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Murder Mysteries

Bespoke murder mystery games for your event, party or just at home with friends

Want to take part in your very own whodunnit? Tell me your theme, who's playing and a few extra details, and I'll produce a set of scripts for you and your guests to enjoy an evening like no other!

Tailored murder mystery scripts take around 40 hours to complete (at least 1 week’s work), so the more notice you can give me, the better. Pricing ranges from £200 to £400, depending on your requirements.


For a more affordable option, why not get one of my off-the-shelf murder evenings adapted for you? Themes available include:


  • Hallowe’en

  • English country village

  • Victorian

  • Girl band

Pantomime

If you're obsessed with panto, it's time to put it all BEHIND YOU

I love pantomimes! Terrible jokes, silliness, and good clean(ish) fun for everyone.


I’ve written a number of pantos, and am happy to create one for your am dram group without the fees and copyright issues from buying a commercial script. Plus I can add in all your local in-jokes and adapt for your cast.


All the usual stories can be done, and I can make it as traditional or modern as you like – a twist in an old favourite can bring the classics back to life.

Notebook

Sample of
Dick Wittington

shutterstock_119178772.jpg

Scene 5: In the Duke's chamber

The Duke is reclining on his cushions again, reading a big book called “Very Grim Fairy Tales” or similar. He notices the audience.

Duke:  Oh no, not you plebs again. I thought I could smell something disgusting.


We hear a loud knocking at the door.


Duke:              Come in, I suppose

Enter  Nasty Norman and Bozo Bob.

Duke:              Nasty Norman, Bozo Bob. How revolting to see you again. Do not sit down, won’t you.

Bob starts to sit, then stand, then sit again, and looks confused.

Duke:              Norman, what is that preposterous fool doing?

Norman:         Not sure, Boss. I think it might be the Hustle.

Duke:              Well tell him to stop, that bobbing up and down is making me seasick.

Norman:         Yes, boss. Stop it, Bob. Done it, boss.

Bob stops.

Duke:              Good. Now. What news, my fine fellows, what have you found out in your usual horrible way?

Norman:         Found out Dick Whittington’s on ‘is way to London, boss. Going to audition for Strictly Fame Factor. Make ‘is fortune. Marry yer daughter.

Duke:              Is he, indeed?

Norman:         He is, boss

Duke:              And you heard this first hand, did you?

Norman:         I did, boss

Duke:              Iiiiiiiiiiiiinteresting. I feel something eeeeevil coming on.

Bob:                I had that once an’ all, but me nan made me drink syrup of figs and that sorted it out good and proper.

Duke:              (after an exasperated pause) Norman?

Norman:         Yes boss?

Duke:              Eject this idiotic throw-back from my chamber at once.

Norman:         Yes boss. Come on, you. [He grabs poor Bob by the collar again, and drags him off]


Duke:              This is indeed a most interesting piece of news. And it just so happens that I have formed the perfect plan to thwart Dick Witless and his Stupid Cat. They’ll be crushed! Humiliated! Broken!  Ahahahahahah!!!

[Audience: boo hiss etc]

Duke:              Of course, I’ll need an accomplice to carry out my dastardly plan. And I have just the person in mind. FIRE!

[Enter Fire]

Fire:                Yes?

Duke:              Ah, Fire, there you are. Tell me, why did your mother give you such a ridiculous name?

Fire:                Apparently, it’s what the midwife said when I came shooting out.

Duke:              How repulsive. I’m sorry I asked.

Fire:                Everyone says that, sire. I’m used to it.

Duke:              Well, Fire, run along a deliver a message for me to Henry Hotshot who lives in that tasteless horrible house in Faringdon

Fire:                Which one, sire?

Duke:              Hmm, good point. Look in my study for my address book, he’s in there.

Fire:                Is he? He must be very small and flat

Duke:              HIS ADDRESS is in there. Know your place, Fire.

Fire:                Sorry sire. What was the message?

Duke:              Get here as quickly as you can.

Fire crosses the stage quickly to stand next to the Duke

Duke:              Not me, you blithering idiot, tell THAT to Henry Hotshot! Are you TRYING to drive me wild, fire?

Fire:                No sire, sorry, just a misunderstanding.

Duke:              Well run along, and don’t get distracted on the way by talking to any old flames

Fire:                Very good sire. [Exits]

Open Book

Other Creative Writing

Want a blog post or an article that's a little bit different? Get in touch and see if I can help you out.

Romeo and Juliet: 
an n=2 study

Abstract

Objective 
To evaluate the narrative arc of a love affair.

Design 
A case study.

Data sources 
1 meta-analysis including 1 Shakespearean dramatic publication.

Methods 
We compared estimated benefits and risks of romance between 2 small cohorts (1 patient per arm), assessing efficacy of communication, intensity of side-effects and reader engagement. Participants (n=2) were selected for being star-crossed +ve, within the geographical area of fair Verona, with a family history of feuding.

Results 
On average, romance effects were more injurious than beneficial for participants (95% confidence interval −0.34 to −0.08, P=0.001). Depending on criteria used, 1 to 2 sub-plots indicated small positive effects. The overall pooled estimate suggested a clinically relevant, significant mortality associated with romance, whereas analyses restricted to large population trials and predicted effects in large populations yielded, overall, more beneficial estimates.

Conclusions 
Never was a story of more woe than this of Juliet and her Romeo

Introduction

We examined two households, comparable in dignity, bearing ancient grudges, where C=Capulet and M=Montague. Procreation within the mutually exclusive C/M dynamic had produced two (2) lovers. Animosity between the houses had reached epidemiological proportions, with the younger males (age approx. 14-20 years) engaging in a systematic program of biting their thumbs at one another. This signalled intentions for violence, in a sequence of thug-thug interactions. The respective patriarchal figures engaged in similarly aggressive tropes, citing swords, blades, neighbour-stained steel and rebellious subjects.

Contact me at srnicwork@gmail.com to get started!

© 2024 Sonja Rnic

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