|Red vs. Blue Episode|
|Airdate|| April 23, 2017 (FIRST members)|
April 30, 2017 (public)
Chorus Lessons is the fourth episode of Red vs. Blue: Season 15. It aired on April 23rd, 2017 for FIRST members and April 30th, 2017 for the general public. It is the 307th episode overall.
- Alfred Packard (Mentioned only)
A short while later, Dylan is being interrogated about the crime by policemen Smith and Bitters, both of whom are trying to make the situation out like a CBS procedural drama. They reveal Jax will be fine, and Palomo and Jensen explain that he was only shot in the butt. Dylan then heads to the hospital, where Jax is attended to by Dr. Grey, who has already figured out Dylan was the one who shot him. She accuses Dylan and the press of damaging the reputation of the Reds and Blues (who she already knows are not responsible for the crimes they have been accused of), and in turn exacerbating the already-volatile situation between Chorus and the UNSC. Shooting Jax, as she sees it, is topping off the story with a claim that a member of the press was attacked on Chorus. When Dylan explains she was actually trying to ask Grey to get her closer to President Kimball, Grey refuses to help her, claiming Kimball is trying to restart peace talks with the UNSC diplomat. Off-the-record, however, she gives Dylan the name of the diplomat, Alfred Packard.
With the information, Dylan calls in a favor from an IDA Analyst, James Adler, revealed to be her husband she left behind when she started up the Reds and Blues stories. Though James is icy towards her, he gives her enough information for Dylan to threaten an exposé about a scandal involving Packard, convincing him to restart the peace talks and earning Dylan a meeting with Kimball.
Kimball is similarly bitter towards Dylan, suspicious of her intentions. She claims she does not know where the Reds and Blues are and demands Dylan specifically explain why she wants to know about them. Dylan rationalizes that facts are currency in the galaxy, as facts are what start invasions, fight wars, and elect leaders. To make sure no one jumps to the conclusion the Reds and Blues are terrorists, Dylan needs to find the facts at the source, with the Reds and Blues themselves. Kimball then checks with Santa, who confirms Dylan is telling the truth. Satisfied, Kimball and Santa explain that they have been looking for someone to deliver a message to the Reds and Blues, one that they cannot deliver themselves with the UNSC constantly surveilling them. After their last stand on Chorus, the Reds and Blues essentially retired from all fighting and went off-planet, wanting to simply be left alone.
Dylan then meets with Jax, believing he wants to go home after she shot him, but Jax refuses, being impressed that Dylan shot him in the posterior to get her information. He promises to stick by her despite the fact that they have officially gone rogue. They then leave Chorus and arrive at a rock island on a mysterious ocean planet. Dylan climbs the island, which houses a temple, before finally coming to an outcrop to see Caboose standing close to a ledge. She holds up her microphone and Caboose turns around... but becomes startled by her presence and promptly falls off the ledge. "Fuck," Dylan comments.
In a scene straight out of a classic crime movie, we open up on a dark alleyway in a city. We see the shadow of someone raising their gun.
Jax: Wh—what are you doing?
We see in a shadow JAX is being held up by a suspiciously familiar-looking figure who has their gun trained directly at JAX’s posterior.
Jax: No. No no, please! No!
We see the shadow of the gun fire, then jump cut to a shot of several doves flying into the air in reaction. JAX collapses as the empty shell casing is ejected onto the asphalt.
Jax: (a la Orson Welles) Rosebud…
We hear some white noise, followed by a sudden—
Smith: Dun dun!
A card directly out of an episode of Law & Order reads “DARK ALLEYWAY/MURDER INVESTIGATION/SUNDAY, APRIL 23” is shown, revealing the crime scene. DYLAN is talking to SMITH and BITTERS, while PALOMO and JENSEN are far off in the background.
Smith: (acting all official) Just a few more inquiries, ma’am, uh, did you attempt to witness any other particular individuals in the general vicinity of the area in which the crime scene was alleged?
Bitters: (sighing) Jesus Christ. Uh, what he means is did ya see anybody?
Dylan: (feigning innocence) No, I just found him lying there and called the police! Is-is he okay?...did they take him to General?
Smith: We’re asking the questions if you so please! Does the alleged victim have any enemies, arch-enemies, nemesises, or particular people of an interesting nature to which the crime may be motivated by whom?
Dylan: Uh, no. I-I don’t know...Who’s the attending Doctor?
Smith: Uh, j-just a few more inquiries, if you so please, to be of grateful assistance to law enforcement investigators!
Bitters: Dude, just stop. You don’t even sound like a cop!
Smith: Just doing my job, Bitters! It’s called going by the book!
Bitters: What book?!
Smith: Law & Order. Dun dun!
We get an overhead shot as soon as he says this, with the same word card from before. And just as quickly, we cut back to SMITH and BITTERS, with BITTERS glaring at him.
Bitters: Ugh, gross! CSI: Miami for life!
Dylan: He’s gonna be okay, right? Can you please tell me where they took him?
Smith: Ahem! Do you profess to have any knowledge of the alleged victim’s next of kin?
Dylan: "Next of kin?" Is he dead?!
Bitters: (quickly) No, nono, he’s not dead.
Smith: The alleged victim was booked with a bullet lodged in his alleged posterior.
PALOMO comes running, with JENSEN coming up behind him.
Palomo: He means his butt! Dude got shot in the butt!
Jensen: Charlie, we’re supposed to be establishing a perimeter!
Palomo: I just wanna be included!
Dylan: So...he’s fine?
The camera zooms in on BITTERS like in CSI: Miami when Horatio Caine is about to make a terrible pun.
Bitters: Should be. But if you ask me, something about this case doesn’t sit quite right. It all feels rather…
Extreme close-up of his face.
Ah, there’s the pun.
And once again like in CSI: Miami we cut to a sunny sky over the city as a singing voice plays. Instead of “Won’t Get Fooled Again” by The Who, however, it’s operatic music. We then get a shot of the hospital, with the word card “GENERAL DOYLE GENERAL HOSPITAL/SUNDAY, APRIL 23” appearing.
Smith: (offscreen) Dun dun!
And just as quickly, we see DYLAN looking into a hospital room, where JAX is laid out on the table. The opera music is revealed to be ambience playing from the hospital speakers.
Dr. Grey: (offscreen, extremely passive-aggressive) I can see the headlines already!
Dylan turns to see DR. GREY is standing right next to her.
Dr. Grey: (refusing to look at Dylan) “Journalists Assaulted On Chorus! Peace Talks: Abandoned!”
Dylan: Dr. Grey, I was hoping to speak with you—!
Dr. Grey: Off the record. I’m not an official representative of Chorus, Ms. Andrews.
Dylan: You...know me?
Dr. Grey: I recognize you from your bylines. You wrote a fantastic piece about the Stewart Insurrection!
Dylan: That was almost...ten years ago.
Dr. Grey: And now you’re here! Funny, the vultures usually show up after the slaughter.
Dylan: I’m not here about the UNSC or whatever they’re planning with Chorus. I’m here about the Reds and Blues. You’ve...read about their attacks in the press?
DR. GREY finally looks at DYLAN.
Dr. Grey: Of course! Those criminals have caused substantial damage to our planet!
She just as quickly looks away.
Dylan: Well, what if I told you “those criminals” are not the Reds and Blues you know?
Dr. Grey: (highly passive-aggressive) Oh, of course not, sweetheart! When I said “criminals,” I wasn’t referring to the Reds and the Blues! (she looks at Dylan) I was referring to you!
Dylan: Beg pardon?
Dr. Grey: You and the press! By continuing to insinuate that those criminals are somehow our insurgents—a baseless accusation that the UNSC was quick to overreact to. But I’m sure invasions make for a great newsday.
Dylan: I don’t want an invasion! I can help Chorus by finding the real Reds and Blues! But Kimball won’t talk to me, I can’t get within a mile of her!
Dr. Grey: The president refuses to be interviewed…
Dr. Grey: ...so you shoot your cameraman.
Dylan: ...what? (trying to save face) He was shot, but...
Dr. Grey: The clotting present in the patient’s posterior places the time of attack approximately five minutes after your call to the police. That’s some very fast reporting, Ms. Andrews!
Dylan: I—(relenting) look, I needed to talk to you. Please, help me get to Kimball.
Dr. Grey: Oh! I assumed you assaulted your cameraman to stir up cheap headlines! But instead, you flatter me!
She walks up to DYLAN.
Dr. Grey: You’re a little bit crazy, aren’t you? (seductively) I like that.
Dylan: ...so you’ll help?
Dr. Grey: Nope. President Kimball is fighting to reopen peace talks with the UNSC. I will not burden her with this!
Dylan: Well, who’s the UNSC’s diplomat?
Dr. Grey: Oooh! Are you going to shoot them, too?
Dylan: No more shooting: I have connections at the network.
Dr. Grey: Hmm. Very well. The diplomat is Alfred Packard.
Dylan: Thank you.
Dr. Grey: Don’t thank me. Just keep me off the record!
Dylan: Not for the tip. For fixing up my partner.
Dr. Grey: HAH! If you really think he’ll still be your partner after this, then you really are crazy!
Dylan: I am prepared to deal with the consequences.
Dr. Grey: Consequences...don’t always take the shape we expect them to, do they? They’re funny like that.
The opera music starts swelling up again.
Dr. Grey: Ooh! I love this song!
And with that, DR. GREY exits down the hallway as DYLAN watches. She then looks back at JAX.
Cut to DYLAN, back in her office on her ship, looking at her screens. A search query for "ALFRED PACKARD" has turned up no results, suggesting she was looking for "ALFRED PENNYWORTH."
Dylan: (sighing) Okay.
DYLAN turns to her other screen and establishes a sliplink with JAMES ADLER, who has the nickname underneath "IDA Analyst/Hubby Boo."
James: Ahoy ahoy, Interstellar Daily, James Adler speaking.
Dylan: Hi James.
James: Dylan! You're alive! Where are you, I've been worried sick! Are you okay? Is everything okay?
Dylan: I'm...still on the story.
James: Carlos is gonna be livid. He's talking about criminal charges—you need to get back here!
Dylan: I need a favor, James. Between us—and no one else can know.
James: ...that's why you're calling. No "hi honey, how are the cats?"
Dylan: I'm sorry, it's urgent.
James: ...are we still married?
Dylan: Can we...please talk about that later?
James: You left without a word, what am I supposed to think?
Dylan: I don't...know. Everything is just a mess and I needed some time to think, and right now I really need that favor.
James: You're killing me.
James: What is it?
Dylan: (sighing) Alfred Packard: the UNSC diplomat assigned to Chorus. I need his full file from the paper's database. I think I recognize his name from the Seremon leak last year, so throw that in, too?
James: Got it, I'll...send you what I find.
Dylan: I promise we'll talk when I get back.
James: ...yeah, sure.
He hangs up. DYLAN looks down at the floor, riddled with guilt.
We cut to KIMBALL in her office, looking out the window into the city. DYLAN walks towards her desk.
Dylan: President Kimball, thank you for agreeing to speak with me. I have some questions.
Kimball: I'm sure you do. But you're going to have to answer mine first, Ms. Andrews. How did you convince Packard to reopen our peace talks?
Dylan: Packard's corrupt. He's smart enough to pay off the right people but not smart enough to know you should never short-change a hooker. Especially given his...interests. I threatened an exposé, but he preferred to back off his hard line with you instead. It's temporary.
Kimball: Understood. But the respite has brought us hope nonetheless.
Dylan: You're real hope is with the Reds and Blues. If they resurface and are proven innocent, then Chorus is saved.
Kimball: You didn't come here to advise me, Ms. Andrews. You want something.
Dylan: ...I want them.
Kimball: Well, as I've said, time and time again, I don't know where they are.
Dylan: (sly) With all due respect, I don't buy that—
KIMBALL abruptly turns to glare at DYLAN.
Kimball: (annoyed) With all due respect, I don't care! You want the Reds and Blues, and I want to know why. So you're going to explain your intentions to me before this conversation continues. But believe me when I say I'll know if you're lying.
Kimball: What do you want with the Reds and Blues?
Dylan: I want to talk to them.
Dylan: To get the facts.
Kimball: That's not good enough. Be specific.
Dylan: ...people are quick to jump to conclusions. They...see something, or hear something, and fit it into a preconceived emotional box. "The Reds and Blues are terrorists." It's up to people like me to find the very truth and expose the real facts. Because truth and fact are the currency of the galaxy. It's how wars are fought and invasions are justified and leaders are elected. I want facts. Facts are found at the source—with them. That's one reason.
She walks towards KIMBALL.
Dylan: The other is that I don't think their story is really over and I need to see how it ends. If you won't help me I will find them anyway. Of that there is no question.
Dylan: ...come again?
SANTA materializes in the background.
Santa: Dylan Andrews's intentions are as she says.
Kimball: Anything she's not saying I should know about?
Santa: Hmm...nothing of note. Would you like to know what she's afraid of?
Kimball: (amused) Another time.
Santa: It's currently me...
Dylan: Alien A.I. construct...neat trick.
Kimball: And a very close friend. I think we may have found our messenger.
Santa: So it would seem.
Dylan: (surprised) What's going on? What messenger?
Kimball: We received something meant for the Reds and Blues. A message. We can't trace its origin and we can't safely deliver it to them with the UNSC hanging over our heads.
Santa: Thus we require a herald.
Dylan: So you do know where they are.
Kimball: The Reds and Blues saved us. We owe them everything. So when they told me that they were done, that they were finished with all of this, that they just wanted to be left alone, I did my best to repay our debt. Please don't make me regret what I'm about to tell you.
Dylan: I won't.
An overhead shot of DYLAN and JAX at a spacedock in the city.
Dylan: You'll be able to...hitch a ride home from here. Uh, when you get back, just, tell Carlos what happened. You'll be compensated.
Jax: So that's it? You're firing me? I can't come along?
Dylan: How can you say that? I...shot you...
Jax: I know: I can't wait to tell my friends!—once i make friends—So cool!
Dylan: So you're...not upset.
Jax: Oh hell no! That was some Kubrick-level dedication on your part! Mad respect.
Dylan: If you're serious, you have to know: we're rogue. No budget, no backing, no intern credit, no turning back.
Jax: I'm in!
Dylan: (impressed) You got grit, Jax. I'll give you that.
Jax: Yeah! That, and as soon as I get back my student loans kick in.
As DR. GREY, KIMBALL, SMITH, BITTERS, JENSEN, and PALOMO watch on, DYLAN and JAX take off from Chorus in their ship.
Dr. Grey: Hmm. I guess he is as crazy as her after all.
Kimball: Then they'll be in very good company.
The ship flies away from Chorus and enters slipspace, finally coming out over an ocean with several rock islands in a shot that very closely resembles the ending of Star Wars: The Force Awakens, right down to the music.
They land at one of the islands. While JAX waits with the ship, DYLAN walks up a long trail through the island, which appears to be an old temple. Finally, Dylan comes out to an opening, and sees CABOOSE standing on a cliff ledge looking out over the ocean, like Luke Skywalker.
The Force Awakens game is strong with this one. Like Rey, DYLAN slowly raises her microphone out towards CABOOSE.
CABOOSE slowly turns around as the music swells, and then suddenly stops.
Caboose: (startled) Whoa! Who are you? Th—
He stumbles backwards and promptly falls off the ledge screaming. There is a splat.
DYLAN stands there, motionless.
The openings chords of Blood Gulch Blues play, ending the episode.
- This episode, especially the opening scene, contains several references to various TV shows and movies.
- Jax's whispered line "Rosebud...", is a reference to the opening scene of the film Citizen Kane.
- The location and date cards that Smith uses, plus his dramatic "dun dun" sound effect, is a reference to Law & Order, a reference that is outright stated.
- Likewise, the smash cut of a sunny sky above the city mirrors the opening of CSI: Miami, which Bitters refers to earlier.
- Jax refers to Dylan shooting him as "Kubrick-style dedication." Stanley Kubrick is well-known for his sometimes-torturous methods he would put his actors through, especially during the making of the films A Clockwork Orange and The Shining.
- The ending scene showing Andrews delivering a message to the Blood Gulch Crew is a near shot-for-shot parody of the ending to Star Wars: The Force Awakens, with Andrews mirroring Rey and Caboose mirroring Luke Skywalker. The very last moment is, of course, much different.
- This episode takes place on Sunday, April 23, the same day it was released for Rooster Teeth FIRST Members.
- Kimball and the characters introduced in the Chorus trilogy have new armor setups, due to the shift to the Halo 5 engine which lacks some of the parts used in their Halo 4 engine representation, most notably Dr. Gray's Prefect armor. This does not include Santa, who is still represented using a Halo 3 model elite.
- Since the events of The End, Kimball is now established as the president of Chorus and she has acquired Santa as her A.I. companion.
- Additionally, a hospital was named after Donald Doyle.
- When Dylan is searching information about Alfred Packard, the browser suggests if she's searching for Alfred Pennyworth, Bruce Wayne/Batman's butler.
- The first shot of Caboose incorrectly depicts Caboose with the Mark VI Helmet.
- This episode wraps up a three-episode arc begun with The Chronicle that sees Dylan covering all three eras of Red vs. Blue up to this point: the Blood Gulch Chronicles for that episode, the Project Freelancer saga for The Mother of Destruction, and the Chorus Trilogy for this episode.