ASTRO-BEES:

BLURB:
By creating our future, they destroyed our present.
BACKGROUND STORY:
In an alternative 2014, unusual seismic activity was detected in the secluded, rural community of
Yang-Jo in Yunnan Province, China. Dr Morag Chipottle was the scientist charged with
undertaking excavations of the area. This was heavily against the sacred beliefs of the locals,
who claimed that they were disrupting the peace of an ancient, resting Demon. During the dig,
an unanticipated anomaly was picked up on. At the insistence of Chipottle, her team increased
explorations of the area, discovering a creature like no other. Genetic testing determined that the
beast could only be the mythological and mysterious Sasquasaurus; a disturbing
Sasquatch/Tyrannosaurus Rex Hybrid, a by-product of a freak biological fusion caused by the
meteor that made the dinosaurs extinct.
After three weeks of it being presumed dead, and having been moved to a secret US Base, a
pulse was found. Alarmed, it was put into a military grade vehicle to begin transportation to a
secure, specialist facility. Half way to the undisclosed location, it broke free of the van, escaping
into the wilderness.
Using its camouflaging ability, it was able to remain hidden in wilderness for eight weeks,
before emergingwith seven others. As this new breed continued to proliferate and destroy, it
was clear a solution was needed. With no way to defeat the hastily multiplying species, the
leaders of the world turned to the governmental architect Alberto Calimarton. Knowing a radical
solution was necessary, he created a revolutionary system that should have-theoretically-saved
humanity from imminent annihilation.
Made out of stronger materials than a rocket ship, he forged three spherical planets with a
transparent reinforced atmosphere that was able to make its own oxygen. They had surrogate
materials to function like grass, trees and oceans. These were launched into space with the
capability of completing a rotation of the sun in 365 days; mechanical replicas of the forsaken
Earth. The first of the three was for the politicians, the wealthy, the scientists, those of 'benefit'
and their families. The second was for the felons, with no opportunities to thrive, and few to
survive-the deliberately contaminated air slowly killing them. The third was for the poor-and
anyone else who remained-and resembled Dome Number 2, with nearly no means of sustenance.
In order to replace the menial workers, Chipottle designed, built and programmed the ASTROBEES, or ASSIGNED SERVICE TERMINAL RESOURCE AND OPTIMISER OF
BENEFICIAL AND EXECUTABLE EFFICIENT SKILLS, exclusively for those in Dome One.
These were, effectively, unquestioning slaves who were unable to rebel or oppose the motives
and requests of their masters.
Whilst those in the first orb continued their lives of greed, over-indulgence and gluttony-all
catered for by the ASTRO-BEES-the families in Dome Three worked with the little they had to
create a sustainable paradise. The land was transformed into a fertile expanse, adorned with trees
and plants.
However, with resources hastily depleting, Dome One began to crumble where Three prospered.
Thanks to an undetected hole in their coding, the ASTRO-BEES revolted and began torturing

and killing those who stood in their way. The dome designed to be a haven for their wealthy,
became the hell sentenced to those beneath them.
The radio drama itself follows Chipottle and her sister, Dolores, who are hiding in a cleaning
cupboard in a desperate attempt to survive the rampage. They recount the above events, before
their individual, personal losses are revealed. We discover that the latters son and daughter were
killed by the ASTRO-BEES, an act that she blames her sibling for. The piece ends in Limbo, so
to speak-we do not discover the final fate of these characters.
STORYLINE:
Two individuals are heard running. They are out of breath and are clearly distressed. A door
slams, and locks are fiddled with as they sink to the ground. Brief muffled sobs are heard, before
these subside and composure is regained. One of the people, Dolores Chipottle, says how their
predicament is the others fault, and how they went too far. The other, Dr Morag Chipottle (her
sister) notes how that was not the case, and is the antithesis of what she was trying to achieve.
All the while, a siren is wailing in the background, over classical music which is playing through
speakers. After a brief argument, the first of the pair asks how they reached this stage, to which
her sibling explains the excavation of the Sasquasaurus and the subsequent invasion of the
species. Proceeding the point where she explains the need for a radical solution, mechanicalsounding footsteps pass outside of the door. The music has changed to distorted, upbeat
70s/80s pop. The talking stops, and panicked breathing ensues; they place their hands over
their mouths to minimise the amount of noise being made. The walker pauses, as if they can
sense that the two women are in the cupboard. It is tense, before the passer-by resumes their
stroll. They resume their conversation, with Morag detailing the creation of the ASTRO-BEES.
She adds that originally, they were obliging servants before an irreparable issue with the code
was detected which caused them to engage in homicidal behaviours. She continues by listing the
occurrences and dangers (such as being detected and the horrors she has witnessed) as the story
is bought up to date. She sobs, apologising to Dolores-and the wider world-about the mistakes
that she made, and pain she has caused. The handle of the door rattles, before it is pushed open.
Morag inhales deeply and sacrifices herself to save her sister, before all noise is cut.
FORMAT:
Whilst this instance shall be a single drama, it will form a series with each episode being a
standalone feature. They will each convey a different perspective, allowing us to see that this
disaster has affected everyone, albeit in individual ways. Morag Chipottle is being used as the
first episode as she is the forerunner in this annihilation. This will permit us to attain feedback as
to what the listeners enjoyed about the piece, and vice versa. Furthermore, the audience can hear
a full length story, without concerning themselves with committing to tuning in for a set number
of weeks to gain a full comprehension, and have any remaining questions answered. Although
most episodes will not feature the ASTRO-BEES, they will all exist within the same universe,
showing how everyone perceives the situation.
GENRE AND COMPARISONS:
Primarily, ASTRO-BEES will conform to the genre of science fiction. It is utilising the idea of
how rapid technological advancements are being made, and the possibility of something going
wrong; this is a worst case scenario that civilisation has bought unto themselves as a result of
their unrelenting desire to improve upon already an already remarkable body of technology.
Additionally, it will not be set on Earth, but on one of its surrogates. From this alone, we are
able to infer that we will be exploring a completely different realm and way of life; the futuristic
setting will provoke the imagination of the audience and enable them to envision the
proliferation of intelligent devices, and how they could-one day-rule over us.

B-movie horror sentimentalities will also be drawn upon in how the characters will be exuberant
and over the top, with the depictions of violence and gore being extravagant and gratuitous.
Everything about these protagonists will be odd with some conforming, and others not, to certain
stereotypes, like the ones present in media of this style (i.e. the intelligent, and the less so, the
chav etc.) Likewise, the antagonists are not typical villains; they consist of a peculiar crossbreed (the Sasquasaurus) and the manmade robots who are inciting a brutal
and
bloodthirsty
uprising.
The
sequences, and undertaking, of action is
designed to be riotous; it should be
theatrical and exuberant. Although a
level of seriousness is essential, it is
imperative that it remains fun to listen
to. The sound effects and music will be
conventional of 20 th century sci-fi in
terms of the dramatic, sweeping
orchestral compositions and out-ofspace noises that can only be associated with space ships
and galactic exploration
I have been heavily influenced by video games in terms
of the dystopian location and unsettling potential for
what we are capable of building. DOOM, my favourite
game, helped me with deciding that I wanted to have an
uneasy atmosphere with unimaginable danger around
every turn; in keeping with the first product in the series,
there are minimal ways to protect oneself, other than to
keep fighting. Rapture, from BioShock, also played an
integral role in how I developed the landscape.
Ultimately, I wanted to describe how a once beautiful
expanse deteriorated through the greed, addictions and
self-preservation based instincts of
man. In the same vein as this, the
Destiny helped clarify my vision; I
wanted to show how the most powerful
world in (known) existence could
experience such a devastating fall from
grace, in a way that is only partially,
and not entirely, of their own doing.
The War of the Worlds radio broadcast
makes for undoubtable comparison.
Both the classic literature, and my own piece have explored how uncontrollable factors can
completely alter events in the present, and in the days, months or years to come. Additionally,
they both draw upon futuristic technologies in an attempt to demonstrate that the unusual
possibilities are more probable than we could ever envision. Likewise, it will not be presented in
a ludicrous manner but instead forces the listener to question their existence and see the
potential in what is being said. As in the aforementioned play, I wish to unsettle the audience and
cause them to see the mentioned events unfolding. Despite this, the light-hearted names and
unusual concept matter will prevent the piece from being too heavy and depressing for the length
of the piece.

CHARACTER PROFILES:
Dr Morag Chipottle: Born into an inner
London family, Morag Chipottle was
never expected to succeed. As opposed to
her parents and brash older sister, she was
quiet and reserved, mostly preferring her
own company to that of others.
Consequently, she was frequently ignored
by her family who felt as though they
must instead put their efforts into her
sociable, yet problematic, sibling.
From an early age it was apparent that she had a superior mentality when compared to others in
her nursery class; by the age of 5 she had memorised her times tables up to 12 and understood
key stage three physics. She also won numerous academic competitions, including The National
Spelling Bee and Child Genius. Throughout her youth and adolescence, she was horribly bullied
and sustained a shattered leg when she was pushed from the top of the climbing frame.
Disregarded by her alcoholic and drug riddled kin, she found her only ally in her teacher.
Through this bond, her science skills were encouraged, whilst she was given the nurturing and
love that she was otherwise deprived of. Resultant of the extensive periods of time spent with
Mrs. Anna Guillermo and her husband and the care she received, Morag distanced herself from
her family, with the exception of her sibling, and became legally emancipated from her mother
and father at 15. She was later adopted by the aforementioned teacher and her partner and moved
to an idyllic, quiet suburb in Oxford.
Pleased with her good fortune, she volunteered at the homeless shelter with her new parents and
was seen in high spirits. This continued when she ventured on her first holiday during the
summer of that year-an African safari.
This set her in good stead for her GCSEs and A Levels where she placed as the number one
student in both sets of examinations. From here, she was offered a scholarship at Oxford
University to study both Physics, Biology and Advanced Mathematics in a joint degree.
Having graduated with the best attainable grades, she was immediately put in charge of the
excavation of the Sasquasaurus which eventually ended in the destruction of the Earth. For her
work on genetics, evolution and extinction, she received the Nobel Prize for science.
As the domes were being designed, she conceived the ASTRO-BEES, not anticipating the terror
they would inflictor detecting the fatal flaw in the code.
Despite living in the first Dome, she refused to have her parents live with her there, instead
using her status to help her sister and her sons take their place; as she was a felon, she would
ordinarily have gone to Dome Two. Although a criminal, Morag was unable to leave her sibling
behind, due in part to her unconditional love and concern for her.
Morag, now aged 22, holds herself completely responsible for the escalation of events, and was
there a solution, would do anything-and give up everything-to attain this resolution.
Dolores Chipottle: The antithesis of her sister, Dolores Chipottle was always something of a
rebellious spirit. A stereotypical misfit from the bowels of London, from an impossibly young
age, she was unruly and, renowned for being unable to follow even the most simple of rules.
At four, she found herself expelled from the reception stage for stabbing another student in the
hand with a sharpened pencil. Over the next several years, she attended nine different schools.

This taste for trouble was enduring and secured her poor reputation that would last for the
duration of her time on the original Earth.
When she reached six, Dolores found herself in mainstream education once more. For a period
of time, she was only involved in minor indiscretions and confrontations, something that pleased
her teachers and younger sibling, Morag. Alas, this failed to last as she participated in acts of
arson across her neighbourhood. This spree came to a head three years later when she was
caught in the process of attempting to ignite a convenience store. No one was hurt during these
crimes.
It was believed her harsh reprimanding would quell her poor behaviour, and for several months,
this was so. She excelled in the sport of rugby, a far cry from her former self. Like previously,
this phase was not enduring, and after an indeterminate stage, she reverted back to her former
mannerisms.
Partly resultant of those she associated with, she began smoking at twelve before escalating to
harder substances, some of which were intravenous. From here, she failed to attend her classes
and left schooling with no qualifications, and extremely bad health. At seventeen, she gave birth
to her first child, a son named Brian. A year later, Kenneth was born.
Desperate to fund her heroin and methylamine addictions alongside providing for her offspring,
Dolores once more turned to crime. Eventually, she was arrested for an attempted bank robbery
with three other males, and the killing of fifteen bystanders with an illegally obtained rifle.
Sentenced to life imprisonment, she was only freed when she transported to the first Dome.
Although Morag has done all that is within her power to rectify the situation, Dolores still
blames her for the troubles-including the death of her children. Now aged 30, it is only when her
sibling sacrifices herself to save her that she realised just how much she truly meant.
Both characters display varying socio-economic statuses. Having both been born into an
unskilled, unemployable family (E group), Morag has broken free of the preconceptions directed
her way and elevated herself to the A group with her role as a widely respected and
knowledgeable scientist. Dolores, on the other hand, has fuelled her stereotype by mimicking her
parents mannerisms and remaining at the bottom of the societal hierarchy, participating in crime
to fund her lifestyle. Furthermore, whilst Morag has lost her cockney accent, Dolores has
maintained hers.
NARRATIVE STRUCTURE AND TARGET AUDIENCE (TA):
Similar to the radio drama The Blind Mans Confession, ASTRO-BEES will be cyclical in its
development-we will begin at a point close to the end, before recounting the events leading to
this point and the concluding scene. There will be several interruptions to the story by the
antagonists who will serve as a reminder to the characters, and the audience, that they are in the
presence of a very real, dangerous and homicidal enemy. This is to draw the speaker out of the
past and help them return to the present, in an attempt to prevent the piece becoming stale and
unengaging; the goal is to retain the fear and level of helplessness throughout.
The play is non-linear in how it does not all advance in order of the occurrences. Despite this,
there will be extensive periods of chronological progression, most notably in the flashbacks and
the ending where everything is playing out for the first time. As we do not have any visuals, this
will make sure that the listener is able to comprehend the situation, and does not get lost through
extensive time-jumping. Ultimately, if the audience cannot follow what is going on, it is an
exercise in futility.

This will be aired on Radio Four, in the minutes leading up to midnight. The goal is to create a
sci-fi/horror play that is endearing due to its obscure, quirky nature but also thought provoking
in how mankind has contributed to the devastation of the only home they have known.
Furthermore, I wish to create something that one may chance upon; they are journeying late at
night and mistakenly encounter this piece, intrigued by the audio (which should sound like a cult
B-movie from times gone by) they will continue to listen in order to discover the outcome. This
is not designed to attain millions of fans, but a fair sized following who enjoy and appreciate the
work for what it is.
It is based on this that the TA is those over 18 who enjoy independent, and peculiar, fiction.
They must not tune in expecting a sophisticated analysis of humanitys continual technological,
historical and intellectual advancements, but an exploration into a ludicrous What If? scenario.
Additionally, based on the genre, they should anticipate strange sounds and environments that
could not be of this world; they should be prepared for an unprecedented and unusual rewriting
of an alternate 2015. More specifically, it is targeted towards the C2, D and E socio economic
groups, although not restricted to.
BUDGET:
Inevitably, the budget is a key issue that must be addressed. Due to the small scale of ASTROBEES and little need for a multitude of props and items, the fees that must be paid can be kept to
relatively low level.
The hiring of the studio comes in at 110 for an hour, in Studio Four of The Soundhouse Ltd.
(http://www.thesoundhousestudios.co.uk/portfolio/studio-four/) As ASTRO-BEES is significantly
below this length, we will be able to record our play without being concerned about overrunning or being pressed for time. This will also allow for any mistakes to be rectified, and help
us in achieving an effective piece which is the best quality that it can be.
The cost of the voice actors is the largest outlay; for an hour, we must pay 1,001 to hire the
services of each cast member (http://www.thevoicerealm.co.uk/voice-over-rates.php ), giving a
total of 2,002. Whilst this seems to be a large number, by minimising the amount of
expenditure in other areas, it is possible to compensate for this payment.
The sound effects pose less difficulties; it is possible to attain all of the audio from FreeSound
(https://freesound.org/ ); most of the noise is ambient and is used to set the scene. These include:

Mechanical sounding footsteps.

Steam escaping a pipe.

Water dripping.

Radio interference.

Screaming.

Fighting.

ACTORS:
MORAG CHIPOTTLE: I will be portraying Dr Morag Chipottle. As I wrote the character, I
believe that I would be best suited to interpret her mentality and convey her insecurities and
concerns. Having conceived her background, I gained an affinity with the character as I was
devising her life. As such, this gave me a desire to accurately, and positively, portray her; it is
paramount that her past and endurances have shaped the person we are listening to. With the

understanding that she moved away from London and has lost the said dialect and accent, I shall
make my own voice slightly more posh, and utilise Received Pronunciation. Additionally, it is
imperative that I correctly enunciate each word to ensure that I am perceived as being an
educated, intellectual individual.
DOLORES CHIPOTTLE: Jessica-Megan Collins will be assuming the role of Dolores Chipottle.
From seeing her in other performances, I knew that she would be able to adopt the required
attitude and edginess. In addition, she is able speak in the relevant accent which will increase the
depth of the character and present her in the necessary way. From her preliminary readings of
the character, she was able to tap into her mental state and personality, delivering a moving and
emotional interpretation. Integral to the work, she was able to put her own spin on the character
which gave the role a much appreciated injection of individuality. In turn, this will make Dolores
more memorable and leave a bigger impact on the audience.
STATEMENT OF INTENT: As the ASTRO-BEES concept is so unique, and rather peculiar, in
its content, I feel that I would be the ideal person to produce the drama. Considering that I
conceived the idea, I am able to envision the exact direction the piece should take, and have an
in-depth comprehension of the various layers to the plot. Furthermore, I understand the
characters and why they behave and act the way that they do, hence I know the best, and most
effective, way to portray them. Additionally, my love of all things horror and sci-fi means that I
am knowledgeable in the genre, and well equipped to create a piece that will be enjoyed by fans
whist complying with-and breaking-the conventions of the style. Ultimately, I feel I am able to
form a piece that will break the mould, and pre-conceptions, of the typical radio drama. This, in
turn, should attract new listeners, and bring the medium to a whole new generation; no longer
will this be exclusive to the older generation, but accessible and intriguing to the younger
members of society.