Would You Marry This Man
Copyright© 2025 by A Kiwi Guy
Chapter 3
Apprehensive, Roy, Celia and Anne sat on the edge of their seats in Roy’s lounge. No-one had felt like cooking, so take-away pizzas had been the order of the day, and blunted appetites had barely made a dent in those. Trying hard to not be negative about what they might see, they had tuned to ChTV to view Sonia’s report.
“Mmm mmmm,” Roy muttered to himself.
“Don’t mutter,” chided his mother. “Either say it out loud or don’t say it at all.”
“Can’t help it,” he said. “I have to admit that I’m scared that the wrong slant could destroy a lot of things, not least the women who bravely fronted up today.”
“Oh shush, don’t be so negative,” said Anne, as the credits for the programme rolled.
ChTV1 – “On the Street” with Sonia Street
Segment Title: “Matchmaking on the Job”
(Opening shot: exterior of the Burke Construction office building. The familiar “On the Street” theme tune plays, but the intro dissolves more quickly than usual into Sonia’s voiceover, over footage of assorted women walking into the event.)
SONIA (voiceover, crisp, measured):
“Today’s dating landscape is full of apps, algorithms, and swipes. But what happens when an old-fashioned approach gets a modern twist — from a most unlikely source?”
(Cut to Roy standing at the front of the meeting room, welcoming the women with his clipboard.)
SONIA (v/o): “Roy Burke — construction boss, private man — put out a call. Not for tenders, but for women. Serious women. Not for short-term thrills, but a long-term partnership. Marriage, even.”
(Cut to footage of the women laughing, chatting in small groups over tea and scones. Then to a quick shot of Anne arranging mugs. A flicker of Celia giving someone an appraising look.)
SONIA (v/o): “Twenty-seven women responded to the unusual invitation. Four were chosen for a closer conversation. No cameras were present for that part — the rules were clear. But some were willing to talk afterwards.”
(Cut to Naomi, sitting outdoors, wind catching her cropped hair slightly. She smiles nervously.)
NAOMI: “I didn’t know what to expect. But it wasn’t a joke. Not at all. He actually listened. Properly. That’s rare.”
(Cut to Brodie, leaning against her car, a large retriever in the back seat. Her voice is even, a touch reflective.)
BRODIE: “I went because ... well, because someone needed to remind me what a decent man might look like. And for what it’s worth, I think Roy fits that description.”
(Cut to Sonia in studio, mid-shot at her desk. No raised eyebrow this time — her voice is cool, but not mocking.)
SONIA (to camera): “So was it a gimmick? Or something more? I admit, I turned up expecting a bit of theatre — maybe a lonely boss in over his head. But that’s not what I found.”
(Cut to Verona, smiling but wry.)
VERONA: “Unusual? Absolutely. But if the usual ways aren’t working — why not try something bold?”
(Cut to Roy walking away from the event with Anne, the camera slightly behind them. His posture is straight but tired. A quiet dignity.)
SONIA (v/o): “In a world that often rewards pretence, maybe there’s still a place for straight-talking, old-fashioned hope. Roy Burke may not be fluent in charm, but he seems to be learning the language of honesty.”
(Final shot: a still frame of Roy sitting alone in his lounge, late evening, the interview clip paused on his TV screen. Then fade out.)
SONIA (to camera): “For On the Street, I’m Sonia Street.”
(Theme tune swells. Segment ends.)
Roy clicked off the TV, and silence reigned for a minute.
“Before it started, I was ready to sue her,” Celia said, relieved.
“She surprised me,” Anne said softly. “Actually gave you credit.”
“She saw more than I thought she would,” Roy reflected.
There was a pause. Roy rubbed his chin. Celia frowned, but said nothing.
Anne watched him closely, then added: “The ball’s in your court, mister. Don’t drop it.”
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