In this scene, The Number One (Simon) has his first onstage interaction with the character of Helen Stewart. The relationship between Helen and my character is a rather strained one, in the sense that Simon disapproves of the way in which his Prison is being run, as he wishes for a return to the "old boys network". This strained relationship will be explored through further interactions between the two characters, as the objectives will likely change. In this particular moment, my objective is to inform Helen that her probationary period has been deemed a success. It's possible to imply that my character already has some sort of grudge against Helen, as he says that the success was not "not without incident". This can be perceived in two ways, being that Helen hasn't been perfect during the probationary period, or that Simon has picked up on the most insignificant details to begin his plot to show her the exit. Whilst Simon faces few present obstacles, the greatest obstacle in his way is Helen's righteousness. This obstacle he may overcome is in the sense that Helen is a strong individual willing to take on the full brunt of responsibility, so long as she's got the chance to improve the lives of the female inmates. Whilst this objective is rather easy to accomplish, I intend to show my dominance in power over Helen, by patronising her in view of the inmates. For example, after telling Helen good news, Simon says "Helen - just remember - whatever new ideas you've got in mind - prison is a place with two types of people in it: us and them". During the delivery of this line, I will emphasise Helen's name in a way that will bring her back to reality, as it's obvious that she is rather excited from the prior news. Furthermore, the emphasis that I place on her name will imply to the audience that I have some reserved concerns about the way in which Helen will proceed with operations in my prison. In support of a patronising tone of voice, my body language will further convey my concern in her future approaches to duty in Larkhall, as I will stand with one foot forward, whilst placing my hands on my hips. This sudden change in posture, body language and tone of voice will serve as a marker and communicate the change within the scene, also known as a beat.

In this scene, my character is stood at the urinals with Principal Officer Jim Fenner. The relationship between Jim and my character, Simon, is one of respect and trust, on the basis that we have worked in Larkhall together prior to Helen's arrival and appointment of Wing Governor. Using this past partnership, I intend on persuading Jim to inform me of any new information he has regarding Helen's progress thus far, as I actively work to find a way to have Helen removed from HMP Larkhall, the prison I run, throughout the show. In order to achieve this current objective of acquiring intel, I will reassure Jim that "any information's in the strictest confidence", as he initially proves to be reluctant in letting any knowledge loose, which serves as the obstacle I must work around. Not only that, but I will have already actively implied that he knows something that I should know as well, when I probe him by saying "if you have concerns". This line will be delivered with a slightly concerned tone of voice, so as to open myself up to Jim as an individual who cares about the welfare of others and someone who he can talk to. However, realising that this didn't work, I think in the shoes of Simon for a moment in order to think of another approach to get what I want. The result is me informing, in a more stern tone of voice, that "any information's in the strictest confidence". Whilst previously noted above as reassuring, the stern delivery also links back to the trusting relationship between Jim and I. At this point, a dramatic pause is imposed, as Jim considers whether or not to fully trust my character, Simon. This line of stage directions signals a beat in the scene, as Jim's singing becomes more upbeat, whilst Simon's character is uplifted and relieved at his success in acquiring the knowledge he sought, in the form of a notebook. To show my appreciation, I enthusiastically shake Jim's hand after receiving the notebook at the urinal, much to Jim's visible disgust, which he knows he must contain in front of his boss. 

Following the rape and suicide of Rachel Hicks, chaos has descended onto the prison, which would lead to the intervention of my character, Simon. As Governing Governor of HMP Larkhall, my relationship with the prisoners is incredibly strained, as the character of Simon has little respect for the prisoners. An old-fashioned individual, Simon believes that prison is about "us and them", which sums up his views on those who he evidently considers to be below him. In this entire scene, I only have two lines of dialogue following my entrance midway through the early stages of a riot. My sole objective is to understand the situation at hand before things get out of hand, but I will be hindered by the vastly wild tempers of the prisoners voicing their anger and upset at the treatment of Rachel. In an already hostile situation, the best that I can do is to project my voice above those of the prisoners, which will reinstate Simon with the highest authority. Not only that, but by projecting my voice and increasing the volume, I will be able to vent my own anger at the disorderly behaviour being showcased in my Prison, through the genuine question "what's going on here". This will most definitely incite a reaction from the prisoners, who have quite the bone to pick with Simon, which will ultimately lead to them revealing information I wish to acquire. Once I learn of the atrocities that have taken place, my character is taken aback and dumbfounded, which I will communicate through my body language. Part of being dumbfounded will be due to me seeing my Prison Officers being overwhelmed, both physically and mentally, by the prisoners, which leaves me as a victim to rapid thought completely at a loss in regards to the best course of action. 

This scene signals the second onstage meeting between The Number One (Simon) and Wing Governor Helen Stewart. I aim to persuade Helen to cooperate with my twisted truth, but I face the struggle to overcome her indomitable will and self-righteousness We're also brought together in this scene so that we can address the events that had transpired, as I mockingly console her about her mistakes. In a gentle, yet reassuring way, I tell Helen that I know how she must be feeling, but that "one tragic mistake need not be the end of such a promising career", provided she's "prepared to cooperate". As her superior, I expect that she will follow my orders without question or doubt, something that is faced in this scene. She responds to the idea of cooperation by claiming that everything is a "pack of lies", which forces me to reassert myself and begin using scare tactics. An example of this would be when I tell Helen "you're only option is where you go from here. But let's face it, Helen. You are going". The purpose of this is to communicate my true intent and conviction, which is getting Helen unemployed from my Prison. Even if she thinks otherwise, I have every belief that she will have no choice but to leave, as I heavily emphasise the word 'are'. This reinforces the amount of confidence that my character has enclosed within him. In response, Helen continues to pose a problem to my plans, as she proudly states that she'll take the case to tribunal. The word 'tribunal' serves as the beat in this scene, as I will become more stern in my final attempts to now force Helen to comply, rather than to persuade her. The shift in my dynamic will come after a brief moments consideration, as I initially smile when I hear 'tribunal', as I consider Helen's ploy to be futile. However, I quickly come to the realisation that my life would become hell should Helen reach tribunal, as I would have a lot to cover up. Subsequently, I tell Helen that she'd better think again in a grave tone of voice, before leaving her anxious at her desk.

In this scene, I once again find myself standing at the urinal, through my own arrangements this time around. I am joined by Principal Officer Jim Fenner again, who was informed of my calling by Senior Officer Hollamby, as I wish to inform him of the current circumstances. As an individual whom I've worked with for many years in Larkhall, he is already imbued with my trust, as I intend to burden him with potentially valuable knowledge. As much as I respect and admire Jim, I'll find myself in a position where I will have to choose between myself and my loyalty to those close enough to me, my ego being the biggest obstacle to face. I'll overcome the obstacle, that is my ego, by occasionally showing that I am capable of caring and looking out for others, whilst ultimately covering my own back in the long run. The way in which I will show my capability to care will be by saying to Jim that "I think you should know that it's your job she's gunning for". Whilst my confident tone would likely be perceived as sounding smug, this line implies that I still have some form of humanity towards those I consider to be close allies. This could be perceived until I inform Jim that "much though I'd rather it not be" his head on the line, "whatever happens it's not going to be mine". In this moment, there is a sinister beat before I deliver this line and the heavy weight that comes with it, so as to remind Jim that I'm still his egotistic superior. The gravity of the situation is evident after my swift exit, as Jim is left helpless at the urinal, before he exclaims "shit" under his breath.

In this scene, I will be brought onto the stage as The Number One by Officers, including Justin Mattison & Sylvia Hollamby. As their superior, I communicate to them and the audience my irritation at being summoned by them, as the Governing Governor has a lot of responsibilities to oversee on a daily basis. At one point, I viciously question Sylvia about what it is that Justin is doing, as he attempts to bring up the live video feed to my laptop. My pushy nature in the beginning of this scene is due to me wanting to know what is going on, something that I persistently pursue by nagging Justin and Sylvia, until the live video feed is brought to my attention. This video feed was set up by Justin and the prisoners, so that they could capture irrefutable evidence of the wrongdoing that commences in Larkhall and expose Jim to the hierarchy of the prison. Viewing the live feed, I witness Officer Fenner caught in the act of sexual intercourse with prisoner Shell Dockley, which creates white-hot fury within me. This signals a beat within the scene, as the musical number ceases, bringing about a tense, heavy atmosphere another amongst the audience. After a moment's consideration, I savagely scream at Jim with a face full of anger and disgust, though I also sound rather bemused at that which I'm seeing. I furiously bark the order of "security report to the seg block" to "detain Principal Officer Fenner. And call the police", before I swiftly rise from my seat, heavily slamming down the lid of the laptop and storming away from the Officers.

Serving as my final appearance in the show, Act 2, Scene 10 will be when I confront the prisoners about the recent events that had occurred in the prison, before awarding leadership of the inmates to Helen Stewart. Already proven to be egotistical and in the belief of a class system, The Number One has little respect for the prisoners, whom he previously referred to as "them". Meanwhile, his professional relationship with Helen has been on a downhill projectory ever since his discussion with her in scene 3 of this Act. With ego and pride being my character's greatest obstacle, I intend to address the prisoners and apologise for the misconduct, before assuring that Fenner will be brought to justice. In order to do this whilst protecting my own image, I will use a falsely apologetic tone of voice when saying "I wish that your concerns about Mr Fenner had been brought to my attention earlier". This will, to the audience, communicate my genuine feelings of regret and distress, in regards to the way in which these women have been treated in this rather patriarchal prison of the modern day. This façade will be seen through immediately by the prisoners, who will respond by bombarding me with insults and raucous chatter of disapproval, causing me to consider how to get this over and done with as quickly as possible. In turn, I am required to assert my authority and rise above them again, when I deliver the line "silence" in a booming projected voice, signalling a beat in the scene. The stage directions imply that this works, as "(the women hold fire)", allowing me to continue with my message. The delivery of my final line, "And now, I entrust you all to the good governance of Miss Stewart", signals a shift in the dynamic of power in Larkhall, as we step out of the past and into the modern day society, a society in which women are treated with greater equality in high ranking professions.