JOHN 2
I thought we could walk to the top. See the view.
JOHN’s phone vibrates on the desk. He picks it up and reads the text.
JOHN They’re here.
BECKY
I’ll go and fetch them if you like.
JOHN
No. It’s fine. I’ll nip down. BECKY
Sure?
JOHN Yeah. Thanks.
JOHN looks embarrassed – unable to meet BECKY’S eye.
INT. BH LIFT/RECEPTION DAY
JOHN stands in the lift – his face reflected by mirrors on all sides. The numbers change as the lift descends to the ground floor. The lift doors open to reveal a commotion in the foyer as a security guard attempts to extract FATHER from inside the revolving doors.
LUCY
Just stay there! Don’t move!
FATHER pushes against the glass panels. He’s trapped, unable to find his way out. On the other side of the glass LUCY signals frantically in an attempt to help. Her words, however, go unheard. The security guard swipes his pass and the doors start moving again.
JOHN What’s happened?
LUCY
He got his coat stuck in the door. It’s alright now.
FATHER emerges looking shaken.
JOHN Are you okay?
FATHER Not enough bloody room.
JOHN How was the journey?
MOTHER
Train was empty – had the whole carriage to ourselves practically.
JOHN
Well everyone’s looking forward to meeting you. You’ve checked into the hotel?
LUCY
Just dumped the bags and came straight here. They asked if we wanted a table for dinner – I wasn’t sure what we were doing.
JOHN
I thought we might go for a curry. LUCY
You’re joking?
JOHN Why not?
LUCY
He hates that sort of thing. JOHN
How do you know – he’s never had one. Not a proper curry anyway.
LUCY
With good reason. He won’t eat anything he can’t pronounce.
What’s the matter with a carvery? JOHN
It’ll be good for him. An
education. Besides, everyone’s going. LUCY Who’s everyone? JOHN On the production. LUCY Actors? JOHN Probably. LUCY Oh God.
JOHN
Why? What’s the matter with actors?
LUCY
They’re all so self-obsessed.
Probably why you get on with them.
FATHER interrupts holding his ID badge.
FATHER What do I do with this?
JOHN Pin it to your coat.
FATHER Who’s Becky?
JOHN What?
FATHER It says Becky Thomas.
MOTHER Mine does too.
JOHN looks at the badge on which is printed BECKY’S name.
JOHN
Oh. She’s the Broadcast Assistant. She was probably thought it was easier just to do it in her name.
FATHER Shouldn’t it say my name?
JOHN
I doesn’t matter – no one reads them.
FATHER
People won’t know who I am. JOHN
JOHN pins the badge to FATHER’s lapel.
FATHER Are you sure?
JOHN Quite sure.
MOTHER How’s it going?
JOHN
Fine. I just hope you’re not going to find it dull. There’s quite a lot of going over things – retakes.
LUCY (SOTTO)
I still don’t get why you were so keen for them to come.
JOHN
(approaching the lift) Quick – before it shuts again.
JOHN hurries to the lift and holds open the doors. Once everyone is inside he lets them close.
INT. BBC CORRIDOR DAY
JOHN leads MOTHER, FATHER and LUCY along a corridor and through a busy production office.
JOHN
Does anyone want a tea of coffee before we go in? Dad?
FATHER Please.
MOTHER You’ve just had one. FATHER When?
MOTHER On the train.
FATHER
Well can’t I have another one? MOTHER
I don’t think it’s a good idea, do you?
JOHN
All the actors wait through there – in the green room. This is the production office.
They turn a corner towards the studio.
JOHN
Loos are at the end there – if you need them.
The red recording light is illuminated above the door.
JOHN
We’ll just have to wait a minute.
FATHER peers into the studio through a narrow window in the door at the actors who are in the middle of a take. He watches them move in and out of view, silently running through their lines.
FATHER
And this is one of yours is it? JOHN
What?
MOTHER
Yes. This is one of John’s plays. (whispers to JOHN) I keep telling him.
The red light switches off.
JOHN Okay. We’re alright now.
JOHN pushes open the heavy door into the control room.
INT. CONTROL ROOM DAY
SALLY stands as they enter. JOHN introduces everyone.
SALLY Hi.
JOHN
This is Sally – the director. This is my dad, my mum and sister,
Lucy. LUCY Hello. MOTHER Hello. SALLY
Hi. Lovely to meet you all. Come in – take a seat. So glad you
could come.
BECKY Can I get anyone a drink?
JOHN Oh and this is Becky.
LUCY No thank you.
FATHER Coffee would be lovely.
MOTHER He’s fine. BECKY Sure? MOTHER Quite. BECKY Okay. Cool.
SALLY
We’re just about to go again on Scene 29.
JOHN Right.
JOHN takes his seat at the desk whilst the others settle themselves on a line of chairs at the back of the room. SALLY presses the intercom.
SALLY
Okay? Ready for another go?
The red ‘RECORDING’ light flashes on. MOTHER and FATHER sit with their faces reflected in the glass partition as the actors take their positions round the microphone, scripts in hand. As the faders on the desk move up we hear the sound of crows and the wind in the trees. The green light flashes.
JOHN 2