THE JOY OF FLIGHT

I went to Long Beach California to learn to fly a number of years ago because I wanted to get some real research of flying sequences for my World War II novels. Of course, I didn’t fly a Spitfire but a Cessna. Unfortunately, my flying instructor was a chauvinist and after I returned home, I wrote this short radio play which is based on the theme of revenge. I hope you enjoy it. 

[F/X means sound effects for radio.]

N.B.  The formatting isn't correct for a radio script as this site can't accept different formats.]

FLIGHT

20 minute radio play by Linda M James

BRAD – 30s-  chauvinist pilot instructor

LUCY – 20s  - seemingly dippy student pilot

      EXT ACCOUSTIC

F.X. IN THE BACKGROUND, aeroplanes taking off, doing circuits and landing in the background.

F.X. In the foreground, someone pacing up down nervously. Another pair of footsteps approaching rapidly. This is a fast talking American flying instructor, Brad.  He takes no prisoners.

Brad

Hi - You  Lucy?

F.X. A LARGE OBJECT DROPPING TO THE GROUND.

Lucy
(English accent)

Sorry. Hallo - I was expecting-

Brad

I'm Brad. Johnny got sick. I'm taking you up today. Got your log book?

Lucy

Oh, yes. I've just-

Brad

How many hours?

Lucy

(very proud)

Four, actually.

Brad makes a dismissive noise through his teeth.

Brad

Four? Well, isn't that great? Got your headset?

Lucy

Headset?

Brad

Headset.

 

Lucy

Sorry. I forgot.

Brad

Jesus... I'll have to lend you my old one. Ground exams?

Lucy

Yes, I've passed them all...

Brad

Well, that's something.

Lucy

Well... nearly all.

She laughs, then stops abruptly.

Brad

Let's get going. I'm due at the airport in an hour.

Lucy

But the lessons are an hour long!

Brad

Look, lady - I 'm doing you a favour. Johnny's sick, remember.

2:   EXT / INT ACOUSTIC

F/X Brad climbing into the 'cockpit' of the plane. A CLICK AS HE PUTS on his harness and seat beat.

Brad

You running behind?

Lucy

Sorry.

F.X. Lucy hurriedly climbing into the 'cockpit'. MOVEMENT as Brad puts on his head set.

3:   INT. ACOUSTIC

Brad

Here.

F.X. He passes the spare one to Lucy who puts it on.

Brad

You've done the pre-flight inspection?

Lucy

Yes.

Brad

Okay. Seat belt on. Check.

F.X. the click of a seat belt.

Brad

Shoulder harness adjust. Check. Mixture. Rich. Check. Carburettor Heat. Prime as required.

A long pause. small movement of a knob being  pushed, back and fro.

Brad

Enough!   Throttle - Open - how much?

Lucy

Ummm - an inch?

Brad makes another dismissive noise.

Lucy

Half an inch. (laughing) Of course.

She hurriedly moves the knob to the right position. we hear the click of switches.

Brad

Master Switch... On. Electric Fuel Pump...On.  Propeller area.

Lucy

(shouting through 'cockpit window')

Clear!

Lrad

Ignition... Start.

F.X.  the roar of an engine and propellers turning.

They now have to talk louder. Brad switches the radio on and we hear its crackle.

Brad

(into headphone)

Long Beach Clearance. This is Cessna 7434 Hotel at Million Air North with information Alpha. Request taxi 25R

Tower

Cessna 7434 Hotel. Taxi into position and hold. Contact  ground at 133.0.

Brad

(into headphone)

133.0. 34 Hotel. ( to Lucy) Okay. Let's go.

Lucy grabs the joy stick hard.

Brad

Jesus! This isn't your ex-husband. Caress the stick - don't strangle it!

Lucy

Sorry.

F.X.  A light aeroplane taxiing down the runway in a zig zag direction. the engine  noise fluctuates.

Brad

Keep your distance from that plane! - it's a GROB 109 - over $100,000, for fuck's sake!

Lucy

Sorry.

F.X.  continuation of plane's erratic taxiing to the runway.

Brad

Okay brake. (Pause.) Now! Now!

f.x. the engine noise dies to a steady drone

Brad

Switch frequency to 120.50

Lucy

Sorry - didn't quite catch that.

Brad

(through stitched lips)

120.50.

f.x. Lucy switching radio frequency with some effort.

Lucy

1-2-er...0...

Brad mouths obscenities under his breath.

Brad

5-0.

Long Pause while lucy fiddles with radio. crackling noises

Brad

Okay. Over to you.

Lucy

Pardon?

Brad

Get clearance for takeoff from the Tower.

Lucy

( terrified)

For take-off?

Brad

(as if to a retarded dog)

That's how we're gonna get the plane up, lady.

Lucy

But I've never done that.

Brad

That's why I'm asking you to do it now... Just say - Long Beach Tower.

Lucy

Long Beach Tower.

Brad

This is Cessna 7434 Hotel at Million Air North.

Lucy

 This is Cessna 7-4 -4... No -3

Brad

4!

Lucy

Pardon?

Brad

Fucking 4!

Lucy

Sorry - I seem to have forgotten the number completely now.

Brad

(very slow)

Cessna 7-4-3-4

Lucy

Oh, yes. ( very slow) Cessna 7-4-3-4.

Brad

Hotel at Million Air North.

Lucy

At a Hotel at Million Air North.

Brad

Jesus - it's not a Hotel! That's the number of the fucking plane! Hotel at Million Air North.

 Lucy

Sorry. Hotel at Million Air North. Funny name, isn't it?

Brad

Requesting permission for take off.

Lucy

Requesting permission for take off.

Brad

Easy, huh?

a long pause.

Brad

Now just press the button.

Lucy

What button?

 another dismissive noise from brad.

f.x.  the click of a button.

Lucy breathing deeply.

Lucy

(into headphone)

Hallo. Hallo. Anyone there? This is Lucy Barton here. Do you think we can possibly take off now?

f.x. Abusive crackling on the radio in response.

Lucy

Oh dear...

Brad

(into headphone)

Long Beach Tower. This is Cessna 7434 Hotel. A student pilot. Please hold fire.

f.x. More abusive crackling.

Brad

(into headphone)

Cessna 34 Hotel. Requesting permission for takeoff.

Tower

Cessna 34 Hotel. Clear for take off. Winds at 250º at 1ºK. Eject the student.

a dismissive noise from Lucy.

Brad

(into headphone)

Clear for take off. 34 Hotel.

Brad

Ready.

Llucy

(very resolute)

I am.

f.x. Music from the DamBuster's March rising during the next piece of dialogue

Brad

Throttle. Full Open.

Lucy

Throttle. Full Open.

f.x. The noise of the engine becomes louder.

Brad

Mixture. Rich.

Lucy

Mixture. Rich.

Brad

Airspeed. Normal Climb.

Lucy

Airspeed. Normal Climb.

f.x. The tone of the engine changes to indicate a climb.

Brad

Rudder. Centered ball.

Lucy

Rudder - centred ball.

fx. Gradually fade music of Dambuster's March.

Brad

Okay. Not bad. Trim it up, kid.

Lucy

What?

Brad

Trim it up.

long pause

Brad

Remember? - the trim tab keeps the plane in steady level flight without the pilot having to exert any pressure on the stick. Okay? Let's do it.

long pause while lucy fiddles with controls.

Lucy

Oh, no. Just a ... little...no...oh... can't seem to get the - oh God!

f.x. a Plane diving steeply . Dramatic music. 

Brad

(very relaxed)

So what are you going to do, Lucy?  (pause) ETA - seven seconds.

Lucy

Oh God - we're going to die!

f.x. tone of engine changes as the 'plane' is forced into a steep climb. music soars.

Brad

Jesus Christ! Let go! I've got the controls!

f.x. Crackle of 'angry' radio.

f.x. the plane levels. music fades.

Tower

Cessna 34 Hotel. What the hell are you doing?

Brad

(into headphone)

Cessna 34 Hotel. Student has a death wish.

f.x. Violent crackle and a stream of incomprehensible obscenities explode over the radio.           

Brad

(into headphone)

Couldn't agree more. Over and out.

There is silence for several seconds.

Lucy

Oh, what's that great big white dome down there?

Brief pause.

Brad

That's where they housed Howard Hughes'  gigantic crate.

Lucy

Wasn't that the biggest plane in the world?

Brad

Look, lady, I'm not paid to give history lessons.  Let's get on with the manoeuvres.

Lucy

Could I ask you something first?

Brad

(irritated)

What?

Lucy

Are you screwing the boss's wife and stealing the assets of the air-school?

Brad

What?

Lucy

You see, Johnny didn't get sick today. We arranged it.

Brad

What?

Lucy

You think constant repetition  succeeds in imprinting something on the mind, don’t you?

Brad

What?

Lucy

Dear, oh dear. Ever heard of a thesaurus?  You have been screwing the boss's wife, haven't you?

Brad suddenly laughs.

Brad

What's it to you if I have?

Lucy

Well, quite a lot, really. I'm Johnny's wife and for some strange reason you've been telling everyone Johnny's the culprit.

A pause

Brad

Say what is this? You've flown more than 4 hours.

Lucy

(very flirtatious)

Wow - I love intelligent men.

Brad

And I love good-looking broads.

Long pause. we wonder what they're doing.

Lucy

So you have then?

Brad

What?

Lucy

Tut, tut. (Pause) Been screwing Big Al's wife.

Brad

She was gagging for it. Not surprising looking at Big Al though.

f.x. The radio crackles angrily.

Lucy

And what about the money?

Brad

Look lady.  Big Al ain't hot on brain cells. Know what I mean? The way he runs the air school. Jesus!  That guy ain't gonna miss the odd buck or two.

Lucy

$70,000 actually.

Brad

Hey - what is this? The Spanish Inquisition?

Lucy

No, but Johnny's a bit upset. Silly really. He's only going to lose his job and go to prison, isn't he?

Brad

Well, I could think of ways to keep you busy while he's away.

f.x. The radio crackles again.

Lucy

That's very sweet of you. But why did you do it?

Brad

Do what?

Lucy

(childlike)

Steal the money and screw Al's wife?

Brad

The guy's a total shit. You know what he pays me? Nut money. Me! - the best pilot he's ever had! I'll screw every dollar out of his arse. And as for his bitch of a wife -

Lucy

I think we'd better get ready for descent now, don't you? What's the procedure again? No, don't tell me.

f.x. Noise of the engine alters as they change direction.

Brad

Hey - what is this?

Lucy

Apply full power. Put the carburettor heat to the off position. Change pitch attitude and lower flaps. Now what else? Of course!

Contact the tower!   (into headphone) Long Beach Ground. Cessna 34 Hotel requesting permission to land at Million Air North.

Tower

Cessna 34 Hotel. Permission to land at Million Air North.

f.x. sound of the engine changes as plane descends.

Brad

Look lady - you gonna tell me what's going on.

Lucy

Sorry. Must concentrate.

f.x. The sound of the engine dies. 

Lucy switches off the controls.

Lucy

Well, thank you very much, Brad. It's been really interesting.  (into headphone) You got all that on tape,  Johnny? Al with you?

f.x. loud crackle and incomprehensible insults over the radio.

Lucy

(into headphone)

Couldn't agree more!

f.x.  Lucy climbing out of the 'plane' , we hear footsteps retreating and lucy  humming the theme from the DamBuster's March.

Fade out to music

CHANGING LANDSCAPES

I am fascinated by how writers are molded by landscape. I grew up in Swansea in South Wales; the same town [now a city] as Dylan Thomas. His poetry and stories are full of the middle-class Welsh landscape which shaped him.

I lived in contrasting landscapes; the working class slag-heaps of my Grandparent’s area and the middle-class seascape of mine. While I was fortunate to live in a lovely house over-looking the sea, my Grandmother lived most of her life in a tiny terraced house with my Grandfather and 8 children in a poor area of Swansea. 

Near her tiny house were the awful slag heaps of a past mining community. The area was haunted by a generation of men who toiled like moles in the Welsh mines and who lived in permanent darkness during the winter.  Reading about the harshness of miners' family lives made me appreciate how lucky I was.   

The changing landscape of industrialized South Wales led me to write a poem about a lost boy in the early 20th century who was forced into the mines by poverty. I hope you are moved by it.

 

The Black Mountain

Not a sound to be heard except Mam,

moving round our candled kitchen,     

cutting me door-steps of bread

as she had for my Da.

I put on his clothes:

his cloth-cap and worn jacket,

singlet, flannel shirt and moleskin

trousers to protect the knees.

They outgrew me by many years

but Mam didn’t laugh or even smile

as she passed me Da’s tin box silently.

My first night underground

it was to be and my heart was heavy

with leaving my Mam and my books.

I joined the stream of men as they hobnailed

up the street towards the black mountain,

13 – a late starter – terrified of the dark

and the avarice in the eyes of rats.

My Mam stood still in the candle-light.

My sisters slept... dreaming of dolls.

[Published in The New Writer. 1997] 

Think how differently Emily Bronte’s book “Wuthering Heights” would be is she had grown up in the softer landscape of S.E. England and not in Haworth, overlooking the wild Yorkshire moors. If she had, I don't think Heathcliff would have existed.

I wrote this poem after visiting Haworth and the wind-swept Moors. I imagined her walking there, drinking in the wild landscape around her.

Emily

She cannot think of anything more beautiful:

the Pennine Chain cutting clean through England,

and Haworth standing firm; an outlying spur:

wild and windy. Flanked by the River Worth.

That morning she crosses the bridge and climbs

the narrow cobbled streets lined with small houses;

needing to walk away from prayers and gravestones;

the sound of people; the prison of Parsonage walls.

Behind the Parsonage, through the fields - the Moors;

purple in summer sun and scoured by winds

which breathe a wilderness of furze and whinstone

into life, yet cannot move a browsing sheep.

Atlantic-driven clouds now sweep her clean

to hear the becks tumble words down rocks;

to touch their leaping thread; to feel the winds

inflect her lungs with mill-stone gritted breath. 

[The 'becks' are water.]

"HOW TO WRITE GREAT SCREENPLAYS"

As a writer and writing tutor, I realise how daunting writing a first [or even a fifth script] can be, so my students asked me to write a book to help them. This is an extract from it. 

Here are some important questions that will save you months [ or even years] of frustration if you’re thinking of writing a screenplay.

1.     What is your story about? [In a couple of sentences. Work on the answer for some time as this could become a great log-line and pitch.]
2. What genre is it? [Comedy? Horror? Thriller? Drama? ]
3. What’s the mood of the film? E.g. edgy/ comic/mysterious/poignant/ frightening, etc.
4. What time period does the film cover? I.e. a day, a month, a year, many years or centuries. Would it matter if you changed the time period?
5. Who is the main character? [The protagonist] Who is opposing him/her? [The antagonist.]
6. In what order are you going to tell your story? Sequentially - with one event linked to another in a sequence of time? Or are you going to jump back and fro in time through flashbacks? [Obviously, more complicated.]
7. How many locations do you need to illustrate these time periods? Do you need them all? Why?
8. What conflicts are there in your story? i.e. What do your characters want? What obstacles are you going to give them?
9. How are your major characters going to overcome these obstacles to reach their goal?
10. Do you have a sub-plot? i.e. a minor plot which relates in some way to the main plot. [Some scripts have more than one, but don’t make life too hard for yourself.]
 

“How To Write Great Screenplays And Get Them Into Production”

 can be bought from Waterstones in the UK or from Amazon.co.uk or Amazon.com.    http://amzn.to/p10eeu

If you find these questions helpful, I hope you'll buy my book as it contains masses of great writing techniques, invaluable information on how to write synopses, how to pitch and how to market your scripts.  

Good luck!