Last Wednesday we began filming, getting the majority of scene 2 in the bag (I suppose I should really either say "in the can" or "in the... cassette case..."). Yet again, I took over the isolation room and moved all the jolly paintings out. Hopefully the graffiti from previous occupants won't show up. We learnt a lot, including that Sean gets a bit of a Hitler moustache in some lights and that the room we're filming in gets REALLY hot. That's impressive, since the rest of our school is virtually unheated. Now we know where it all goes.
We also did some filming on Thursday, actually during school. It turns out that this isn't exactly the best time, and a lot of really good takes - acting-wise - are completely useless because over Sean being all serious and sinister, you can hear S4s signing out after their french prelim. What a mood-killer. The worst was a very loud man with a deep monotone. Urgh. We did get one really good take though and the planimetric shot works really well.
Alongside all this serious filmy stuff, we're planning the DVD extras and I think they're gonna be FUN. We have a range of impressions, out-takes and a whole sequence of Sean's interaction with my mic ferret. Very odd. I think we'll probably do a commentary as well, but that'll have to wait until much later.
Over the weekend I did a rough cut-up of the first five minutes; it still needs a great deal of finessing, but I think it's looking great. There are several elements missing (the sound of Holly being dragged, shots of her previous interviews and an overall deeper sound design; I also just put the name "Betty Bettyson" in as a placeholder because we haven't held auditions for the part of Darya yet).
On that subject, I decided to cast someone else as Darya after a long and detailed consultation... OK, so the three of us were on the bus to PYT and we had a chat. Basically, it's a film and we can have someone else and it makes sense to. I'm going to talk to the Highers tomorrow and gauge their responses. With any luck I'll audition on Wednesday and have reached a decision by Thursday.
One thing's for sure - if I want this filmed by Christmas, we'll need to step on it.
Monday, 1 December 2008
Friday, 7 November 2008
Dangerous Times script
Here's the script of Dangerous Times the play, while I am working on the screenplay version:
NOTE: scenes are continuous and are included only to clarify the structure of the play and should be invisible to the audience.
PROLOGUE
USC is a screen and in front of it is a table and two chairs. As the audience try to enter the performance space they are ushered by two guards dressed in military uniform and wearing masks. The last person to enter is HOLLY. The guard at the door grabs her by the arm as she tries to run away, terrified.
HOLLY: No, please! Stop! There’s been a mistake!
She is dragged outside, out of sight of the audience. The other guard moves to stand USR.
A beat. A video showing a news montage of current and recent disasters, riots etc with a V/O:
NARRATOR: This is our world, these are dangerous times. Watch out, be afraid. Anyone among you may be a threat. Accept compromise. Trust in the state to be right, but never trust those who question it. A few may suffer, but it is for the good of us all. This is our world, these are dangerous times.
SCENE 1
The film flickers off, dissolving into white noise, then flicks on again to show HOLLY in small cell, pacing restlessly. It is in black and white and from above, like a CCTV video. HAMILTON enters purposefully and sits on the SR chair and spreads out his pieces of paper and puts a tape recorder to the US side. He clears his throat and presses the record button:
HAMILTON: Preliminary to interview 5 with target HOLLY FRAY. Report shows that the target has been showing signs of restlessness during her detention. She has also been making demands to see a lawyer and to be charged with the reason for her detention. So far, this has not resulted in violence, although the target does show aggressive tendencies. I would suggest that a small dose of sedative be added to her supplements to prevent any future incidents. Previous interviews have produced minimal results.
The objective of this interview is to make contact with the target and establish a dialogue which will lead to increased trust. I also intend to sound out the reliability of our sources on the target, specifically whether she is indeed so well connected with our super-target and approach the overall objective of the operation.
He presses the pause button on the recorder and makes a brief note on a pad of paper immediately adjacent to the machine.
HAMILTON to the guard onstage: Please bring the target in.
SCENE 2
The guard exits; onscreen we see HOLLY being hauled out of her cell and a few seconds later the guard and HOLLY enter. She is dumped in front of the small table, and watches HAMILTON warily. He looks neutrally at HOLLY, who glares at him. He presses the record button before speaking.
HAMILTON: Hello Holly, how are you? [HOLLY only glares at him some more] Now come on, there’s no need for rudeness, it’s only a friendly greeting.
HOLLY: You can call me Ms. Fray.
HAMILTON: Very well, how are you Ms Fray?
HOLLY: I’ve been wrongfully arrested, transported who knows where and held against my will for who knows how long and I’ve hardly been fed. I’ve yet to see a lawyer, I’ve been asked the same questions four times now and no one so far has charged me with any crime.
HAMILTON: Hmm.
HOLLY: So, are you going to tell me why I was arrested?
HAMILTON: I’m afraid I can’t tell you that -
HOLLY: I have the right to know what I’m charged with! I know my rights and I demand you tell me -
HAMILTON: Now Holly - sorry, Ms Fray - when I say I can’t tell you I mean it quite literally. I don’t know why you were arrested. I only know why you’re here.
HOLLY: And that is?
HAMILTON: Because, Ms Fray, we want to give you an opportunity.
HOLLY: To what? Make the acquaintance of the Republic’s finest? [she jerks her head towards the guard standing behind HAMILTON] Sorry, I’ll have to pass.
HAMILTON: I wonder if we could have a little chat.
HOLLY: I’ve got plans. I’ll see if I can fit you in sometime next week.
HAMILTON: What can you tell me about The Drummer?
HOLLY: Not much, it’s a magazine.
HAMILTON: Do you read it?
HOLLY: Not really. I’ve glanced at it a couple of times. It’s got a great fashion section you know?
HAMILTON: What about the Sibyl?
HOLLY: Isn’t that Greek?
HAMILTON: She’s one of the authors in The Drummer.
HOLLY: Huh. Can’t say I know anything about her.
HAMILTON: Let me inform you. She particularly likes to write exposés of politicians she deems corrupt. Revelations about secret deals and iniquitous connections. Of course, she keeps a secret identity because she knows she couldn’t defend any of these fantastic claims in a court.
HOLLY: Of course.
HAMILTON: It’s a very revealing name she’s chosen.
HOLLY: How’s that?
HAMILTON: The sibyls were female oracles who could tell the future. It’s clear this woman is convinced of her own ability to see the truth of things, she sees herself as a mythic prophetess.
HOLLY: It could be a man, just trying to put you off the scent.
HAMILTON: Maybe. Here’s one of her articles.
He motions to the guard, who steps forward, and hands him a piece of paper, which he then gives to Holly. As she reads, a video of the article being written comes onscreen, accompanied by this voice-over:
HOLLY V/O: In the latest of a long line of scandals concerning the corruption of the Cabinet, I have discovered that the Honourable Councillor Wilkins, in addition to sitting on the board of numerous companies and consultancies, has approved a patent for a drug produced by his father’s company, Medi-sense, overruling a decision made by the department of patents.
The drug, a treatment for chronic pulmonary diseases such as bronchitis - was initially refused a patent because it is essentially identical to an existing one produced by Medisense’s rival, WM. Clinical trials showed no significant difference between the two treatments. However, Medisense’s version costs £5 more per dose, and thanks to a preferential contract with the Health Service the more expensive drug will be the one bought across the country. With the current “economy measures” this means that poor families in need of treatment will be forced to pay more for no benefit other than a politician’s profit.
HAMILTON: Interesting stuff, isn’t it?
HOLLY: Hmm. I’ve never really been into politics.
HAMILTON: Is that correct? Why then, our sources really are poor. Why, we thought you were a member of the Alliance of Opposition.
HOLLY: That’s not really a political organisation -
HAMILTON: And you’ve been arrested five times on protests. Would’ve been six if it weren’t for the slight injury you sustained - how long was it you were in hospital?
HOLLY: Ok, so I got involved - last I heard that wasn’t illegal.
HAMILTON: And it’s in your family as well - your parents were both vocal critics of the Republic weren’t they?
HOLLY: I don’t see what my parents have to do with -
HAMILTON: At least until they disappeared. Of course some people seemed to think at the time that they had been arrested.
HOLLY: Yes.
HAMILTON: That was rather put a stop to, though, wasn’t it?
HOLLY: Yes.
HAMILTON: I wonder what hurt more - finding out your parents had run away from you and your sister, or finding out they were dead?
HOLLY jumping to her feet: You will shut up! [the guard steps forward to restrain her while Hamilton remains completely unflustered] You will shut the hell up! I swear I’ll -
HAMILTON: Now come on, there’s no need for violence…
HOLLY: This is enough! Stop talking. Just stop, OK? I want to go. I want to leave…
She’s left limp and defeated, and collapses back into her chair. At a signal from Hamilton, the guard returns to his previous position.
SCENE 3
HAMILTON: Now, let’s just calm down. Let me tell you why you’re here.
Holly, I will admit I’ve been carrying on something of a charade - I know very well who you are, and I know who the Sibyl is. You’re here for one reason - we want to help you.
HOLLY: Thanks, but I think I’ll manage. And I don’t know who this girl is, even assuming it is a girl but -
HAMILTON: No more pretending Holly. You wrote those articles. We have proof, proof no lawyer in the country could deny. See - [he repeats the paper transfer via the guard] you sent this message to the publisher. A small slip up, your first actually. I suppose everyone slips up eventually. But it wasn’t difficult to trace both of you from this. You see, we’ve been monitoring Nathaniel Tate’s electronic messages for a long time, we suspected he was involved in something, and you proved it. Isn’t modern technology wonderful?
HOLLY: I can explain this! It just means -
HAMILTON: And once we found you, we cross-referenced a few facts. Your job, you’re a secretary aren’t you?
HOLLY: Yes.
HAMILTON: To Councillor Wilkins?
HOLLY: Yes, but that’s all circumstantial -
HAMILTON: Of course you’d have access to all sorts of sensitive information in that position.
HOLLY: That doesn’t make me guilty!
HAMILTON: So then we had your apartment searched. We uncovered quite a lot. Now, why would an innocent person have a secret compartment under their floor? We know everything Holly. There’s no use lying to us, I doubt there’s a single thing we don’t know about you.
HOLLY: How… Who?
HAMILTON: That’s not important.
HOLLY: I’m not going to help you.
HAMILTON: The way our society works now, Holly, is through mutual support. Everyone helps each other. Everyone is better off. We help you and you help us.
HOLLY: Spare me the party line. I’ve heard this before.
HAMILTON: It’s not a line. It’s the truth and people who fight against it only end up hurting themselves and getting nowhere. We want you to stop fighting Holly. We want you to help us.
HOLLY: Well you can find someone else to help. [she stands] If you think I’m going to tell you anything just to save myself you’re wrong! I hate this system, I hate the people who keep it going and I’ll be damned before I -
The guard has been moving towards Holly, and as she looks as if she’s going to lunge at Hamilton, he grabs her by the hair and pins her to the table.
HAMILTON: Hasn’t it sunk in yet? You’re here, and you either leave accepting our deal or you don’t leave at all. You don’t have a choice, the moment we found out who you were you stopped having a choice. You stopped having a choice the moment you started writing those articles, you started digging around.
The guard lets go of her but remains behind her shoulder and she shrinks into her chair, automatically smoothing down her hair.
HAMILTON: In return for a very small service we will ensure that no charges concerning your role in writing for The Drummer will ever be brought. And, I think this may be the clincher, we’ll offer the same to your sister.
HOLLY looking up sharply: What about Darya?
HAMILTON: Yes, the really unfortunate thing is that when you absentmindedly sent that message, you also led us directly to her. We knew the Sibyl was likely more than one person so we checked out your associates and, there she was. If anything, she’s a bigger find. Do you know how many charges of libel and malicious falsehood she faces? There’s even one that could stretch to treason.
HOLLY: Where is she?
HAMILTON: We don’t have her if that’s what you mean. But there’s only one thing standing between her and a great many years in prison. You. [she looks up at him] What do you have to say?
HOLLY: What do you want me to do?
HAMILTON: It’s really very simple. Write to your Nathaniel Tate, tell him you faked those stories, how they’re completely untrue and tell him to put a retraction in the next issue. Tell him you’re ashamed, but that you want to come clean. That when you couldn’t actually find anything out you made it up.
HOLLY shaking her head: He’d never believe me! He wouldn’t…
HAMILTON: Then you go free, and so does your sister.
HOLLY: And if I don’t?
HAMILTON: Well, neither one of you will see the light of day for a long, long time. Chances are, we’ll find a charge to bring and you’ll be sentenced from here. We’ll arrest Darya, [the guard reaches out to stroke Holly’s hair creepily] who knows what will happen to her? Maybe if she’s lucky it’ll just be jail, but there’s more and more demand for labour these days. Factory work wouldn’t suit your sister at all, would it?
HOLLY: No.
HAMILTON: Not with that nasty condition of hers. An obstructive pulmonary disease they call it - imagine how it would be aggravated. She might not even survive her sentence. They don’t give drugs to criminals you know.
HOLLY: But Nate would never print that kind of retraction! He wouldn’t believe me, and even if he did… it would undermine the whole thing!
HAMILTON: You mean that this publication of righteousness, sworn to uphold the values of honesty and integrity would lie about whether it’s printing lies or facts? How disappointing, it really makes me question my ideals. But I don’t think that’s the problem - are you too proud?
HOLLY: He’d know, he’d figure out that I was being made to -
HAMILTON: Then you’ll just have to be especially convincing, then, won’t you? Remember, you don’t have a real choice here - you help us, we help you. You don’t and you’ve betrayed both yourself and your sister.
HOLLY: What if she finds out? She’d never forgive me.
HAMILTON: She won’t know.
HOLLY: How can I trust you?
HAMILTON: Have a little faith. However, I can assure that our threats are always acted upon. So on the one hand, certain punishment. On the other, possible release.
HOLLY: I’ll do it -
HAMILTON: Excellent!
HOLLY: On the condition that I get a signed agreement that neither me nor Darya will be charged with anything.
HAMILTON: I think I can arrange that.
HOLLY: And that Darya is never told what I did.
HAMILTON: If you’re sure that’s what you want. You can take Ms Fray back to her cell now...and do make sure she’s given something solid to eat.
The guard takes HOLLY by the arm, leading her back out.
SCENE 4
HAMILTON presses the pause button of the recorder. He reorganizes his notes, putting them back into the folder in an orderly fashion. Once finished he presses the record button again and speaks to the microphone:
HAMILTON: Summation of interview with target Holly Fray. The objectives have been met and exceeded. The target has agreed to our offer and only requires a formal confirmation.
He presses stop, removes the tape and labels it, taping it onto the inside of Holly’s folder, which he slips into his briefcase. During this process the guard has come back in and stands patiently awaiting orders CSL; Hamilton gives him a signal. The guard leaves and re-enters escorting another woman. She is identical to Holly, but she looks smarter - not as if she’s been in a cell for several days. It is Darya. She sits down opposite Hamilton. She is nervous and distracted and has a cough.
HAMILTON: Hello Darya.
DARYA: I wish you wouldn’t use my first name.
HAMILTON: I’m sorry, do forgive me. I just prefer a friendlier attitude. Was your journey comfortable?
DARYA: Yes… [she gets up and paces distractedly] Look, just tell me, is it done? Have you talked to her?
HAMILTON: Don’t worry, she’s agreed to everything. She’ll be released tomorrow, just as soon as the paperwork’s done.
DARYA: Did she… does she suspect…?
HAMILTON laughing: No, I don’t think it crossed her mind to suspect you. In fact it was quite touching - she tried to keep your name out of it, tried to protect you. She didn’t even want you to know what she’d done.
DARYA quietly: That’s just like her. Is she Ok?
HAMILTON: She’s fine. A little rough around the edges maybe but… I suppose you want your reward now? Ask nicely.
DARYA: Please.
HAMILTON: There you go, that wasn’t too hard. Just sign here, it’s a guarantee not to disclose your involvement in this case to anyone. [she signs] And here, [he signs a slip of paper and slides it across to her] being an informant does have its perks. [she reads what it is - a prescription - and looks at Hamilton] Courtesy of Medi-sense. [he gets up to stand next to her] This is how society works Darya - you help us and we help you.
NOTE: scenes are continuous and are included only to clarify the structure of the play and should be invisible to the audience.
PROLOGUE
USC is a screen and in front of it is a table and two chairs. As the audience try to enter the performance space they are ushered by two guards dressed in military uniform and wearing masks. The last person to enter is HOLLY. The guard at the door grabs her by the arm as she tries to run away, terrified.
HOLLY: No, please! Stop! There’s been a mistake!
She is dragged outside, out of sight of the audience. The other guard moves to stand USR.
A beat. A video showing a news montage of current and recent disasters, riots etc with a V/O:
NARRATOR: This is our world, these are dangerous times. Watch out, be afraid. Anyone among you may be a threat. Accept compromise. Trust in the state to be right, but never trust those who question it. A few may suffer, but it is for the good of us all. This is our world, these are dangerous times.
SCENE 1
The film flickers off, dissolving into white noise, then flicks on again to show HOLLY in small cell, pacing restlessly. It is in black and white and from above, like a CCTV video. HAMILTON enters purposefully and sits on the SR chair and spreads out his pieces of paper and puts a tape recorder to the US side. He clears his throat and presses the record button:
HAMILTON: Preliminary to interview 5 with target HOLLY FRAY. Report shows that the target has been showing signs of restlessness during her detention. She has also been making demands to see a lawyer and to be charged with the reason for her detention. So far, this has not resulted in violence, although the target does show aggressive tendencies. I would suggest that a small dose of sedative be added to her supplements to prevent any future incidents. Previous interviews have produced minimal results.
The objective of this interview is to make contact with the target and establish a dialogue which will lead to increased trust. I also intend to sound out the reliability of our sources on the target, specifically whether she is indeed so well connected with our super-target and approach the overall objective of the operation.
He presses the pause button on the recorder and makes a brief note on a pad of paper immediately adjacent to the machine.
HAMILTON to the guard onstage: Please bring the target in.
SCENE 2
The guard exits; onscreen we see HOLLY being hauled out of her cell and a few seconds later the guard and HOLLY enter. She is dumped in front of the small table, and watches HAMILTON warily. He looks neutrally at HOLLY, who glares at him. He presses the record button before speaking.
HAMILTON: Hello Holly, how are you? [HOLLY only glares at him some more] Now come on, there’s no need for rudeness, it’s only a friendly greeting.
HOLLY: You can call me Ms. Fray.
HAMILTON: Very well, how are you Ms Fray?
HOLLY: I’ve been wrongfully arrested, transported who knows where and held against my will for who knows how long and I’ve hardly been fed. I’ve yet to see a lawyer, I’ve been asked the same questions four times now and no one so far has charged me with any crime.
HAMILTON: Hmm.
HOLLY: So, are you going to tell me why I was arrested?
HAMILTON: I’m afraid I can’t tell you that -
HOLLY: I have the right to know what I’m charged with! I know my rights and I demand you tell me -
HAMILTON: Now Holly - sorry, Ms Fray - when I say I can’t tell you I mean it quite literally. I don’t know why you were arrested. I only know why you’re here.
HOLLY: And that is?
HAMILTON: Because, Ms Fray, we want to give you an opportunity.
HOLLY: To what? Make the acquaintance of the Republic’s finest? [she jerks her head towards the guard standing behind HAMILTON] Sorry, I’ll have to pass.
HAMILTON: I wonder if we could have a little chat.
HOLLY: I’ve got plans. I’ll see if I can fit you in sometime next week.
HAMILTON: What can you tell me about The Drummer?
HOLLY: Not much, it’s a magazine.
HAMILTON: Do you read it?
HOLLY: Not really. I’ve glanced at it a couple of times. It’s got a great fashion section you know?
HAMILTON: What about the Sibyl?
HOLLY: Isn’t that Greek?
HAMILTON: She’s one of the authors in The Drummer.
HOLLY: Huh. Can’t say I know anything about her.
HAMILTON: Let me inform you. She particularly likes to write exposés of politicians she deems corrupt. Revelations about secret deals and iniquitous connections. Of course, she keeps a secret identity because she knows she couldn’t defend any of these fantastic claims in a court.
HOLLY: Of course.
HAMILTON: It’s a very revealing name she’s chosen.
HOLLY: How’s that?
HAMILTON: The sibyls were female oracles who could tell the future. It’s clear this woman is convinced of her own ability to see the truth of things, she sees herself as a mythic prophetess.
HOLLY: It could be a man, just trying to put you off the scent.
HAMILTON: Maybe. Here’s one of her articles.
He motions to the guard, who steps forward, and hands him a piece of paper, which he then gives to Holly. As she reads, a video of the article being written comes onscreen, accompanied by this voice-over:
HOLLY V/O: In the latest of a long line of scandals concerning the corruption of the Cabinet, I have discovered that the Honourable Councillor Wilkins, in addition to sitting on the board of numerous companies and consultancies, has approved a patent for a drug produced by his father’s company, Medi-sense, overruling a decision made by the department of patents.
The drug, a treatment for chronic pulmonary diseases such as bronchitis - was initially refused a patent because it is essentially identical to an existing one produced by Medisense’s rival, WM. Clinical trials showed no significant difference between the two treatments. However, Medisense’s version costs £5 more per dose, and thanks to a preferential contract with the Health Service the more expensive drug will be the one bought across the country. With the current “economy measures” this means that poor families in need of treatment will be forced to pay more for no benefit other than a politician’s profit.
HAMILTON: Interesting stuff, isn’t it?
HOLLY: Hmm. I’ve never really been into politics.
HAMILTON: Is that correct? Why then, our sources really are poor. Why, we thought you were a member of the Alliance of Opposition.
HOLLY: That’s not really a political organisation -
HAMILTON: And you’ve been arrested five times on protests. Would’ve been six if it weren’t for the slight injury you sustained - how long was it you were in hospital?
HOLLY: Ok, so I got involved - last I heard that wasn’t illegal.
HAMILTON: And it’s in your family as well - your parents were both vocal critics of the Republic weren’t they?
HOLLY: I don’t see what my parents have to do with -
HAMILTON: At least until they disappeared. Of course some people seemed to think at the time that they had been arrested.
HOLLY: Yes.
HAMILTON: That was rather put a stop to, though, wasn’t it?
HOLLY: Yes.
HAMILTON: I wonder what hurt more - finding out your parents had run away from you and your sister, or finding out they were dead?
HOLLY jumping to her feet: You will shut up! [the guard steps forward to restrain her while Hamilton remains completely unflustered] You will shut the hell up! I swear I’ll -
HAMILTON: Now come on, there’s no need for violence…
HOLLY: This is enough! Stop talking. Just stop, OK? I want to go. I want to leave…
She’s left limp and defeated, and collapses back into her chair. At a signal from Hamilton, the guard returns to his previous position.
SCENE 3
HAMILTON: Now, let’s just calm down. Let me tell you why you’re here.
Holly, I will admit I’ve been carrying on something of a charade - I know very well who you are, and I know who the Sibyl is. You’re here for one reason - we want to help you.
HOLLY: Thanks, but I think I’ll manage. And I don’t know who this girl is, even assuming it is a girl but -
HAMILTON: No more pretending Holly. You wrote those articles. We have proof, proof no lawyer in the country could deny. See - [he repeats the paper transfer via the guard] you sent this message to the publisher. A small slip up, your first actually. I suppose everyone slips up eventually. But it wasn’t difficult to trace both of you from this. You see, we’ve been monitoring Nathaniel Tate’s electronic messages for a long time, we suspected he was involved in something, and you proved it. Isn’t modern technology wonderful?
HOLLY: I can explain this! It just means -
HAMILTON: And once we found you, we cross-referenced a few facts. Your job, you’re a secretary aren’t you?
HOLLY: Yes.
HAMILTON: To Councillor Wilkins?
HOLLY: Yes, but that’s all circumstantial -
HAMILTON: Of course you’d have access to all sorts of sensitive information in that position.
HOLLY: That doesn’t make me guilty!
HAMILTON: So then we had your apartment searched. We uncovered quite a lot. Now, why would an innocent person have a secret compartment under their floor? We know everything Holly. There’s no use lying to us, I doubt there’s a single thing we don’t know about you.
HOLLY: How… Who?
HAMILTON: That’s not important.
HOLLY: I’m not going to help you.
HAMILTON: The way our society works now, Holly, is through mutual support. Everyone helps each other. Everyone is better off. We help you and you help us.
HOLLY: Spare me the party line. I’ve heard this before.
HAMILTON: It’s not a line. It’s the truth and people who fight against it only end up hurting themselves and getting nowhere. We want you to stop fighting Holly. We want you to help us.
HOLLY: Well you can find someone else to help. [she stands] If you think I’m going to tell you anything just to save myself you’re wrong! I hate this system, I hate the people who keep it going and I’ll be damned before I -
The guard has been moving towards Holly, and as she looks as if she’s going to lunge at Hamilton, he grabs her by the hair and pins her to the table.
HAMILTON: Hasn’t it sunk in yet? You’re here, and you either leave accepting our deal or you don’t leave at all. You don’t have a choice, the moment we found out who you were you stopped having a choice. You stopped having a choice the moment you started writing those articles, you started digging around.
The guard lets go of her but remains behind her shoulder and she shrinks into her chair, automatically smoothing down her hair.
HAMILTON: In return for a very small service we will ensure that no charges concerning your role in writing for The Drummer will ever be brought. And, I think this may be the clincher, we’ll offer the same to your sister.
HOLLY looking up sharply: What about Darya?
HAMILTON: Yes, the really unfortunate thing is that when you absentmindedly sent that message, you also led us directly to her. We knew the Sibyl was likely more than one person so we checked out your associates and, there she was. If anything, she’s a bigger find. Do you know how many charges of libel and malicious falsehood she faces? There’s even one that could stretch to treason.
HOLLY: Where is she?
HAMILTON: We don’t have her if that’s what you mean. But there’s only one thing standing between her and a great many years in prison. You. [she looks up at him] What do you have to say?
HOLLY: What do you want me to do?
HAMILTON: It’s really very simple. Write to your Nathaniel Tate, tell him you faked those stories, how they’re completely untrue and tell him to put a retraction in the next issue. Tell him you’re ashamed, but that you want to come clean. That when you couldn’t actually find anything out you made it up.
HOLLY shaking her head: He’d never believe me! He wouldn’t…
HAMILTON: Then you go free, and so does your sister.
HOLLY: And if I don’t?
HAMILTON: Well, neither one of you will see the light of day for a long, long time. Chances are, we’ll find a charge to bring and you’ll be sentenced from here. We’ll arrest Darya, [the guard reaches out to stroke Holly’s hair creepily] who knows what will happen to her? Maybe if she’s lucky it’ll just be jail, but there’s more and more demand for labour these days. Factory work wouldn’t suit your sister at all, would it?
HOLLY: No.
HAMILTON: Not with that nasty condition of hers. An obstructive pulmonary disease they call it - imagine how it would be aggravated. She might not even survive her sentence. They don’t give drugs to criminals you know.
HOLLY: But Nate would never print that kind of retraction! He wouldn’t believe me, and even if he did… it would undermine the whole thing!
HAMILTON: You mean that this publication of righteousness, sworn to uphold the values of honesty and integrity would lie about whether it’s printing lies or facts? How disappointing, it really makes me question my ideals. But I don’t think that’s the problem - are you too proud?
HOLLY: He’d know, he’d figure out that I was being made to -
HAMILTON: Then you’ll just have to be especially convincing, then, won’t you? Remember, you don’t have a real choice here - you help us, we help you. You don’t and you’ve betrayed both yourself and your sister.
HOLLY: What if she finds out? She’d never forgive me.
HAMILTON: She won’t know.
HOLLY: How can I trust you?
HAMILTON: Have a little faith. However, I can assure that our threats are always acted upon. So on the one hand, certain punishment. On the other, possible release.
HOLLY: I’ll do it -
HAMILTON: Excellent!
HOLLY: On the condition that I get a signed agreement that neither me nor Darya will be charged with anything.
HAMILTON: I think I can arrange that.
HOLLY: And that Darya is never told what I did.
HAMILTON: If you’re sure that’s what you want. You can take Ms Fray back to her cell now...and do make sure she’s given something solid to eat.
The guard takes HOLLY by the arm, leading her back out.
SCENE 4
HAMILTON presses the pause button of the recorder. He reorganizes his notes, putting them back into the folder in an orderly fashion. Once finished he presses the record button again and speaks to the microphone:
HAMILTON: Summation of interview with target Holly Fray. The objectives have been met and exceeded. The target has agreed to our offer and only requires a formal confirmation.
He presses stop, removes the tape and labels it, taping it onto the inside of Holly’s folder, which he slips into his briefcase. During this process the guard has come back in and stands patiently awaiting orders CSL; Hamilton gives him a signal. The guard leaves and re-enters escorting another woman. She is identical to Holly, but she looks smarter - not as if she’s been in a cell for several days. It is Darya. She sits down opposite Hamilton. She is nervous and distracted and has a cough.
HAMILTON: Hello Darya.
DARYA: I wish you wouldn’t use my first name.
HAMILTON: I’m sorry, do forgive me. I just prefer a friendlier attitude. Was your journey comfortable?
DARYA: Yes… [she gets up and paces distractedly] Look, just tell me, is it done? Have you talked to her?
HAMILTON: Don’t worry, she’s agreed to everything. She’ll be released tomorrow, just as soon as the paperwork’s done.
DARYA: Did she… does she suspect…?
HAMILTON laughing: No, I don’t think it crossed her mind to suspect you. In fact it was quite touching - she tried to keep your name out of it, tried to protect you. She didn’t even want you to know what she’d done.
DARYA quietly: That’s just like her. Is she Ok?
HAMILTON: She’s fine. A little rough around the edges maybe but… I suppose you want your reward now? Ask nicely.
DARYA: Please.
HAMILTON: There you go, that wasn’t too hard. Just sign here, it’s a guarantee not to disclose your involvement in this case to anyone. [she signs] And here, [he signs a slip of paper and slides it across to her] being an informant does have its perks. [she reads what it is - a prescription - and looks at Hamilton] Courtesy of Medi-sense. [he gets up to stand next to her] This is how society works Darya - you help us and we help you.
Thursday, 6 November 2008
Performance photos
Here are some of the stills taken of our rehearsals/performances (regrettably there are only a few of my play because Miss McNab, our resident photographer, couldn't be there while we did the tech rehearsal of Dangerous Times):
Saturday, 1 November 2008
I decided to start this blog the day after the performance of my Advanced Higher Drama class' work for Unit 1, but that was a month ago. I've been up to a lot in the mean time but first I want to relate what happened for that performance:
The three of us (myself, Maisie and Sean) had been frantically preparing for the big day, starting with writing our scripts over the summer holidays. Maisie's was a montage looking at consumerism, Sean's was a supernatural love-story about a couple and their relationship after the wife dies, and mine was a political thriller. Then came the weeks of rehearsal - it was an interesting time, with all of us experiencing desperate highs and lows as one day we thought we'd gotten a break-through and the next realising that nothing worked. And we had to assemble props and costume, create oodles of media and design the lighting. I also had the problem of designing several violent sequences which required intense rehearsal to avoid concussing my leading lady. This is all in addition to arranging the venue, which wasn't easy with limited funds and no way of knowing whether we'd make any money back.
We got there eventually, though. We spent the morning of October 1st talking to the technicians at Perth Studio Theatre, getting the lighting set and checking we had everything we needed. Our "extras", Ruridh and Chloe, arrived at 12, in time for lunch and the tech runs in the afternoon. Everything went pretty smoothly, although there were a few creases to be ironed out.
Amazingly, we sold out all of our seats twice. First when it was just 30, then again when we increased it to 50. All in all, we managed to break even.
The performance itself I only remember slightly: I was running on adrenaline for most of the time. It all went off well, however, and I was especially happy with my own play, which I could actually watch. I really am thrilled I got such great actors as Maisie and Sean to play the characters, they captured everything so well!
After the show was fantastic, everyone lingered a little and we got a chance to talk to people, including teachers, students, friends and even the head of education in Perth and Kinross. Everyone was very kind, but we had to leave fairly soon so the technicians, who had been so helpful and forgiving of our lack of experience, could strike and close up.
The entire experience was very revealing for me, because while it was undoubtedly one of the most stressful times of my life, it was also one of the most enjoyable. I just loved putting things together and working with lots of creative people to realise this vision I had.
The three of us (myself, Maisie and Sean) had been frantically preparing for the big day, starting with writing our scripts over the summer holidays. Maisie's was a montage looking at consumerism, Sean's was a supernatural love-story about a couple and their relationship after the wife dies, and mine was a political thriller. Then came the weeks of rehearsal - it was an interesting time, with all of us experiencing desperate highs and lows as one day we thought we'd gotten a break-through and the next realising that nothing worked. And we had to assemble props and costume, create oodles of media and design the lighting. I also had the problem of designing several violent sequences which required intense rehearsal to avoid concussing my leading lady. This is all in addition to arranging the venue, which wasn't easy with limited funds and no way of knowing whether we'd make any money back.
We got there eventually, though. We spent the morning of October 1st talking to the technicians at Perth Studio Theatre, getting the lighting set and checking we had everything we needed. Our "extras", Ruridh and Chloe, arrived at 12, in time for lunch and the tech runs in the afternoon. Everything went pretty smoothly, although there were a few creases to be ironed out.
Amazingly, we sold out all of our seats twice. First when it was just 30, then again when we increased it to 50. All in all, we managed to break even.
The performance itself I only remember slightly: I was running on adrenaline for most of the time. It all went off well, however, and I was especially happy with my own play, which I could actually watch. I really am thrilled I got such great actors as Maisie and Sean to play the characters, they captured everything so well!
After the show was fantastic, everyone lingered a little and we got a chance to talk to people, including teachers, students, friends and even the head of education in Perth and Kinross. Everyone was very kind, but we had to leave fairly soon so the technicians, who had been so helpful and forgiving of our lack of experience, could strike and close up.
The entire experience was very revealing for me, because while it was undoubtedly one of the most stressful times of my life, it was also one of the most enjoyable. I just loved putting things together and working with lots of creative people to realise this vision I had.
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