This first scene in the play gives an abundance of information about some of the main characters in the play through the plotting and scheming between Lord Valmont and La Marquis de Merteuil. The listener is curious as to how they will fulfil their scheme. In Gallop to the Grave' our opening scene also made the listener curious as to what plans Clint' would have after jail because of his statements in the scene:.
I've got one or two plans of my own'.
and, .
now it's my turn to show them who's boss.
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Ostension is impossible in the medium of radio'.
Andrew Crisell.
This is why codes and conventions are used in the medium of Radio Drama to create a visual world' inside the listeners' imagination. I believe that our radio drama worked effectively at this, and targeting our audience, of 35-45 year old Radio 4' listeners, for a number of reasons.
Our script for Gallop to the Grave' included elements of surprise, conflict and emotion. The story begins at the beginning of part two of a serial. Therefore we join Clint just before he leaves jail. .
Our main character Clint' is in keeping with all of the main conventions needed to be a hero. Although at the start of the drama he is a villain, he has a lot of charisma and as the story goes along, does not seem to outrightly go looking for a fight. His intentions do not seem clear as he befriends Mary'. But the audience can empaphise with his morale, when he confronts the drunkard in the saloon in defence of Mary's' honour. In a way he lets his guard down in a rash moment, by throwing the first punch in the bar fight, when his cover is almost blown.
Our secondary characters are: Mary' an emotional female character because of what happened to her father, bravely keeping the Three Horse Shoe Saloon' going with the support of barmaid Polly' . .
The antagonist in our drama is therefore the drunkard'. The audience would like to believe that there could be a happy ending between Clint' and Mary', and that he has changed his ways now that he has met her.