| (0, 1) 1 | Scene 1 |
| (0, 1) 2 | ~ |
| (0, 1) 3 | The space is made up of half recording suite and half studio. |
| (0, 1) 4 | Alison's desk and office swivel chair is situated on the front of the auditorium seats. |
| (0, 1) 5 | There is a mic on the desk for her to communicate with the actors' in the studio and above the 'viewing window' are three monitors: one shows a live digital clock (08.55 at start of show) with a background picture, one shows multi track recording software, and the other has a presentation slide welcoming the interns with some general studio etiquette. |
| (0, 1) 6 | ~ |
| (0, 1) 7 | 'Diablo Rojo' by Rodrigo Y Gabriela plays. |
| (0, 1) 8 | ~ |
| (0, 1) 9 | Bethan, the Sound Manager, can't help herself dancing by her desk, getting carried away and turning it up. |
| (0, 1) 10 | Fabian is in a glass container in the studio. |
| (0, 1) 11 | ~ |
| (0, 1) 12 | As the audience (interns) are guided into Alison's recording suite, Gwenith, who is in a wheelchair, asks for some assistance to help her get into the studio with her double bass. |
| (0, 1) 13 | Her wheelchair does not fit through the studio door, however, so the selected audience members must hold her up while the wheelchair is folded and reassembled inside, then she is assisted carefully back into the chair. |
| (0, 1) 14 | She then gets them to help her unpack and place the double bass in a central position. |
| (0, 1) 15 | As this is happening Alison enters and closes the adjoining studio entrance door, after telling Gwenith's helpers to find their seats. |
| (0, 1) 16 | She positions herself in front of her desk in the suite/auditorium. |
| (Alison) Turn that off please, Bethan. | |
| (Alison) Turn that off please, Bethan. | |
| (0, 1) 18 | She has a list of all the delegates on a clipboard. |
| (0, 1) 19 | She attempts to go through the list but the suite light goes off. |
| (VO) "Oh that dreaded black fly. | |
| (Alison) Keep waving. | |
| (0, 1) 30 | The recording suite light comes on. |
| (Alison) Good. | |
| (Alison) What's your name? | |
| (0, 1) 35 | The studio light goes off. |
| (Gwenith) Oh. | |
| (Alison) Wave your arms. | |
| (0, 1) 40 | She gestures waving her arms. |
| (Gwenith) I can't see. | |
| (Alison) WAVE. | |
| (0, 1) 47 | Gwenith waves, the light comes on in the studio and goes off in the suite. |
| (Alison) {Points to the audience member.} | |
| (Alison) Wave. | |
| (0, 1) 50 | Light comes on in the suite, goes off in the studio. |
| (Alison) {Into the mic.} | |
| (Alison) Wave | |
| (0, 1) 53 | Same again. |
| (Alison) {Points.} | |
| (Alison) Wave. | |
| (0, 1) 56 | Same again. |
| (Alison) {Into the mic and staying on mic.} | |
| (Alison) One, two, three! | |
| (0, 1) 65 | Light comes on in studio, goes off in the suite. |
| (Alison) {To audience member.} | |
| (Alison) NOW! | |
| (0, 1) 71 | Both lights are on. |
| (Alison) Don't ask. | |
| (Alison) You can stop now Gwenith. | |
| (0, 1) 84 | Gwenith stops waving. |
| (0, 1) 85 | Alison turns to the interns. |
| (Alison) So quite simply, I will be running the session as normal and he, she or it that shows the most promise hereof will be offered a position, to start with immediate effect, next month, so you can be set up on the payroll scheme, which will be less than you imagine due to the ever rising license fee dodgers and the nature of the position. | |
| (Alison) So, so, so... before we meet the artistes can I just let you know unfortunately we couldn't get who we wanted so just bear that in mind. | |
| (0, 1) 110 | She looks over her list of interns |
| (Alison) Now we do have a little time before we begin and I will always suggest arriving a little earlier to make yourself look presentable. | |
| (Alison) Well, let's go through. | |
| (0, 1) 115 | She goes through her list of delegates. |
| (0, 1) 116 | There are photos attached so she can identify them, marking them on how they look and criticising their choice of clothing, hairdo etc. |
| (Alison) If you haven't made the effort to cover up the truth before the interview, how can we trust you'll be as diligent after? | |
| (Alison) If you haven't made the effort to cover up the truth before the interview, how can we trust you'll be as diligent after? | |
| (0, 1) 118 | In the meantime Gwenith is trying to get into one of the studio chairs, stealing her thunder. |
| (Alison) {Into studio mic.} | |
| (Alison) Let's watch. | |
| (0, 1) 153 | They watch as Gwenith struggles to take her shoes off. |
| (0, 1) 154 | She eventually manages then gets herself settled back in the chair. |
| (Alison) {Into mic.} | |
| (Alison) Honestly they love it. | |
| (0, 1) 159 | They watch again. |
| (0, 1) 160 | Gwenith looks exhausted. |
| (Gwenith) There we are. | |
| (Alison) He needs a push in the right direction and us girls have got to stick together. | |
| (0, 1) 185 | She winks at Gwenith but her eye stays closed as her newly applied mascara sticks together. |
| (Gwenith) Are you alright? | |
| (Alison) Fuck, I'm inspired! | |
| (0, 2) 201 | Scene 2 |
| (0, 2) 202 | ~ |
| (0, 2) 203 | Ivor rushes into the studio, instantly takes off his shoes. |
| (Ivor) I'm here. | |
| (Ivor) Oh right. | |
| (0, 2) 216 | Takes off his socks |
| (Ivor) We all set? | |
| (Ivor) Swimming pool smell. | |
| (0, 2) 226 | He backs up and bumps into one of the interns as if they pinched his bum. |
| (0, 2) 227 | Ivor introduces himself to the interns inside the studio who assisted Gwenith, assuming they are actors brought in for the day. |
| (0, 2) 228 | He waves to the others in the suite. |
| (Ivor) Nice to see some new faces. | |
| (Ivor) Sorry | |
| (0, 2) 300 | Fabian shrugs. |
| (Alison) But why? | |
| (Alison) Slender tone? | |
| (0, 2) 331 | Ivor lifts his top to show a slender tone belt. |
| (Alison) Haven't had it long then? | |
| (Alison) So easy to wind up. | |
| (0, 2) 344 | Alison looks at her recording running order. |
| (Ivor) Bastian also wanted me to nip by Organ Gordon Juice Co and get him a detox warrior, full of vits. | |
| (Alison) Can we position ourselves around the central mic for the sounds of excited clams. | |
| (0, 2) 359 | They all make their way over. |
| (0, 2) 360 | Gwenith wheels herself in the very centre of the mic, indicating that she needs plenty of space for the chair and at the same time taking prize audio position. |
| (0, 2) 361 | Ivor runs through briefly with the interns what they need to do. |
| (Alison) {To the interns with Gwenith.} | |
| (Alison) Bethan will call out the numbers. | |
| (0, 2) 392 | As Alison is explaining the task as vaguely as possible, Ivor takes the opportunity to run through his new ideas to the interns inside the studio and Gwenith as they wait for the light. |
| (0, 2) 393 | ~ |
| (0, 2) 394 | Alison zones into the conversation. |
| (Ivor) ... It just came to me late last night. | |
| (Ivor) Bastian was fast asleep in bed. | |
| (0, 2) 399 | Alison gesticulates vomiting. |
| (Alison) No one wants to hear that. | |
| (Bethan) This is 72. | |
| (0, 2) 403 | Bethan waits with her stop-watch. |
| (0, 2) 404 | This is done in every take. |
| (0, 2) 405 | ~ |
| (0, 2) 406 | Recording light. |
| (0, 2) 407 | ~ |
| (0, 2) 408 | The interns in the studio, Ivor and Gwenith makes oyster sounds. |
| (0, 2) 409 | ~ |
| (0, 2) 410 | Recording light off. |
| (Alison) And again. | |
| (Bethan) This is 73. | |
| (0, 2) 414 | Recording light on. |
| (0, 2) 415 | Stop-watch. |
| (0, 2) 416 | ~ |
| (0, 2) 417 | Oyster sounds. |
| (0, 2) 418 | ~ |
| (0, 2) 419 | Recording light off. |
| (0, 2) 420 | ~ |
| (0, 2) 421 | She glares into the studio. |
| (Alison) And again. | |
| (Bethan) This is 74. | |
| (0, 2) 425 | Recording light on. |
| (0, 2) 426 | Stop-watch. |
| (0, 2) 427 | ~ |
| (0, 2) 428 | Oyster sounds. |
| (0, 2) 429 | ~ |
| (0, 2) 430 | Recording light off. |
| (Alison) {Into mic.} | |
| (Alison) Ivor? | |
| (0, 2) 434 | Ivor makes his sound. |
| (Alison) You? | |
| (Alison) You? | |
| (0, 2) 436 | Intern makes a sound. |
| (Alison) You? | |
| (Alison) You? | |
| (0, 2) 438 | Intern makes a sound. |
| (Alison) Gwenith? | |
| (Alison) Gwenith? | |
| (0, 2) 440 | Gwenith makes her sound. |
| (Alison) There it is. | |
| (Alison) Again. | |
| (0, 2) 443 | Gwenith makes the same sound. |
| (0, 2) 444 | ~ |
| (0, 2) 445 | Alison goes into the studio. |
| (Alison) Again. | |
| (Alison) Again. | |
| (0, 2) 447 | Gwenith makes her sound. |
| (0, 2) 448 | Alison hits her on the head. |
| (Alison) Again. | |
| (Alison) Again. | |
| (0, 2) 450 | Gwenith makes her sound. |
| (0, 2) 451 | Alison hits her on the head. |
| (Alison) Again. | |
| (Alison) Again. | |
| (0, 2) 453 | Gwenith makes her sound. |
| (0, 2) 454 | Alison hits her on the head. |
| (0, 2) 455 | This continues until Gwenith changes her sound. |
| (0, 2) 456 | Alison stares at Fabian. |
| (Alison) {She winks at Gwenith.} | |
| (Alison) Nosey, nosey. | |
| (0, 2) 462 | She makes her way back to the suite, using a fob to get her out. |
| (Alison) {indicating the fob issue.} | |
| (Bethan) This is 75. | |
| (0, 2) 468 | Recording light on. |
| (0, 2) 469 | Stop-watch |
| (0, 2) 470 | ~ |
| (0, 2) 471 | Group sound. |