Dear Update Readers,
Late again, unfortunately, so with no further ado here is the update:
The episode opens out in the Street, with Maud accosting Gareh and asking him to let her into Jim McDonald's house. (She knows he has a key because he's been doing work there, and besides, she's not called CNN Maud for nothing). Gareh is a little reluctant, but there's no stopping Maud once roused. "He's been out in the road playing dodgems in his wheelchair," says Maud, referring to the sad Irish brickie ensconced within. Gareh, who knows from his own experiences with Judeh how useless it is to argue with a strong woman, lets Maud in.
"What the hell are you doing here?" says Jim. (I hope he got a refund from the charm school, but I think perhaps not). "I were watching out there," says Maud, "when you were trying to get Mike Baldwin to run you over." Jim, sensing a sermon coming on, is definitely not in the mood. "Oh you stupid old bat! Just get out of my house, will you?" he snarls. (A distinct lack of verisimilitude here. Surely someone like Jim, suddenly cornered by a Maud on mission, would opt for a bit of effing and blinding? Stupid old bat? Please! Not that I'm over fond of expletives, but a judiciously placed 'fuck' when it's not expected can spice up dramatic narrative no end. And it's not as if we don't hear it all the time, because we do. Even my mother no longer flinches when she hears the F-word. I remember an incident which happened a couple of summers ago. Some boys were playing in the field which backs on to her garden, and their ball came flying over the fence for the umpteenth time. Tired of throwing it back to them, she took it indoors and said that they would have to come round and fetch it themselves. "Ah, go on, yer fucking old bag," cried one of them. My mother, who is vanity personified, gave him a withering glance. "Not so much of the 'old', you cheeky bugger," she shouted, and trotted back across the lawn to the house.)
Anyway, Maud tells Jim that she didn't think for one minute that he really wanted to kill himself, and that all he was doing was playing to the gallery in order to get attention, nay, pity even. Jim tries to silence her, but to no avail. "Tell me something, Maud. It's always baffled me, the fact that you've lived to be so ancient. Why has no-one tried to throttle you before now?" But Jim has seriously underestimated this formidable harridan: as she herself once said, just because she is in a wheelchair, it's no reason for people to push her around. And today she is the one doing the pushing. And so on she breezes, taunting Jim to finish himself off properly next time. "I'll help you do it, next time," she says. "I like a good funeral."
Several hundred miles away in balmy Amsterdam, Roy and Hayley are about to set off on their tour of the city. "Now you're sure I'm not stopping you from doing whatever it is you would be doing if I wasn't here?" asks Roy. Hayley beams a wry smile back at him. "One of my resolutions when I left England," she says, "was that no-one would ever stop me from doing anything ever again." (Go Hayley! Isn't it amazing what a little surgery can do? Bye bye willy, hello willpower! Was I the only one cheering when she said this? I think not!). And so off they set, a match made in Heaven, to spend the day pottering around the town.
Back in the Street, Maud Grimes is still hammering away at Jim McDonald's conscience. "Somebody told me that you used to be a soldier, " she says. "Well you'll have heard a lot of talk about courage, about what it is to be brave. Did you?" (Jim punctuates each of Maud's sentences with a "God help me!" or a "Get out!", but it's like water off a duck's back to Maud). She says that he's wrong if he thinks that courage is solely the domain of the young and strong. "It's when you can't be strong that you need to have courage," she opines. Jim tells her that he doesn't need a lecture from her, or from anyone else come to that. "I know," she says, "not from an old cripple woman sitting behind a counter. But what I remind myself everyday is those young lads that I grew up alongside..." And off she sails into a lengthy diatribe about the nation's youth being turned into soldiers and fighting for king and country, and about how half of them never came back. The fact that these babes-in-arms were cut down in their prime makes Maud feel privileged, just to have lived on after them, while they lie beneath the soil in 'some foreign cemetery'. (At this point I expected to hear the stirring strings of Barber's Adagio swell up and engulf us. Maud's sermonising was well-intentioned, but it reminded me too much of my mother, who takes every opportunity she can to tell me, when I'm down, how lucky I am, and how I should be grateful that I wasn't forced to join the army when I was eighteen and sent overseas to 'stick one up Jerry', as she always puts it. And of course, there's always the bit about there always being someone worse off than me. "Just remember," my mother whines, "however bad you're feeling, there's always someone worse off than you." I always shout back at her, "Well name them then!" but of course she never does.) Finally, Maud gets Jim to tell her which regiment he was in (Royal Engineers), and she asks him whether he still remembers his number (67569897, Sergeant James McDonald). I almost expected him to stand to attention. Having said her piece, Maud departs.
Chez Mrs Bishop, Emily is still unhappy about Spider's snap decision not to take his seat on the council if elected. "Who's going to vote for me anyway," he moans. "Nobody, if they knew the truth," says Aunty Em. Spider says that his manifesto will include nothing but the truth - apart, of course, from his intention not to take up his seat. Spider thinks that his stance will prove something about the state of the country, about the fraudulent nature of politicians and their promises, and the sad fact that every vote is a wasted vote. "I'm only trying to educate people!" he says. Emily, however, looks far from convinced.
Over at Fiddling With Fringes But Never Cutting As Much As Even A Millimetre Off People's Hair by Fiona, Maxime is moaning about the deposit she has to find if she is to take Fred's, I say, Fred's flat. "Most people, if they needed to get hold of £500, would ask their friends," says Maxime. (Not necessarily; there are other ways of earning that amount in as short a time as possible, and heaven knows Maxime is certainly dressed for the part...). She hints at an advance on her wages, but Fiona is not at all amenable. Audreh says she would help if she could, but she needs every penny she has in case she is sued and has to "spend millions for speaking the truth." Maxime asks Fiona again whether she would consider an advance, but Fiona is adamant. "So you'd rather see me sleeping on the streets, then?" moans Maxime, trying to tug at the heart strings but succeeding only in making the gorge rise. (Not on, but six foot under, shouted nineteen million voices in unison. Am I being bitchy? You bet your ass.)
Over at the Rovers, Randy Sandy has been down into the cellar to hump some barrels - well, it takes all sorts - and when he comes back into the bar, his lovely M&S T-Shirt is all dirty. "It's like the Black Hole of Calcutta down that cellar," he says. (He obviously hasn't been to my local branch of Kwik-Save, which I refuse to enter unless heavily disguised and even more heavily insured, for reasons far too convoluted to go into here). Vera upbraids Jack over the state of the cellar and tells him to clean it up. "Have you seen the mess it's made of Sandy's t-shirt?" she says. "Well he shouldn't have come dressed as an ice-cream salesman, should he?" retorts Jack. Vera tells Sandy to come through to the back so that she can find him something to change into.
Meanwhile, Audreh appears in the bar and presents Fred and Alec with the photographer's bill. Alec thinks the bill is far too steep. "Oh Alec," says Audreh, "You want me to look attractive and energetic and intelligent, don't you?" Alec's put-down is priceless. "And he managed all that? Oh, he's worth it then." Spider is also in the bar, and he asks Audreh whether she has managed to get the local newspaper to issue a retraction. She says that she has, although obviously she has no idea what they will say. "You shouldn't be in politics if you can't stand the cut and thrust," booms Fred. "That wasnt' cut and thrust," says Spider, "that was character assassination."
In the backroom of the Rovers, Vera is ordering Sandy to take his T-shirt off, which provides a cue for a bit of abs and pecs flexing. Jack enters to find a half-naked Sandy about to try on one of his (i.e Jack's) T-shirts. (Obviously from the 'Man from C&A' range, circa 1974). Like its owner, it's old, it's cruddy, but on Sandy it looks like something Versace might have designed. At least that's what Vera thinks. Jack goes off in a huff, with Sandy's exit coming a few seconds later. As the latter leaves, Vera allows herself a sniff of his soiled T-shirt. Her eyes roll in ecstasy: heaven!
Out in the corridor, Sandy bumps into Alec. "Ah, don't tell me," says Sandy, "Jack's not happy." Alec grimaces. "Who said he's supposed to be," he retorts. "This is England. We don't have any of that 'rights to happiness' stuff over here." (Wonderful stuff! And spoken like the old misanthrope he is!) Alec then changes the subject and asks Sandy whether he would like to make lots of money for doing 'next to nothing' - well, not exactly nothing. It would involve eating, drinking and smiling a lot. Yes, you've guessed it: Golden Years! Alec is doing his pimping routine again, this time with the nubile young Sandy rather than the clapped-out old Ken.
Back in Amsterdam, Roy is telling Hayley how civilised he finds Amsterdam. "I thought there'd be more drop-outs and weirdos," he says. (Sorry, Roy, you're confusing Amsterdam with Birmingham, which isn't difficult given that they're both riddled with canals. Did you know, by the way, that Birmingham has more canals, mile for mile, than Venice? My mother opens every conversation with that little nugget whenever she meets a stranger. She lulls them into a false sense of security, letting them think that she's an affable, cultured woman. Ten minutes later and they're gagging for insulin). Hayley raises an eyebrow or two. "People who don't fit into normal society?" she asks. "Yes," says Roy, "the freaky, sort of way-out sort of people." Hayley smiles. "Well they do exist," she says. "There I was, walking alongside you all the time!" Hayley tries to deflect Roy's embarrassment by asking him if he fancies an Indonesian later on, because she knows one which isn't too far away. (And yes, we're talking restaurants, here).
Meanwhile, Spider is being grilled by Emily and Ken over his decision not to take up his council seat if elected. "Are you happy never to have any power, never to achieve anything?" bleats Ken. "You'd make an excellent councellor, you'd wake people up, get them thinking. You might actually achieve something." Ken threatens Spider and says that unless he comes clean in the manifesto, he (i.e. Ken) will go round the whole of Weatherfield to tell everyone what a fraud Spider is.
Back at the Rovers, Maxime approaches Fred to buy time in which to find the deposit for the flat. Fred greets her with a warm, "And here she is: a middle-aged man's fantasy - young, beautiful, and bringing a large cheque or cash, even better!" (I have to agree with Fred and say that I fantasize about Maxime too. The only difference is that my fantasy involves men in green gowns, a flickering ECT machine, and the words, "We're losing her....". Am I being bitchy? You bet your ass). Anyway, she doesn't have the deposit. Fred finally gives her another day to find the required amount.
Sandy, meanwhile, is finding out more about Golden Years - which, Alec assures him, is totally above board and 'registered with all the offical bodies and so forth'. "And all I have to do is go out with them for a meal, or to a show?" asks Sandy. "Yes - and what happens after the show, or the meal, well, I won't be asking any questions will I?"
Help - I'm running out of time. The last part of the show will have to be telegraphed into a couple of paragraphs, I'm afraid, but any gems or nuggets will be highlighted, I promise.
Maxime moans to Greg that she can't raise the deposit. Is she not confusing us with viewers who give a toss?
On that lovely little houseboat in Amsterdam, Hayley opens her heart and tells Roy how she feels as though she is coming to the end of a long journey; that she is finally arriving at the destination she has hankered after for so long. She tells him that she wants to live a full and normal life, with a job and friends. Who knows, she might even fall in love one day? This new-found confidence of Hayley's overwhelms Roy somewhat, and he hides his embarrassment in his coffee mug.
Spider teases Ken and Emily with a political manifesto that is radical to the core and obviously a piss-take, before showing them the real thing. (Poor Emily - she hasn't been 'shown the real thing' since Ernest died! Surely if one goes without for that long, one heals up? No? Well, I only asked).
Jim wheels himself into the corner shop and thanks Maud for the pep-talk she gave him the day before, while Greg assures Maxime that he will get the flat by telling Fred that she can't raise the deposit before making the fat butcher an offer himself.
Spider is frogmarched by Emily and Ken to "Hair By Fiona" so that he can have his fringe fiddle with.
The lovely Sandy gets the instructions for his first Golden Years assignment: "Don't go there smelling of drink; suck a mint. And remember the little things. Open doors for her; tell her she's got a nice frock on. Don't stare at the wig!" (Wonderful stuff!)
And finally, back in old Amsterdam, Roy finally finds the courage to ask Hayley whether she plans to come back to Weatherfield. She says that she'll have to come back to sell her father's house, but will only stay if there is someone to stay for. Roy clams up again, and Hayley looks around, embarrassed because of his embarrassment.
And now I'm embarrassed too because I've got a dinner date and I have to run. Thanks to AlanM for sending me the audio tape for this update, after Him Indoors wiped the video.
Love and hugs until next time, and sorry again for the delay.
Becky's update for 8th July should be going online soon, and my update for 15th will be online following that one.
tara for now, CP
Well here we are again.... at long last, I've caught up with my updates. I really have to say that I feel very privileged to be writing up this one. Those of you who know me from RATUCS and from IRC will know my feelings on this episode and how special this was. Those of you who missed it will probably have heard about it. As an understatement, let's just say that this has been an exceptional episode which has aroused great acclaim, probably one of the most outstanding ones for many years.
Accordingly, I am skipping the prologue section again. To mark this very special episode, I have decided to do something a little bit unusual to try to do it justice. I am linking this Update with Mike Plowman's excellent Coronation Street Visual updates for the episode in question.
You will find that I have embedded the appropriate Internet URL in the text of this update, linking it to the relevant Visual on Mike's CSVU - if you are online when reading the Update and click on the address shown, you will be able to download the picture in question. Hopefully, this will supplement my Update text and enhance your enjoyment of the episode.NB: the embedded links will expire in September 1998
sponsored by Cadbury Wispa Mint
We are in Amsterdam and Roy is wheeling two bikes along the path outside the canal boat where Hayley is staying.
He parks the bikes and gets onto the boat. He says "good day" in broken Dutch, for Hayley to reply "Hello Roy, how are you today?" in fluent Dutch! She tells him that she didn't know he spoke Dutch. "Ah well, I get by!" is Roy's corny response. She comments on his bike and he replies that everyone seems to have one and this is actually the reason for his delay. He got his front wheel caught in a tramline and inadvertently found himself turning left when he wanted to go straight on.
Hayley bursts into laughter, obviously endeared by his response.
He comments that he always been aware of people laughing at him, but when she does it, it's really nice. (Awwwwwwwwww!!!)
He announces that he has taken the liberty of hiring a bike for her. He felt that they could go for a ride, it being his last morning in Amsterdam. When she tells him that she cannot ride a bike, it's pretty obvious that he misunderstands the real reason... (it's not a case of not knowing how to, more a case of post-operative discomfort, which our sensitive hero has simply not thought about). He suggests that they stroll alongside the canal and she agrees that this would be nice. After a pause, she asks him whether he must go back, to which Roy replies that the ticket has today's date on it and he hasn't arranged with Gail to be away any longer. Hayley is understanding and suggests they "sally forth then."
We cut to Emily Bishop's place. Spider enters the room, resplendent in white suit (a la Independent MP, Martin Bell).
Emily launches into "mum" mode and compliments him on his appearance, "that's magnificent!" Spider, on the other hand, looks very uncomfortable, "do you think so?" "Well, don't you?" replies Emily. "Well, to be perfectly honest, I think I look a right..."
There's a knock at the door. It's the photographer who has arrived to take Spider's publicity photographs, with Ken Barlow in tow.
"Well, what do you think?" asks a proud Emily! Ken jokingly replies that he thought he'd seen everything with New Labour - but poor Spider just looks embarrassed - and then Ken notices Spider's footwear! We cut to an incongruous shot of Spider in his sandals... no socks! Very fetching!!! "Oh Geoffrey!" exclaims an exasperated Emily. "What?", replies Spider, who explains that he never wears shoes in summer time. Campaign manager, Emily, tells him that he needs to start now and asks the photographer's opinion, who replies that it is all the same to him, he couldn't care less if Spider wore a grass skirt!!! When the photographer asks where they want the snaps taken, Emily tells him that outside would be preferable, if it is not too wet and reminds Spider to put on his shoes!!!
Back in Amsterdam, Roy and Hayley have returned to where they left their bikes to find that his has been stolen.
Roy says that this is going to be embarrassing explaining it to the shop, but Hayley blames herself that it is her fault.. she should have warned him that bicycle theft is quite common in Amsterdam. There are so many of them, they all look the same. She suggests that they go for a cup of tea to a café nearby. As they stroll along, Roy goes into anorak mode explaining that the level of the canal is significantly higher because of the number of bikes lying on the bottom. Fellow anorak, Hayley, tells him that she was aware of this fact. He says that he expects his is down there by now. He ruefully comments on how funny it was his bike getting its wheel caught in the tramlines, it has never happened to him in Weatherfield. "Different gauge!" is Hayley's response. "Is it really?" exclaims our hero as it all makes sense to him. "I suspected that might be the case, of course, I might have known that you'd be aware of the real facts!" "I'm not" replies Hayley and explains that she didn't know that for a fact - she's used to saying these things. In any case, people don't usually challenge what she is saying and it means that that she doesn't have to say... other things. They both look awkwardly at each other.
Back at Weatherfield, Jim is out in the street in his wheelchair and comes across Maud in hers. He is in a bright and breezy mood and suggests they have a race down the street in their wheelchairs, like "Chariots of Fire"! Maud replies that she can think of more pleasurable ways of breaking her neck and Jim concedes she has a point. He tells her that he will soon be doing wheelies.
The photographer has gone out into the street with Spider and friends. He notices Jim and Maud in their wheelchairs down the street. He suggests that, as this is a political poster, Spider should stand next to them, looking caring! It will look good!!
Emily angrily turns down this suggestion, saying that her candidate would not dream of anything like that and Spider adds that he will not compromise his principles. The photographer tells him to suit himself, it's just that he thought he heard him complain about getting dressed up when he doesn't do so normally. Emily tries to point out that that is hardly the same thing, but the photographer tells her "it is love and politics, darling!" He asks Spider to stand by the door and then takes a number of snaps of Spider with thumbs up.
As he does so, Audrey has come along the street and has positioned herself immediately behind Spider in line of camera lens. "What's all this then, mutton dressed as lamb?" she asks, to which Spider replies that this a bit rich coming from her. She comments on the lengths that some folk will go to get a few votes, it will be his policies he'll be changing next! "Yeah well, at least I've got some, which is more than you have!" is his riposte. Audrey tells him that she has policies, it's just that she doesn't go screaming about them to everybody, that's all. She is certainly not going to go changing her image just to get a few votes, "what you see is what you get!" Ken exclaims surprise and says that presumably she hasn't gone to any trouble - Audrey replies that she has been far too busy campaigning and that her instructions to the photographer have been to just shoot what he sees. Ken tells her that he looks forward to seeing the result! "Well, I don't suppose they'll be anything to write home about!" she replies with false modesty. "Like your policies!!!" is Spider's catty response. "We'll see" is her parting shot, while Spider closes the scene with the quip "Say goodnight, Audrey!"
We cut back to Maud telling him that is nice to see Jim standing on his own two wheels at last. She jokingly adds that all he needs is a haircut and he will look half decent! She wishes him well as they go their separate ways.
Back in Amsterdam, Roy and Hayley are seated at an outdoor café. The waitress comes up to take their order and Roy starts in his faltering Dutch, for Hayley to step in quickly to ask for two teas. She asks whether he understands what she is trying to say. He tells her that he thinks so and that he has always found that everything she has had to say about trams very interesting! She thanks him for the compliment but looks hurt that he has missed the point completely. He asks whether she is not fascinated by the internal combustion engine. Hayley blurts out that she is worried that she uses interesting facts to avoid saying what she should be saying! "Like what?" asks Roy. "Like where are we going!" replies Hayley. "Well I would like to squeeze Anne Frank's house in, if we could!" is the classic reply from Roy. Hayley continues, "No where are WE going... US, as people! You see, I know where you're going, today, back to Weatherfield, but where am I going? Life could be very difficult for me in Weatherfield, whereas here..... " She tells him that she needs a certain level of support and understanding.
The waitress delivers their order, and when she had departed, Roy tells her that she has friends. She points out that she has him, nobody else. If she comes back to Weatherfield, she might become a burden, would he really want that?
He tells her that he would never think of her as a burden.
She asks what she means to her and as he struggles to find the words to express his feelings, he clumsily upsets his cup of tea all over himself.
He apologises for upsetting the cup and she jumps to the mistaken conclusion that he has answered her question (that he has created a diversion because he is too embarrassed to tell her that he wouldn't want her). She tells him that he has told her what she wanted to know.
Totally oblivious of the signals he has sent out, he asks her whether she is coming home. "I don't think so...." is her disappointed reply. She thanks him warmly for coming to see her ... and, wishing him a safe journey home, she... shakes his hand...
... the nation sits there.... Stunned... as Roy looks shell-shocked....
... trying to take in the collapse of his world.... Roy gathers himself and slowly walks away...
...leaving behind an equally devastated Hayley ...
Back at the Rovers, Fred asks Vera where 'blondie' (Sandy) is and Vera tells him that Sandy has phoned in sick. Fred cynically tells her that he has heard that excuse before, but Vera reckons that Sandy is as straight as they come and "if he says he's peaky, then he's peaky!"
Greg comes into the pub and across to Fred. He tells him that he is on an embarrassing mission.. presumably Fred has not seen Maxine? He asks to have a discreet word. "Discretely, say no more.. I am known as Weatherfield's Mr. Discretion, me" bellows Fred. Greg tells him that Maxine has got herself into a spot of bother over the flat - basically, she cannot afford it, is terrified of getting into all sorts of legal trouble and had asked Greg to approach Fred on her behalf. Greg suggests that he will take the flat instead.
In Amsterdam, we see a dejected Roy taking off his bike clips...
Meanwhile, as Hayley is getting up from the café table, she notices something on the table..... .... It looks like a jewellery box... ... she opens it.... ...it's a ladies watch... ... on the back is an inscription..... .... "To My Friend Hayley"....
.... A crestfallen Hayley stares at the gift.... "Oh Roy!" she says ... surely, all is not lost... ... Hayley looks in the direction that Roy took.... ... as everyone watching blubs into their hankies...... ... and the theme tune comes in, on cue for the End of part 1
After the ads, it's
Part 2
As Alec is about to depart from the pub for his afternoon off,
Vera tells him that he cannot go. They are
short-staffed as Sandy has phoned in sick. Alec protests that
Jack is available, but Vera tells him that he has gone to the
dentist. "Didn't you know Sandy were poorly?" she asks
him.
"I may have heard something!" is his shifty reply. "He's a nice lad, isn't he. It's good to have somebody to rely on. I hope he's going to be alright, cos he lives on his own. Do you think I should slip round with some of my chicken broth?" she asks Alec. Stirring into panic mode, "No!" is Alec's reply. "Why? what's up with my broth?" asks Vera. "Erm, well nothing, nothing!! But we don't want the staff to think we mollycoddle them" is his reply. "Oh no! Mind you, it's years since I mollycoddled a young man" says a wistful Vera. "Well you don't want to start now" replies Alec.
Audrey comes into the pub, orders a dry white wine from Alec and asks for it to be put on the entertainments account. Alec tells her he will do no such thing, but Audrey is quick to tell him that it was just a joke. Alec serves her but says that while they are on the topic of accounts, he wants to take over the finances and would she please hand over the cheque book. She accuses him of being an "old Grouch" - anyway she needs it to pay for the photographer. She tells him that the opposition have only just started their poster campaign and he should have seen what that Spider was dressed up in. Anyway, she is not going to have any problems on that score, she says, preening herself. Apparently, the photographer told her she had classic lines.
At Schipol Airport, Roy is queuing at the check-in desk. What he doesn't see, is that Hayley has rushed after him to the airport. She is outside, carrying her bags. She's trying to get into the building. She sees him inside and starts shouting to him ... As he comes to the desk, it is obvious he cannot hear her....
Back at the salon, Fiona is furious that Audrey has not returned - the bookings have been made on the basis of three of them being present. It's now 4 p.m. and there is still no sign of her. Rita is having her hair done.
Audrey comes in at that point and apologises for being late. When asked about the photographs, at first she makes out that nothing is wrong, but it is obvious she is very upset.
She is so old and stupid, she has been kidding herself all these years, she blubs. She shows them the photographs and says they are awful, a disaster. Maxine is impressed by them and thinks they are lovely. The photos are passed to Rita and Fiona.
Audrey is not convinced. The classic lines to which the photographer referred are all over her face and neck, she moans. What is she going to do, she is going to be a laughing stock. Rita tries to reassure her by saying that they show someone sensitive and mature. Fiona agrees adding that it is someone who can be trusted. Audrey thanks her friends for consoling her. She tells them how shocked she was when she saw the photographs and ended up just wandering about.
Back at the airport, Roy is at the desk handing over his tickets. By now, Hayley is banging on the window with her shoe to attract attention... A young lady queuing behind Roy, notices this and alerts him ... ... the picture on Roy's face says it all.... ... a great big grin worth a million pounds..... ... he rushes over to the window... Hayley is shouting through the glass that she is coming with him, but he cannot hear her... ... she takes out a red lip pen and starts writing on the window... .... The message says "I'm coming with you".... ... the nation cheers, as everyone digs out a fresh hanky.... But Roy is struggling to decipher the writing.... ... on the other side of the glass, Hayley awaits expectantly... ... Roy starts to decipher the writing backwards, running his finger along the window... ... as he deciphers the writing... the grin on his face is absolutely priceless... ... and she knows it too... an equally great grin to match, doesn't she look great... ... she has her hand held against the window and he raises his hands and lies it flat against hers... palm to the palm... separated by the glass
Isn't that a magical scene? Another hanky bites the dust....
Back at the salon, Audrey has had a hair-do. She is not sure whether it makes her too young.
Fred comes into the salon. He is taken with her new hair-do "Oh! I say! Very nice Audrey! Spot on, is that!" and Audrey is relieved by the flattery.
He turns to Maxine and tells her that her dilemma has been resolved. "Take my advice love, never enter into arrangements that you are unable to honour", he tells her. "Luckily for you, I was able to make an agreement with your young man. Now take a leaf out of the book of an experienced lady like Audrey here. Never bite off more than you can chew!" We see Maxine relieved, obviously thinking that Greg is sorting out their love nest. Why do you get the impression that it's not quite going to work out that way.
A bit later on, we see Audrey and Maxine coming into the pub. It is deserted. "Where is everybody" asks Audrey. "Don't ask!" snaps Vera. She turns to Alec and moans about the fact the people are watching the football and they are going to have to do something. There isn't a pub for miles without a TV and she fears they will go bust.
She asks Maxine whether she is looking for her handsome young man and comments that he is a right charmer. Maxine says that Vera's new barman isn't so bad either and asks where he is. Vera tells them that he is off poorly "something he ate". Audrey puts her right "he looked fine to me, he looked in great form earlier on. I saw him getting out of a taxi, with... well... I thought it was his mother, I mean, she were old enough to be his mother. But he were very attentive. She wasn't looking at him like... er... like a mother should... you know what I mean?" Vera is convinced that Audrey has made a mistake, but Audrey is insistent that it WAS Sandy. They place their orders as Alec comes up to ask Audrey how the publicity is going on. Audrey reassures him that it's all under control - no problems with the photographs, they are at the printers. When Maxine starts to dispute this, Audrey tells her "leave it to me! Think young!"
Les has come into the pub. He goes up to Spider, still dressed in his white campaigning suit, and Emily, who are having a drink together. "Hiya Emily!" he says and turning to Spider says "how do you do? Les Battersby...nice to meet you!". He turns back to Emily and asks "is this another one of your nephews, Emily?" Spider laughs mockingly "Ha ha ha! Very funny!" "Not as funny as you looked this morning, I can tell you! Still that's politics for you, I suppose... why, it's a dirty game!" replies Les. Emily defends Spider and says that this does not apply to Geoffrey's politics. "What?" exclaims Les, "when you are trying to con people that you're a sober honest young man, when, all along, you're a hippie with a habit?? Do me a favour!! Hey! Let's hope he doesn't get to make Mayor! He'll have hash pipes dangling off his chain!" With that, Spider snaps - he has had enough "Right! Well that's it!" he says to Emily, as Les walks off chuckling at having successfully wound up Spider.
Spider tells Emily that, from now on, what people find is what they get and if they don't like it, then that's their problem!
Greg meets up with Maxine in the pub. She asks whether he's seen Fred and when he confirms he has, she asks when they are moving in together. There is an embarrassed pause from Greg.
Sandy pops into the pub to apologise to Vera about his illness and that he will be available tomorrow "if you were concerned about it." He has come to pick up his wages. Vera seems relieved that he is OK, only someone thought they'd seen him in town. He denies this, telling her that he has spent all day in bed. Vera seems reassured, saying that that the person in question was not the most reliable witness.
As she goes to get Sandy's wages, Alec comes up to him to asks how the Golden Years assignment went. Sandy tells him that all went well and hands over to Alec the cheque for the date. Alec in turn hands over some money to Sandy as his wages for the escort work.
At that stage, Vera comes over and snatches the cheque from Alec. Seeing that it is made out to "Golden Years". She loses her temper accusing Sandy of being a Judas. She dismisses him immediately and tells him to get out and never to come back.
Back at Manchester Airport, Roy and Hayley are about to go through Immigration. The officer checks Roy's passport.... ... that appears to be fine... ... he then checks Hayley's passport... ... not happy with what he sees, he calls over another official... ... Hayley looks worried... ... as the second officer says "Would you come this way please, sir?" ... Roy steps forward... ... and the officer says to him "Not you, sir" ... he turns to Hayley and says "You, sir"... ... Hayley looks shell-shocked.... .. as does Roy... ... as does the nation....
And it is the cue for music and credits ... a truly classic episode written by Peter Mills
All material is, and remains, copyright property of Granada Television.
My sincere thanks to Mike Plowman for allowing me to hook into his CSVU site for this update.
Well, how was it for me?
Hmm, a few storylines there.. Spider/Audrey election for light relief, Greg/Maxine ..well gawd knows what that is there for...., Sandy... dunno why he came in, for just a few episodes, unless it was to provide the ogle factor.../
.. but of course, the Roy and Hayley storyline dominating proceedings. Exceptionally high quality of scriptwriting from Peter Mills and incredible acting from Julie Hesmondhalgh as Hayley and David Neilson as Roy Cropper.
Some moments when you wanna shake Roy...
Not understanding that she is not in a position to ride a bike
The tram gauges
Being interested in Hayley's comments on trams
Where are we going .. and him suggesting Anne Frank's house
Spilling his tea...Some terribly sad moments...
Roy and Hayley both stunned as she says she is not coming back and offers him a handshake
The jewellery box and the watch with the inscription...Some amazingly beautiful and exhilarating moments....
Hayley laughing at Roy and then Roy being able to take it
The smile on their faces, especially Roy's when he sees her laughing
The writing on the window
Roy's face when he has deciphered it
Her face when she registers his reaction...SHEER SHEER POETRY
The stunning "earthquake" moment of devastation
The Immigration Officer saying to Hayley "You Sir!!!!"
nothing could have prepared you for that moment. As Mike Plowman said in his CSVU page, CS were SO right to put it in.... it hurt like hell, but it made the point......
Until this storyline came along, I have to say that I didn't really know much about transsexuality. What I knew absolutely NOTHING about was the human angle, how the individual is affected, their needs to love and be loved, the amazing prejudice that exists.
Of course what has happened is that we have gradually got to know and like Hayley, as an individual, a character.. a really warm, cuddly, bubbly person... we have got to love her.. then we learn about her past, caused by one of life's most cruel mistakes..., we get to understand how people are likely to react to her, what that does to her...
... we see Roy coming to grips with having a relationship, only to find a complication with which he struggles to cope, having the kindness, compassion and strength of personality to rise above prejudices...
So.. over the months, I have started to learn, to understand, to appreciate... I have learned that in the UK, the current legal scenario is one where someone's gender is determined at birth and cannot subsequently be altered... THAT scene at Passport Control actually DID something to me... it MOVED me to action... to write to my MP about the injustice of our present legal position on transsexuality... surely when drama moves people that way, it really has to be the highest compliment that can be paid..... I haven't met anyone who saw that episode and didn't feel some emotion, a lump in the throat, if not actually getting the hanky out to wipe the tears.....
All in all... an outstanding episode, which will rank as one of the best TV moments ever... an eagle of an episode soaring high.....
CONGRATULATIONS to everyone involved at Granada... and especially to Peter Mills for writing an amazing script and, of course, the amazing Julie Hesmondhalgh and David Neilson for their incredibly sensitive and moving portrayal of Hayley and Roy.....
BRAVO!!!!!!!!
And that's it for now.. while I try to calm down the emotions....
Until next week, take care...
Hugs and kisses from Tinky^ - Regards, Alan
I was just getting started on this, when I ran across CP's latest effort in ratucs. I am still chuckling at his rendering of "Don't Cry For Me, Argentina" - hope you all enjoyed it too. Now we finally know why he's been running about 2 weeks late, the swine is actually Andrew Lloyd Webber in disguise and it's taking nigh on a week to pen a little ditty to preface the update itself !
Hopefully, updates will be rattling out in a more timely fashion - this one is being written on the Tuesday night after the Sunday episode which is about as good as it gets for me, so I at least can relax a little having extricated myself from the firing line. Even from my own point of view, it's far more rewarding to be commenting on something that's fairly fresh in my mind, with perhaps only one episode (or two at most) having been seen afterwards, as it were. When I was catching up from being over a week late, there had occasionally been 5 or 6 episodes seen since the one I was bringing you, and well, it's like eating thrice-reheated beans...
So, I can gaze at my hen-scratchings with a little more real enthusiasm and affection for the programme, not least because it has been getting better by the bucketload recently. Just to remind you, last Friday we saw Hayley and Roy returning together after a simply breathtaking reunion either side of a wall of glass at Amsterdam airport, only to be pulled up at immigration on their way into Britain.
Act 1
The story continues at the cafe, as Roy and Hayley arrive at the
end of their journey. Roy is fuming at Hayley's treatment by the
Customs officials, as apparently she had been detained for questioning
for two hours, while no-one had told him what was happening at
all. Hayley misreads this as Roy being upset on his own behalf,
and tries to apologise, but he corrects her and says that he is
angry that *she* was treated this way. He is going to write to
the immigration people, and his MP, but Hayley begs him not to.
She says she is "a private person", and doesn't want
to call attention to herself unnecessarily. Finally, he accepts
this, and offers to put the kettle on.
Rita walks into the Rovers, and is greeted by Alec. She looks and sounds dreadful, and is suffering from a very bad cold. Alec offers sympathy and his own special pick-me-up concoction from the bar. Behind which, Jack is seen telling Vera that he is going to sort out the problem of hiring a new barmaid after Sandy's rapid departure, and asks her to go fetch the list of candidates they have already seen. He'll be wondering how he can sneak that Chantelle one back, methinks.
[Hang on, having a bit of trouble with my scribbled notes here. All I can make out is zzzz and zzz and zzzzzzz... I'll take a closer look, and, ah hah !] It's Maxine and Greg, also in t'Rovers. Muppet One is quizzing Greg as to why he seems so cagey at the moment, "I thought we were moving in together", she says. Greg has been reading the dating guide though, and is a few steps ahead of Maxine who clearly "wants to talk". "I need my own space" he announces, to no great surprise. [Maxine is so dopey, she fails to spot why he is harder to pin down than a particularly well-oiled eel.] She pouts. We yawn.
Back in the cafe, a far more well-matched pair are also having a heart to heart. Hayley is upset that Roy is upset. She thinks perhaps that she is too much of a coward, and hates herself for being so shy and failing to stand up for herself more. Roy reassures her that he is a private person too. "I'd understand it if you didn't want any more to do with me", she tells him. Roy is in a different league to Greg and far from seeing this as a getout clause, seizes the initiative and asks Hayley to stay the night ! He quickly adds that of course he will sleep on the sofa, but Hayley insists that he need not give up his own bed - she will take the sofa instead. [Now, isn't this a lot better than the feverish tonsil-tickling going on elsewhere ? Hands up who else if just a great big romantic old Hector...]
Natalie finally arrives back at the Rovers, and chats with Vera, who is very worried about letting Jack take over the personnel recruitment again. Natalie recommends her niece as a suitable replacement for the short-lived Sandy. Rita finishes her drink and thanks Alec. He waives any offer of payment, saying it is on him, and she need only get in touch if there is anything she needs. Rita retires home to her sick-bed. Alec looks concerned.
Greg tells Maxine that he cannot offer her the sort of commitment she is after. Indignantly [in so far as can distinguish one pouty expression from another] she suggests that he cannot feel much for her, in that case. Slimeball adopts the sympathy strategy, explaining how his deprived upbringing has left him inside a protective shell [this is the boy who was brought up by his Mum and a very wealthy and supportive step-father, let's not forget, supposedly tortured by not knowing that his real father was our very own Les Battersby]. He asks her if she will help him, poor mite, and Maxine agrees to take things a little more slowly.
They leave, as Jack calls time. He remembers that Vera has still not found the list of candidates, but Vera tells him that she has already sorted it, as Natalie's niece is coming in the following day. V is back in charge !
At campaign headquarters, Emily tells Spider that she has recruited several friends to help stick up posters around the town. Spider is unsure, saying how much he dislikes his portrait, how it's not really him. Auntie Em tells him that he needs to get used to the idea of his image being important too. "You need to... how do you say it... Get real !" she adds.
Above the cafe, in Roy's flat, we see Hayley ready for bed [or settee to be slightly more accurate], while on the table a clockwork musical windmill is going round. It is sitting in amongst a few pots of Humbrol enamel paint. [And I am indebted to Mike Plowman for pointing out that little gem of information on his CSVU pages.] There is a knock at the door, and by the time Roy enters, Hayley has jumped under the covers on the settee. [And naturally they are both attired in dressing gowns, while underneath pyjamas and nighties are securely buttoned right to the neck !] Still unsure of themselves, they exchange hello's. Roy has come to put the record straight about his being in Amsterdam - it wasn't a coincidence, he went as a result of Hayley's letter. Hayley is pleased. "Well, goodnight !", says our hero, and... offers a handshake ! Hayley grabs his hand and pulls him down slightly to give him a peck on the cheek. As Roy retires to his own bedroom, Hayley ducks under the covers so we can only see her eyes, which reveal a very mischievous expression...
Intermission
I think I'll have to start missing this bit out, as there's little
entertainment value any more !
Act 2
[The next day.] Roy and Hayley are both up and dressed. Hayley
suggests that Roy's trip to Amsterdam must have been a big thing
for him, as he hadn't been abroad before. Roy tells her that he
felt he owed it to her, as the best friend he'd ever had. Hayley
looks a little unsure at his answer, but he goes on to say that
he had wanted her to come back. "Where do we go from here
then ?", she asks. Roy furrows his brow for a few seconds,
and comes up with "you'll need to go shopping". "For
some food and stuff, on your way home." This isn't what Hayley
meant, of course, and she looks disappointed, but Roy recovers
a little ground by cheerily asking if she would like to go out
for a pizza at lunchtime.
Around the corner from the Kabin, we observe Emily and Alma and Mike poking fun at Audrey's campaign posters, featuring a portrait of the lady herself which must have been taken before colour film was available ! Alec is not best pleased with their reactions.
Liz is round at Jim's house, helping out. Jim remarks that he doubts they'll be seeing Michael (the therapist) again, so they won't. This prompts a knock on the front door, and of course it's Michael, arriving for "Round 2" as he puts it. Liz leaves, and the two men discuss Jim's future. Jim has come to terms with the fact that a full recovery won't be coming along next week, if it all. In return, Michael acts a few probing questions about Jim's ex-wife - perhaps surprised at how friendly the couple still are. [Sniff, sniff. I can smell something brewing here !]
Emily is in the Kabin, presuming rather a lot about Rita's willingness to support Spider's campaign, when Audreh arrives. Rita becomes more annoyed with the pair of them assuming anything at all on her account, and ends up asking them both to get out of her shop, but not before Emily scores a bulls-eye asking Audreh what happened to her recent photographs. "Oh, they were useless", says Audreh. "Why, did they show you as you really are ?".
Hayley is off home, and Roy gives her a quick kiss on the cheek as she leaves the cafe. However, their attempts to keep this low-key fail somewhat as Gail spots them, and barely able to contain her amusement and curiosity asks Roy if she did see what she thought she'd seen. "I expected you back" she tells him, "but not Hayley. Let alone staying here the night !!". Roy looks as if he knows it's going to be one of those days.
A rare appearance by Alf in the Rovers, as he talks to Alec about Audrey's campaign. They are pretty down in the dumps, but Fred is ebullient about the posters. At that moment, Audreh arrives in person, and is accosted by Maud who wants to give her some friendly advice. "Don't give up your day job", she says, "if vanity is what you stand for !". To top this, Curly also arrives, and says much the same to Spider. "You're a pair of pathetic fakes !" he tells him. [Curly's been gone for some time, and it took me a little while to remember that the pair last crossed paths when Curly asked Spider to write an environmentally-friendly speech for him to give at a Square Dealers meeting, Spider put the boot in and Curly had to think fast on his feet to recover.]
Jack quizzes Natalie about her niece. "Is she like you ?", asks Jack. "Womanly, and curvaceous ?". Natalie is far too smart for Jack, and tells him that Natalie is a student, she's more into studs and heavy boots. "You'll like her", she teases him, "she's got sparkle !".
Alec takes delivery of a tiny portable TV, for the regulars to watch the World Cup. He fiddles with it, not managing to get much of a picture, while Jack tells him of his worries about Lorraine. "We've got 24 hours to organise a new barmaid before Natalie's plug-ugly student niece arrives !" He suspects the "sparkle" might be the light glinting off her nose studs !
Back at Jim's house, Michael has left, and Liz is back to bring Jim his lunch. She asks after Michael, suggesting he is doing a grand job and it won't be long before Jim is able to do much more for himself. [Oh yes there's no smoke without fire and something's definitely smouldering around La Mouton at the moment !]
Alec accosts Audreh, demanding to know what happened to the 190 pounds' worth of photos he'd paid for with campaign funds. Audrey tells him they weren't suitable, but he's not happy. "We can't have you turning up on people's doorsteps now, they'll think you're the candidate's mother !"
Spider has been looking unhappily at his own posters as well, and bumps into Emily and a few of her friends who are busy putting more up. Emily introduces Spider to them, but he responds by tearing the posters down, and telling them all that he'll be fighting his campaign "his way" from now on. Emily looks shocked and a little disappointed.
This episode was written by Maureen Chadwick.
Once again, Roy and Hayley save the day and drag the whole show up out of a bit of a mire of rather dreary goings-on. The gradual easing of tension as they both become more comfortable with each other is wonderfully written and played, and at the same time the writers continue to tease us with awkward moments as the characters reach one hurdle after another. How I wish I was the one to bring you news of tomorrow's episode, but that honour falls to Dewey. (And I'm saying no more about it than that !)
Rita's illness is worrying, as it's not the sort of plot-line that casually appears and disappears. On the other hand, Alf looks like someone who needs a graceful retirement, as he's clearly not up to regular appearance in the show any more. Audrey more than makes up for him, being the equivalent of about three normal characters, although I have to say that I absolutely loathe the "gossip" in any soap, no matter how well played they might be.
Overall rating (out of 5 stars): ****
Till we meet again, John
As we open, to morning in Roy's Rolls, we see the eponymous cafe part-owner on the telephone, making some sort of arrangements for 'eight o'clock'. Gail asks if he's 'treating Hayley', which Roy confirms, but then adds, with a little disappointment, that Hayley generally insists on paying for herself.
Gail, who knew that Hayley stayed the night when they got back from Amsterdam, wants to know if Hayley stayed again last night. Roy, with a bit of irritation, tells her no, it was just the once, and why should she when she has a house of her own?
Alma comes in, and Roy, perhaps wanting to avoid further questioning, announces that he's going to the Post Office because they are running out of fifty pence pieces.
As he leaves, Gail excitedly tells Alma that Hayley slept over. A worried look crosses Alma's face - 'they've not slept together?' Gail senses Alma's concern and asks why she said that, and whether it is so unbelievable an idea. Alma shrugs.
Spider comes down to apologise to Saint Emily, and asks if she wants him to move out. Neither wants that, but Emily thinks he should find a new campaign manager, someone younger, with fresh ideas. Someone who isn't going to make him be what he isn't. He explains how he felt such a twerp wearing the white suit, and asks Emily how she would feel if the boot were on the other foot and he asked her to wear a shell-suit. Emily agrees that she's out of touch because she doesn't know what a shell-suit is. She agrees to stay on as campaign manager until he can find a replacement.
At the Kabin, an increasingly weary Rita proposes to Leanne that she might like to take on some more responsibility - the early shift every day, starting tomorrow. Leanne is happy to do this, especially as Rita offers to make it worth her while.
Alec comes in for a copy of Exchange & Mart and 'forty of my usual'. (Surely they sell his usual fags in the Rover's? Or is the vending machine dearer than the Kabin?) He asks after Rita's health, which isn't good, she's had another sleepless night and has 'flu pending. Rita then gives an excited Leanne the keys left by Mavis, a move which surprises Alec. 'Is that wise', he asks, to which Rita replies that she's getting old, she can't handle the six a.m. starts for the papers any more.
Steve is just about to leave Fiona's flat, and invites her and Morgan to join him for tea at Big Jim's. Fiona politely declines, saying Morgan is teething. As he leaves the salon, he checks with Fiona that it's OK if he goes. Maxine seizes on this and teases Fiona about domestic harmony. Fiona retaliates with a crack about Maxime & Greg's relationship being free and easy, in fact so free and easy that he's taking her for a ride. Audrey almost has to break them up.
An unlikely visitor in 'Hair by Fiona' is Alec, who has come to demand that Audreh takes down her election posters because people are sniggering at the twenty year old photograph. Alec is still smarting at laying out £190 for the 'official' photos. Audrey has to admit that the new photos can not be used because she burnt them - 'as they made me look like Grandma Buggins... I wouldn't mind, if they looked like me!' Alec, still spluttering about £190 asks if she's looked in a mirror lately.
Hey! Here's some long absent neck muscles! Dreary and Nurse Mouton are discussing Jim's intended recovery, and improved frame of mind.
A new face arrives, it's Natalie's niece, Lorraine. Jack is immediately taken with her. But then, she does exhibit his previously stated criteria for a barmaid - a pretty face and a big pair of bazoomas. She apologises for her lateness, due to a misunderstanding, and assures Jack that she's really very punctual. As he takes her through to the back she tells him that she only has one real failing, indecisiveness. Or at least she thinks she does. This forced bonhomie doesn't sit easily with Natalie, who looks as if she's already regretting getting Lorraine the job.
Spider and Emily are in a booth, expecting a verbal assault from Curly - if he says anything, just ignore him' says Emily. Curly wants to know what cuddly policies Spider is supporting today. Emily (nearly wanting to bang their heads together) tells them both that both men probably have the same ideas and values about so many things, but from different angles. Simultaneously they retort 'leave it out, Emily'. She draws more parallels between them, and goes off to buy them all a drink. Guess who will be Spider's new campaign manager come Wednesday?
Lorraine is being interviewed by Vera and Jack. Although her experience has mainly been on 'the other side of the bar', her parents used to keep 'The Black Head' in West Didsbury before they moved to run an hotel in Buxton - and livened that town up. She softens Vera up by saying how much they remind her of her parents. Alec comes in to be introduced, but he's more troubled by his £190.
Greg has called at the Salon, to find Maxime out, and Fiona on her own. He suggests she cuts his hair while he waits, but Fiona says she would charge him £6 whereas Maxime would do it for nothing in the comfort of home. Fiona is taken aback when Greg replies that 'you've got to pay for quality.' She accuses him of not having the slightest bit of respect for Maxime. Just when it seems that Studley II is moving in on Fiona, Maxime enters, to hugs and kisses, and an invite to drinks at 6ish in the Rovers.
Roy and Hayley are still sitting on the bench by the boating lake. Roy: I booked a table at the 'Portofino' for eight. Hayley: I love Italian! Roy: I know, I remember you saying, once. Hayley: This is lovely, Roy Roy: There's a reason I asked you out tonight. Hayley: Oh,...Yes? Roy: And I don't want you to be alarmed. Hayley: Right. Roy: Er, the thing is,... I've been wondering,... What I'd like is,...if eventually,... er you and me,... could er.. possibly,.. think of er,... having a relationship. Hayley: Well, we already are, in a way. Roy: No, no, no, you misunderstand me. Hayley: (almost interrupting) No I'm not - you mean an affair Roy: Yes. But you'd have to be very patient with me, you see it's not something I'm comfortable with. Not because of you being you, but because, well, I'm me, really. We'd have to take it a step at a time. Hayley: (Smiling) I'd like that. Roy: Would you, really? Hayley: (Smiling more) Yes! More than anything. Roy: Well, that's good then Hayley: Where do we start? Roy: (Raising right eyebrow) I expect we'll have to play it by ear. Hayley: OK. Roy: (trying to get his lips to say the words) Perhaps if I kissed you? Hayley: I don't mind. So they do, very briefly. And then again, gently and tenderly. Both they and the camera pull away, leaving a closing image of boats, water and nature at peace.
Anybody know the location of the boating lake? It ought to become a place of pilgrimage, and as such qualify as a venue for a contress. Well, a contress is a ping held on hallowed ground, innit?
So here I am with great trepidation stepping for a brief moment into CP's shoes(no jokes about women in comfortable shoes please...) First apologies for the delay but I felt I had to at least follow the tradition for late updates. Hope its OK any views of course are mine only!
Hi folks!!! I've let things slip again this week, so in an attempt to get the show on the road, we'll skip the prologue again and go straight into the update
Well, how was it for me? We see Jim valiantly trying to come to terms with his paralysis, struggling to get his message over to Liz tactfully. Some fine sensitive acting from him. The comedy of the week provided by Audrey in superb form as a parody of bubble-headed woman, with some superb comic delivery and timing from Alec and Fred. The major storyline, of course, being Rita's illness, finely portrayed by one of Coronation Street's mainstays.... In summary, not a classic episode, alongside the stuff we've seen over the last few weeks but clearly one of those episodes where the storylines are being developed for future action.
Aargh. I've got four pages of handwritten notes here, and an hour and a half to transcribe them to dem old 0's and 1's. So, apologies in advance, this is going to be real quick this week, but I'll do the best I can to relate to you all the important bits from this Sunday's (World Cup Final) 45-minute special. I'm feeling a bit better, by the way. Tonight's episode is sponsored by Cadburys, and introduced by Bob Wilson.
As I said, there was a lot of hype about this being the World Cup Final special, and in the end it didn't really add much at all. However, many different stories all moved along quite a bit tonight, and the scripts and the acting were well up to scratch. More so than this rather rushed effort, in fact looking at my little computer clock in front of me I see I don't even have time to run this through my spell-checker, however I am a graduate of the old school and generally try to get it all down right the first time. Forgive me the odd mistake, missing or duplicated words or phrases, etc. Overall rating (out of 5 stars): ***1/2
Well, we've had the delights of the Roy and Hayley affair, and we're back to the bottom of the barrel. It can't be easy working with dud storylines, and Catherine Hayes has done her best, but it's still a bit of a sow's ear.
So that's it then, not the sharpest script in the file, but Catherine Hayes did the best she could.
