INTERLINKED

━━✦❘༻༺❘✦━━┛
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CONTENTS:
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Contingency Plan: PAGES 3 - 4

Character Profiles: PAGES:5 - 16
Script: PAGES:17 - 37
Location Recces: PAGES:38 - 47
Sound List: PAGES:48-49
Props List: PAGES:50-51
Equipment List: PAGES:52-53
Cost sheet: PAGE: 54
Crew List: PAGES:55 - 58
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CONTINGENCY PLAN:
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Risk Probability Solution

The weather isn’t 8/10. I will have to try and deal with my
how I want it. This Knowing England, it’s hard weather changes, especially if I have
could mean that for the weather app to be booked a place out.
100% right, as it is trying to However, I do plan to check the
predict the future. weather and schedule the days
depending on the weather and
location needed.
My actors/actresses 8/10. I plan to have backup actors and
are unavailable With is being exam season, actresses on standby just in case. I
when I need them it’s hard for all my actors have also got confirmation from my
and cancel last and actresses to commit actors that they are available from
minute. fully to my production, I this day, and will double check a few
have backup actors and days before my production, just in
actresses in mind, and I will case I need to find a replacement.
have plenty of crew people
who are willing to jump in if
need be.
My equipment 5/10. I want to make sure that everything
doesn’t work, it’s It’s a possibility something is charged the night before by
uncharged. Or I’m doesn’t work, or it is a having a checklist of things I need to
missing the struggle to use in the way I bring and what needs it be charged.
equipment I need. want it to show. Or I forget I also plan to use
to charge something the
night before.
I miss filming a page 6/10. I plan to have my days listed in a
of my script It’s unlikely as I plan to checklist by location, check each
have my booklet with you, thing off once it is done, and even
but I might end up check the scene off on the script. I
accidently skipping a page also plan to dedicate days to
different locations.
 4

by accidently just missing it

on my script.
Props forgotten or 5/10. Once again, I have a checklist for
broken or lost. I may leave something at items I need to bring with me on a
home, or it gets broken day and for each scene. I plan to
during production. bring bags with me that I pack the
night before, just to make sure
everything is perfectly fine. If my
prop gets broken, then I will have to
bring that into the production if it is
unfixable. I will have to use it to
show a change in the character, a
moment where they let go.
Locations become 5/10. I will have a similar location in the
unavailable. There’s a chance the venue back of my mind, I have location
changes their mind, or the recces filled out for other locations
location I plan to use is too as well, this means I have less work
busy. to fix up when I come back to
college after filming. I also plan to
use venues and get confirmation
before filming, just to solidify the
fact I can use their space.
 5

CHARACTERS:
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Name: ARIA
Played by: Lydia Westhoff
MBTI type: INJF-T
Style: Coquette, feminine, girly. Flowy skirts, baggy clothing, dainty
jewellery, light makeup.
Age: Unknown
Colour palette: White, pinks, pastels. These grow into more lively
colours as time goes on, this means developing into colours such
as green, orange, yellow. Colours that symbolise hope, happiness
and growth. We do see her fade into colours such as blue and
greys at times, but she always comes back.
Music taste: Clairo, Beabadoobee, Suki Waterhouse, Lizzy
McApline.
Personality: Soft, all sweet, friendly, popular. She seems a lot more
put together than she actually is, she hides her troubles away from
the world. A constant push over in a group full of self-absorbed
snobs. She’s a giver, not a taker. Yet with all this love, she has
none for herself. However, she is a lovable character, sweet and
trying to be optimistic.
 6

Similar Characters: Marshall Erikison, Alice Cullen, Tadashi, James

(End of The Fucking World).
Character type: The dreamer, however, we see a side to her
where she isn’t the dreamer. She struggles, and she’s falling down
the pit with her struggles.
Struggles with: Body Dysmorphia, insecurities with food and her
body, friend being in a toxic relationship and dealing with the
emotions.
Friends: What would be the popular kids in high school. Her best
friend who’s and a ‘jock/player’ who is in an on and off relationship
with Eccentric friend – the eccentric. She hears the whole low
down from him, even if she doesn’t ask, and must deal with his
constant emotions, with no one to help with her own. Her other
best friend is gorgeous, always getting the guys and girls, whoever
they want. Barbie is everything Aria wants to be. And this is where
the spout of body dysmorphia comes in – seeing her best mate in
similar outfits, but looking so much better than her, it drives her
insane. She goes from one extreme to another, baggy clothes to
short skirts and top, anything to try and make herself feel better,
and she fits in.
Family: Mother, father, younger sister. However, we don’t really
hear/see of them too much. They do appear in a few scenes, and
we hear a lot about them in Aria’s monologues, especially her
sisters.
Relationship status: Single.

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

 7

Name: RYDER
Played by: Iban Kelly
MBTI Type: INTJ-T
Style: Grunge, dark, emo, baggy clothes
Clothing types: Baggy clothes, graphic tees, leather jackets, boots,
scruffy clothing, glasses.
Age: Unknown.
Colour Palette: Dark Colours, blacks, navy. As time goes on, he
wears accents of brighter colours, greens and oranges, to show
his development. Towards the end of the production, he finds
himself wearing brighter colours, there are still remanets of him old
self, his leather jacket, glasses, but he’s wearing something a bit
more out there, to show he’s come full circle to finally accept
himself.
Music Taste: Nirvana, Slowdive, Foo Fighters, Weezer,
Radiohead
Personality: He is very reserved, his small group of friends and
that is it. He keeps to himself, never branching out, if he does, it’s
never on purpose. Seemingly trustworthy as he speaks to us, and
we believe him, learn to trust him back, before it is revealed, he is
indeed a liar. We turn to dislike the character at first,
uncomfortable with ever believing them again, but as he grows to
speak with Aria, he grows, meshing his personality with hers, and
we see a better side to him.
Character Type: The Narcissistic on the outside, and towards our
audience, he’s an unreliable narrator towards us, and we don’t
start to find out until later into story, we are believed to trust him
with how open he is at the begging of our story, but we soon learn
he has been lying to us.
Struggles with: Family issues, sexuality.
 8

Friends: He has a small group of friends, at least from what we

hear from – just the two. The eccentric and the anchor. These two
are the Hitchcock and Scully from Brooklyn 99. They are complete
opposites, even though they get along like best friends, ying and
yang. Eccentric is like their child in the friendship. However, no
matter how much reassurance there is, a trio never works out, and
Ryder is the one left out. He still loves them; they are the few
people who understand and deal with him. They try their hardest to
keep him welcomed, but it’s evident they are closer together.
Family: His parents are on the verge of a divorce, never leaving
but never fully together. They stay together for the ‘sake of the
kids.’ Which is just him and his siblings, who we don’t hear much
about, only ever mentioned in passing and referred to as
‘youngest’, ‘middle’, etc. He’s detached himself a lot from his
family.
Relationship status: Single. He doesn’t know who he is attracted
too. He doesn’t ever find himself comfortable enough to open
about these emotions either, he lets himself dwell in these
emotions, wondering when the switch will just flick, and he will
know.

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Name: BARBIE
Played By: Abbey Davis
MBTI Type: ESFP-A
Style: It girl, very modern, very trendy, little layers, Mean girls
inspired
Clothing Type: Skirts, flared jeans, boots, little jewellery
Age: Unknown
Colour Palette: White, pink, purples, blues, silvers.
Music Type: Pop music – Nelly Furtado, MARINA, Oliva
Rodrigo, Doja Cat
Personality: Barbie is the girl. Everyone wants to either be her
or be with her. She comes across as perfect, the girl everyone
wants to be friend with and idolises. She’s quite lovely,
especially to her friend Aria, who she seems rather protective
over. She’s known by basically everyone, always stopping for a
chat and to compliment another girl’s outfit or hair or nails.
She’s a little disorganised, she tries her hardest, but somethings
always forgotten. Her rooms a tip, a disaster, compared to the
gorgeous idea she paints in everyone’s head.
Character Type: The foil.
Struggles With: Sexuality, she pretends to be ok with the Jock,
but despises them for how they treat others, and she can’t
escape them. She tries to, but they always guilt her back into
being ‘friends’.
Friends: Aria and the Jock. Her and the jock have a messy
history, from kids, to some sort of situation-ship to
acquaintances to people in the same friend group. She doesn’t
know how to tell Jock that she doesn’t seem them that way,
and instead, is interested in someone else.
Relationship Status: Single.
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*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

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Name: ECCENTRIC
Played By: Keya Bagha
MBTI Type: ENFP-T
Style: Loud, layers, Helen Bonham-carter, Mob wife.
Clothing Type: Layered, different textures, lots of colours, funky
hair dos, lots of jewellery.
Age: Unknown
Colour Palette: Any colour she wants or feels like, can be mixes
of colours or a completely one toned outfit.
Music Type: Mazzy Star, Lady Gaga, Gwen Stefani, Nancy
Sinatra
Personality: The eccentric is very loud and extroverted. She makes
friends with anyone and everyone who she can but will always
come back to those who are closest to her – Anchor and Ryder.
She loves them to pieces, but has no sense of when to stop
speaking, and can often get caught up in her own world, talking
and babbling on constantly, without a thought in the world.
That’s perfectly fine up until she disregards her friends’ emotions
and expects their entire agreement with her statements – which
Anchor happily goes along with.
Character Type: The eccentric.
Struggles With: A manipulative partner/toxic relationship. She
can’t find the strength to love, because ‘they love each other’,
Friends: Anchor and Ryder. She is very obviously closer to
Anchor than anyone else but tries with Ryder. Ryder and her
 12

have a very rocky friendship, they often disagree and get into
mini arguments, while Anchor tries his hardest to keep them on
the same page, and keep arguments at bay. Eccentric and Anchor
are obviously closer of the trio, she and him are like Hitchcock
and Scully, they get along like two peas in a pod, and are
completely hilarious when they hang out (and there isn’t a
situation at hand).
Relationship Status: It’s complicated. Her and Jock, can
never ever seem to be on the same page, they’re always out,
acting awfully, and she lets them back in without a second
thought.

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Name: ANCHOR
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Played By: Antoni Zagrocki

MBTI Type: INFJ-J
Style: Very quiet, calm colours, comfy clothing style,
baggy clothes.
Clothing Type: Baggy jeans, hoodies, graphic tees,
comfy cosy clothes.
Age: Unknown.
Colour Palette: Quiet, mute colours, basic jeans and
then a louder top, wallflower-esque.
Music Type: Oasis, The wombats, The Smiths, Beatles,
Kings of Leon.
Personality: He is the peacekeeper, the level-headed
one who tries to keep all hell breaking loose
between Ryder and Eccentric. And while him and
Eccentric are complete opposites, they tend to
balance one another out. Anchor’s relaxed nature
compliments how often he tends to use logic to
make his decisions. Unless it regards Eccentric, in
which he just blindly agrees with what she says,
yes, it is hypocritical, but it keeps the peace in the
group.
Character Type: The anchor.
Struggles With: People pleasing. We aren’t shown a lot
from his point of view on what he struggles with.
 14

Friends: Ryder and Eccentric. Him and Eccentric are

the closest of the close, they’re the Hitchcock and
Scully of the trio. They’re close as can be, is it
because Anchor blindly agrees with everything she
says? Yes. Does that ever get brought up? All the
time by Ryder. Anchor and Ryder have a love hate
relationship. They either get along swell, one on
one, they get to talk about anything and everything,
deep and intense and about things without meaning
at all. But around Eccentric, Anchor and Ryder
always clash, they can never seem to agree on
anything.
Relationship Status: Single.

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Name: JOCK
Played By: Alex Kittle
MBTI Type: ESTP-A
Style: Masculine, jeans, jackets, baggy tops, hats,
trainers, very basic wear, normally bland colours
with a pop with his shoes or top or jacket. Only
ever wears a chain and maybe two rings.
Clothing Type: Jeans, hoodies, trainers, a chain and
two rings.
Age: Unknown
Colour Palette: Reds, Navy, white, grey, black, bland
with pops of colour.
Music Type: Central cee, The weeknd, Post Malone,
Drake.
Personality: Arrogant, a mean, manipulative person.
They keep people around for an ego boost, for
someone to agree with them, anything that does
good. For themselves. It doesn’t matter whose
feelings they hurt in the process, as long as they
feel like they are on top of the world. Looks like
someone is over-compensating for something.
Character Type: The player.
Struggles With: Being in a relationship with someone
they don’t care about, just to prove people they
can last in a relationship, and then cheating.
Being a pain in the ass overall.
 16

Friends: Barbie is their main best friend – they

have others, but Jock and Barbie have been friends
since they were kids, and Jock can never let that
go. So, they will drag her back in every time, even
if she wants to move on. Aria is just an addition
to the group because of Barbie, they don’t really
enjoy her company, but keeps her around to assure
that their actions aren’t wrong, due to the fact
she hates disagreeing and saying no to people.
Relationship Status: It’s complicated, they’ve never
been one for a relationship, but they do it to try
and prove their friends that Jock can in fact be in
a relationship. And that too fails, as they can’t
help but go after anything that breathes or walks.

SCRIPT
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐
SCENE ONE: INT. RYDER BEDROOM - EARLY MORNING.
 17

We have a shot facing the blinds, out a window. It dully

lit, almost dark in the room, but there is a slight bit
of light shining through the blinds into the room. An
ALARM goes off, LOUD MUSIC starts playing, with a WOMEN
in the background yelling.

WOMEN
(yelling)
RYDER YOU NEED TO GET UP.

The blinds are pulled open abruptly, ALARM still going

off in the background, same with the music. The light is
blinding us.

MUSIC: GRUNGE, LOUD, AGGRESSIVE

CUTS TO:

SCENE TWO: INT. HALLWAY - EARLY MORNING.

The camera is stood at the bottom of a bathroom door. The

MUSIC is calm, mellow, a faint HUMMING can be heard in
the background, BIRDS CHIRPING. The sound of SINK TURNS
OFF and suddenly the door opens, we are met with
slippers, they move out of the bathroom, across the
hallway and into the bathroom. We follow in a tracking
shot until the door shuts.

MUSIC: PEACEFUL, SERENE

CUTS TO OPENING SEQUENCE:

SCENE THREE: OPENING SEQUENCE

The screen gets full of pictures of the characters

hanging out, pictures of our main two characters,
significant props and locations with loud music playing
over the top.

MUSIC: POP, INDIE, UPBEAT, SHORT SNIPIT

SCENE FOUR: INT. RYDER HOUSE - EARLY MORNING.

 18

RYDER is at his house, sat on the staircase. There is a

lot of noise playing in the background, but we can't
actually hear what is being said, the voices are loud,
yet muffled. MUFFLED YELLING is heard, mixed with
CABINETS SLAMMING AND PLATES BREAKING

MUSIC: QUIET, ABRUPT, GRUNGE

RYDER
(whispering to the camera/low tone)
My parents' marriage is like a bad
horror movie – you keep waiting for
the inevitable split, but it just
keeps dragging on.

The sound quickly dies out, and there's a silence,

FOOTSTEPS, on CREAKY FLOORBOARDS can be heard and Ryder
stands up on the stairs, now walking down them before he
is greeted by his MUM/DAD.

MUM/DAD
Morning Ryder. Sleep well?

RYDER
Yeah. About as good as one can get.

MUM/DAD
That doesn't sound mysterious at all.

RYDER
Didn't intend it that way.
(turns to the camera)
It's the same conversation, day
in, day out. and then mum/dad will say.

RYDER AND MUM/DAD

(simultaneously)
You never do. But my boy, the best
things in life are a greatest mystery,
just like you. Mum/dad leaves the space.
Leo makes his way down to the kitchen,
grabbing some food quickly, spinning
around and then facing us.

RYDER
 19

And now, It is time to get far,

far away from this god forbidden
awful place.

CUTS TO:

SCENE FIVE: INT. BEDROOM - EARLY MORNING

ARIA in her bedroom, she's got one outfit on, she's

tugging at the clothing, pulling it together, trying to
make it fit on her body the way she wants it. Cuts to her
on with a new outfit in front of the mirror, doing the
same thing again, and again. She settles on an outfit and
starts doing her hair, brushing it, playing with it to
make different hairstyles, sighing frustratedly, CRYING.
There's a close up of her face with mascara running down
it, tears running down her face. She wipes away the tears
and leaves her hair down. and then she's sat on the floor
with her playlist playing, trying to calm down as she
does her makeup. An ALARM goes off to signal she's late.
She sighs, standing up and looking at herself in the
mirror, a disappointed look on her face before she gets
up and leaves, SLAMMING THE DOOR. The camera stays in the
room for a little bit, take in the mess of the clothes on
the floor, the hairbrush.

FADES TO BLACK:

SCENE SIX: EXT. ALLEYWAYS - LATE MORNING/EARLY MIDDAY

ARIA is leaving her house, walking down the street,

FOOTSTEPS ECHOING. There's a shot of the leaves, her
walking across the screen and masking to when she is
walking head on to the camera.

MUSIC: SOFT, SERENE MUSIC

RYDER comes into shot, walking down a street as well.

MUSIC: BLENDS WITH HER MUSIC, AGGRESSIVE, LOUD

Ryder and ARIA walk to a bus stop/train station,

sitting/standing on either end of the spot. Both have
their headphones on, and it is the sound of their MUSIC
BLARING TOGETHER. The split screen blends into one shot.
The transportation TURNS UP, and they both climb on,
 20

PEOPLE GET OFF onto separate compartments and the DOORS

CLOSE.

CUTS TO:

SCENE SEVEN: INT. TRAIN STATION - MIDDAY

ARIA and RYDER are seen in an overlay edit, them staring

off into space out the window or on their phone. Until a
ping goes off, a NOTIFICATION from their friends. They
pick out their phones from their pockets and look at the
messages.

Their music stops and we read the messages.

ECCENTRIC AND JOCK

She's so annoying. It's painful at
this point.

RYDER AND ARIA

Why? What happened this time?

ECCENTRIC
She's gone and told me she's been
with BARBIE. But because they've been
friends for years, that it doesn't matter.

RYDER
Eccentric. I am telling you. Leave
him. She's no good.

JOCK
She's over-reacting AGAIN. Me and Barbie
made out so what. Me and her and like
best friends. I don't get the issue.

ARIA
If she's annoying you should break up
with her. Save you two the heartbreak
any longer.

ECCENTRIC AND JOCK

But I love her.
 21

Both characters sigh and turn their phones off. The train
DOOR OPENS, and they're at their stop. The two of them
get off at their stations and disappear.

CUTS TO:

SCENE EIGHT: INT. CHURCH - LATE MIDDAY:

ARIA and BARBIE are at the church, silent as they stare

at the front. It's just the back of their heads, and then
we get visuals of the church. The seats, the windows, the
doorway. And then a wide shot of the whole church inside
before the two of them start speaking.

ARIA
(whisper)
I hear you and JOCK made out again.
Why won't you just date her?

BARBIE
(hushed tone)
What? I don't think I want to do that.
Sure, she's a good kisser, she’s... she's
just not my type.

ARIA
What is your type then?

There's a long pause, and BARBIE sits in silence, biting

her lower lip as she tries to keep composure.

BARBIE
(embarrassed, looking away)
Someone... nice, pretty, sweet. I don't
care about looks. I just want someone
with a bit more heart than her.

ARIA
(nods)
No yeah, I get that.

(turns to the camera)

There’s always been this... off thing

 22

with her whenever I mention relationships.

I always feel bad, she just never seems to
have any luck with people. Which I find
hard to believe, she's stunning.

BARBIE
Yeah? Yeah. Of course it does. I said it.

Barbie is staring at Aria. She wants to tell her

something, she opens her mouth to speak and then closes
it again and faces the front of the church. Aria turns to
face Barbie, and then back at the front of the church.
It's a close up of them sat together, awkwardly just
together.

In the background we see RYDER stood in the doorway, he's

stood at the back of the scene, hands in his pocket as he
looks up at the church ceiling. It looks like he's
praying, and then he WALKS OUT the door. We get a view of
him walking by and leaving the church, an empty doorway
being shown.

MUSIC: UPLIFTING, WHIMSICAL

CUTS TO:

SCENE NINE: INT. LIBRARY - MIDDAY

RYDER is stood, PICKING OUT BOOKS, when his friend,

ECCENTRIC appears beside him. She sighs and leans against
the bookshelf; she SIGHS DRAMATICALLY and frowns at him.

RYDER
(looking at his book in his hand)
Hello.

ECCENTRIC
She's so annoying!

RYDER
(turns to face the camera)
Yeah, I'm good thanks. My parents are
back to their screaming matches, and
I would rather not be there. How are
 23

you Eccentric?

(turns back to face Eccentric)

What did she say this time? Did she
promise too never do it again? Did
she say she loves you and it was an
accident?

ECCENTRIC
Well, not particularly.

LEO
Don't you think it's time you move on?

ECCENTRIC AND RYDER

(LEO speaks to the camera)
But I love her.

RYDER
(to the camera)
No she doesn't.

(to ECCENTRIC)
Are you sure she loves you?

The Eccentric goes quiet, she HUFFS and WALKS AWAY to a

different side of the library. He puts the book back on
the shelf, watches her leave and SIGHS.

RYDER
She doesn't mean it I suppose.
But it still stings. She just needs
a release of energy.

He walks over to her, sighs and leans against the book

frame, almost mimicking her earlier. He crosses his arms
and rolls his eyes.

RYDER
Come on, you know I didn't mean
it that way. I have you're best
interest at heart.

ECCENTRIC
 24

(sighs)
I know, I just... I want your support.

RYDER
I've tried. It's just hard when you go
through this every week.
(to the camera)
And I mean... like every week.

The scene is quiet. It's a close up of him getting up and

flicking through a few books and putting them up and then
back. He sighs again.

RYDER
You know I'm right; I'm just wanting
what's best for you.

ECCENTRIC
I think I just need some time. Do you
want to come with me and ANCHOR for lunch
tomorrow?

RYDER
(sighs)
It won't be all we talk about, will it?
(to the camera)
If it is I might just kill myself there
and then.

ECCENTRIC
Fine.
(sarcastically)
I'm sure I can suffer miserably elsewhere
at another time for your convenience.

CUT TO:

SCENE TEN: EXT. SKY - SUNSET - SUNRISE

The sky is shown, the sky turning from pink to black, the
sunsetting. Trees, leaves and the clouds moving around
shown. Then cuts to the sun rising, the light shining in.

MUSIC: MYSTICAL, NEUTRAL, INSTRUMENTAL

 25

CUT TO:

SCENE ELEVEN: EXT. STREET - MIDDAY

RYDER WALKS down the street with ECCENTRIC. She's talking

as they walk, but the camera is only focused on Ryder,
and her VOICE IS MUFFLED.

LEO
(to the camera)
I just let her babble on. She needs
this release, but it would be great to
get a word in. Mum and Dad have not
stopped screaming all morning, and all
she cares for is her awful partner.

ECCENTRIC
Can you believe she said that to me?!

RYDER
(almost sarcastically)
No! How could she?

ECCENTRIC
(rolls her eyes)
Right, thanks for your input Ryder. Really
means a lot.

RYDER
(to the camera)
She's always so dramatic, but that's how
it is.
(to ECCENTRIC)
Sorry, I just feel like you could be in
such a better place without her. But
you keep going back. And we've been
talking about this for hours now.

ECCENTRIC
I'm just upset.
 26

The field comes into view, there's someone under a big

tree, it's their special spot.

RYDER
Well, Anchor is here to help you now.
(to the camera)
Not like you'll take any of our advice
anyways.

Ryder and Eccentric starts to walk towards the person in

the distance. The WIND IS BLOWING, and LEAVES ARE
RUSTLING. The camera is low, now a moment of Ryder and
his book walking off into the distance.

MUSIC: GRUNGE, UPLIFTING

MATCH CUT TO:

SCENE TWELVE: EXT. PARK - LATE MIDDAY

RYDER match cuts into the next scene, a close up of him

walking with the book in his head towards the picnic.
It's a picnic, the three of them - ECCENTRIC, ANCHOR and
Ryder are all sat together on the ground, comforting
Eccentric. There's a picnic cloth on the ground, it has a
few treats and drinks on the floor. There's a scene of
LEAVES RUSTLING, a wide shot of the whole park and then
the close up of the group on the floor.

ANCHOR
He said that?!

ECCENTRIC
Exactly! See, he gets it Ryder.

RYDER
I never said that I didn't. I just
find it strange how you just keep
going back to him.
(to the camera)
Is this all we're gonna ever talk
about.
 27

ANCHOR
Let the poor girl have her moment. It's
obviously been a hard time for our friend.
She needs our support.

RYDER
(to the camera)
She needs to seek professional help.
Or a new partner maybe not one who
cheats on their partner maybe?
(CONT'D to the pair)
Why don't we change the topic? I
think we've both had enough of this.

ANCHOR
On to a lighter topic, sure.

RYDER
(sarcastic)
Or just something that isn't based on
Eccentric's oh so interesting life.

Eccentric scoffs and rolls her eyes.

ECCENTRIC
And your life is just so much better
yeah?

RYDER
Well, it's not like you would ever
know. You never listen or ask.

ANCHOR
Right, I think that's enough guys.
Maybe we should take a break. Head
into a few shops or something.

RYDER
No, no. Don't let me ruin the fun,
you lot go on without me.

RYDER gets up and WALKS AWAY, Anchor and Eccentric walk

their separate ways as well. The spot they were just sat
 28

in remains empty, and it's QUIET, except for the WIND

BLOWING THE LEAVES AROUND.

CUTS TO:

SCENE THIRTEEN: INT. LIBRARY - MIDDAY:

ARIA and RYDER are both in the library, it cuts to the

beat of the music between the two characters. Aria is
looking through books on the shelves, taking a few out
and looking at the blurb. Ryder is walking down the isles
on the other end of the library bookshelves. He is
looking at all the books scanning them. They eventually
land at the same stall, and they are stood on their
sides, we look as they go for the same book. Leo pulls it
out.

ARIA
(whisper yelling)
Hey! I saw that first.

RYDER
Should've been faster.

Ryder emerges from around the corner, crossing his arms

as he stares at her.

ARIA
That's actually my favourite book.
And I'd like to have it back.

RYDER
Can't have something back if it wasn't
in your possession in the first place.

ARIA
(joking tone)
Unbelievable.

RYDER
Aw, it's ok you can have it.
(holds the book out to her)
 29

ARIA
Oh really?
(reaches out to grab it)

RYDER
(pulls the book back to him)
After... I am done with it.

ARIA
Right. And how will I know when that it?

RYDER
You'll just know.

Both their phones PING, and it's a message from their

friends.

ECCENTRIC AND JOCK

(text message)
We broke up.

RYDER AND ARIA

(to the camera)
Who knew it would come so soon?

(CONT'D to each other)

Is everything ok?

(CONT'D pause, then simultaneously)

Yeah it's fine.

ARIA
(nods)
I have to go, but I better see
that book soon.

RYDER
(laughs)
Sure, I'm sure you'll get it.
Eventually.

Aria WALKS away, out of the screen. And the world around
Ryder grows brighter, and he leaves the scene too.
 30

CUTS TO:

SCENE FOURTEEN: INT. CAFE - LATE MIDDAY

BARBIE, JOCK and ARIA are sat together in a cafe. They

are sat silently before Barbie breaks the silence.

BARBIE
Are you guys finally done?

JOCK
Yeah. Yes. I think so, at least.

It goes quiet again. Jock and Barbie EATS FOOD and SIPS
THEIR DRINKS. But Aria sit's there quietly, hugging her
bag to her chest.

BARBIE
Aria? You're not eating, are you ok?

ARIA
(to the camera)
Oh no.
(CONT'D to BARBIE)
Oh yeah, all good.

BARBIE
Are you sure?

ARIA
(to the camera)
Oh no.
(CONT'D to BARBIE)
Oh yeah, don't worry about me.

JOCK
Stop worrying so much. She looks
fine to me.

BARBIE
She just looks so.. pale. Have you
eaten today?
 31

ARIA
(to the camera)
Oh no. Oh no.
(CONT'D)
Yeah. Ate a big breakfast is all.
(to the camera)
Yesterday. Way too much. Way, way too
much. I need to be more careful.

BARBIE
Oh. Ok, just.. would rather be
overly cautious than loose you.

The group is quiet again. Barbie is looking at Aria, who

is looking out the window. There's an obvious uncomfortable
silence that the Jock breaks.

JOCK
Ok, well then. I'll be on my way. I've got
things to be doing.

BARBIE
Yeah, I think I got somewhere to be.
I'll see you lot later, call me if
you need anything ARIA.

Aria nods and stays seated. She goes into her bag and
PULLS OUT HER BOOK FROM HER BAG and headphones as the
others leave.

CUTS TO:

SCENE FIFTEEN: INT. CAFE - LATE MIDDAY

ARIA is the last person in the coffee shop, the other two
have left and is now sat reading, thinking about
everything that was said.

ARIA
(to the camera)
I don't know what's going on between
BARBIE and JOCK, but I wish they would
sort it out. It's too much. I can never
 32

tell if I'm being a third wheel or in a

room with two people who want to rip
each others throats out.

There is a CAFE DOOR DING, signalling someone has walked

into the cafe, and RYDER appears in the doorway. He
chuckles to himself as he sees Aria and sits down on her
table.

RYDER
(to the camera)
Oh! Would you look who it is. The
almost book thief.
(to ARIA)
Are you stalking me now? You'll get
the book soon, I promise.

ARIA
It's more like you're stalking me.

RYDER
I would never.

ARIA
Mhm. Sure. Have you finished the
book yet?

RYDER
Woah! Patience. I like to take my
time reading. Put some music on, get
comfy.

ARIA
Well can you hurry up quicker. I would
like the book back.

RYDER
(holds his hands up)
It's at my house. Sorry girl. I don't
exactly want to be there right now
either, so it might take some time.

ARIA
Oh, how come?
 33

RYDER
(to the camera)
Is- is she asking me? about my life?
This is weird. I almost don't want to
say anything now.
(to ARIA)
Oh. My parents I guess. They could have
at least 12 podcast episodes with how
much they argue.

ARIA
That's crazy. Are they divorced?

RYDER
No, they're together. for us kids
I suppose. But I wished they would
break up.

ARIA
That makes sense. I guess the
separation would do them some good,
rather than them constantly at one
another's throats.

RYDER
Exactly my thoughts! I wished that
they would just shut and go their
separate ways. It's only making things
worse.

ARIA
I'm sure they will soon. Have they
tried couple counselling? My friends
parents did that and they are getting
better, slowly. But it's better than what
they were.

RYDER
(nods)
That's a good idea actually. I think I'll
recommend that too them. Hopefully I
can get a good nights sleep without the
yelling.
 34

ARIA
Always happy to help. You can repay
me with that book.

RYDER
(laughs)
Yeah. Ok fine. Give me like two days,
and we'll meet back here, and I'll
give it to you.

CUT TO:

SCENE SIXTEEN: EXT. SKY - SUNRISE - SUNSET

The sky is shown, the sky turning from pink to black, the
sunsetting. Trees, leaves and the clouds moving around
shown. Then cuts to the sun rising, the light shining in.

MUSIC: MYSTICAL, NEUTRAL, INSTRUMENTAL

CUT TO:

SCENE SEVETEEN:

MONTAGE

INT. CAFE - DAY

RYDER and ARIA are sat in the cafe, laughing. They are
eating food, drinking coffee and exchanging books.

EXT. PARK - DAY

RYDER and ARIA are sat under a tree, chatting.

INT. LIBRARY - DAY

RYDER is handing ARIA the book.

INT. BEDROOM - NIGHT

 35

ARIA is staring at herself in the mirror, she still looks

upset with herself, she has some clothes laid on on the
floor.

INT. CORRIDOR - NIGHT

RYDER is sat on the floor, listening to his parents talk

in the distance. his world has grown brighter.

MUSIC: UPLIFTING, GROWS INTO SAD

END MONTAGE

CUT TO:

SCENE EIGHTEEN: EXT. OUTSIDE SHOPS/STREET - DAY:

RYDER and ARIA are stood down a high street, staring down
at the road of clothes and food places. Aria looks
uncomfortable. CARS DRIVING PAST, PEOPLE WALKING DOWN THE
STREET, it's a decently busy day.

ARIA
How about we just go back to the
library?

RYDER
Boring! Why are you so reluctant?
It's just a bit of shopping.

ARIA
I just don't like shopping, never
have, never will.

RYDER
What? But isn't that like every girl's
dream? To be able to shop until she
drops or runs out of money.

ARIA
That's my worst nightmare.
(to the camera)
I can't. I hate having to see the
sizes that don't fit me. I'm too
 36

big, too small, it doesn't sit right,

it looks weird on my body. I just can't
take it anymore.

RYDER
Hello? Where did you just go?

ARIA
What? Nowhere?

RYDER
I know that look. I have that look.
What were you thinking?

ARIA
Just about the books in the library.

RYDER
Ha. Ha. real funny. Fine. You don't
have to tell me now, but at least
let’s go get some food.

ARIA
No. I can't. Too full.

RYDER
You haven't eaten all day you can't
be full.

ARIA
Ok, then I'm too tired. Just drop it.

The pair go silent. Aria is looking away while Ryder

tries to read her mind it looks like. He sighs.

RYDER
I notice that you don't eat by the way.
I didn't want to approach it this way.
But I'm starting to get really worried.

Aria doesn't say anything, she stands quietly. Looking

away from him.

RYDER
 37

I want to help you. It's ok for

you to feel like whatever you are
feeling. I just want to help.

ARIA
I don't know how to speak to anyone
about it. It's so embarrassing.

RYDER
There's people who can help you.
You are not alone.

CUT TO END CREDITS:

LOCATION RECEES
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐
 38

Type of Location/Area:
Library

Location Address:
St Ives Rd, Maidenhead

Sat Nav details (Postcode):

SL6 1QU

Nearest Train Station:

Maidenhead Station

Nearest Bus Stop:

Winatja Stop, or called Library
Stop

Site Contact Name and Contact Availability

Maidenhead Community Library, A Day when they are not in use, need a PLI
01628796969. Certificate.

Permissions:
Talked to the head of the library, Miss Samantha Davidson to confirm a day and
timing and the amount of people coming, as long as we don’t record any children,
or anyone that doesn’t want to be used in films.
Suitability/ shots for productions (scene numbers):
Scenes: 9, 13, 17
The library would be great for this scene because it’s a secret shared between these
two characters, their friends cannot know, especially not with this ‘feud’ going on
as the two characters go through a messy breakup. The library is then labelled as
their secret meetup spot, they meet there every once in a while, reading and
whispering
 39

Lighting Information Solutions

- Overhead lighting. Bring a light bounce, have my own light
- Natural lighting from windows. so I can direct the light to when and
where I want it.
I also have my own light if I want to alter
the lights and the looks on a character’s
face or add any sort of colouring to these
Sound Information Solutions
- Echoey Using a zoom microphone to keep the
- Other people might be around outside noises to a minimum and keeping
it close by so we can clearly hear their
voices over others.
I also plan to use adobe audition to cut
out any unwanted noises.
Power Information Solutions
- There are plugs sockets. If we are in need to charge anything,
there is plugs available, just must bring
chargers along with me.
But still will make sure everything is
charged before going.
Hazards Solutions
- Knocking over a bookcase. We will keep ourselves calm, and
- Disrupting others respectful, we won’t go crazy when in the
- Being disrupted by others. library, as we want to respect others
space. There are separate room that are
available, and we will pick the least busy.
We will do our scenes and get out, try
our hardest to do things in a timely,
efficient matter.
 40

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Type of Location/Area:
Memorial Garden

Location Address:
Eton War Memorial, Eton,
Windsor

Sat Nav details (Postcode):

SL4 6AN

Nearest Train Station:

Windsor and Eton, Riverside

Nearest Bus Stop:

High Street

Shuttle Buses:
Slough Train Station, Datchet
Highstreet
Site Contact Name and Contact Availability
Saint Mary Magdalene Church. Any time.
02045204458
Permissions
As long as we were respectful, didn’t break anything.
Suitability/ shots for productions (scene numbers)
Scene: 8, at a last-minute change of plans, I wouldn’t be able to find a church on the
morning of Sunday to be free of use. So, this would have to be the best I could get, and
then take videos of the church, to implicate the thought of it being around the church
into my audience’s head.
 41

Lighting Information Solutions

- Natural lighting, shadows moving - Using a bounce to deflect the light or
with the sun and the clouds, etc. shine the light onto the faces of my
characters.
- Bringing my own light just in case I
want to use it to change my characters
facial appearance.
-
Sound Information Solutions
- Public space, so noise from the - Using a zoom microphone to keep the
public may be heard. outside noises to a minimum and
keeping it close by so we can clearly
hear their voices over others.
- I also plan to use adobe audition to cut
out any unwanted noises.
Power Information Solutions
- No plugs - Make sure everything is charged
before using and bring it out.
- Everything I need doesn’t rely on
plugs.
Hazards Solutions
- Tripping and falling. - Being careful.
- Damaging the headstones. - Focusing on filming and not messing
about.
- Leaving stuff out of the way so no one
trips.
 42

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Type of Location/Area:
Office/workspace Café

Location Address:
Link Spaces Botanica, Ditton
Park, Riding Ct Road, Slough

Sat Nav details (Postcode):

SL3 9LL

Nearest Train Station:

Datchet Station

Nearest Bus Stop:

Montrose Avenue

Shuttle Buses:
Slough Train Station, Datchet
Highstreet
Site Contact Name and Contact Availability
John. 03300 164 222 Weekends from 8am – 1pm
Permissions
From Mr John, he has said we are allowed to use that place as long as we keep things
relatively quiet, clean and are out before 1pm.
Suitability/ shots for productions (scene numbers)
Scenes:
It contains a cute little café area that would be great to use, and a lovely spacious field
which has a lot of room for us to use and keep out of way of workers. The atmosphere is
almost basically what I had in mind for my locations, and the free hot drinks stand makes
my life easier than bringing in mugs and drinks. Another great thing is the pool table, the
 43

football table, etc. This will allow me to get good behind the scenes shot that I could use
for my production opening sequence.

Lighting Information Solutions

- Bright lighting inside from overhead - Brining a bounce
lights and natural lighting through - Brining a light that I can use to
windows. manipulate
Sound Information Solutions
- Echoey as it is a big space. - Using a zoom mic so that it picks
- Public area, might be loud and disrupt up my characters voices clearly.
others or may end up having others - Using adobe audition so I am able
disrupt us. to cut out any background noise I
don’t want and can get rid of any
disrupting noises.
Power Information Solutions
- Power sockets dotted around - Keeping our stuff nearby, and if
everywhere but is an open space that we do need to plug something in,
anyone can see and use. making sure it is nearby or people
are stood with that equipment
when plugged in.
Hazards Solutions
- Breaking mugs/glasses - We only will use the equipment
- Tripping over and knocking things over we need in close proximity, but
- Disturbing others. out of the way of filming, so we
don’t trip over anything or break
anything that’s not ours.
- Keeping ourselves in very few
locations, out of the way of
people so we don’t disturb others
and that they don’t run the risk of
tripping over any equipment or
anything.
 44

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Type of Location/Area:
Field

Location Address:
Link Spaces Botanica, Ditton
Park, Riding Ct Road, Slough

Sat Nav details (Postcode):

SL3 9LL

Nearest Train Station:

Datchet Station

Nearest Bus Stop:

Montrose Avenue

Shuttle Buses:
Slough Train Station, Datchet
Highstreet
Site Contact Name and Contact Availability
John. 03300 164 222 Weekends from 8am – 1pm
Permissions
From Mr John, he has said we are allowed to use that place as long as we keep things
relatively quiet, clean and are out before 1pm.
Suitability/ shots for productions (scene numbers)
Scenes:
It contains a cute little café area that would be great to use, and a lovely spacious field
which has a lot of room for us to use and keep out of way of workers. The atmosphere is
 45

almost basically what I had in mind for my locations, and the free hot drinks stand makes
my life easier than bringing in mugs and drinks. Another great thing is the pool table, the
football table, etc. This will allow me to get good behind the scenes shot that I could use
for my production opening sequence.

Lighting Information Solutions

- Natural lighting all throughout, can be - Having a bounce and
shadows, etc.
Sound Information Solutions
- Outside noises. - Using adobe audition to edit out
- Other people will be around.
Power Information Solutions
- Plugs inside the building. None outside. - Charing our devices before we
leave the building
Hazards Solutions
- Breaking something. - We keep close together, or split into
- Tripping two groups, one with stuff
- Falling in the field.
 46

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

Type of Location/Area:
Field

Location Address:
Link Spaces Botanica, Ditton
Park, Riding Ct Road, Slough

Sat Nav details (Postcode):

SL3 9LL

Nearest Train Station:

Datchet Station

Nearest Bus Stop:

Montrose Avenue

Site Contact Name and Contact Availability

Iban Kelly. 07517 096860 When everyone is out of the house, any
weekday.
Permissions
From Iban, we need to keep things clean, respectful of his space and his family.
Suitability/ shots for productions (scene numbers)
Scenes:
Using a house makes a really great connection for the characters and the audience.
They see themselves in the room, they can be able to point something out and say, ‘I
have that!’
 47

Lighting Information Solutions

- Natural lighting through windows. - Using a bounce
- Overhead lighting. - Using a light
Sound Information Solutions
- Other people in the house. - Using the zoom microphone
- Outside noises.
Power Information Solutions
- Plugs inside the building. - No need to panic. Still make sure
everything is
Hazards Solutions
- Breaking something. - Being careful
- Tripping
- Falling down the stairs we will film
on
 48

SOUND LIST
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

SCENE SOUND OWN LINK IF NOT

SOURCE?
One, Five Alarm blaring. Yes. N/A
One Loud music. Yes. N/A
One Bed sheets rustling. Yes. N/A
One Blinds being opened Yes. N/A
aggressively.
One, nine, Music – Ryder music No.
eighteen
Two Birds chirping Yes N/A
Two Humming Yes N/A
Two Tap running Yes N/A
Two Tap turning off Yes N/A
Two, ten, Music – Arias music No
seventeen
Two Door opening Yes N/A
Two Door closing Yes N/A
Two Footsteps on carpet Yes N/A
Three Music – Barbie music No
Four Yelling Yes N/A
Four Doors slamming Yes N/A
Four Smashing plates Yes N/A
Four Music No
 49

Four, Six, Footsteps Yes N/A

Eight, Nine
Four Creaky Staircase Yes N/A
Five Mirror Wardrobe door Yes N/A
sliding
Five Music – Eccentric No

Five Clothes being thrown on the Yes N/A

floor
Five Hair being brushed Yes N/A
Five, Nine Sighs Yes N/A
Five Sobs Yes N/A
Five Brushes being thrown on the Yes N/A
floor
Six, eleven Wind Blowing Yes N/A
Six, eleven, Leaves rustling Yes N/A
twelve
Six, Seven Train pulling up Yes N/A
Six, Seven Train door opening Yes N/A
Six People making a commotion Yes N/A
as they come off the train
Seven Phone notification Yes N/A
Seven Phones being taken from Yes N/A
pockets
Nine, Thirteen Book being flipped through Yes N/A
Nine, Thirteen Books being taken from the Yes N/A
shelf
Eleven Footsteps on concrete Yes N/A
Six Music
Twelve Walking in the grass Yes N/A
Twelve Bags being dropped on the Yes N/A
floor
Twelve Plastic rustling. Yes N/A
Thirteen Music No
Fourteen, Coffee cups on tables Yes N/A
Fifteen
Fourteen Buzz of people chatting in Yes N/A
the background
 50

Fifteen Paper flipping Yes N/A

Fifteen Book shutting Yes N/A
Fifteen Chair being pulled out Yes N/A
Fifteen Café door opening Yes N/A
Eighteen Cars driving past Yes N/A
Eighteen People talking and walking Yes N/A

PROPS LIST
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐
Prop Scenes Images Cost?
Phone x2 1, 5, 7 Free

Blinds 1 Free
Slippers 2 Free

Plates 4 Buy from

Charity
shop -
£4.00
Some form of 4, 12 Buy from
food Tesco -
£2.60

Clothes 5 Free

Hairbrush 5 Free
 51

Makeup brushes 5 Free

Train 6, 7 Tickets for

actors and
myself -
£19.35

Books 9, 13, 15 Free

Picnic Blanket 11, 12 Free

Coffee Mugs 14, 15 Free

Bottle drinks 12 Tescos –

around
£3.50

Bag 14 Free
 52

Headphones 15 Free

EQUIPMENT LIST
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

WHAT WHEN WHERE IMAGE

Camera Dates: Church, Café, Train
APRIL: Station, Library, Park,
7th, 14th, Street, Iban’s bedroom,
21st, 28th Elizabeth’s bedroom

Tripod Dates: Church, Café, Train

APRIL: Station, Library, Park,
7th, 14th, Street, Iban’s bedroom,
21st, 28th Elizabeth’s bedroom

Light Dates: Church, Café, Train

APRIL: Station, Library, Park,
7th, 14th, Street, Iban’s bedroom,
21st, 28th Elizabeth’s bedroom
 53

Light Dates: Church, Café, Train

Bounce APRIL: Station, Library, Park,
7th, 14th, Street, Iban’s bedroom,
21st, 28th Elizabeth’s bedroom

Zoom Dates: Church, Café, Train

Recorder APRIL: Station, Library, Park,
7th, 14th, Street, Iban’s bedroom,
21st, 28th Elizabeth’s bedroom
 54

COST PLAN
*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

WHAT COST? FROM?

Props – Plates £3.00 Charity Shop
Props – Cakes £5.00 Tesco
Train Tickets to get onto the £10.35 Burnham Station
station
Bottle Drinks £3.00 x 2 Tesco
Lunch £6 Mcdonalds
Snacks £13 Tesco
Lunch 2 £12 Spoons

TOTAL COST: £49.35

 55

CREW LIST + CONFIRMATION

*ੈ✩‧₊˚─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───✧˖*°࿐

WHO WHAT WHEN WHERE

Lois Behind the Scenes All scenes. Link Spaces
Photography, Lighting Sunday 7th, Sunday Botanica.
21st. Sunday 28th Windsor, Church.
Iban Main actor – Leo Scenes: 1, 4, 6, 7, 9, Link Spaces
11, 12, 13, 15, 17, 18 Botanica.
Sunday 7th, Sunday Windsor, Church.
21st, Sunday 28th
Lydia Main Actor - Aria Scenes: 2, 5, 6, 7, 8, Link Spaces
13, 14, 15, 17, 18 Botanica.
Sunday 7th, Sunday Windsor, Church.
21st, Sunday 28th
Keya Side actress – Eccentric Scenes: 9, 11, 12 Link Spaces
Sunday 21st. Botanica.
Windsor, Church.
Antoni Side actor – Anchor Scenes: 12 Link Spaces
Sunday 21st. Botanica.
Abbey Side actress – Barbie, Scenes: 8, 14 Link Spaces
light bounce holder Sunday 21st. Sunday Botanica.
7th, Sunday 27th Windsor, Church.
Elizabeth Light holder All scenes. Link Spaces
Sunday 29th Botanica.
Windsor, Church,
Maidenhead
library.
Diya Camera women, Editor, All scenes Link Spaces
Script writer Sunday 21st. Sunday Botanica.
7th, Sunday 27th Windsor, Church,
 56

Maidenhead
library.
Alex Side Actor - Jock Scene: 14 Link Spaces
Sunday 21st, Sunday Botanica.
29th. Windsor, Church.
 57

NAME: Lydia Westhoff

PHONE: 07803 576042
EMAIL: [email protected]
AVALABILITY: Weekends and during half terms. Until
5pm.
ROLE: Aria

NAME: Iban Kelly

PHONE: 07517 096860
EMAIL: [email protected]
AVALABILITY: Weekends, half terms, after college for
an hour or two.
ROLE: Ryder

NAME: Abbey Davis

PHONE: 07450 495798
EMAIL: [email protected]
AVALABILITY: Weekends in the morning, she works in
evenings.
ROLE: Barbie

NAME: Alex Kittle

PHONE: 07419 829057
EMAIL: [email protected]
AVALABILITY: Weekends.
ROLE: Jock
 58

NAME: Antos Zagrocki

PHONE: 07414 457078
EMAIL: [email protected]
AVALABILITY: Weekends. Sundays only until 12pm.
ROLE: Anchor.

NAME: Keya Bagha

PHONE: 07411 068811
EMAIL: [email protected]
AVALABILI TY: Weekends, after school on weekdays,
except for Wednesdays.
ROLE: Eccentric

NAME: Lois Harrison

PHONE: 07504 661511
EMAIL: [email protected]
AVALABILITY: Weekends.
ROLE: Assistant – helper with lights, sound.

NAME: Elizabeth Ingram

PHONE: 07340 182541
EMAIL: [email protected]
AVALABILITY: Weekends towards end of April.
ROLE: Assistant – helper with lights, sound.