 We should make a start. We're not doing cleaning anymore, miss. No. What are we doing? We've been asked to do something important. Am I getting a certificate for cleaning? Yes, you'll get a certificate, Monk. And I've arranged for you to do a victim awareness course. For which you'll get another certificate. Can't we do something else? No, it's a real opportunity. For what? You said you wanted certificates. Miss, I'm happy to do this, yeah. So, I've arranged for you to do this. You know what I reckon my real crime is, though? I didn't do anything. That's a different discussion, Castro. No, I didn't do anything when I should. My victim's dead, Mike, but I want you to know I'm happy to do it. Good. Providing I get a certificate. But I want you to know I'm happy to do that. As long as I get a certificate. The eat of the story is a time of the story. You remember the riddle of the Sphinx. And Oedipus's answer was humans. And this story is about humans' attempts to control their destiny. In the case of Oedipus, desperately trying to wrestle free from family violence. And this story has fascinated authors all the way back to Aristotle and more recently, Ola Rotimi, Gabriel Garcia Marquez, Luis Alfaro, Nobel Laureate Rita Dove. And we're very excited to be part of the development of this new play, Oedipus in Jail, by Julian Armistead and Michael Crowley, to award-winning British playwrights. Or what he means. Armed robbery. Thank you for being so honest with us, Mr. McDonough. Yeah, everyone makes mistakes. Anything else you'd like to know? A mistake, was it? Like, you originally intended to play golf the morning, you somehow picked up the shotgun instead of the putter and ended up terrifying an ex-agent. Oops, sorry, love. I don't think the director would say that. We've got quite a few of people out there, Eastern Europeans, most of them, who'd give their right arm a clean list for. So tell me, why should we give the job to someone who'd sooner put a gun in someone's face? Good, so they're being funny. You're doing really great. They're being funny, but they're actually getting mean. Yeah. The Greek word stigma means scar or mark. And of course, Oedipus is recognized and comes to recognize himself through his stigmata, the marks on his ankles that tell the story of his and exposure as an infant. In Oedipus and Jail, all the inmates are marked by prison and by their familial past. And try as they will to break free. Destiny seems to be against them. Stretch, what have you got? What do you ask me to do? Well, let's hear it. Things I would have done differently. Number one, not being adopted. Number two, not being put in foster care. Number three, not being really happy there so I wouldn't have been unhappy when I moved again. Four, I shouldn't have agreed to need the bastard used later in part since he didn't bother to show up. What do you think? Where am I up to? Number five. Five, I got blasted. Six, I run the car. I know what comes next. Next, I go driving, don't know where, but I must be pushing 50 and I'm drinking cider from a can. Stereo on cold blasts. When I come up against this car coming from the other way, I don't see it. I don't hear it. So they have to drive up the pavement to avoid me but he gives me this looksie. And at the time I'm a bit sick of looks so I wind down the window and I'm like, what's the fucking problem like when he goes and opens the door and gets out which he should not have done? Are you with me? Well, is there a problem then? Want me to tell you what is to you? Sorry, I didn't quite catch that. Couldn't quite fucking hear you. And I catch it over the door and slam it on her, see? Is what screaming for me to stop but the more she screams, the more I slam it on her until he drops to the ground, crawls on all fours. That's as much as I know. I remember more about her than him forgotten, isn't he? And the other after she, I can't see his face. But she, social services. About your case, was it? About my son. I didn't know. You've never said. Well, I say he's my son. I was only with him for two and a half hours. We thought it would be best for him. I'm sure you did. The best two and a half hours of my life, like, I've been given a letter every year from his parents, like, there's never no photos or nothing. I have no idea what he looks like. Just how he's doing in that. And how is he doing? All right. Clever. He got ahead for figures, apparently, so that says. And I've never written back ever. The thing is, this time it's from him. From Dylan. He's 16, see? So the social worker has passed on his letter. Does he know you're in here? Don't know where I am. But he wants to meet me. Why? Although set in a British prison, the issue of mass incarceration is highly topical in the United States. We have higher incarceration rates than any developed country in the world. Inmates are often invisible to society. They are locked away and forgotten. Edipus in jail does not allow us to forget. To collaborate across departments and across disciplines. And so here we had the chance to do a play that came through a classics connection because there was an edipus focus but also involved prison theater which is very close to my heart in terms of the social justice theater that I believe in. So it was a wonderful mix of all of those influences and the students had a wonderful opportunity to engage with all of that in the project. So it was really quite wonderful. Well, first of all, I mean, as a college student and as a theater major, working with a play that's just been developed by the two playwrights, Julian and Michael, it's like the coolest opportunity I can get, especially given my love for theater and given my love for performance and being able to do something that's so fresh and so original, but then also takes, and just the nature of the play, edipus in jail, as it takes on these old stories. At the same time, I think college liberal arts context is a perfect place to take on that type of challenge and that type of role and it was really, really cool opportunity to be able to do that. I had Daisy. Oh, don't look at me. Apparently, I don't know shit about this play. I have to say, when we get into the children's home, it's a sign of good will a member of the staff laid Daisy's rear end for which they gained a lot of respect, Marie. On your bike. It'll help cast good pressure. If they don't send that to Afghanistan, I'll be killed. Okay, bye. If you're happy to live with that. No one's going to send Kasra back to Afghanistan because he's unfamiliar with Jack and the Beans. I'm the home officer bastard. Oh, this guy on the B wing, he got deported because he didn't know who won the title. That's not true. This isn't what I had in mind. I'll be Jackson. You know, I think it would be funny. It's going to go back to reminding the exchange. Yeah. Here's... I need Beans. Yeah. I'll be Jackson. This is really complicated. I've been thinking. I wanted to ask if... Go on. If I didn't visit for a while, would you be all right about that? Yeah, of course. Why? Why do you want to do that then? It's the journey. Well, get... Well, then just get Jayce to drive. He can sit outside. The doctor says it would be better. What? The doctor said you mustn't visit me. She said I needed to enjoy myself. She? Yeah. We had a conversation. What kind of conversation? About me. A conversation about me. Look, it doesn't matter, does it? But we have a laugh here, don't we? Martin, I want to go out. Out where? What are you going to do? Enjoy things. With who? On my own.