Yeah, I think I got

a couple.

I think I got, like, two scripts.

And that's quite hard sometimes because, you know, when you get scripts and they go, oh, and the character will develop, and we've all been on those jobs that you go...

Will they?

Last episode, when is the character developing? But they did sort of promise me that, you know, it would...

Yeah, it would become apparent, you know, and a character would have a, you know, a journey.

But yeah, it was, when I first read it, I went, she's really, this is going to be hard.

Yeah

... who's married to a character called Henry Reid, and we have a daughter, Sarah, and we live sort of in the outback.

We're in the village, but we're very sort of isolated.

We seem to have this idyllic life-

I should know this, 'cause I do know this, 'cause I, but I've forgotten it.

Well, it's, it's, it's sort of a, a, I think it, it...

You know, I can't say a lot, but it's, it's about, uh, um, two people who exact some revenge and then, and then the sort of implications of, of that.

What can you tell me very fast about that scene? Because I think that's a hook, an excellent hook, the way she behaves in front of the people and also with her, with Brendan's character.

Yeah, I think, well, it's all starting to slightly come apart for her there.

She's still trying to keep the lid on and memories are flooding back and things that she's put on.

I think, you know, they always say people, when you deal with trauma, your memories and perceptions become very sort of fractured and your brain re-scrambles and retells, you know, as we always know.

We can all be in the same room and experience something.

And then when we relay the story back, there's always, we notice different things, don't we? Pick up different elements from, you know, what is memory.

But I think at this point she's starting to slowly crack, you know what I mean? So it's, yeah, you come in at an interesting point in Jenna's story about, you know, she knows the floodgates are about to open and it's starting to come apparent to her she's going to have to start navigating this.

And then there's To work with James, who is a BAFTA-winning director who gave us a lot of freedom, and to know that I would be opposite Maxine, who I'm a massive fan of and I've seen do such brilliant work before, it was hard not to be excited.

Yeah, I mean, everything that Jason says in that way, but as well, you do, you get.

If it's a real person, you've got a lot of research.

Generally, not always, but especially if somebody's been in the public eye, so you have all of that, but it's not really that different.

I suppose you've just got a little bit more homework done for you.

But then sometimes the script and what the actual research you've got on the real person doesn't always, it's not always an exact fit.

So then you have to start, you know, wiggling it, you know what I mean? But again, it is, it's just about, for me it was, it was the excitement of the script.

Bunch of complicated stuff.