English Wordplay ~ Listen and Enjoy
Creative Writing Course - University of Wales 2011/2012
As the culmination of the Writing for Radio module, we selected two scripts to produce in December 2011. They are The Witness and The Other Side of the Fence
The Witness
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| The company left to right: Ryan, Mark, Hammi, Shaun, Kate the Announcer and Alex |
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| CLICK TO LISTEN TO THE WITNESS |
PRODUCTION TEAM
| Writer: | Todd Meulen | Director: | Shaun MacLoughlin |
| Studio Manager: | Tom Bennett: | Spot Effects: | Joe Powell |
CAST
| BILL: | Alex Barnston | JIMMY: | Hammi Bilkha |
| LOU: | Mark Lloyd | ANTON: | Ryan Nolan |
SCRIPT
| ANNOUNCER: | Set in New York, a man named Bill Hudgens is just going through a normal day as the owner of a local small-time diner when he suddenly finds himself in a situation straight out of a movie |
|---|---|
| GRAMS | PLAY OPENS WITH "IF I DIDN'T CARE" BY "THE INK SPOTS" FADING IN AFTER INTRODUCTION. THE MUSIC SLOWLY FADES OUT WHILE THE AMBIENCE OF A RESTAURANT FADES |
| EXTRA (m) | Well, I gotta be off now. It was nice seeing you, Bill! |
| BILL | Nice seeing you too, Mike! Stay safe. |
| EXTRA (m) | Will do, Bill. Bye |
| BILL | Bye! |
| SFX | DOOR OPENS AND CLOSES. YOU CAN HEAR BILL WASHING THE DISHES |
| BILL | (thinks) Friendly man he is. Shame he doesn't come around too often anymore. Suppose his promotion turned him into a busy man. |
| SFX | DOOR OPENS AND CLOSES |
| BILL | Hello sir, welcome. What can I get you? |
| ANTON | Not having a busy day, I see? |
| BILL | It's been quiet today. Most people are off on their jobs around this time anyway, so quiet during these hours is to be expected. |
| ANTON | I suppose so. (pause as he looks at the menu) I'll just have the today's special. |
| BILL | Alright then. You can go pick a seat. I'll bring you the food when it's done. |
| SFX | MOVING PANS AND KITCHEN UTENSILS AROUND |
| ANTON | No cook? |
| BILL | Around these times, nobody really shows up. So I usually just handle the diner alone until the dead hours, as we call 'em, are over. |
| ANTON | Ah, okay. |
| SFX | KITCHEN AMBIENCE, BUTTER BEING FRIED ETC. |
| BILL | Why the suit? What's the occasion? |
| ANTON | I just like to look nice when I go out is all. |
| BILL | Well, nothing wrong with that. Your food will be ready in a few minutes. |
| ANTON | Sounds good. |
| BILL | So what brings you here? You don't look like the type that usually goes to places like this |
| ANTON | What do you mean by that? |
| BILL | Oh, I mean no offence. I mean, the suit and all. Sir you look like a rich man to be frank with you. I'm just wondering why someone wealthy would pick a small-time diner over all the other restaurants in New York. |
| ANTON | Oh. I don't know. I guess I like to live simple. |
| BILL | I can respect that, sir. |
| SFX | DOOR OPENS AND CLOSES |
| JIMMY | Oh, hey look. There he is! |
| LOU | Anthony! We've been looking all over for you, pal! |
| ANTON | How did you guys find me? |
| LOU | That's not important. The important thing is that we found you. |
| BILL | Hello, gentlemen! Can I get you anything? |
| JIMMY | Pay us no mind, sir. We're just here for our good pal Anton. |
| BILL | Alright, well if you change your mind just give me a shout. |
| LOU | Will do! |
| ANTON | Why are you here? |
| LOU | That's no way to greet your pals, Anthony. |
| JIMMY | Yeah, what gives? |
| ANTON | Just... could you please leave? |
| LOU | What's this? We just came here to hang out with our pal. Why are you treating us like this? |
| ANTON | You know damn well why I'm treating you like this. Now tell me; why did you come here |
| LOU | Come on now. No need to be so cold. We're your pals, ain't we? |
| ANTON | Just go back to whatever it was you were doing and leave me to do my thing, alright? |
| JIMMY | Truth is, people back home were worried about you, Anton. We haven't heard anything from you for the past two weeks. |
| ANTON | Nothing happened to me, Jimmy. I'm hoping we can keep it that way. |
| LOU | What do you mean by that? |
| ANTON | I think you know. |
| BILL | Here you go, sir. The today's special. Enjoy. (pause as he sets down the plate) Is everything alright? |
| JIMMY | Don't worry about it sir. Everything's okay. |
| BILL | Are you sure? It seems like your discussion is getting a bit heated and I may have to ask you to |
| JIMMY | (interrupts) Don't worry about it, sir. |
| BILL | (pause) okay then. I'll be here if you need me. |
| JIMMY | (pauses, waiting for Bill to leave) Well then Anton, what were you saying? |
| ANTON | I was saying that I want out. You know I do. |
| LOU | You think you can step out? Just like that? (snaps fingers) |
| ANTON | And why can't I? |
| LOU | Don't play dumb. You know that you're indebted to the boss |
| ANTON | What are you talking about? I paid back all the money I owed him. |
| BILL | (thinks) debts? Are these guys loansharks or something? It's probably best if I don't get involved. Just keep washing the glasses, Bill. They're not paying any attention to me. |
| LOU | He never saw a dime of it. |
| ANTON | I paid him back two weeks ago. |
| LOU | (interrupts by hitting the table with his fist) damn it Anton, stop lying! This will all go over a lot smoother if you'd just be honest and paid back the money you owe. |
| ANTON | I just told you I did pay the money back. I gave it to Vincent and he said that he was going to take it to the boss. |
| JIMMY | Are you accusing Vincent of something now? Are you really going to sink that low? |
| ANTON | I'm not accusing anyone of anything. I'm just saying that I paid my debts off is all. Go check with Vincent if you want, but leave me out of this mess. |
| JIMMY | Why all this hate? What did the family ever do to you, you ungrateful bastard? We took you in, took care of you, made you powerful. Are you going to throw all that back in our faces now? |
| LOU | Settle down a bit, Jimmy. I'll do the talking. |
| ANTON | It has nothing to do with that, Lou. I'm just tired of the danger. The constant feeling of being followed and the feeling that people could just shoot you in the back at any given goddamn moment. |
| SFX | BILL DROPS A GLASS THAT SHATTERS |
| BILL | (thinks) Damn it, Now is the absolute worst time to be clumsy, Bill. Please stop looking at me. Pretend I don't exist. |
| JIMMY | You okay there? |
| BILL | (nervously) Yeah yeah. I'm fine. I think I just need some fresh air is all. |
| JIMMY | (pause as lou whispers something to Jimmy) (to lou) Yeah, you're right, Lou. (to bill) We'd really appreciate it if you stayed for a while, sir. |
| BILL | Oh, I'll only be a few minutes. |
| JIMMY | We'll be out of your hair in no time, sir. Please don't make me ask again. |
| BILL | But I really think I should |
| JIMMY | (interrupts) don't you have any dishes you should get to or something? Just stick around please. |
| BILL | (thinks) they're not going to let me leave like that. Have I heard too much? |
| LOU | So, Anthony, you think that if you "leave" the family, everything will just be dandy and there won't be any risks from that point on? It's not that simple, man. It'd be nice if it was, but it's not. And to be honest, I think you know that as well. |
| ANTON | We'll see. |
| LOU | and even if it was possible, that's not what we're here for. We're here to collect the money you owe. You were told, not asked, to have it paid back by last week. |
| ANTON | But I've already told you that I paid it back. I can't afford twice that amount. Not yet. If it somehow didn't make it to the boss, then that's not my fault. I gave it to Vincent. If he double-crossed me then I'm not the one you should be talking to |
| LOU | Stop accusing Vincent, Anton. He's been in the family for a lot longer than you have. He's more loyal than you are too. You're not doing yourself any favours by pointing fingers. |
| ANTON | This has nothing to do with my loyalty to the family. |
| LOU | But it does, Anton. Jimmy is right. It's not likely that Vincent would run off with your money. I think you're just hiding it from us and that you're hoping to escape your debt by leaving the family. |
| ANTON | No I |
| LOU | (interrupts) well I got news for you. It ain't going to work, Anton. Not in a million years! Now cough up the money, or this might get hairy. |
| BILL | (thinks) What situation have I gotten myself in now? I need to get out of here, and quick. |
| ANTON | I don't have it anymore! |
| LOU | Jimmy, make this guy stop lying to us |
| BILL | (thinks) Oh my god, is that a gun?! That is a gun! |
| SFX | JIMMY SHOOTS ANTON IN THE LEG. |
| ANTON | (anton screams) |
| BILL | (thinks) Oh no! They really shot him! I need to run, but I can't move! |
| LOU | Do you think we like doing this, Anton? We don't. Now cough up the money. For your own sake. We don't want to have to go further. |
| ANTON | I told you I do not have the money! Just please don't do this. |
| LOU | I'm sorry, Anton. If we don't, we'll probably be next... Do it, Jimmy. |
| JIMMY | Sorry Anthony. I wish you'd have just given us what we needed. |
| SFX | GUNSHOT AND BODY HITTING THE TABLE, BREAKING THE WOOD AND SHATTERING THE PLATE AND CUP |
| LOU | you alright, Jimmy? |
| JIMMY | Yeah. Don't worry. What about the witness? |
| LOU | Reckon we should bribe him? |
| JIMMY | I don't know, Lou. It's risky. We know nothing about this guy. |
| LOU | What do you suggest? |
| JIMMY | I think we should ice him. Just to be sure. A corpse doesn't testify. |
| LOU | Is it really necessary though? You know what the boss thinks of unnecessary collateral damage |
| JIMMY | It's hardly unnecessary. Like I said, we don't know anything about this guy. He could easily find some way to testify against us in court. That could endanger the whole family. |
| LOU | hmm... Well I guess we don't really have any other options then. |
| BILL | (stuttering) No please don't. I won't testify. I swear. I'll forget that this ever happened. |
| LOU | Sorry sir. Nothing personal, but we can't take your word on that. Do it, Jimmy. I'll be outside. |
| BILL | I can pay you. I'll give you anything I own. Just please don't kill me. |
| SFX | DOOR OPENS AND CLOSES |
| JIMMY | Sorry. It ain't nothing personal. |
| BILL | Please don't |
| SFX | BILL IS INTERUPTED BY A GUNSHOT. BODY HITS THE GROUND. DOOR OPENS AND CLOSES AS JIMMY LEAVES |
| GRAMS | REPRISE OF "I DON'T CARE" FADES BACK IN SLOWLY |
| THE END |
|
| The Witness - Tom Bennet, Studio Manager, and Todd Muelen, Author |
|
| CLICK TO LISTEN TO ON THE OTHER SIDE OF THE FENCE |
THE OTHER SIDE OF THE FENCE
PRODUCTION TEAM
| Writer: | Joe Powell | Director: | Shaun MacLoughlin |
| Studio Manager: | Tom Bennett |
CAST
| CHARLIE GRIFFITHS: (IN CHARGE OF FOREST SUPPORTERS) | Hammi Bikha | FRANK HORTON (DAD) | Angelo Gauchi |
| KEITH LUMSDEN (NEIL'S FRIEND) | Mark Lloyd | NEIL HORTON (SON) | Ryan Nolan |
| SHEILA HORTON (MUM) | Sue Walsh | THERESA LOVELACE (JOURNALIST) | Sarah Louise Johnson |
SCRIPT
| SCENE 1 | A PHONE CALL HOME |
| F/X: | SOUNDS OF GATES CAN BE HEARD SWINGING OPEN |
| ANNOUNCER: | In two thousand and eleven, the House of Commons voted to release the so-called 'Thatcher Files'. A dossier of information, which is hoped, will confirm whether a police cover up had taken place during the Hillsborough disaster. For the grieving relatives this is the closest they will ever get to justice. Justice for the ninety-six. |
| GRAMS: | LUDIVICIO EINAUDI'S 'OLTREMARE' ESTABLISHES ITSELF THEN PLAYS VERY GENTLY BEHIND THE FOLLOWING. |
| SHEILA HORTON SPEAKS IN RETROSPECT ABOUT THE HILLSBOROUGH DISASTER | |
| SHEILA: | (V.O.) A phone calls home. How many mothers nag their kids just for that? Let me know you're safe; I've been worried sick. But this was nineteen eighty nine. The only people who had mobiles in those days were yuppies and ponces with pony tails. And to think the real reason I was annoyed was because I needed to know what time he wanted his fish fingers cooked for tea. But then kids don't think about how we worry, do they? |
| GRAMS: | FADE OUT LUDIVICIO EINAUDI'S 'OLTREMARE' |
| SCENE 2 | THE TICKETS ARRIVE |
| THE HORTON FAMILY ARE SITTING AT THE DINING TABLE EATING THEIR DINNER. | |
| F/X: | WE HEAR THE SOUND OF PEOPLE EATING. THE DOORBELL RINGS. |
| NEIL: | (moving off) I'll get it. Who the hell is this at this time? |
| F/X; | NEIL STANDS SCRAPING HIS CHAIR ON THE LINOLEUM COVERED FLOOR. WE HEAR HIM LEAVE THE KITCHEN. |
| F/X: | IN THE BACKGROUND WE CAN HEAR THE FAMILY BUSILY EATING THEIR DINNER. THE FRONT DOOR OPENS BRINGING IN THE SOUND OF CHILDREN PLAYING OUTSIDE ON THE HOUSING ESTATE. |
| KEITH: | Ticket Tout!...Anyone want tickets for the semi finals. We're all part of Cloughies army, we're all going to Wem-ber-lee. |
| NEIL: | You got them, you fucking legend. |
| KEITH: | Whey hey! |
| SHEILA: | (OFF) Hey! Hey! Hey! Shut your filthy mouth. You're not on the terraces now, and I hope you don't go on like that when you are. |
| FRANK: | (OFF) Oh leave them love, they're excited. |
| F/X: | WE HEAR THE FRONT DOOR CLOSING AND THE SOUND OF THE OUTSIDE DISSAPEARS |
| SHEILA: | Well I don't understand what they're so excited about. It's only a football match. |
| FRANK, NEIL & KEITH: | (offended and shocked) Only a football match! |
| KEITH: | It's the semi finals of the cup Mrs Horton. A chance to get to the F.A.Cup final. |
| NEIL: | Yeah Mum, and we missed last year's semi against Liverpool. It's like we've been given another chance to put things right this time. |
| KEITH: | Hey that's a good point though Neil. Maybe this is an omen. The luck was with them last time, and maybe the luck is with us this time. Law of averages innit. |
| NEIL & KEITH: | (Singing) We're all part of Cloughies army! We're all going to Wem-ber-lee! And we'll really shake them up when we win the FA cup. |
| SCENE 3 | FRANK'S PRE MATCH REFLECTIONS. HE SPEAKS ABOUT THE BUILD UP TO THE SEMI-FINAL. |
| GRAMS | LUDOVICIO EINAUDI'S 'OLTREMARE' ESTABLISHES ITSELF THEN PLAYS VERY GENTLY BEHIND THE FOLLOWING. |
| FRANK: | (V.O.) My mate Charlie Smith, who runs the Forest supporters club told us that those travelling down on the bus to Hillsborough were in the highest of spirits. It was the perfect day for a football match. The weather was glorious. The fans were in top form. What more could you ask for? |
| GRAMS | FADE OUT LUDOVICIO EINAUDI'S 'OLTREMARE' |
| SCENE 4 | THE JOURNEY TO HILLSBOROUGH |
| GRAMS: | OPENING BARS OF STONE ROSES 'FOOLS GOLD' FADES IN, FADE UP FOR A MOMENT. FADE OUT SUPPORTERS SINGING. |
| F/X: | SOUND OF BUS DRIVING IN THE BACKGROUND. NEIL AND KEITH ARE TRAVELIING WITH THE SUPPORTERS CLUB TO HILLSBOROUGH |
| SUPPORTERS: | (Singing) we love you Forest we do, we love you Forest we do, we love you Forest we do, oh Forest we love you. |
| CHARLIE: | There we go lads, Hillsborough. |
| SUPPORTERS: | (Cheering loudly then singing) We're all part of Cloughies Army!, We're all going to Wem-ber-lee! And we'll really shake them up when they win the FA Cup. |
| GRAMS: | OPENING BARS OF STONE ROSES 'FOOLS GOLD' FADES BACK IN AND THEN CUTS OUT WITH A SLIGHT REVERB. |
| SCENE 5 | FISH FINGERS OR OMELETTE FRANK AND SHEILA ARE WATCHING TV AND HAVING A CUP OF TEA AT HOME. |
| SPOT: | SOUNDS OF TEAPOT POURING AND SPOONS STIRRING IN CUP. |
| F/X: | IN THE BACKGROUND WE HEAR MRS THATCHER DEFEND THE COMMUNITY CHARGE ON THE TELEVISION NEWS. |
| FRANK: | Oh fairer is it love. Come round this estate and say that. They'll give you the bloody Poll Tax. Bend over love. You can have it as a suppository. |
| SHIELA: | I hope to God Neil's behaving himself. |
| FRANK: | Oh leave the lad alone. He's having fun with his friend. Charlie will tell us if he gets up to no good. You just worry about mashing the tea. I'll worry about kicking his teeth down his throat. |
| SHEILA: | Did he say if he wanted Fish Fingers for dinner? |
| FRANK: | Well, I don't know, did you ask him? |
| SHEILA: | Oh you're useless Frank. |
| FRANK: | For God's sake Sheila, I am not a clairvoyant, how the bloody hell do I know… |
| SHEILA: SHEILA: | I don't know why you're being so awkward; I am only asking… |
| FRANK: | I'm not being awkward Duck I'm just... |
| SHEILA: | Should I do him an Omelette instead. They are quick to cook and then I can make it as soon as he arrives. Yes that's what I'll do; I'll cook him an Omelette. It's a good job someone worries about these things Frank. |
| FRANK: | (mutters to himself sarcastically) Sheila Horton, Nottingham's voice of conscience. |
| SCENE 6 | BEFORE THE MATCH NEIL AND KEITH ON THE TERRACES OF THE HILSBOROUGH KOP BEFORE THE MATCH KICKS OFF. |
| GRAMS: | FADE IN TO RADIO COMMENTARY AS GRAHAM BEECROFT WARNS TROUBLE AT THE GROUND. COMMENTARY FADES OUT. |
| F/X: | FADE INTO FOOTBALL CROWD SOUND |
| KEITH: | Look at them . (derogatory) Scouser's. Not as hard as us. I reckon our lot could have them. Isall's obviously not taught 'em nowt. |
| NEIL: | Isall…It's Heysel you Spaz. Thick Bastards. Why are they all in the same two pens? |
| KEITH: | Eh aw, Donkey's. (impersonates Harry Enfields scosuers) They do dat der do don't dey do. |
| NEIL: | Do dey. |
| KEITH: | Dey do. |
| NEIL & KEITH: | Alright alright, calm down calm down. |
| NEIL & KEITH: | (both laughing) |
| SCENE 7 | MOIRA STEWART NEWSFLASH. |
| F/X: | WE HEAR THE SOUND OF THE BOXING PLAYING ON THE TELEVISION. THE SOUNDS OF TEA POURING AND SPOONS EMERGE. FRANK AND SHEILA HORTON CONTINUE THEIR CHAT IN THE LIVING ROOM UNTIL THEY NOTICE SOMETHING HAS GONE WRONG AT THE MATCH |
| FRANK: | Go on son. Deck him. Deck him. Go on. Oh you useless Wassock. |
| SHEILA: | So what's it to be then Frank? |
| FRANK: | Eh, what are you on about now? |
| SHEILA: | For God's sake Frank, do you listen to a thing I say, Fish Fingers or Omelette? |
| FRANK: | I thought you decided on Omelette. |
| SHEILA: | Oh I decided did I? Always me who has to decide isn't it? |
| FRANK: | I don't sodding believe this Sheila I said … look on the telly. They've gone over to the match. The one Neil's at. |
| SHEILA: | (Sarcastically) Oh does Trevor McDonald know what he wants for tea then? |
| FRANK: | Shut up Sheila, this is serious, I think something's wrong. |
| SHEILA: | Eh, well turn it up then Frank. |
| F/X: | FADE IN TO CROWD SOUNDS |
| SCENE 8 | MATCH ABANDONED NEIL AND KEITH ON THE TERRACES SPECULATING ABOUT WHAT IS HAPPENING IN THE LEPPINGS LANE END |
| NEIL: | What's going on over there? |
| KEITH: | (BEAT) Dunno. |
| NEIL: | Look some of 'em are coming on the pitch. |
| KEITH: | Look at 'em ripping the signs up. What the hell are they doing that for ? |
| NEIL: | (PAUSE) I dunno do I? |
| KEITH: | They're pulling some of 'em up to the top bit of the stand. Why they doing that Neil? |
| F/X: | SOUND OF A WHISTLE BLOWING CAN BE HEARD PIERCING THROUGH THE SOUND OF THE CROWD |
| KEITH: | Aww he's stopping the match. What's he done that for? |
| NEIL: | They'd better come back and finish the match. That's bollocks that is. |
| KEITH: | We've paid a tenner for those tickets. Just because them lots causing trouble why should we have to suffer. |
| NEIL: | Hang on Keith, I think there's people hurt over there. Look, lying next to the fence. |
| ANOTHER FAN: | (OFF) Someone has died son. At least that's what they're saying on that fella's wireless. |
| KEITH? | Died! What…Died? Did you hear that Neil? |
| NEIL: | (BEAT) (LOW) Yeah. |
| F/X: | CROWD SOUNDS FADE OUT |
| F/X: | FADE IN TO MOIRA STEWART NEWS ANNOUNCEMENT THAT PEOPLE HAVE DIED AT HILLSBOROUGH. |
| SCENE 9 | THE HILLSBOROUGH HOTLINE SHEILA HORTON CALLS THE HILLSBOROUGH HOTLINE AND IS CONSOLED BY HUSBAND FRANK |
| F/X | CUT IN TO ENGAGED TELEPHONE SOUND |
| SHEILA: | Nobody is answering Frank. They're engaged. |
| FRANK: | They'll be busy love; loads of people will be calling them. |
| SHEILA: | What is the … point of them advertising a Hillsborough hotline and then … I am worried sick... |
| FRANK: | They're not in that stand love… |
| SHEILA: | How the hell do you know that Frank? (sobbing) I thought you said you weren't a … clairvoyant. You sodding …hypocrite… |
| FRANK: | Calm down Sheila for God's sake. The crush is in the Leppings Lane end, Neil is in the Kop. SHEILA:But how do they know that Frank … what if? |
| FRANK: | What if?, What if?, What if? Sheila you're making things up now. You'll make yourself ill. Calm down love, it's all going to be alright, it's all going to be alright. |
| F/X: | SOUND OF SOBBING FADES OUT |
| SCENE 10 | THE BUS JOURNEY HOME FRANK HORTON MONOLOGUE DESCRIBES THE RETURN JOURNEY FROM HILLSBOROUGH |
| GRAMS: | LUDOVICIO EINAUDI'S 'OLTREMARE' ESTABLISHES ITSELF THEN PLAYS VERY GENTLY BEHIND THE FOLLOWING. |
| FRANK: | (V.O.) My mate Charlie Smith, told me a few days later that on the bus trip back from Hillsborough, not a single person spoke. Those who weren't quiet sobbed all the way back. I don't know what group Neil and Keith belonged too. I suppose it didn't really matter. I was just relieved that Neil returned home safely. But he was never the same again. He witnessed those people die in cages like animals. It was only supposed to be a football match. For God's sake! |
| SCENE 11 | SHEILA'S REVELATION |
| SHEILA: | (V.O.) A great man once said that football is much more important than life and death. I am sorry Mr Shankly, but you don't half talk crap. I may not know much about football. But as a Mum who lost her only son in the Hillsborough disaster, I damn well know what is really important in life. |
| GRAMS | FADE OUT LUDOVICIO EINAUDI'S 'OLTREMARE' PAUSE |
| SHEILA | (Close) What? Did you think Neil was one of the survivors? (PAUSE) |
| SCENE 12 | SHEILA'S INTERVIEW |
| F/X: | TV SOUND OF 'DEAL OR NO DEAL' THEME TUNE ESTABLISHES ITSEF AND PLAYS GENTLY IN THE BACKGROUND. |
| FRANK: | You watching this rubbish again are you love? SHEILA: (Sarcastically) Oh don't you like it daffodil? |
| F/X: | DOOR BELL RINGING. (PAUSE) |
| SHEILA: | (Sarcastically) Your turn to answer the door again Sheila love. |
| F/X: | SOUND OF A DOOR OPENING FOLLOWED BY SOUND OF CHILDREN PLAYING OUTSIDE. |
| THERESEA: | Hello, Mrs Horton I presume. It's Theresa Lovelace from the Nottingham Evening Standard. You spoke to one of my colleagues yesterday … about an interview. |
| SHEILA: | Oh yes. Where are my manners? Please come in. |
| F/X: | SOUND OF DOOR CLOSING. OUTSIDE NOISE DISSAPEARS. |
| THERESA: | I realise this must be very difficult for you Mrs Horton; I'll try to be as sensitive as possible. |
| F/X: | SOUND OF DEAL OR NO DEAL IN THE BACKGROUND CAN BE HEARD AS THEY ENTER THE LIVING ROOM |
| SHEILA: | I'll just turn off the TV. Please sit down. This is my husband Frank. |
| FRANK: | Ay up duck. |
| THERESA: | Hello Mr Horton. |
| F/X: | TV SOUND STOPS |
| THERESA: | If I could start with Neil's … er (BEAT) suicide Mrs Horton. Could you tell me in your own words, if there were any signs that Neil intended to… |
| SHEILA: | Kill himself. |
| THERESA: | Oh well I wouldn't have quite put it… |
| SHEILA: | Yes. No. Yes and no. The death of your own child is never anything you expect but … I wasn't surprised when I found out. Put it that way. |
| THERESA : | Can you elaborate on that Mrs Horton? |
| SHEILA: | He was a mess after Hillsborough. |
| THERESA: | Hillsborough? The Hillsborough disaster? But wasn't that… |
| SHEILA: | Eighteen years ago Mrs Lovelace yes. |
| THERESA: | Please call me Theresa. |
| SHEILA: | Eighteen years of hell for my son Neil, Mrs Lovelace. Eighteen years may sound a long time to you but… |
| THERESA: | Oh please forgive me Mrs Horton, I really didn't mean to offend. My editor just told me to get the story. He never told me anything about the circumstances … |
| SHEILA: | Yes a story. That's what it's all about isn't it?. People can go hang along as you lot get the right story. |
| FRANK: | Hey, lay off lass. I am sure Theresa didn't mean any offence. |
| THERESA: | Of course not Mrs Horton I assure you. |
| SHEILA: | The Hillsborough disaster didn't just affect those who were killed that day in nineteen eighty-nine. It affected everyone who was at that ground. People like my son who was on the other side of that Perimeter fence. He suffered with Post Traumatic Stress Disorder and was left to rot by the British health system. So no I wasn't surprised when he committed suicide Mrs Lovelace. So you can stick that in your tatty rag. |
| SCENE 13 | SHEILA'S CLOSING MONOLOGUE |
| GRAMS: | LUDOVICIO EINAUDI'S 'OLTREMARE' ESTABLISHES ITSELF THEN PLAYS VERY GENTLY BEHIND THE FOLLOWING. |
| SHEILA: | (V.O.) I knew what I was saying to her wasn't fair. I shouldn't have labelled her in the same way as those journalists in the Sun newspaper. But they labelled and stereotyped the football supporters and in my strange way I wanted to show her what it was like. Her surprise at Neil's suicide so long after … well let's just say she hit a raw nerve. |
| GRAMS: | FADE OUT LUDOVICIO EINAUDI'S 'OLTREMARE' |
| SCENE 13 | CLOSING MONTAGE |
| GRAMS: | GERRY MARSDENS 'YOU'LL NEVER WALK ALONE' ESTABLISHES ITSELF. |
| F/X: | EXTRACT FROM SPEECH FROM LABOUR MP STEVE ROTHERHAM FADES IN THEN FADES OUT |
| F/X: | EXTRACT FROM A SPEECH BY LABOUR MP LUCIANA BERGER FADES IN AND THEN FADES OUT |
| F/X: | ANOTHER EXTRACT FROM MP STEVE ROTHERHAM FADES IN AND THEN FADES OUT |
| F/X: | EXTRACT FROM SPEECH FROM DAVID CAMERON FADES IN THEN OUT |
| F/X | THE SOUND OF LIVERPOOL FANS SINGING 'JUSTICE FOR THE 96' FADES IN |
| GRAMS: | GERRY MARSDEN'S 'YOU'LL NEVER WALK ALONE FADES OUT |
| F/X: | LIVERPOOL FANS SINGING 'JUSTICE FOR THE 96' CONTINUES MOMANTARILY AND THEN STOPS ABRUPTLY |
| F/X: | SOUND OF METAL GATE SLAMMING WITH A SLIGHT REVERB END |
Student Plays
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We recommend the following, which can ordered from Amazon.co.uk :
We also recommend the following radio scripts: Polaris by Fay Weldon in Best Radio Plays of 1978, I Never Killed My German and Of the Levitation at St Michael's by Carey Harrison in A Suffolk Trilogy, The Village Fete by Peter Tinniswood in Best Radio Plays of 1987, Cigarettes and Chocolate by Anthony Minghella in Best Radio Plays of 1988, Death and the Tango by John Fletcher and Song of the Forest by Tina Pepler in Best Radio Plays of 1990 and In the Native State by Tom Stoppard in Best Radio Plays of 1991. Sadly some of these scripts are out of print. However you should be able to order them from your local library
We also recommend the recording of Lee Hall's wonderful first radio play, I Luv U Jimmy Spud. Lee went on to write the screenplay of Billy Elliot.
We also recommend: The Well-tempered Audio Dramatist by Yuri Rasovsky, a Guide to the Production of Audio Plays in Twenty-first Century America. The book features chapters on every aspect of audio drama production including Project Management, Microphone Techniques, Casting and Sound Effects. You can read the entire text online at The United States National Audio Theatre Festivals..