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Jeremy Sandford

Dramatic Work

Complete or in development

Street Hustler

Nettie, a ‘cheap skate’ street hustler, is constantly trying to get her children back out of care, constantly trying (and failing) to get off the game. A far cry from the world of escorts and call girls, Nettie from the age of 16 has been exploited by ponces. Now in her thirties, the ponces have lost interest and Nettie, in part time business on her own account, has had two children who, during a period in jail, were taken from her. When, if ever, she gets them back, how can she give her kids the luxuries she wants them to have if she comes off the game? But that is the deal her social worker insists on. A greater enemy even than poverty awaits her - that she is getting older. An ex-ponce who treated her badly is now down on his luck and comes to try to get her to work for him again. But - a moment of truth for Nettie - not as a prostitute but as a prostitute’s maid. (First Draft Screenplay: 50”)

Raggle Taggle or Till the End of the Plums

Jim is a ‘free range’ traditional Romany Gypsy intent on keeping his freedom in a world increasingly hostile to Travellers. Maggie is a house-dwelling girl who comes to live with him in his caravan. After many adventures, her knowledge of ‘Gorjio’ ways results in them being offered a place on a local authority site. But Jim is a romantic and, even though he has experienced how increasingly hard life is on the roads and laybys, he rejects the site and he and Maggie are once again on the road as Travellers. (First Draft Screenplay: 75”-90”)

Shaggy Dog Story

The theft of Samantha’s dog and her attempts to rescue him from the local vivisection laboratories starts Samantha on a personal odyssey. Will she ever get her dog ‘Shaggy Dog’ back? And, if she does, what state will he be in? (Narrative Outline: 45”)

Demon Calling or Is That Me You’re Eating

Powerful drama featuring a young woman’s surrealist bizarre sufferings and eventual escape from schizophrenia. (Short Treatment: 45”)

Pervs or Amaryllis

Tales of Amaryllis, her boyfriend Brian, and their Torture Chamber. (Short Treatment: 45”)

Rent Boy

Tale of a Rent Boy and his Sugar Daddies. The seedy romanticism of the street kids and how they make a scanty living through busking, thieving, begging, dish-washing or selling their bodies. (Narrative Outline: 45”)

Please Can I Come in to Have my Baby?

Leila, caught in the precarious world of New Age Hippy Travellers and Romany Gypsies, is trying to find somewhere safe to have her baby. (Short Treatment: 45”)

Pyjama Boy

Tragi-comedy, based entirely on a true story. Rick, a saucy lad, has nicked scores of motor cars, even before he reached the age of ten. What follows is even more extraordinary. (Narrative Outline: 75”)

The Gypsies Spell

Gypsy spells don’t work - or do they? (Rough Draft Screenplay: 60”)

Minky Pinky Peach

Saucy adventure tale of dealers, a transvestite, and teen prostitutes in Cardiff. Co-written with Philippa Couzens, financed so far by the BFI. (First Draft Screenplay: 75”-90”)

The Prince of Pot

Comedy about Phil Travers, young, dashing, good-looking playboy with a glamorous girlfriend, successful sculptor with a teaching post at an art school, he seems to have it all. But, inexplicably, he wants more and becomes a cannabis smuggler. He is the last of the amateurs on a scene where professional criminals have increasingly taken over the racket. (Rough Draft Screenplay: 75”-90”)

Hippy Children

A powerful screenplay set in the world of the New Age Hippy Travellers. It features a mother’s odyssey as she attempts to get back her children who were inadvertently separated from her during an eviction. (Extended Narrative Outline: 75”-90”)

Girl on the Road

Light hearted, fast moving story of a young girl who grows from ingenuousness to maturity in the course of adventures hitchhiking on the roads of Britain. (Narrative Treatment: 75”-90”)

Women Hold Up Half the Sky

Shanaz, a 16 year old Pakistani girl, comes to Britain for an arranged marriage with Ian, an older man she’s never met. She finds herself caught in a paternalistic and hierarchical trap, her husband a middle aged restaurateur she doesn’t love. Slowly she wins her way out of oppression. She goes on to triumph over racism, exploitation and her husband. (Narrative Outline: 75”-90”)

Cathy’s Not Come Home

A return in our own times to the theme of my original ‘Cathy Come Home’, featuring the new and worsening nature of homelessness. But Cathy these days is a feminist, fighting all the way. (2 Page Outline: 75”)

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