Introduction
Stockholm presents a world where, unfree of consequences, death row inmates are offered a bitterly short second chance at life. They live (mostly) guilt-free inside a sort of interpersonal, digital cloud (appearing real to all those around them). For 5 day's only, they're innocent, a collection of thoughts and memories manifested as a perfectly conscious human being.
The story follow's Kjell, one of these commonly dubbed "Crystallines". After committing an unforgivable (yet partially accidental) vehicular murder, he returns to his world as a free man. He lives with his wife Lise, still carrying out his job as a tour guide. But under the pressure of Clemmens, a vengeful cop with a knack to remember, and the mere presence of Anton, the cocky womanizer he killed in the first place, his short-lived return into the world of the living may end as coldly as the city he inhabits.
Stockholm is a story about love and jealousy, forgiveness and escapism. It's about the need for some kind of truth versus the longing to just end it all in flames.
Format
A traditional radioplay lasting around 15 to 20 minutes.
What I'm looking for
In the writing and hopefully acting of Stockholm, I'm going for a sort of laid-back, conversational tone. I want it to feel like, even though its concept is a bit out there, you're just tuning in to a (somewhat) normal conversation.
Content Warning
Unpaid
Morally and emotionally unstable characters
Light flirtatious undertones (brief mentions of the affair)
Occasionally strong language
(None of these are too serious, I just tend to list them incase they make people feel uncomfortable.)
Technical Info
The lines should ideally all be in one file with Stereo sound.
Schedule
April 11th to April 19th - Audtions and final edits to story
April 19th to 26th - First batch of lines should be recorded.
April 27th to May 3rd - Second batch of lines should be recorded
May 4th to 11th - Lines and music implemented into project
May 12th - Ideal release date
A kind, but nervous and a bit overemotional young man. He should have a generally soft, friendly voice, but not without a strong hint of neuroticism.
"The cities watery enough. You know, if I never saw an ocean again, I could still die happy."
"Wishful thinking I guess."
"Except you. You remembered, somehow. You made yourself remember."
Kjell's wife, not without problems of her own, but generally a somewhat kind and (at least partially) understanding soul. Her voice should be soft and warm-sounding but in its own right capable of bitterness and distrust.
"Hold on, you didn't bring an umbrella?"
"You don’t sound too confident."
"It’s more of a conscious thought. A version of that person that’s innocent."
The de-facto "antagonist" of the story, a bitter detective who somehow manages to remember Kjell's crime. He is fundamentally against his countries inclusive, almost rewarding style of justice. While not necessarily a bad person, he serves as a sort of more traditional view on the narratives technology, perhaps in his own way being the story's only sane character. His voice, while it shouldn't be over the top, should have some sort of resemblance to the Neo-Noir protagonists of the 1970s, such as Taxi Driver's Travis Bickle or Apocalypse Now's Captain Benjamin.
"Heheh. Well, that just about wraps itself up.."
"Yeah I’d say that's a pretty specific accident to have."
"If it had to be anyone, it'd be me. You know I'm not that good at forgetting."
A more straightforward ass, Anton is a confident, middle-aged colleague of the protagonist. Although he has two children, he still manages to come off as an overconfident player. Long suspected of having a short affair with Lise, Anton can still bear to be pretty active in both of their lives, said bad idea having resulted in his death.
"It's Georgian.
"Forget I’m a doctor, did we?"
"Well you know you can just uh… plug it into the conscious, right?"
