKE: How are we going to get across this bridge? It's packed!
| |
| | |
| | |
| SADIE: Good manners and pointy elbows!
| |
| | |
| | |
| MIKE: (whisper) Jeez, Branley. The things you do for a kiss...
| |
| | |
| | |
| SADIE: What?
| |
| | |
| | |
| MIKE: I said, I won't let you down, miss!
| |
| | |
| | |
| SADIE: Right!
| |
| | |
| | |
| CROWD: Ow, wrong way, girl!
| |
| | |
| | |
| CROWD: Hey! Watch where you are stepping!
| |
| | |
| | |
| SADIE: (pushing through crowd) Excuse us! Sorry!
| |
| | |
| | |
| MIKE: Hey, step aside! Police business!
| |
| | |
| | |
| SADIE: It's an emergency! Let us through!
| |
| | |
| | |
| MIKE: Step aside people!
| |
| | |
| | |
| SADIE: You know, if the panicked mobs would just stay in nice, neat lines
| |
| we'd-- Ow! Watch it!-- get across this bridge a lot faster!
| |
| | |
| | |
| MIKE: Do you hear that?
| |
| | |
| | |
| SADIE: What, the water? Don't tell me you're afraid of heights!
| |
| | |
| | |
| MIKE: Pelican drop-ship. Hard to see through all this smoke. But its
| |
| heading our way.
| |
| | |
| | |
| SADIE: (to Chatter) Vergil? Got eyes in the sky?
| |
| | |
| | |
| [SOUND: (from Chatter) Vergil chime followed by a tapping and barking.]
| |
| | |
| | |
| SADIE: Not good. Cane tapping. Seeing-eye dog. Means Vergil can't see
| |
| it...
| |
| | |
| | |
| MIKE: And who do we know that likes to travel off the grid?
| |
| | |
| | |
| CROWD: That's a police drop-ship! We're saved!
| |
| | |
| | |
| CROWD: We can't all fit on that!
| |
| | |
| | |
| CROWD: Says you! I'm getting on first!
| |
| | |
| | |
| [SOUND: A Pelican drop-ship settles on the bridge and opens its troop-bay
| |
| door.]
| |
| | |
| | |
| MIKE: Aww, crap...
| |
| | |
| | |
| KINSLER: Hello, Sadie... Remember me?
| |
| | |
| | |
| '''Circle 5, Arc 3'''
| |
| | |
| | |
| [SOUND: Kinsler's Pelican drop-ship settles on the bridge.]
| |
| | |
| | |
| CROWD: The commissioner! We're saved! He has a drop-ship!
| |
| | |
| | |
| CROWD: Yeah, and a sub-machine gun!
| |
| | |
| | |
| CROWD: Why's he pointing it at that girl?
| |
| | |
| | |
| CROWD: Not our problem! Keep moving.
| |
| | |
| | |
| KINSLER: (readies his weapon) It's so good to see you again Sadie.
| |
| | |
| | |
| KINSLER: But please, no sudden movements. This Pelican isn't the stablest
| |
| thing to stand on. I'd hate to shoot you accidently.
| |
| | |
| | |
| KINSLER: Branley. Your service pistol. Remove it from your hostler.
| |
| Slowly...
| |
| | |
| | |
| MIKE: Yeah, yeah...
| |
| | |
| | |
| KINSLER: Now toss it off the bridge.
| |
| | |
| | |
| [SOUND: Mike throws his pistol into the water.]
| |
| | |
| | |
| KINSLER: Good. Now, I must say, Sadie. You play very hard to get.
| |
| | |
| | |
| SADIE: Bet that makes you angry.
| |
| | |
| | |
| KINSLER: Oh... quite the opposite.
| |
| | |
| | |
| SADIE: (whispers into Chatter) Vergil... a little help here!
| |
| | |
| | |
| KINSLER: Your chatter made you easy to track. But I think you and Vergil
| |
| have talked quite enough. Take it off.
| |
| | |
| | |
| [SOUND: Sadie rips her Chatter off her wrist.]
| |
| | |
| | |
| KINSLER: Now smash it!
| |
| | |
| | |
| [SOUND: Sadie crushes her Chatter with her foot.]
| |
| | |
| | |
| KINSLER: Do you know what I've learned in all my years in politics?
| |
| | |
| | |
| SADIE: That you're an asshole?
| |
| | |
| | |
| KINSLER: The value of escalation. For example, last time we met, Branley
| |
| hit me with his fist.
| |
| | |
| | |
| MIKE: Keep talking. I might do it again.
| |
| | |
| | |
| KINSLER: I think not. This time, I have a sub-machine gun. You see?
| |
| Escalation....
| |
| | |
| | |
| KINSLER: Goodbye, Branley.
| |
| | |
| | |
| SADIE: Do it and you're a dead man.
| |
| | |
| | |
| KINSLER: Sadie. You're such a bright, beautiful girl. You have no idea
| |
| how much it pains me when you act so incredibly stupid.
| |
| | |
| | |
| [SOUND: Rattle of approaching treads.]
| |
| | |
| | |
| KINSLER: I have. The gun.
| |
| | |
| | |
| SADIE: Yes... But I have the garbage truck.
| |
| | |
| | |
| [SOUND: Metal crunch as an Olifant smashes into the Pelican.]
| |
| | |
| | |
| CROWD: An Olifant just hit that Pelican!
| |
| | |
| | |
| CROWD: Don't see that every day!
| |
| | |
| | |
| KINSLER: My drop-ship! That's city property, Vergil! What the devil do
| |
| you think you are doing?
| |
| | |
| | |
| SADIE: Escalation.
| |
| | |
| | |
| [SOUND: The Olifant honks then drops its garbage on the Commissioner.]
| |
| | |
| | |
| KINSLER: [Chokes and gags]
| |
| | |
| | |
| CROWD: (laughs) It just dumped its whole load!
| |
| | |
| | |
| CROWD: (laughs) The commissioner is totally buried in garbage!
| |
| | |
| | |
| MIKE: Ugh... Man, what a smell!
| |
| | |
| | |
| SADIE: Come on! That's our ride!
| |
| | |
| | |
| MIKE: Oh, no... No, no, no!
| |
| | |
| | |
| MIKE: I am not getting into the back of an-- (gags) --Olifant.
| |
| | |
| | |
| SADIE: Think of it as an armored personal carrier, for the ... smell
| |
| impaired.
| |
| | |
| | |
| '''Circle 6, Arc 1'''
| |
| | |
| | |
| | |
| [SOUND: Olifant engine and clanking treads.]
| |
| | |
| | |
| PROPAGANDA: (from PA) Stay strong, Mombasa! Our noble militia is hitting
| |
| back hard! The enemy has begun to retreat!
| |
| | |
| | |
| MIKE: (groans) I think I'm going to puke...
| |
| | |
| | |
| SADIE: Might make it smell better.
| |
| | |
| | |
| MIKE: Why do we have to ride back here again?
| |
| | |
| | |
| SADIE: It's the safest way to get to the ONI building. If we sit in the
| |
| cab, we're targets.
| |
| | |
| | |
| SADIE: If we let Vergil drive us to the ONI building, the Covenant thinks
| |
| we are just a harmless machine.
| |
| | |
| | |
| SUPERINTENDENT: (from Olifant radio) RECYCLING! DO YOUR PART!
| |
| | |
| | |
| [SOUND: The Olifant’s access-door cranks open.]
| |
| | |
| | |
| MIKE: Uh-oh... Company! Get behind me!
| |
| | |
| | |
| TOM: Finally! Something between me and all the shooting! Guess we all had
| |
| the same bright idea, huh?
| |
| | |
| | |
| TOM: Name's Tom Umberti. Damn glad to meet you! Married, right? You two
| |
| own a house? Of course you do!
| |
| | |
| | |
| TOM: Say, when this is all over, if you're in the market for new ceramic
| |
| siding? Hey now -- I'm your man!
| |
| | |
| | |
| SADIE: Tom? Shut-up.
| |
| | |
| | |
| SADIE: Vergil, can you raise Dad on this Olifant's radio?
| |
| | |
| | |
| TOM: Wow, buddy. Is she a tough customer or what?
| |
| | |
| | |
| MIKE: You have no idea.
| |
| | |
| | |
| DR ENDESHA: (from radio) Sadie! You had me worried half to death!
| |
| | |
| | |
| SADIE: I'm okay. What about you?
| |
| | |
| | |
| DR ENDESHA: The fighting is spreading, damaging all sorts of systems.
| |
| Power, data...
| |
| | |
| | |
| DR ENDESHA: The entire Superintendent infrastructure is close to collapse.
| |
| I'm doing all I can but--
| |
| | |
| | |
| SADIE: Dad, you've done an incredible job of keeping Vergil together.
| |
| | |
| | |
| DR ENDESHA: Sadie, it's not me...
| |
| | |
| | |
| DR ENDESHA: It's the Covenant.
| |
| | |
| | |
| '''Circle 6, Arc 2'''
| |
| | |
| | |
| [SOUND: Explosions rock the Olifant on its treads.]
| |
| | |
| | |
| SADIE: Dad, it's hard to hear inside this Olifant. Say that again?
| |
| | |
| | |
| DR ENDESHA: (from radio) A plasma bombardment collapsed on of Vergil's
| |
| tertiary data-centers.
| |
| | |
| | |
| DR ENDESHA: I was accessing the damage through the underground cameras, and
| |
| I saw Covenant splicing cables, patching switches--
| |
| | |
| | |
| MIKE: Wait-- the Covenant are helping us?!
| |
| | |
| | |
| TOM: Well, I'll be damned!
| |
| | |
| | |
| SADIE: Dad, I just meet my first Brutes. They didn't seem too helpful.
| |
| | |
| | |
| DR ENDESHA: No. The ones in the data-center weren't Brutes-- or any of
| |
| the Covenant I've heard about.
| |
| | |
| | |
| DR ENDESHA: It's a whole new species, Sadie. And they are actually quite...
| |
| beautiful.
| |
| | |
| | |
| DR ENDESHA: They have some sort of automatic defense system, but so long as
| |
| you don't get too close--
| |
| | |
| | |
| TOM: You know -- and I'm just thinking out loud here -- maybe this whole
| |
| invasion is just one big misunderstanding!
| |
| | |
| | |
| SADIE: Shut-up, Tom!
| |
| | |
| | |
| DR ENDESHA: Vergil's observing another group of them now inside Kikowani
| |
| Station.
| |
| | |
| | |
| DR ENDESHA: Hang on a second. I'll connect the audio feed...
| |
| | |
| | |
| TOM: Number one rule of sales? Understand exactly what the customer needs.
| |
| Not what he wants -- what he needs. You understand?
| |
| | |
| | |
| MIKE: Tom. Seriously. Zip it.
| |
| | |
| | |
| DR ENDESHA: It's dark in the station. Switching the camera to thermal...
| |
| | |
| | |
| DR ENDESHA: Strange... There aren't any Brutes around. Usually they never
| |
| leave them alone.
| |
| | |
| | |
| DR ENDESHA: Alright, I see six of the new aliens floating in a circle.
| |
| They're surrounding a seventh, touching it with their tentacles...
| |
| | |
| | |
| DR ENDESHA: Amazing! You wouldn't believe how fast they can move their
| |
| limbs!
| |
| | |
| | |
| DR ENDESHA: They're working... Doing something to the explosives in the
| |
| seventh's aliens armor--
| |
| | |
| | |
| [SOUND: Series of loud explosions.]
| |
| | |
| | |
| '''Circle 6, Arc 3'''
| |
| | |
| | |
| [SOUND: Series of loud explosions.]
| |
| | |
| | |
| SADIE: Dad, what where those explosions?! Vergil, can't this Olifant
| |
| go any faster?!
| |
| | |
| | |
| DR ENDESHA: (from radio) I'm not sure what just happened... Six of the aliens
| |
| are dead. But I think...
| |
| | |
| | |
| DR ENDESHA: Sadie, I think they gave their lives to free their companion.
| |
| | |
| | |
| DR ENDESHA: Yes! Yes, I can see it floating away down the subway tube.
| |
| Vergil, keep an eye on that one!
| |
| | |
| | |
| MIKE: Covenant with feelings, huh? That's a first.
| |
| | |
| | |
| TOM: What was I saying! Don't you see? We gotta negotiate.
| |
| | |
| | |
| SADIE: Negotiate?
| |
| | |
| | |
| TOM: We shoot at them, they shoot back at us! That's just bad business!
| |
| | |
| | |
| TOM: Hey! Hey aliens! We're in here! We want to surrender!
| |
| | |
| | |
| MIKE: Settle down, you idiot!
| |
| | |
| | |
| SADIE: Tom, don't you get it?! The friendly Covenant aren't the ones doing
| |
| all the shooting!
| |
| | |
| | |
| TOM: To hell with demographics! This is a down market! Time to bargain if
| |
| you want to make the sale.
| |
| | |
| | |
| [SOUND: Tom opens the Olifant's top hatch.]
| |
| | |
| | |
| TOM: You! Yeah, you in the tank! Over here!
| |
| | |
| | |
| SADIE: Close the hatch!
| |
| | |
| | |
| MIKE: Leave him Sadie. I'm opening the back hatch. We're out of here.
| |
| | |
| | |
| [SOUND: Mike opens the Olifant's ramp.]
| |
| | |
| | |
| TOM: That's right! Up here! Let's say you and me make a deal?
| |
| | |
| | |
| SUPERINTENDENT: (from PA) DON'T WALK! DON'T WALK!
| |
| | |
| | |
| MIKE: Sadie! It's a Wraith! Move!
| |
| | |
| | |
| SADIE: Where to?
| |
| | |
| | |
| MIKE: Alleyway! Come on!
| |
| | |
| | |
| SUPERINTENDENT: Clear the street! Oncoming traffic!
| |
| | |
| | |
| [SOUND: Wraith round hits the Olifant, killing Tom.]
| |
| | |
| | |
| SADIE: Surrender accepted.
| |
| | |
| | |
| '''Circle 7, Arc 1'''
| |
| | |
| | |
| [SOUND: The Olifant burns in the background.]
| |
| | |
| | |
| MIKE: (running) That Wraith blew the hell out of our Olifant!
| |
| | |
| | |
| SADIE: (running) Poor Tom...
| |
| | |
| | |
| MIKE: Poor Tom?! He almost got us killed!
| |
| | |
| | |
| [SOUND: Rain begins to fall.]
| |
| | |
| | |
| MIKE: Now what?
| |
| | |
| | |
| SADIE: Stay out of sight, find a kiosk. My dad's in the data-center under
| |
| the ONI building.
| |
| | |
| | |
| MIKE: Basically right at the heart of the Covenant occupation.
| |
| | |
| | |
| SADIE: We are going to need Vergil's help getting him out of there.
| |
| | |
| | |
| MIKE: Here. Take my jacket.
| |
| | |
| | |
| SADIE: I don't mind the rain.
| |
| | |
| | |
| MIKE: It's fiber-armored. I mind you getting shot.
| |
| | |
| | |
| SADIE: Thanks.
| |
| | |
| | |
| KIOSK: (from speaker) Optican, health care on demand. Please place your
| |
| hand on the touch pad-- (distortion)
| |
| | |
| | |
| SADIE: Vergil, get me dad.
| |
| | |
| | |
| SUPERINTENDENT: (from kiosk) ELEVATED HEART-RATE. ARE YOU FEELING ANXIOUS?
| |
| STRESSED?
| |
| | |
| | |
| SUPERINTENDENT: TRY OPTICAN’S NEWEST MOOD-SETTLING DRUG "STATENIZOL."
| |
| | |
| | |
| SADIE: And stop playing doctor!
| |
| | |
| | |
| DR ENDESHA: (from kiosk) Finally, a kiosk with a camera! Now I can see that
| |
| you are alright.
| |
| | |
| | |
| DR ENDESHA: But why are you dressed like a police officer?
| |
| | |
| | |
| SADIE: It's Mike's. (to Mike) Say hello.
| |
| | |
| | |
| MIKE: (clears his throat) It's good to meet you Doctor Endesha.
| |
| | |
| | |
| DR ENDESHA: You know... You are the first young man Sadie's ever
| |
| introduced me too.
| |
| | |
| | |
| SADIE: Dad?!
| |
| | |
| | |
| [SOUND: Engineer sound followed by Vergil's imitation.]
| |
| | |
| | |
| SADIE: What's Vergil doing?
| |
| | |
| | |
| DR ENDESHA: Learning to whistle!
| |
| | |
| | |
| MIKE: Whistle?
| |
| | |
| | |
| DR ENDESHA: So he can communicate with the tentacle aliens!
| |
| | |
| | |
| SUPERINTENDENT: STRESS HARMS RELATIONSHIPS. GOOD COMMUNICATION AND GOOD
| |
| MEDICINE CAN HELP.
| |
| | |
| | |
| SADIE: We just meet a guy that tried the whole 'communicate' with the enemy
| |
| thing. It didn't work so well, Dad!
| |
| | |
| | |
| DR ENDESHA: These new aliens are different. Inquisitive, not violent.
| |
| They are searching for something under New Mombasa. I'm sure of it!
| |
| | |
| | |
| DR ENDESHA: And if Vergil can learn to speak with them, we'll be able to
| |
| determine whether or not they can-- (static)
| |
| | |
| | |
| SADIE: Dad!
| |
| | |
| | |
| PROPAGANDA: (from PA) Attention citizens! The enemy has infiltrated our
| |
| data systems!
| |
| | |
| | |
| SUPERINTENDENT: IRREGULAR PULSE. HEART RATE FALLING. REPORT TO THE
| |
| NEAREST-- (static)
| |
| | |
| | |
| SADIE: Vergil!
| |
| | |
| | |
| PROPAGANDA: All civilian chatter is restricted!
| |
| | |
| | |
| SADIE: No!
| |
| | |
| | |
| MIKE: Whoa-whoa! Calm down!
| |
| | |
| | |
| SADIE: They killed him!
| |
| | |
| | |
| MIKE: Who?
| |
| | |
| | |
| SADIE: The police! They just pulled Vergil's plug!
| |
| | |
| | |
| MIKE: No way. The whole city would shut down. The evacuation would ground
| |
| to a halt. No one would be crazy enough to--
| |
| | |
| | |
| SADIE: No one?!
| |
| | |
| | |
| MIKE: Aww crap...
| |
| | |
| | |
| '''Circle 7, Arc 2'''
| |
| | |
| | |
| [SOUND: Rain and distant thunder.]
| |
| | |
| | |
| MIKE: (running) Police Headquarters! Straight ahead!
| |
| | |
| | |
| SADIE: (running) How does a level one blackout work? How do we bring Vergil
| |
| back?
| |
| | |
| | |
| MIKE: Emergency Communications department. But we can't just--
| |
| | |
| | |
| SADIE: Kick down the door? Plug Vergil back in?
| |
| | |
| | |
| SADIE: You bet your ass we can!
| |
| | |
| | |
| MIKE: Sadie! Wait!
| |
| | |
| | |
| SADIE: Here's a directory... Emergency Comms. Fourteenth Floor.
| |
| Elevators are--
| |
| | |
| | |
| MIKE: Hold up! Look... the lobby's all shoot up. And over by the
| |
| elevators...
| |
| | |
| | |
| SADIE: Are those cops?
| |
| | |
| | |
| MIKE: All dead. Probably a Brute kill-squad...
| |
| | |
| | |
| MARSHALL: Howdy, folks.
| |
| | |
| | |
| SADIE: ...Or not.
| |
| | |
| | |
| MARSHALL: Sorry about the mess. Since it appears we are all going straight
| |
| to hell today...
| |
| | |
| | |
| MARSHALL: I figured I'd send some of my old pals on their way myself.
| |
| | |
| | |
| MIKE: Listen, buddy. We don't want any trouble.
| |
| | |
| | |
| SADIE: We just need to get upstairs--
| |
| | |
| | |
| MARSHALL: Stay right where you are!
| |
| | |
| | |
| MARSHALL: Here comes another one now...
| |
| | |
| | |
| [SOUND: Elevator appears. Jim walks into the lobby.]
| |
| | |
| | |
| JIM: (into Chatter) Mmm-hmm... Yeah. I don't know why they shut the Super
| |
| down. We'll keep broadcasting as long as we--
| |
| | |
| | |
| MARSHALL: Hey there, Jim bo!
| |
| | |
| | |
| JIM: What the... Officers down! There may be Covenant--
| |
| | |
| | |
| MARSHALL: Come now. Get off your Chatter and pay attention.
| |
| | |
| | |
| JIM: Marshall? What are you doing here? Didn't you get fired?
| |
| | |
| | |
| MARSHALL: Remember how often I asked you not to use my half-and-half? And
| |
| remember how often you didn't listen?
| |
| | |
| | |
| JIM: You? You did this?!
| |
| | |
| | |
| MARSHALL: Should have stayed in the elevator, Jim.
| |
| | |
| | |
| JIM: No! Please!
| |
| | |
| | |
| MARSHALL: I wrote! (fires) My name! (fires) Right there on the carton!
| |
| (fires)
| |
| | |
| | |
| JIM: (dying gurgle)
| |
| | |
| | |
| MIKE: Sadie, let's go.
| |
| | |
| | |
| MARSHALL: According to this department, I have issues with anger
| |
| management...
| |
| | |
| | |
| MARSHALL: If I we're you? I'd stay right where you are.
| |
| | |
| | |
| '''Circle 7, Arc 3'''
| |
| | |
| | |
| [SOUND: Marshall reloads his rifle.]
| |
| | |
| | |
| MARSHALL: You two are my hostages. Sit tight, or you're gonna end up like
| |
| these old buddies of mine.
| |
| | |
| | |
| SADIE: Mike, we have to get upstairs -- turn Vergil back on!
| |
| | |
| | |
| MARSHALL: No talking!
| |
| | |
| | |
| MARSHALL: You work for the NMPD?
| |
| | |
| | |
| SADIE: Uh...
| |
| | |
| | |
| MIKE: No.
| |
| | |
| | |
| MARSHALL: Oh yeah? Where did you get the jacket?
| |
| | |
| | |
| SADIE: I stole it. From the trash.
| |
| | |
| | |
| MARSHALL: A thief, huh? Got a record, you little punk?
| |
| | |
| | |
| MIKE: Look. Why don't you put down your rifle and--
| |
| | |
| | |
| MARSHALL: Why don't you shut your goddamn mouth!
| |
| | |
| | |
| [SOUND: boots in the stairwell.]
| |
| | |
| | |
| MARSHALL: Hear that? SWAT pussies finally woke up. They'll be wearing
| |
| body armor, so you have to take the head-shot.
| |
| | |
| | |
| MIKE: Get down, Sadie! Now!
| |
| | |
| | |
| [SOUND: SWAT officer kick-opens the stairwell door.]
| |
| | |
| | |
| SWAT COP: Drop your weapon!
| |
| | |
| | |
| MARSHALL: Come and get it! [fires]
| |
| | |
| | |
| SWAT COP: (dying gurgle)
| |
| | |
| | |
| SWAT COP: Damnit! Take him down!
| |
| | |
| | |
| SWAT COP: Cover me!
| |
| | |
| | |
| SWAT COP: Man down! Man down!
| |
| | |
| | |
| SWAT COP: We're blocked in!
| |
| | |
| | |
| [SOUND: SWAT cops and Marshall exchange heavy fire.]
| |
| | |
| | |
| SWAT COMMANDER: Bang and clear!
| |
| | |
| | |
| [SOUND: SWAT commander tosses a flash-bang grenade.]
| |
| | |
| | |
| MARSHALL: (screams) My eyes! Awww, you lousy sons of bitches--
| |
| | |
| | |
| [SOUND: Marshall dies in a hail of bullets.]
| |
| | |
| | |
| SWAT COMMANDER: Got him! Suspect down!
| |
| | |
| | |
| MIKE: Sadie? Sadie?! Are you, OK?
| |
| | |
| | |
| SWAT COMMANDER: You! Hands where I can see them!
| |
| | |
| | |
| MIKE: Don't shoot! I'm NMPD damnit!
| |
| | |
| | |
| SWAT COMMANDER: Let me see your badge! Nice and slow!
| |
| | |
| | |
| SADIE: The whole city's crawling with Covenant, and we're killing each
| |
| other.
| |
| | |
| | |
| MIKE: Here, see! Metro pee-dee!
| |
| | |
| | |
| MIKE: I need to get her to the fourteenth floor. It's an emergency!
| |
| | |
| | |
| SWAT COMMANDER: OK. Take her up. We'll deal with this mess...
| |
| | |
| | |
| SADIE: There must be a dozen bodies here...
| |
| | |
| | |
| MIKE: We can't save them, Sadie. But we can save Vergil.
| |
| | |
| | |
| MIKE: We have to go.
| |
| | |
| | |
| '''Circle 8, Arc 1'''
| |
| | |
| | |
| [SOUND: Sadie and Mike running up the stairwell.]
| |
| | |
| | |
| MIKE: Emergency Comms. Fourteenth floor. Should've taken the
| |
| elevator...
| |
| | |
| | |
| SADIE: After what just happened? I don't think so.
| |
| | |
| | |
| MIKE: So... what exactly are you going to say to make them re-initialize
| |
| Vergil?
| |
| | |
| | |
| SADIE: I'll think of something.
| |
| | |
| | |
| MIKE: 'Hi! I'm cute! Break the law for me!'
| |
| | |
| | |
| SADIE: That's not funny!
| |
| | |
| | |
| MIKE: I'm just saying... It worked on me...
| |
| | |
| | |
| [SOUND: Police communications officers type and answer phones.]
| |
| | |
| | |
| COMM COP: Still no Covenant activity outside the city!
| |
| | |
| | |
| COMM COP: I need a medivac! Nyali bridge!
| |
| | |
| | |
| COMM COP: I've got three more evac points at 200% capacity!
| |
| | |
| | |
| COMM COP: Somebody answer that damn Phone!
| |
| | |
| | |
| MIKE: Where's the duty officer?
| |
| | |
| | |
| COMM COP: Big desk. At the back.
| |
| | |
| | |
| MIKE: Thanks.
| |
| | |
| | |
| COMM COP: No way we can get everyone out!
| |
| | |
| | |
| COMM COP: Reports of another riot starting at Kikowani!
| |
| | |
| | |
| COMM COP: I need someone else to man these comm lines!
| |
| | |
| | |
| DUTY OFFICER: (talking into chatter) As I've been trying to tell you
| |
| Captain, I don't have the authority to override--
| |
| | |
| | |
| DUTY OFFICER: What do you mean 'gross misconduct?' Captain Dare, I assure
| |
| you. People are dying down here!
| |
| | |
| | |
| SADIE: Excuse me....
| |
| | |
| | |
| DUTY OFFICER: Yes, of course I could turn the Superintendent back on. But
| |
| Commissioner Kinsler gave me explicit instructions--
| |
| | |
| | |
| SADIE: You're busy, so I'm just going to borrow this stapler...
| |
| | |
| | |
| DUTY OFFICER: Listen, Captain, there is a Covenant carrier hovering
| |
| outside my window!
| |
| | |
| | |
| DUTY OFFICER: There's a sniper in my lobby and you're threatening to have
| |
| me fired!? [Slams chatter into desk.]
| |
| | |
| | |
| DUTY OFFICER: Office of Naval Intelligence. Now there's a contradiction
| |
| in terms...
| |
| | |
| | |
| DUTY OFFICER: (Sees Sadie and groans) What do you want?
| |
| | |
| | |
| SADIE: I need you to turn Ver-- the Superintendent back on.
| |
| | |
| | |
| DUTY OFFICER: Not you, too! I am telling all of you, the commissioner--
| |
| | |
| | |
| SADIE: I know. But I'm making you do it! At gunpoint!
| |
| | |
| | |
| DUTY OFFICER: What gun?
| |
| | |
| | |
| SADIE: This one!
| |
| | |
| | |
| DUTY OFFICER: You're holding my stapler inside your pocket and pointing it
| |
| at me.
| |
| | |
| | |
| SADIE: You don't know that.
| |
| | |
| | |
| MIKE: It might be a gun.
| |
| | |
| | |
| SADIE: Or a rifle!
| |
| | |
| | |
| MIKE: Or a rocket launcher!
| |
| | |
| | |
| SADIE: And if it was, why, you would have to turn the Superintendent back
| |
| on.
| |
| | |
| | |
| MIKE: Nobody could blame you.
| |
| | |
| | |
| SADIE: Or fire you...
| |
| | |
| | |
| DUTY OFFICER: If it was a gun...
| |
| | |
| | |
| DUTY OFFICER: Oh, no... Please don't shoot. I'll do.. anything!
| |
| | |
| | |
| SUPERINTENDENT: (Loud Engineer whistle) SADIE! SADIE! SADIE! SADIE! SADIE!
| |
| | |
| | |
| SADIE: It's OK, Vergil. I'm here.
| |
| | |
| | |
| MIKE: He sounds...different.
| |
| | |
| | |
| SADIE: Vergil? What have those aliens done to you?!
| |
| | |
| | |
| [SOUND: Loud Engineer whistle.]
| |
| | |
| | |
| '''Circle 8, Arc 2'''
| |
| | |
| | |
| [SOUND: Loud Engineer whistle.]
| |
| | |
| | |
| COMM COP: You hear that crazy noise?!
| |
| | |
| | |
| COMM COP: No clue. Must be a corrupted signal!
| |
| | |
| | |
| COMM COP: We've lost the connection with the UNSC orbital command!
| |
| | |
| | |
| MIKE: Sadie, what's going on?!
| |
| | |
| | |
| SADIE: I don't know. Those aliens have been working on Vergil and now that
| |
| he is back on he sounds...
| |
| | |
| | |
| MIKE: ...Different.
| |
| | |
| | |
| SADIE: Vergil? It's still you, isn't it?
| |
| | |
| | |
| SUPERINTENDENT: [barks like a dog]
| |
| | |
| | |
| SADIE: Can you get Dad for me?
| |
| | |
| | |
| SUPERINTENDENT: [frightened Engineer whistle.]
| |
| | |
| | |
| SADIE: Vergil can't reach him! Something's wrong...
| |
| | |
| | |
| PROPAGANDA: (from PA) Reports are coming in from all over the city!
| |
| Covenant forces are pulling back in the face of furious resistance!
| |
| | |
| | |
| MIKE: Man, I have had it with his crap!
| |
| | |
| | |
| PROPAGANDA: Our enemies are cowards! Battle on, brave citizens, and
| |
| victory will be ours!
| |
| | |
| | |
| MIKE: Hang on... That's coming from inside the building!
| |
| | |
| | |
| SADIE: Mike? Wait! Where are you going?
| |
| | |
| | |
| PROPAGANDA: This hour we will pay tribute to our fallen heroes. Jim Odingo
| |
| Roberto Burstomenta and Marshall Glick.
| |
| | |
| | |
| MIKE: This is his office. Public Service Announcements Division...
| |
| | |
| | |
| PROPAGANDA: These officers were gunned-down in the very lobby of this
| |
| building by Covenant snipers.
| |
| | |
| | |
| PROPAGANDA: But moments ago members of our citizens militia wiped out the
| |
| sniper nest with a homemade flame-thrower...
| |
| | |
| | |
| PROPAGANDA: Made from nothing more than an old leaf blower and a can of
| |
| gasoline! Keep fighting, Mombasa! Fight and we will win!
| |
| | |
| | |
| [SOUND: Stephen turns-off his microphone.]
| |
| | |
| | |
| STEPHEN: Off the air...
| |
| | |
| | |
| MIKE: Covenant Sniper nest? Those people were massacred by a crazy ex-cop!
| |
| Hell, one of those people was the crazy ex-cop!
| |
| | |
| | |
| STEPHEN: And your point is?
| |
| | |
| | |
| MIKE: People are dying out there and you're feeding them this...this
| |
| garbage? None of it is true!
| |
| | |
| | |
| STEPHEN: Yes, well... [Stubs out cigarette.]
| |
| | |
| | |
| STEPHEN: Some days, truth really isn't a luxury we can afford.
| |
| | |
| | |
| '''Circle 8, Arc 3'''
| |
| | |
| | |
| SADIE: Come on Mike... He's a propaganda officer. He's just doing his
| |
| job.
| |
| | |
| | |
| MIKE: His job?! More like lying to people for a living!
| |
| | |
| | |
| STEPHEN: Do you know who is still listening to my announcements? An old
| |
| women, to weak to leave her bed...
| |
| | |
| | |
| STEPHEN: A man, bleeding in the street. A teacher, hiding with her students
| |
| in the school's basement.
| |
| | |
| | |
| STEPHEN: They are all going to die.
| |
| | |
| | |
| MIKE: Maybe, maybe not. The marines will be here soon...
| |
| | |
| | |
| STEPHEN: They are all going to die!
| |
| | |
| | |
| STEPHEN: My job before they die is to fill their life with truth... with
| |
| hope.
| |
| | |
| | |
| STEPHEN: But maybe you can do better... [Exhales cigarette smoke.]
| |
| | |
| | |
| STEPHEN: On the air... [Turns-on microphone.]
| |
| | |
| | |
| STEPHEN: A special honor, New Mombasa! I have here in studio uprising
| |
| Commander Harris "Two Shot" Kabaki.
| |
| | |
| | |
| STEPHEN: Commander, tell our listeners the latest news from the city center.
| |
| | |
| | |
| STEPHEN: Commander? Go ahead. Speak the truth.
| |
| | |
| | |
| MIKE: Well, things aren't as good as they could be. But they're looking
| |
| up. We're... we're fighting hard.
| |
| | |
| | |
| STEPHEN: Good to hear it! Any words of advice, Two Shot?
| |
| | |
| | |
| MIKE: Just... keep fighting. We can win this battle if we stick together.
| |
| We can save this city. We can win this war.
| |
| | |
| | |
| [SOUND: Stephen turns-off his microphone.]
| |
| | |
| | |
| STEPHEN: Off the air... Now, you are also a hero.
| |
| | |
| | |
| SADIE: You are, you know.
| |
| | |
| | |
| MIKE: I feel sick.
| |
| | |
| | |
| STEPHEN: No. What you feel is hope.
| |
| | |
| | |
| [SOUND: Stephen's control-console chirps.]
| |
| | |
| | |
| STEPHEN: Ah, See! You already have an admirer!
| |
| | |
| | |
| STEPHEN: (hitting a switch) Go ahead. You are on the line with Harris
| |
| "Two Shot" Kabaki.
| |
| | |
| | |
| KINSLER: (from console) That was truly inspiring Officer Branley. Sadie
| |
| must be very impressed.
| |
| | |
| | |
| SADIE: Kinsler!
| |
| | |
| | |
| KINSLER: But I think she will be much more interested in this...
| |
| | |
| | |
| KINSLER: Sadie. I now control the fire fighting systems in your father's
| |
| lab. If you want to see him alive again...
| |
| | |
| | |
| KINSLER: You'll do exactly as I say.
| |
| | |
| | |
| '''Circle 9, Arc 1'''
| |
| | |
| | |
| [SOUND: Sadie and Mike run down a broken escalator.]
| |
| | |
| | |
| SADIE: Kinsler told me to meet him at the train station. That's what I am
| |
| going to do.
| |
| | |
| | |
| MIKE: Come on Sadie. You can't trust him! You know that!
| |
| | |
| | |
| SADIE: My father is still in Vergil's data-center.
| |
| | |
| | |
| MIKE: I've been listening to your dad all day. And the one thing he
| |
| wouldn't want you to do? Put yourself in even more danger by--
| |
| | |
| | |
| SADIE: You're not listening at all! Kinsler said he'd trigger the
| |
| emergency fire response!
| |
| | |
| | |
| MIKE: And that will -- ?
| |
| | |
| | |
| SADIE: Flood the data center with argon!
| |
| | |
| | |
| MIKE: Can people breath argon?
| |
| | |
| | |
| SADIE: No, Mike. It freezes you! Dead!
| |
| | |
| | |
| MIKE: Look, I didn't know. I'm sorry.
| |
| | |
| | |
| SADIE: Vergil? Are you there?
| |
| | |
| | |
| SUPERINTENDENT: (from PA) [Engineer whistle.]
| |
| | |
| | |
| MIKE: I know that look... What's your plan?
| |
| | |
| | |
| SADIE: Escalation.
| |
| | |
| | |
| '''Circle 9, Arc 2'''
| |
| | |
| | |
| [SOUND: Frightened civilians crowd the station.]
| |
| | |
| | |
| CROWD: Out of my way, I'm getting on that train!
| |
| | |
| | |
| CROWD: Not before me you're not!
| |
| | |
| | |
| CROWD: There's not enough room!
| |
| | |
| | |
| CROWD: My wife, has anyone seen my wife?!
| |
| | |
| | |
| CROWD: There getting closer, we have to go!
| |
| | |
| | |
| KIOSK: (from speaker) Trans-bay express train now departing Kikowani
| |
| station.
| |
| | |
| | |
| KIOSK: All passengers must depart from platform fourteen-- (distortion)
| |
| | |
| | |
| [SOUND: (from kiosk) Loud Engineer whistle.]
| |
| | |
| | |
| SUPERINTENDENT: PLEASE REMAIN CALM! NO TICKETS -- NO PROBLEM! SLOW CHILDREN
| |
| -- USE CAUTION!
| |
| | |
| | |
| SADIE: Maybe dad was right... The tentacle aliens he found? I think they
| |
| are helping Vergil. Bringing him back from the dead.
| |
| | |
| | |
| MIKE: Why would they do that?
| |
| | |
| | |
| SADIE: Dad said they were looking for something... Something Vergil found.
| |
| | |
| | |
| SUPERINTENDENT: KEEP IT CLEAN! LEAVE ALL LUGGAGE ON PLATFORMS!
| |
| | |
| | |
| SADIE: Maybe they're sick of fighting, just like us. I don't know.
| |
| | |
| | |
| SADIE: Dad would know the answer...
| |
| | |
| | |
| MIKE: We'll ask him when we see him, OK?
| |
| | |
| | |
| SADIE: OK.
| |
| | |
| | |
| MIKE: Now where are you suppose to meet the Commissioner?
| |
| | |
| | |
| SADIE: Platform nine. He's got a private train.
| |
| | |
| | |
| MIKE: I still think you should let me--
| |
| | |
| | |
| SADIE: If I don't come alone, my dad will die! Kinsler made that clear!
| |
| | |
| | |
| SADIE: You and Vergil know what you have to do?
| |
| | |
| | |
| MIKE: Yeah...
| |
| | |
| | |
| [SOUND: Covenant plasma fire slams into the station, crowd panics.]
| |
| | |
| | |
| CROWD: Mommy! What's happening?!
| |
| | |
| | |
| CROWD: I won't let them get me! I won't!
| |
| | |
| | |
| CROWD: Quiet! You're scaring my children!
| |
| | |
| | |
| MIKE: The Covenant are closing in! People are panicking. This is gonna
| |
| get ugly...
| |
| | |
| | |
| SADIE: This day is a nightmare! It all keeps getting worse! Everything's
| |
| falling apart!
| |
| | |
| | |
| MIKE: Not everything.
| |
| | |
| | |
| SADIE: Listen. I know I'm just a girl who got you fired...
| |
| | |
| | |
| SADIE: I might also be the girl that gets you killed!
| |
| | |
| | |
| MIKE: Maybe. But not today.
| |
| | |
| | |
| SADIE: Mike... I want you to live.
| |
| | |
| | |
| SADIE: I need you to live... For me.
| |
| | |
| | |
| '''Circle 9, Arc 3'''
| |
| | |
| | |
| [SOUND: Covenant plasma fire slams into the station, crowd panics.]
| |
| | |
| | |
| CROWD: Let us aboard!
| |
| | |
| | |
| CROWD: The Commissioner’s got plenty of room!
| |
| | |
| | |
| CROWD: And goons with guns...
| |
| | |
| | |
| CROWD: At least take my children!
| |
| | |
| | |
| CROWD: Selfish devil! To hell with you!
| |
| | |
| | |
| SADIE: Platform nine...
| |
| | |
| | |
| MIKE: There's Kinsler's private train. Guarded by corrupt cops with
| |
| machine-guns.
| |
| | |
| | |
| SADIE: I'm going in. My father's life is on the line.
| |
| | |
| | |
| MIKE: Be careful.
| |
| | |
| | |
| SADIE: You too.
| |
| | |
| | |
| CROWD: What? Wait your turn!
| |
| | |
| | |
| SADIE: (pushing through the crowd) Excuse me! Sorry! Coming through...
| |
| | |
| | |
| CROWD: Watch it, girl! Quit shoving!
| |
| | |
| | |
| CORRUPT COP: [Shoots into the air.] Get away from the train! You hear me!
| |
| Everyone back off!
| |
| | |
| | |
| KINSLER: Steady, officer. Not yet.
| |
| | |
| | |
| CORRUPT COP: I can't hold the crowd back much longer, sir!
| |
| | |
| | |
| SADIE: (from crowd) Kinsler!
| |
| | |
| | |
| KINSLER: You won't have to. My passenger has arrived.
| |
| | |
| | |
| KINSLER: This way, Sadie! Push right on through!
| |
| | |
| | |
| CORRUPT COP: Make some room! Let her through!
| |
| | |
| | |
| CROWD: Why does she get to come on board?!
| |
| | |
| | |
| CROWD: It's not fair! We all deserve to live!
| |
| | |
| | |
| CROWD: Now's our chance! Rush the train!
| |
| | |
| | |
| [SOUND: Corrupt cops fire into the crowd.]
| |
| | |
| | |
| CROWD: I'm hit! Please... someone help!
| |
| | |
| | |
| CROWD: Murdering bastards!
| |
| | |
| | |
| KINSLER: Any other objections?
| |
| | |
| | |
| CROWD: Why?! Why?!
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| | |
| | |
| KINSLER: Careful, Sadie, watch your step.
| |
| | |
| | |
| SADIE: You ever worry there might really might be a hell?
| |
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| KINSLER: Oh I know there is, my dear. And you and I are leaving it.
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| KINSLER: Officer, close the doors.
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| | |
| CORRUPT COP: Button-up men! We're out of here!
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| | |
| | |
| [SOUND: Train doors clanks shut.]
| |
| | |
| | |
| CROWD: (muffled) Stop the train! Block the tracks!
| |
| | |
| | |
| CROWD: (muffled) Jump for it!
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| | |
| | |
| KINSLER: I don't want any of that on board!
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| | |
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| CORRUPT COP: Yes sir!
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| | |
| | |
| [SOUND: Corrupt cops fire into the crowd.]
| |
| | |
| | |
| SADIE: You can't just kill them!
| |
| | |
| | |
| KINSLER: Why? I'm getting quite good at it. For instance...
| |
| | |
| | |
| KINSLER: I killed your father an hour ago.
| |
| | |
| | |
| '''Circle 9, Arc 4'''
| |
| | |
| | |
| [SOUND: Corrupt cops fire into the crowd.]
| |
| | |
| | |
| SADIE: You... killed my father?
| |
| | |
| | |
| KINSLER: My men near Vergil's data-center tripped the fire response system.
| |
| He suffocated and froze.
| |
| | |
| | |
| KINSLER: Not a bad way to go, all things considered...
| |
| | |
| | |
| KINSLER: I wanted to tell you face to face.
| |
| | |
| | |
| SADIE: [Cries softly.]
| |
| | |
| | |
| KINSLER: (pouring a drink) Please, get all your tears out now.
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| | |
| | |
| KINSLER: It's a long ridem and I don't want to hear you moaning all the way
| |
| to Nairobi.
| |
| | |
| | |
| KINSLER: Well, come to think of it... I might.
| |
| | |
| | |
| CORRUPT COP #1: (on radio) No sign of it yet, sir.
| |
| | |
| | |
| KINSLER: It's a pink, airborne octopus. How hard could it be to find?!
| |
| | |
| | |
| CORRUPT COP #1: The tunnels are crawling with Buggers, Commissioner. We've
| |
| lost a lot of men. Maybe we should--
| |
| | |
| | |
| KINSLER: No one leaves until I get that alien! Do you hear me, officer?
| |
| | |
| | |
| KINSLER: It found a way to hack a Superintendent-class A.I.! Knowing how
| |
| it did that is vital to the war effort!
| |
| | |
| | |
| SADIE: Like you ever cared about anyone besides yourself!
| |
| | |
| | |
| KINSLER: Just because I'm a murderer, doesn't mean I am unpatriotic.
| |
| | |
| | |
| [SOUND: Covenant plasma fire hits the station, rocking the train.]
| |
| | |
| | |
| CORRUPT COP #2: Covenant armor approaching the station sir. What do we do?
| |
| | |
| | |
| KINSLER: (slamming his drink) We wait!
| |
| | |
| | |
| KINSLER: (sighs) Don't you see the beauty of it, Sadie? Whatever you think
| |
| of me, whatever I have done...
| |
| | |
| | |
| KINSLER: I will leave this city with vital intelligence about the Covenant.
| |
| | |
| | |
| SADIE: Bastard!
| |
| | |
| | |
| KINSLER: Call me what you like...
| |
| | |
| | |
| KINSLER: But the world will call me a hero.
| |
| | |
| | |
| '''Circle 9, Arc 5'''
| |
| | |
| | |
| [SOUND: Corrupt cops fire into the crowd.]
| |
| | |
| | |
| MIKE: (muffled) Listen to me! The Covenant are coming!
| |
| | |
| | |
| CROWD: (muffled) [Angry shouts and panicked screams.]
| |
| | |
| | |
| MIKE: (muffled) Listen to me if you want to live!
| |
| | |
| | |
| KINSLER: I've killed your father, Sadie, and now we're leaving the city.
| |
| No one is coming to save you.
| |
| | |
| | |
| KINSLER: Not Branley. Not Vergil. It’s the end of the line!
| |
| | |
| | |
| [SOUND: (from train) Engineer whistle.]
| |
| | |
| | |
| [SOUND: Sparks fly from the train's control-panel.]
| |
| | |
| | |
| KINSLER: What the hell is that?!
| |
| | |
| | |
| SUPERINTENDENT: (from train) WARNING, FIREWALL DOWN! CONTROL-CIRCUITS NOW
| |
| OPEN TO REMOTE ACCESS!
| |
| | |
| | |
| KINSLER: That damn machine is dead! I killed it!
| |
| | |
| | |
| KINSLER: It doesn't matter. Anything he does to this car happens to you too!
| |
| | |
| | |
| MIKE: (muffled) Are you ready to die?
| |
| | |
| | |
| CROWD: (muffled) No!
| |
| | |
| | |
| MIKE: (muffled) Do you want to live?
| |
| | |
| | |
| CROWD: (muffled) Yes!
| |
| | |
| | |
| MIKE: (muffled) Are you ready to fight?!
| |
| | |
| | |
| CROWD: (muffled) Yes!
| |
| | |
| | |
| [SOUND: Crowd pushes past the cops, pounds on the train.]
| |
| | |
| | |
| SADIE: That's it, Mike!
| |
| | |
| | |
| CORRUPT COP: We need to move now, sir!
| |
| | |
| | |
| KINSLER: Yes...go... The rest of your men will have to--
| |
| | |
| | |
| SADIE: Die?
| |
| | |
| | |
| CORRUPT COP: Sir? We aren't moving. I've lost engine control!
| |
| | |
| | |
| KINSLER: Listen to me, Vergil, or whatever you are now! Move this train out
| |
| of the station or Sadie dies!
| |
| | |
| | |
| KINSLER: You hear me? The Covenant will kill us all!
| |
| | |
| | |
| [SOUND: (from train) Angry Engineer whistle.]
| |
| | |
| | |
| CORRUPT COP: I'm locked-out the system! The train is not responding!
| |
| | |
| | |
| KINSLER: There is nothing you can do that will hurt me that won't kill her!
| |
| | |
| | |
| SADIE: Almost nothing...
| |
| | |
| | |
| SADIE: Vergil. Open the doors.
| |
| | |
| | |
| [SOUND: Train's doors open, the angry mob claws inside.]
| |
| | |
| | |
| KINSLER: What? No! No! Get back! Get back! Get away from me!
| |
| | |
| | |
| [SOUND: Furious, blood-thirsty shouts.]
| |
| | |
| | |
| KINSLER: [screams as the crowd tears his apart.]
| |
| | |
| | |
| '''Circle 9, Arc 6'''
| |
| | |
| | |
| [SOUND: Crowd climbs onto the train.]
| |
| | |
| | |
| CROWD: Let's go! Covenant's coming!
| |
| | |
| | |
| CROWD: Up we go, baby! Hold momma's hand!
| |
| | |
| | |
| CROWD: Help her up, c'mon, there we go!
| |
| | |
| | |
| MIKE: Sadie! Sadie! Are you alright?
| |
| | |
| | |
| MIKE: What about Kinsler?
| |
| | |
| | |
| SADIE: They tore him to pieces... I gotta go, Mike!
| |
| | |
| | |
| SADIE: Excuse me! Sorry! Let me through!
| |
| | |
| | |
| MIKE: Where are you going?!
| |
| | |
| | |
| SADIE: Underground!
| |
| | |
| | |
| MIKE: What!?
| |
| | |
| | |
| [SOUND: Covenant plasma fire slams into the station.]
| |
| | |
| | |
| SUPERINTENDENT: (from PA) DO NOT EXIT, PLEASE!
| |
| | |
| | |
| MIKE: Sadie, stop! We are getting on that train, and getting the hell out
| |
| of town!
| |
| | |
| | |
| [SOUND: (from PA) Engineer whistle.]
| |
| | |
| | |
| SADIE: That creature helped Vergil! It helped you and me! It helped all
| |
| of us!
| |
| | |
| | |
| MIKE: Sadie...
| |
| | |
| | |
| SADIE: Dad knew how important it was! That's what he died for! I'm willing
| |
| to die too!
| |
| | |
| | |
| SADIE: Let me go, Mike!
| |
| | |
| | |
| SUPERINTENDENT: [Engineer whistle.] EMERGENCY STOP!
| |
| | |
| | |
| SUPERINTENDENT: (as Jonas) 'I am not worth -- your life -- my brave warrior
| |
| princess!'
| |
| | |
| | |
| SADIE: If you don't find you, who will?
| |
| | |
| | |
| SUPERINTENDENT: (as Duty Officer) 'Office of Naval Intelligence--'
| |
| | |
| | |
| SUPERINTENDENT: YOUR TAX DOLLARS AT WORK!
| |
| | |
| | |
| SUPERINTENDENT: (as Stephen) 'Fallen heroes -- on the air.'
| |
| | |
| | |
| SADIE: Vergil, I--
| |
| | |
| | |
| SUPERINTENDENT: (as Sadie) 'I need you to live... for me.'
| |
| | |
| | |
| CROWD: Get on the train, you two!
| |
| | |
| | |
| CROWD: Brutes! Coming this way! Hurry!
| |
| | |
| | |
| CROWD: No time! Argue later!
| |
| | |
| | |
| MIKE: We gotta go.
| |
| | |
| | |
| SADIE: Vergil! You're all I have left of this place!
| |
| | |
| | |
| SUPERINTENDENT: (as Dr Endesha) 'Sadie-- Sadie-- Sadie-- Sadie!
| |
| | |
| | |
| SUPERINTENDENT: (as Dr Endesha) 'Sadie, sweetheart... You make me very,
| |
| very proud.'
| |
| | |
| | |
| SADIE: You're all I have left of him...
| |
| | |
| | |
| MIKE: Sadie. Take my hand.
| |
| | |
| | |
| SADIE: OK...
| |
| | |
| | |
| SADIE: I'm ready.
| |
| | |
| | |
| [SOUND: Train whistles as it leaves the station.]
| |
| | |
| | |
| SUPERINTENDENT: ALL ABOARD! LAST TRAIN NOW DEPARTING!
| |
| | |
| | |
| SUPERINTENDENT: NEXT STOP-- MAKUPA, NAIROBI ROAD, HOPE STATION...
| |
| | |
| | |
| SUPERINTENDENT: And beyond.
| |
| | |
| | |
| [SOUND: Final train whistle and a Vergil chime.] </toggledisplay>
| |
| | |
| | |
| ==Historique et Analyse== | |
| Créée en collaboration entre le tout récent '''[[Fourth Wall Studios]]'' et [[Bungie]], '''l’histoire de Sadie''' est un conte indépendant et autonome au sein du scénario du jeu.
| |
| | |
| C’est une trame audio complètement englobée dans l’univers de [[Halo 3: ODST]], qui dépeint une bataille futuriste entre les humains et les [[Covenant]]s au sein de la ville de [[New Mombasa]]. L’histoire de Sadie montre donc la capacité qu’a l’univers de [[Halo]] à créer de multiples scénarios, toujours plus riches et plus complexes, tous s’imbriquant les uns dans les autres de manières si parfaite qu’on les dirait d’un seul tenant !
| |
| | |
| ===Genèse du projet===
| |
| Le making-of de l’histoire de Sadie nous offre une belle démonstration de l’exploitation des scénarios dans les jeux next-gen, notamment les jeux de la franchise Halo, déjà réputés pour leurs scénarios riches et singuliers. De plus, cet exemple-ci met en avant une (trop) rare coopération entre un gros studio bien établi et un petit studio de 5 personnes qui commence juste à décoller ! Et ce, uniquement dans l’optique d’enrichir une narration et un univers. C’est le genre d’effort qui pourrait bien faire la différence entre un Blockbuster « bateau » et une œuvre d’art mémorable ! Toujours est-il que ce concept est innovant et frais dans l’univers du jeu-vidéo.
| |
| | |
| Le travail réalisé sur l’histoire de Sadie et le scénario d’ODST à été réalisé avec beaucoup d’efficacité. ODST lui-même à été réalisé en seulement 14 mois, ce qui est très court pour un jeu Halo. Selon certains, ODST aurait vu le jour à la suite de l’annulation des projets de film de [[Peter Jackson]] et de la trilogie de jeux (Halo : Chronicles) tous avortés!
| |
| | |
| Bungie à fait le choix de proposer un jeu plus court afin de pouvoir le sortir plus tôt, c’est à dire en 2009, avant la prochaine grosse sortie Halo, nommée [[Halo: Reach]] qui débarquera en 2010! L’avantage qu’ils avaient était la possibilité de réutiliser un moteur graphique déjà existant, et donc de gagner beaucoup de temps sur le développement du jeu, il n’y avait que du contenu de jeu à réaliser!
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| | |
| | |
| Deux anciens de Bungie, [[Joseph Staten]] et [[Paul Bertone]], ont donc décidé de se focaliser la trame du jeu sur les ODST, qui, vous le savez sont des [[Marine]]s d’élite qui seront largués au travers du ciel saturé en plasma de New-Mombasa afin de défendre la ville contre les Covenants ! Staten a écrit le scénario du jeu en seulement un mois. Le scénario fut donc plus court et moins « épique », moins « sensationnel » que ceux des autres Halo. Pour approfondir le jeu, Staten décida donc d’y ajouter un ingrédient….
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| | |
| | |
| {{quote
| |
| |texte=“Tout commença lorsque nous avons réalisé que dans Halo nous faisions un bon boulot au niveau de la description et de la mise en valeur de la bataille ayant eu lieu dans ces complexes industriels militaires, mais cela restait, encore et toujours une histoire de soldats", explique Joseph Staten, creative director chez Bungie, "nous n’avions jamais abordé la vision de la guerre du point de vue des civils, et dans Halo 3: ODST c’est vraiment ce que je voulais faire !"
| |
| |auteur=Joseph Staten
| |
| |titre=<!-- Rentrez le titre juste apres le = (facultatif)-->
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| }}
| |
| | |
| | |
| Staten voulait narrer l’histoire du conflit du coté civil, mais d’une manière plus personnelle, qui relaterait la tragédie de cette bataille depuis les premières lignes. Et ceci, il le voulait depuis le balbutiements de la création du jeu, mais comme tout le monde le sait, ODST fut un jeu créé de manière très rapide…
| |
| | |
| | |
| ===Fourth Wall Studios===
| |
| Parce que Bungie était trop préoccupé à finir le jeu principal, l’équipe décida de faire « cultiver » l’histoire de Sadie depuis l’extérieur. Ils avaient déjà travaillé de manière rapprochée avec les fondateurs du tout jeune Fourth Wall Studios dans le passé. '''[[Fourth Wall Studios|Elan Lee]]''' et son équipe avaient déjà œuvré pour la campagne virale ARG [[ilovebees]].com qui avait reçu de multiples Awards, en 2004 avec 42 Entertainment, celle-ci avait servi à la promotion et à la campagne marketing de [[Halo 2]]. Ce jeu était un genre de chasse au trésor qui avait mené les fans à travers un puzzle qui devait être résolu via des recoupements de sources et d’informations, ce jeu avait attiré plusieurs milliers de personnes à participer via internet , mais aussi en réalité ! Le jeu ilovebees.com fut tellement populaire qu’il remporta de multiple Awards et lança un nouvel ère pour les jeux de ce type, qui utilisent et sollicitent internet et la réflexion de chacun pour résoudre d’énormes puzzles.
| |
| | |
| 42 Entertainment s’est ensuite spécialisé dans les jeu de réalité alternative, comme les promos pour de grosses productions (films & jeux-vidéo).
| |
| | |
| Lee a quitté 42 Entertainment pour créer ''eDoc Laundry'', société dans le même style. Finalement, en 2007 il créa Fourth Wall Studios comme une compagnie « raconteuse d’histoires Next-Gen » , avec les deux autres co-fondateurs, '''[[Fourth Wall Studios||Sean Stewart]]''' and '''[[Fourth Wall Studios|Jim Stewartson]]'''.
| |
| | |
| Ils voulaient créer des histoires pour l’ère d’Internet, utilisant leur propre savoir et leur propre travail pour aider les autres à faire de meilleures « histoires ». Ils créèrent des spots promotionnels, comme par exemple pour Watchmen: 6 Minutes to Midnight, en début d’année. Durant cette tâche, l’équipe de Fourth Wall a grossi jusqu’à 80 employés — essentiellement des entrepreneurs — juste pour finir le jeu rapidement. Mais le cœur de l’équipe n’est, lui, composé que de 5 personnes.
| |
| | |
| Lee voulait travailler avec Bungie car son personnel — d’anciens développeurs de chez Microsoft Games — connaissaient l’univers de Halo de manière très « intime » et voulaient étendre ce dernier sur de nouvelles voies. En aidant à créer un jeu Halo, Lee savait que Fourth Wall Studios pouvait faire beaucoup plus que les petits films de 10 minutes pour les jeux, qu’ils réalisaient jusque là ! Staten était heureux de pouvoir mettre en place, avec Fourth Wall, les choses comme il les imaginait !
| |
| | |
| | |
| “Nous savions que si nous pouvions créer quelques « crochets » pour eux dans le jeu, ils pourraient créer quelque chose de très spécial, et ça serait un fardeau dont Bungie pourrait se décharger, déclare Staten (à juste titre !).
| |
| | |
| Lee voulait aller loin dans la collaboration avec les développeurs qui avaient une grande confiance en lui et son équipe au point d’autoriser Fourth Wall Studios à créer une nouvelle fiction au sein de leur propriété intellectuelle !
| |
| | |
| Dans le passé, les réalisateur d’ ARG mélangeaient internet, le monde réel et la fiction pure. Mais leurs histoires étaient en dehors des jeux et n’avaient qu’un but promotionnel. Cependant, Lee à Fourth Wall n’était pas intéressé par la création d’une histoire qui servirait, encore une fois, à promouvoir un jeu. Il voulait créer quelques chose qui rassemblerait les amateurs d’ARG et les joueurs purs. Ici, l’histoire de Sadie est entièrement incluse dans le jeu ODST. C’est comme si un jeu à réalité alternative était emmêlé dans la réalité fictive du jeu de la console (ODST).
| |
| | |
| “Nous considérons cela comme une histoire cachée” déclare Staten. “C’est une histoire optionnelle. Vous n’êtes pas obligés d’y jouer et d’en prendre connaissance. Mais pour ceux qui le font, cela vous permettra d’acquérir une connaissance plus profonde de l’histoire de Halo: ODST et ainsi en apprendre plus sur ce qui c’est réellement passé à New-Mombasa.
| |
| | |
| ===La genèse de l'histoire===
| |
| [[Image:sadie.jpg|right|300px]]
| |
| Bungie n'avait jamais mis au point une histoire parallèle de cette envergure auparavant. Mais Staten avait déjà écrit des shows de radio au lycée et il adore raconter des histoires divisées en plusieurs extraits. Les studios Fourth Wall, dirigés par Stewart, ont esquissé l'histoire de Sadie qui a ensuite été peaufinée tour à tour, par Staten et par les studios. Au début, ils se sont demandés s'il allait s'agir d'une histoire vidéo ou audio et au bout d'un certain temps, ils ont tranché, ce serait la seconde solution.
| |
| | |
| L'idée était de montrer ‘ce que serait de vivre dans une ville comme New Mombasa quand un énorme trou apparaitrait dans le ciel avec tous ces aliens commençant à en sortir', raconte Lee. Comme je l'ai fait remarquer dans mon test d'ODST, New Mombasa est une ville remplie de reliefs. Les joueurs ont la possibilité de sortir de l'histoire principale pour se balader selon leur gré. Ils devaient pouvoir prendre ce chemin, tuer des Covenants et revenir à la trame quand ils le désiraient. Du fait que les joueurs allaient sûrement pouvoir se perdre à travers la ville, Bungie a alors eu l'idée d'un moyen pour pouvoir les remettre dans le droit chemin. C'est là que le Super Intendant a vu le jour. Cette entité électronique bien vivante allait contrôler la ville. Il s'agit en fait d'une intelligence artificielle qui sert de relais entre les hommes et les instances de New Mombasa. | |
| | |
| Une fois que le Super Intendant fut crée, l'équipe de Lee a pu découvrir qu'il s'agissait en fait de la ville elle-même. Le père de Sadie est le créateur de cet ordinateur, du Super Intendant. Et Sadie a grandi avec ce personnage artificiel depuis sa naissance. Une fois que cette ville se fait attaquer suite à l'invasion des Covenants sur Terre, Sadie doit faire face à de nombreux changements du fait que son meilleur ami est lui aussi agressé. Le concept était prêt, il restait à le mettre en forme pour le rendre intéressant.
| |
| | |
| Ils ont donc pensé à des extraits audio disséminés un peu partout dans la ville. Par la suite, ils ont choisi des stations téléphoniques que le joueur aurait à examiner pour découvrir une partie de l'histoire de Sadie. Ce principe est une référence au site ilovebees.com (ndlr : la base d'une campagne marketing virale mise en place par Microsoft pour Halo 2). Les joueurs avaient du répondre à 50.000 coups de fils dans des cabines disposées aux Etats-Unis et regrouper les différents indices récoltés pour former une bande audio parlant de l'invasion Covenant sur Terre. Ainsi, à chaque fois que le joueur allait trouver une station, il aurait accès à un fragment de cette histoire.
| |
| | |
| Le fait d'inclure ce genre de stations téléphoniques était un petit clin d'œil destiné aux fans de ilovebees.com' raconte Lee.
| |
| | |
| Il y a des récompenses pour les joueurs qui s'investissent dans l'histoire de Sadie. S'ils écoutent l'ensemble des extraits audio, ils ont accès à des petits bonus, comme la possibilité d'accéder à des planques d'armes, de munitions et de véhicules dans New Mombasa. L'histoire de Sadie peut vraiment modifier la manière de jouer au jeu. L'expérience du titre s'en retrouve améliorée, et le potentiel de rejouabilité augmente.
| |
| | |
| Écrire l'histoire a pris plusieurs mois avec des va-et-vient fréquents entre Staten et les équipes de Lee. Ils ont ensuite du rédiger un script que les acteurs pourraient jouer. La bande vocale de l'histoire de Sadie est en fait deux fois plus fournie que ne l'est celle de la campagne principale d'ODST. Il y a aussi beaucoup plus de personnages.
| |
| | |
| Cela a donné beaucoup de travail à l'équipe audio de Bungie qui a été chargée de la production, des castings, et de l'enregistrement.
| |
| | |
| Dans le même temps, Staten a recruté Ashley Wood, un dessinateur de comics, pour créer les images fixes que le joueur verrait lorsqu'il écouterait l'histoire de Sadie. On a, de ce fait, l'impression d'être en face d'une véritable bande-dessinée 'parlante'. De plus, les joueurs peuvent également écouter les extraits audio alors qu'ils se déplacent dans New Mombasa, qu'ils éliminent des Covenants, c'est très particulier.
| |
| | |
| Lee raconte que certains joueurs ont remarqué que l'histoire de Sadie était une véritable allégorie de Dante Inferno et de ses déboires à travers les sept niveaux de l'enfer. Alors que la plupart des habitants de New Mombasa fuient les Covenants, Sadie, elle, s'enfonce littéralement en enfer, se dirigeant inexorablement vers la source de la menace. Chaque personnage qu'elle rencontre a son identique dans l'histoire de Dante.
| |
| | |
| Puisque c'est dramatique, le joueur veut découvrir ce qui est arrivé à cette femme et à sa famille. Sur de nombreux points, l'histoire de Sadie permet de rafraîchir le jeu et de le rendre plus humain, plus proche du joueur.
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| Staten raconte également que beaucoup de joueurs avaient des préjugés sur ODST, par exemple, qu'il ne serait qu'une simple extension d'Halo 3. Pourtant, selon lui, il est bien plus que cela. C'est une véritable expérience qui procure énormément de plaisir.
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| ===Référence à La Divine Comédie===
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| L'Histoire de Sadie fait sans aucun doute référence à [http://fr.wikipedia.org/wiki/Divine_Com%C3%A9die#L.27Enfer La Divine Comédie] de Dante Alighieri. En effet l'histoire progresse en neuf thèmes, dans le même ordre que les neuf cercles de l'enfer dans "l'enfer de Dante".
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| 1. Sadie Endesha est piégée dans le train dans la banlieue de Mombasa (les Limbes)
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| 2. Kinsler enlève Sadie afin de la violer (la Luxure)
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| 3. Sadie rencontres Jonas , le boucher d'obésité morbide (la Gourmandise)
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| 4. Sadie rencontre Crone dans le casino (l'Avidité)
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| 5. Kinsler confronte Sadie et Mike Branley sur le pont (la Colère)
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| 6. Tom Uberti fait appel aux forces Covenantes, révélant la position de Sadie et Mike (l'Hérésie)
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| 7. Marshall Glick détient Sadie et Mike au bout de son fusil et tue Jim Odingo (la Violence)
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| 8. Sadie et Mike visitent la station de radio qui diffuse de la propagande mensongère pour remonter le moral (la Fraude)
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| 9. Kinsler révèle qu'il a tué le Dr Endesha, et entend conquérir Virgile (la Trahison)
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| Le neuvième cercle de l'Enfer est dit être gelé par les larmes du diable dans l'enfer de Dante. Kinsler a tué Docteur Endesha par suffocation et l'a congélé dans de l'argon dans le sous-niveau de la neuvième session de l'établissement des données.
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| Virgile est le nom du poète romain antique qui a aidé Dante à travers les neuf cercles de l'Enfer, de même, Virgil guide et aide Sadie et Mike, et plus tard [[Le Bleu]].
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| ===Les fans découvrent l'histoire de Sadie===
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| Bungie et Microsoft n'ont pas vraiment parlé de l'histoire de Sadie, en effet, ils voulaient que les fans de la série la découvrent d'eux-mêmes. Les fans mangent à tout ce qui pourrait étendre leurs connaissances sur cet univers. Halo 3 : ODST a eu de bonnes notes (une moyenne de 84 sur Metacritics, soit un bon nombre de tests positifs) alors que beaucoup ont dit qu'il était trop court.
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| L'histoire de Sadie permet de rallonger la durée de vie du titre et attire les joueurs casual qui souhaiteraient découvrir ce qui se cache derrière l'histoire de New Mombasa. Certains joueurs sont passés outre la fin de l'histoire de Sadie, surtout car il est difficile de trouver les extraits audio plus tard dans le jeu. Mais beaucoup d'entre eux ont fini la face cachée du titre car cela apporte des bonus et des succès dans le jeu. Et même ceux qui ont fini le titre peuvent retourner à l'histoire de Sadie, trouver les derniers extraits, et la terminer.
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| Staten a avoué qu'il aimerait bien refaire quelque chose de semblable à ce projet. Tout comme les studios Fourth Wall, puisque Lee nous a dit que son équipe travaillait actuellement sur différents shows TV et sur d'autres projets – dont certains en collaboration avec Microsoft.
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| Il y aura d'autres opportunités pour mettre en place de telles histoires à l'avenir, raconte Lee. « À chaque fois que nous créons quelque chose de nouveau, en tant que géniteurs, nous sommes récompensés par les joueurs. Nous sommes constamment en train d'essayer de deviner ce que sera la prochaine génération. »
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| | *Daniel Endesha a été tué par suffocation à l'argon dans les sous-sols de la ville, plongeant tout le niveau dans une atmosphère glaciale. Le neuvième cercle de l'enfer de Dantes est similairement gelé par les larmes du Diable. Endesha a également été tué au sous-niveau neuf. |
| | *La sous-routine du Surintendant qui guide et protège Sadie, Mike et plus tard [[le Bleu]] est nommée Virgile, qui est également le nom du poète romain antique qui aide Dantes à traverser l'Enfer. |
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| ==Liens== | | ==Liens== |
| *[http://www.bungie.net/images/games/halo3odst/community/sadie/index.html Écouter en VO sur Bungie.net] | | *[http://www.bungie.net/images/games/halo3odst/community/sadie/index.html Écouter en VO sur Bungie.net] |
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| | ==Source== |
| | <references /> |
