(WE HAVE THE OPENING CREDITS AND THEN:) |
(ELECTRONIC MUSIC SWELL AND TAKE UNDER) |
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YOUNG DRUG USER: | I take drugs for fun. I don’t take drugs to become completely and utterly disassociated from reality. Do you know what I mean? I’m in control of it – definitely. |
INMATE 1: | At times I knew I had a problem, but because it wasn’t affecting me really, I didn’t realise I was a Junkie, like people see a junkie with needles hanging out of their arms and whatever. It was summat I thought I could handle, but I realised it was stopping me progress in life basically. |
(SWELL DREAMY, EXOTIC ELECTRONIC MUSIC AND TAKE UNDER:) |
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STUDENT ACTRESS: | (Reading from Thomas De Quincey’s Confessions of an English Opium-eater) Oh just, subtle and all conquering opium that to the hearts of rich and poor alike bringest an assuaging balm. Eloquent opium! Thou buildest upon the bosom of darkness, out of the fantastic imageries of the brain, cities and temples beyond the splendours of Babylon and from the anarchy of dreaming sleep call’st into sunny light the faces of long buried beauties. Thou hast the keys of paradise. |
(SWELL MUSIC AND FADE) |
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INMATE 2: | Next time I took, it in was in Bombay, in India. I met this French prostitute and her fellow who was selling heroin at two pound a gram. I thought give us a go of that like. |
The two next episodes are The Lower Depths and Prison and Prison, Rehabilitation and Hoped For Recovery
Building on the success of the Drugs Therapeutic Community feature we were also asked to produce a radio soap opera with the prisoners and staff of Channings Wood. We also included episodes about the challenges and problems of prisoners’ families. We recorded some episodes outside the prison with staff and friends as actors. Thus we gave the soap a working title of Inside Out.
The Soap was about the Drugs Therapeutic Unit but it was recorded with prisoners in the main prison, as well as some scenes with prisoners in the separated VPU (Vulnerable Prisoner’s Unit). The VPU is for prisoners, such as child abusers who might be attacked by other prisoners. One of our main intentions was to awaken prisoners to the damage they had caused to others and to give them the skills and confidence not to offend again.
(EPISODE 1. SCENE 1. INTERIOR ACOUSTIC OF LARGE ROOM. THERE IS BACKGROUND CHATTER OF MALE PRISONERS.) |
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JIM: | You, all right? |
BERT: | Whatever. |
JIM: | How was your journey down here? |
BERT: | Rubbish mate, staying in all the jails and that. Bang out of order mate. |
JIM: | Yeah. |
BERT: | All I want to do is get some kip. I can’t even get my property. They say I’ll have to wait until tomorrow. |
JIM: | I know what you mean. |
BERT: | I’ve got to leave it in reception over night. I’ve done that for the past two days, coming down here. Now I’ve got to leave it over again for three days. I can’t even brush my teeth. I had to use prison issue yesterday. I don’t like that. |
JIM: | That’s the prison system for you. You’ve come to the drugs therapeutic community . To do something for your life, but you’re still in prison. We’ve got to abide by their rules at the end of the day. |
BERT: | Look mate. I just can’t get my head around it. |
JIM: | What I want to talk to you about is the induction. It’s a five or six weeks period. You’re going to be working on issues, you don’t even know you have yet. |
BERT: | Right. |
JIM: | What I’ve got here is a little induction book for yer. |
BERT: | Sweet mate. |
JIM: | If you’ve got any thoughts … feelings write ’em down. |
BERT: | For what? Put my feelings on paper. |
JIM: | Yes, someone brings feelings out and you write em down. If you don’t understand summat, then we’ll read ’em out …. in the group. |
BERT: | You’re ‘aving a laugh, aren’t yer? And everyone hears it? |
JIM: | That’s what you’re here for. If there’s summat you can’t put down, yeah? Because you feel embarrassed to talk about it in a room full of lads … |
BERT: | I don’t like that. |
JIM: | You got a structure and me; first port of call. Come and see me. I’m in Derby 2. |
BERT: | Yeah. Right. |
JIM: | It’s going to be hard to get your head around this place, but I say is, for the life you’ve had out there and all the pain we’ve caused other people, mainly our families… |
(WE HEAR LAUGHTER IN THE BACKGROUND) |
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BERT: | What’s that there? |
JIM: | What them in dresses? |
BERT: | What’s he doing? |
JIM: | It’s not that, innit? You know …. |
BERT: | How’s he get a wig and a dress in prison? What’s that all about, man? |
JIM: | It’s a confidence building thing.. Some people who haven’t got confidence to go out and perform in the morning meeting… |
BERT: | Get on him. He’s dancing in a mini skirt. What’s that? He’s got a crop top on as well. How’s he get high heeled shoes in jail ? |
JIM: | Do you not wear them clothes? |
BERT: | What do you take me for, some kind of tranny? What’s that all about? We’re criminals in jail, man. You don’t bounce around in dresses. |
JIM: | That can prevent you from going there and taking drugs and dying somewhere in a corner. |
BERT: | What? Dancing in a dress will stop me from selling drugs. |
JIM: | Yeah. |
BERT: | Look at him. He loves it. Red dress, high heels and a wig. He’s got summat down his top to make fake … er … think top half things. |
(BACKGROUND CHAT) |
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BERT: | What’s that all about man? |
(MORE BACKGROUND CHAT) |
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BERT: | I can’t take this . I’m leaving. |
JIM: | Go on you don’t want to be a know all, like my old mate, Billy Braggard. |
BERT: | Why who’s Billy Braggard? Is he one of those trannies over there? |
JIM: | Billy only dresses in tattoos. I knew him in Exeter. You don’t want to be a career criminal like him. He’s over on the main now. |
CRAIG: | Good afternoon community my name’s Craig. |
EVERY BODY SHOUTS: | Good afternoon Craig. |
CRAIG: | Please welcome Bert Jackson to the community. |
(LOTS OF CHEERING AND CLAPPING) |
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BERT: | Good afternoon community my name’s Bert. |
ALL SHOUT: | Good afternoon Bert. |
BERT: | Er… Thanks for that, lads, for making me feel welcome. Er … I’m a bit nervous, so bare with me, please, lads. Well, I’ve come here, cos I’ve got a thirteen year old daughter. She’s called Katie, you know. And I love her to bits, you know. Er .. I just want to sort out my life. Be a good Dad, and stop letting her down, and meself down. And just basically be there for her and live a drugs free life. And that’s it, lads. |
(EVERYBODY CHEERS AGAIN. CRAIG INVITES ANOTHER MEMBER OF THE COMMUNITY) |
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CRAIG: | Ok, Norman’s spot. Cooper. |
COOPER: | Afternoon community, my name’s Cooper. |
EVERYBODY: | Afternoon. Cooper? |
COOPER: | Yeah a bit. It’s a bit early innit, when you first land here, mate. But if you want to start sorting yourself out, this is the right place to come, mate. You’ve got a lot of support, you’ve seen by the cheer you got off the community. We’re behind you all a hundred percent, mate. You know, if you’re ever stuck this is what it’s about mate.. We all speak together. Good luck, mate. All right? |
(MORE CHEERING AND CLAPPING.) |
Later I was invited to produce another radio soap opera at another prison.
For the Soap Opera, Gerry Ryan, with the support of the Writers in Prison Network and Global Solutions Ltd, applied successfully to the Arts Council for a grant.
This was to help the prisoners to write, perform and post produce the first eleven episodes of what it is hoped will become, a continuing and self sustaining Radio Soap Opera at HMP Rye Hill.
A judge from the Arthur Koestler Awards Scheme reported on the first episode as follows:
We were so impressed by this entry. Group writing is tricky, and yet this group had clearly worked brilliantly together to produce a piece of writing that was funny, moving, exciting and interesting. We particularly appreciated the deep thought that must have gone into the cast of characters to put into the series. They are spot on and provide fertile ground for stories in future episodes. Starting the episode with the arrival of a new prisoner is an inspired device, as it allows the audience to discover the new world of prison through this sympathetic character. Giving stories to the prison officers as well as the inmates is great too, as it gives you double the stories and a wealth of different perspectives.
In future episodes we hope that prisoners will also include storylines not only on families, but also on the effects of their crimes on their victims. Here is the first five minute episode:
GUITAR MUSIC AND SONG: “I NEVER FELT MORE LIKE SINGING THE BLUES, COZ I’M IN THE NICK…” AND FADE UNDER: |
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ANNOUNCER: | Captive Radio presents “Conscripts”, a Radio Soap Opera, written and performed by the prisoners and staff of HMP Rye Hill. |
BRING UP GUITAR AND CROSSFADE INTO JEWELLERY BOX MUSIC: | |
SCENE 1. INT. JULIET WING: | |
FEMALE OFFICER: | ( soft and ingratiating) Welcome to HMP Uppendown, Juliet wing. We hope you had a comfortable Journey. If there is anything you need, do call me. |
DISTORT MUSIC BOX AND FADE | |
OFFICER: | (roar, overpowering) Right you, you little shit. Another innocent one for Uppendown eh? Get your gear and follow me. One word out of you, and we’ll put you on Kilo wing. That’s also known as Kosovo wing. You don’t want to end up there. |
PRISONER: | ( small and weak) Can I make a phone call? |
OFFICER: | (roaring) A phone call? No chance! You won’t last five minutes here with that attitude, son. This lot will eat you alive if they heard you talk like that. RATTLING OF KEYS, HEAVY CELL DOOR Now dry your eyes mate and get in there. |
TODGER: |
Hello my name’s Todger – I’ve been here so long, people think I’m a ghost – I’m on my way up to reception for a cup of tea. Sometimes they have cakes. Todger likes cakes. I wonder who’s coming in. |
SCENE 2. EXT. RECEPTION YARD | |
SWEATBOX ARRIVES, DOG BARKING | |
ESCORT: | Right Mr. Brown, let’s go, it’s getting late. Mind your step – don’t want you falling down before we get you inside, do we? |
JASON: | (STEPPING DOWN) Can I phone my mum? DOG GROWLS |
ESCORT: | (sharp) Come on Brown, time to go in. |
DOG HANDLER: | Keep away from the dog |
JASON: | Keep it away from me |
DOG HANDLER: | Don’t even look at it. |
ESCORT: | (laughing) Yeah, he’ll have your throat out that one. DOG HANDLER JOINS IN LAUGHING This way, come on. |
SCENE 3. INT. RECEPTION | |
RECEPTION DOOR OPENING AND ESCORT WITH JASON ENTERING | |
R/OFFICER: | Thanks you can take his cuffs off. Step up to the line in front of the desk! |
JASON: | Please can I phone my mum? SOUND OF HANDCUFFS BEING REMOVED |
R/OFFICER: | Right your Prison number is BL69570! Now repeat it back to me with your name first! |
JASON: | Brown BL6… (whispers) I’ve forgotten it |
R/OFFICER: | (hard raised voice) BL69570 |
JASON: | Can I phone… |
R/OFFICER: | (menacing) Behind the curtain and strip |
TODGER: | You’ve got to watch who you mix with here. Take that poor bloke Ellis, he’s getting involved with the wrong people. |
SCENE 4. INT. JON’S PAD | It’s a confidence building thing.. Some people who haven’t got confidence to go out and perform in the morning meeting… |
KNOCK ON DOOR | |
ELLIS: | Hey Jon, got a minute? |
JON: | Hello Ellis, you better have some burn if you want something from me. |
ELLIS: | I wanted to have a chat er, I might be able to help you. |
JON: | How do you think you can help me? |
ELLIS: | Well, I was hoping we might be able to help each other, |
JON: | Are you making a pass at me Ellis? |
ELLIS: | No! No way Jon I… I got a situation. |
JON: | A situation, eh? |
ELLIS: | Someone is beating up on me. Trying to make me do things… |
JON: | Wow! |
ELLIS: | No Jon it’s not like that. He wants me to get some stuff in for him. |
JON: | (serious) Well that’s easy Ellis you just send him to me, I get everything you or anybody else needs, if it comes in it comes through me. No need to get complicated. |
ELLIS: | I think it already is, I’m in big trouble, Jon. |
JON: | Ellis, let’s start this again; let’s start with who’s giving you grief. |
ELLIS: | I can’t say. |
JON: | I didn’t hear you, speak up. |
ELLIS: | You know I can’t say Jon; I’m not a grass. |
JON: | So what are you doing here then? You tell me someone is treading on my toes and then refuse to tell me who it is, get out of my pad… |
ELLIS: | But Jon I need help, please I can’t cope with this, it’s scaring the shit out of me. |
JON: | You should have thought of that before you decided to keep secrets from me, Ellis. |
TODGER: | I wonder how that new bloke they brought in is getting on. What’s his name, Jason? |
SCENE 5. INT. RECEPTION | |
INMATE: | Hey kid! New here are yer? You look great in prison gear. Bet yer underpants have got somebody’s skid marks in them? Ha, ha. |
JASON: | Why couldn’t I put my own stuff on? |
RECEPTION OFFICERS LAUGHING | |
R/OFFICER 1: | Ha, ha, we’ve got a right comedian here. (changes to nasty tone) It’s prison issue or nothing – your choice. And you there, just shut up! |
INMATE: | Oi! How long have I got to sit here? |
R/OFFICER 2: | Be quiet and sit down! I’ll deal with you as and when. |
INMATE: | No, no ,no, you can deal with me now! |
JASON: | Can I use the phone now? |
R/OFFICER 3: |
Stand back at the line and wait! We’re busy. (calls) Hey, Norm! That kettle boiled yet? (FADE) |
TODGER: |
You know, there’s always a power struggle. Looks like there’s trouble brewing on Juliet Wing. |
SCENE 6. INT. JULIET WING. ASSOCIATION |
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JON: | All right mate new here are you? Well I’m Jon, anything you need you come to me. All right? |
GEORGE: | Like what? Money? Women? |
JON: | All you need to know is: I run the wing. Nothing and no one comes in or goes out without me knowing about it, all right. So what’s your name? |
GEORGE: | Sorry – are you still talking to me? |
JON: | Foreign, are you? (as if he’d talking to a deaf idiot) I – said -what’s – your name? |
GEORGE: | Listen, mate. Just walk away. Okay? |
JON: | If you want a quiet life… |
(PAUSE) | |
JON: | All right. You want to play games? We’ll play games. Let’s see how well you get on here on the wrong side of me. |
GEORGE | (departing with a laugh) Okay mate. |
JON: | Oi! Don’t walk away from me. |
CLOSING MUSIC AND END OF EPISODE |
CDs of the first 11 episodes were sent to 150 prisons around the country to broadcast on their radio stations.
Using what you have learnt from this webpage about prisoners, think of how many other people you might help: and at the same time teach others English, while improving your own. What about helping those with PTSD (Post-traumatic stress disorder), refugees, the homeless or those suffering from illness or bereavement, by getting them to tell their stories and making a programme with you
Storytelling can be healing.