7
IANTO'S BASEMENT. MORNING.
Ianto breathes in the scent of Jack's Coat one last time before reluctantly replacing it in the trunk, together with his book, "To The Ends Of The Earth - The Age Of Exploration". For a final time, he regards his unfinished picture of Jack inside - two holes where the eyes should be. As he does so, he finds two lost paper cuttings - a pair of eyes on the basement floor. He tries them. Ironically they fit - the picture completed. He closes the trunk anyway. With a sense of finality, he fastens the lock.
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CONTROL ROOM. NIGHT.
The giant ON-AIR monitor in the control room plays a close-up shot of Ianto sleeping.
Saxon comes close to the monitor and almost touches the screen. As he does so, Ianto twitches in his sleep.
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BATHROOM. MORNING.
Ianto wipes the mist from the mirror of the bathroom cabinet and stares into it in a way he has never done before.
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CONTROL ROOM. MORNING.
Close up on the giant ON-AIR monitor in the control room. It displays a wide shot of Ianto staring into the bathroom mirror.
Gwen and the Video Operators sitting at the mixing desks arranged in tiers
reminiscent of an auditorium or NASA's Mission Control. Each mixing desk contains a dozen-or-so built-in monitors and is designed with a location such as "Ianto's House - Interior", "Ianto's Office - Cubicle", "Tyrone's Deli". The operator at each desk, sitting in a swivel chair and wearing the slimmest of headsets, is responsible for monitoring a particular location.
The monitors cover virtually every facet of Ianto's life. Camera angles from the interior of Ianto's house, his backyard, car, office, the deli he frequents, the seashore to which he is drawn, the unfinished bridge where he golfs with Andy - many of the locations strangely devoid of people.
Gwen, seated in the front row of mixing desks, stares back at Ianto's image on the monitor, slightly unnerved. "Is he looking at us?"
As if to reassure her, Ianto begins one of his familiar monologues. He talks to the mirror as if being interviewed. "What are my plans now? Well, next I'm thinking of tackling the Yuba River in an authentic canoe from the Algonquin tribe. I'm talking about the north fork, a class five rapid - only I'm not going down the Yuba, I'm going up. Do you honestly think for one minute I'd go back to some dreary office to rubber stamp meaningless documents...do you?"
"Ianto, you're gonna be late!" Lisa's voice comes from afar and he rolls his eyes. Ianto sighs as he exits the bathroom.
All in the control room relax.
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Ianto exchanges a cheery greeting with HEW.
"How are ya, Ianto?"
"Inhale...exhale...same old thing." Ianto retorts. He waves to the Washington's across the street. He pets Pluto the dog.
Back at work at the insurance company, Ianto sits in his cubicle making another of his cold calls. "…a forty-two year old woman sitting in the second row at an amateur production of Hamlet, Hamlet's dagger slips from his hand and flies into the audience..."
A young man, carrying a stack of files, catches Ianto's eye as he passes. Malcolm. He is faintly reminiscent of Jack at the same age - even wearing a similar coat.
returning to his call Ianto tries to focus "what I'm saying is, life is a fragile thing...hullo?"
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Ianto wheels his lawnmower, deliberately averting his eyes from the back of the house. Staring out of the kitchen window, a tall glass of iced tea in her hand, Lisa has been anticipating her husband's appearance. She wears a neck brace, we sense more as a reminder to Ianto than for any medical benefit she might derive.
Feeling Lisa's eyes burning into his back, Ianto fires up the mower and heads directly towards the symbolically uncut section of grass. We focus on the errant blades of grass as they are severed by the mower - a new Elk Rotary. The lawn is now uniformly trimmed - Ianto's final act of defiance laid to rest.
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Saxon stands at a large, specially screened window, silhouetted against the twinkling stars and full moon of a hyper-real night sky.
Members of the cast enter the room - principal characters in Ianto's life - LISA, ANDY, MOTHER, IFAN, TYRONE, LAWRENCE and the new actor, MALCOLM. They take their places around a long, oval table for a story conference - Malcolm sitting slightly apart from the rest of the cast.
We glimpse over Saxon's shoulder at what he sees - the town of Torchwood far below, bathed in moonlight. He comes out of his reverie and joins his cast, sitting at the head of the table. In front of him, a TV "tablet" plays silently - showing Ianto drinking a glass of milk in his kitchen.
Saxon says to the assembled cast "First of all, I'd like to welcome Walter back onto the show. (nods in Ifan's direction) You may have done us more of a favour than you ever imagined."
Turning to Lisa, using her real name he adds "Regrettably, I also have to inform you that Caroline has chosen not to renew her contract."
All eyes turn to Lisa. She looks at the floor.
"I'm sure we can all respect her reasons."
Lisa receives a sympathetic squeeze of the hand from her co-star Andy, now out of wardrobe, wearing an Armani suit.
"As you all know, we have already begun to orchestrate her break-up from Ianto." Saxon becomes more up-beat "However, on a more optimistic note, I'm pleased to announce that television's gay relationship will now place. You witnessed the initial contact this morning. (glancing to Malcolm, once again using his real name) You all know Harry from his work in theatre."
I loved your Hamlet" Mother gushes.
"Why thank you." Harry replies with an English accent. The only other thing that sets him apart from Jack is that his chin is different, no dimple.
The rest of the cast nod politely in Harry's direction. Gwen passes out a bound document to each cast member. Referring to the documents, Saxon points out "This is a copy of Harry's back story. His character's name is "Malcolm"."
The cast idly flips through the documents, prominently stamped on the cover, "NOT TO BE TAKEN ON SET".
"We intend to entice Ianto into the affair as soon as possible. Harry will make a pass at hi at the conference they are both to be attending. Details are in your schedules." Saxon now has a pause for effect "I don't have to tell you how critical the next few weeks will be. This takes us into the next generation. A surrogate can be introduced… When Ianto's child is born, the network will be switching to a two-channel format to chronicle both lives."
"What happens when Ianto and the baby are both on camera together?"
"This will simply be duplicate coverage."
Harry feels mischievous "let's just hope we don't have twins."
Andy is uncharacteristically flippant "When Ianto dies do we go back to the single channel?"
The cast turn in his direction. Saxon shoots him a disapproving look.
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IANTO'S BASEMENT. NIGHT.
Ianto sleeps on a cot bed in his basement - more cluttered than usual. A virtual bombsite - dozens of cardboard boxes stacked everywhere. Although he is covered in bedding, his sock-clad feet stick out of the bed covers. The outline of his body is still clearly visible. He snores quietly.
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VARIOUS VIEWER LOCATIONS.
The two old ladies have nodded off on their sofa in front of the television, their breathing and occasional snores echo those of Ianto.
In the Bar, the Waitress - normally an avid viewer - only idly glances to the screen as she passes with a tray of drinks.
The man in the bath resignedly lets the water out of the tub and goes to get out.
The Mother only occasionally glances to the screen as she feeds her Baby. Her Daughter has her eyes closed, bopping to her Walkman.
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CONTROL ROOM. NIGHT.
Gwen sits at her control desk, directing the "night-shift". She pays scant attention to the big screen, giving her instructions in a lethargic, metronomic manner. "...Ready two. Go to two."
An Operator, eating a slice of pizza, presses one of the illuminated buttons on the panel and the camera angle changes to a close shot of Ianto's covered head. The camera stays on the blanketed head for a long moment.
"And back to the medium..."
Another button is pressed and the angle changed. A trace of frustration is evident in the control room. Recording a sleeping subject is unrewarding enough without also having to contend with Ianto's recently acquired camera-shyness. "...and wide..."
The operator mutters aside to Gwen "What a loser."
"Who cares? Makes life easier for us." Gwen shrugs "He is what he is."
At the far end of the control room, one of the large double doors opens and Saxon enters, dressed in a smoking jacket. Gwen and the Operators subtly straighten in their chairs. Saxon pretends not to notice. He is staring intently at the ON-AIR monitor. "Why is he in the basement?"
"He moved down there after Lisa packed up and left." Gwen shrugs.
"Why wasn't I told? Any unpredictable behaviour has to be reported." Saxon scolds, returning to the screen "Is that the best shot we can get?"
"What's to see?"
"What's on the ClockCam?"
The operator punches up the camera hidden inside a broken cuckoo clock. A box obscures the view. "There's an obstruction."
Saxon watches Ianto, a trace of concern in his eyes. Referring to the debris in Ianto's basement "What happened down there?"
"He was tidying up his garbage." Gwen is sensing Saxon's concern "I was going to call you. But half-way through, he gave up and fell asleep."
Apparently satisfied, Saxon turns to an Operator. "I want to check the set-ups for tomorrow's insurance convention."
Reading off the notes in Gwen's folder, the Operator punches up a batch of camera angles on smaller preview monitors. They show a generic-looking hotel, devoid of actors. A banner in reception reads, "Welcome Torchwood Life and Accident".
The Operator looks to Saxon for approval and realizes his producer's attention has wandered. Saxon has wandered down to the front of the room to stand beside the giant ON-AIR monitor still displaying the sleeping figure of Ianto.
"Give me a shot from Ianto's ring."
"He gave it back to his father." Gwen reminds him with a barely hidden eye roll.
Saxon nods.
With a trace of concern Saxon asks "Why is he so still?"
Saxon picks up a spare headset from the panel and puts it to his ear. "Isolate the audio."
An Operator pushes up an audio fader on the panel. Saxon and his colleagues listen to Ianto's steady breathing in their headphones.
"He's still breathing." Gwen and the Operators nod, reassured that nothing is amiss. Saxon is not so easily convinced. "Give me a preview. An ECU on his torso."
A camera hidden in the room's lamp zooms in to Ianto's prone outline. While the breathing remains steady, the body does not rise and fall. Saxon, still listening to his headphones, detects a faint scratching sound followed by a strange thud. Anxious, barking a command to Gwen "Phone him."
Gwen picks up a phone connected to the desk and dials. Anticipating Gwen's
Question Saxon demands "Tell him it's a wrong number."
The upstairs phone begins to ring. Ianto doesn't flinch.
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AN OFFICE BUILDING SOMEWHERE - RECEPTION. NIGHT.
The two security guards are intrigued by Ianto's unanswered phone on their television set.
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Saxon and Gwen concentrate on another, separate monitor playing in fast-rewind, time code in the bottom right-hand corner. It is a recording of the night's transmission. Gwen pauses on the last on-camera appearance by Ianto.
They watch Ianto, on-screen, switch off the basement light and climb into the cot bed fully clothed, immediately pulling the covers over his head. As the light is switched off, the recording camera automatically switches to night vision. Gwen continues to play at normal speed, now and then scrolling forward in fast-forward mode. Saxon suddenly points to screen. "There. Freeze...Zoom into the chair..."
Gwen types the appropriate command.
"Enhance...there!"
On the blown-up screen, between a cardboard box and a chair leg, it is barely possible to make out Ianto's hand as he crawls commando-style from beneath the covers and behind a cardboard box near the large tool cupboard.
Gwen points out an angle of the empty staircase. "He hasn't gone up the stairs. He's still in the room."
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Andy's car squeals to a halt outside Ianto's house. Hurriedly dressed in jeans and coat over a bare chest, he dashes barefoot up the porch to the front door. He tries the door handle, pounds on the door and rings the doorbell simultaneously, shouting Ianto's name all the while. "Yan!.. Yan!.. Earthquake alert... flood! We've gotta get outside onto the street! Yan?!"
Frustrated, Andy picks up one of Lisa's carefully nurtured flower pots from beneath the porch window. Shouting a warning "I'm coming in, Yan!"
Andy hurls the flower pot through the window.
Andy switches on the lights and clambers down the wooden stairs to the basement.
He pushes away the clutter and finally stands at his co-star's bedside. He gingerly lifts the covers. Beneath the bedding, clothes have been carefully piled to resemble a sleeping figure - socks placed on the end of two tree branches.
Buried amongst the clothes is Ianto's portable tape recorder. Andy places the recorder next to his ear. The cassette plays the sound of IANTO BREATHING.
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Saxon stares, wide-eyed, at the image on the On-Air monitor of Andy. "Find him, Andy"!
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Andy starts frantically pushing aside the clutter, sending Ianto's model ships and other hobbies crashing to the floor. Eliminating all over possible hiding places, he confronts Ianto's tool closet, the wall map of the Fiji Islands still hanging on the door. Andy rips open the door and is hit with a shaft of light - moonlight.
The top of the closet has been removed and a crude tunnel containing a ladder heads almost directly upwards to the outside of the house. The bottom of the closet is ankle deep with dirt. Embedded in the tunnel wall is Lisa's Chef's Mate - Ianto's digging implement.
Andy's head pops up outside the house. Unable to help himself, Andy looks directly into a wide shot camera concealed in a streetlight.
"Andy, don't look at the camera!" Saxon yells "Say something!"
Andy says to streetlight, stunned, breaking the fourth wall "What? He's gone!"
Saxon barks to Gwen, quiet but firm "Cut transmission."
Gwen hesitates, unsure if she has heard correctly. She looks to Saxon for confirmation, his finger poised over an "EMERGENCY" button.
Enraged, Saxon roars "I said, "Cut!""
Saxon lunges forward and presses the button himself. The scene in Ianto's bedroom playing on the on-air monitor is abruptly replaced by the "IANTO" logo and the message, "TECHNICAL FAULT. PLEASE STAND BY."
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A LIVING ROOM SOMEWHERE. NIGHT.
The two old women on the sofa are stunned to see their TV screen go blank.
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BAR SOMEWHERE. NIGHT.
Heads also turn in the bar permanently tuned to the "Ianto" channel.
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In the back of a moving vehicle another loyal viewer transfixed by the test card is Jack, dressed the same as Malcolm was at the recent meeting but with his distinctive chin now visible. "Here we go boys… Ianto is rabbiting. He got the message!"
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CONTROL ROOM. NIGHT.
Reminiscent of a military headquarters in wartime, the control room is a scene of barely controlled panic. SECURITY GUARDS come and go, phones ring, lights flash, every available VIDEO MIXER is working. The monitors - the "eyes" of the searchers - are systematically scrutinized for any sign of Ianto. Saxon orchestrates operations from his position at the center of the control panel.
Gwen is nervous as she reports "We've declared a curfew. Everyone else is at first positions."
"All prop cars accounted for?" Saxon asks.
"He has to be on foot. He has the world's most recognizable face." Gwe points out "He can't disappear."
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The town center is totally, eerily deserted. Suddenly, a line of PEOPLE comes around the corner, fanned out across the street - a man-hunt.
PEOPLE of every description, shoulder to shoulder, marching down the otherwise empty streets the way a search is conducted at a crime scene. The lines include PRINCIPALS and EXTRAS lined arm and arm, wardrobed for their usual roles as EXECUTIVES and SECRETARIES, STORE CLERKS, ELEPHONISTS,
MAINTENANCE and CONSTRUCTION WORKERS, WAITERS and WAITRESSES, COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.
We occasionally glimpse Ianto's friends and colleagues amongst the searchers - ANDY, LAWRENCE, MOTHER & IFAN, and TYRONE. Even the WASHINGTONS and HEW and PLUTO have joined the search - a snarling Pluto straining at the leash has now assumed the role of tracker dog - Ianto's pyjamas waved in front of his nose (clearly miscast as the friendly, neighborhood pooch).
Searchlights from Torchwood's many towers sweep the town. Once, the light falls on a blackened face cowering in the bushes beside a picket fence - the fence now faintly reminiscent of prison bars. Even the beam of the full moon appears to be sweeping the town like a searchlight.
Barriers have been erected at the bridge leading out of Torchwood, guarded by several Torchwood police cars.
An extra dressed as a derelict wheels his shopping cart toward the bridge.
The derelict takes a look along the walkway alongside the bridge as if participating in the search. He finds a Police Officer standing on the walkway asking "Any sign of him?"
In a gravelly voice the man answers "Not yet."
"Take it easy."
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A Video Operator in the sixth row watches the scene on one of his monitors - the derelict standing with his back to camera. Just as the derelict turns toward camera the Operator turns away to take a sip of coffee. He misses what we see on his monitor - the derelict's blackened face belongs to Ianto.
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"Shit, the bridge is out… go to plan B" Jack yells as he grabs for the seat, the van swinging around a corner as the driver whoops. The internal feed that plays despite to the 'out of order' feed is still on Jack's phone as the patch from the little bug in the control room continues to work.
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The disguised Ianto heads back to town. He fumbles in the rubbish and pulls out an envelope with PLAN B on it, ripping it open as he moves, hunched over it.
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Saxon turns to a Lighting Technician. "We need more light."