Video diary
Ryan is holding the camera to his face, looking cracked out.
R: Video-diary. We’ve got exclusive interviews with writer and director Tim Moore-
Cut to T in the chair.
T: I would definitely call it a white man’s film, yeah.
Back to R’s face.
R: And up-and-coming star Sam Rossi-Harris-
Cut to S in the chair.
S: (Nervously) It’s gone well, yeah, I think, it’s been a lot of fun.
Back to R’s face, as he walks.
R: And exclusive behind-the-scenes making-of documentary footage.
Cut to S & T in the street.
S: I just can’t do this any more Tim.
T: … Please don’t say that.
Back to R.
R: Right.
Entering room as he’s talking.
R (OS): Sam? Sam? Quick word for your beloved fans?
R turns camera from his face towards S getting up and charging at him.

Door slams, R turns camera back to face.
R: Right, he seems a little preoccupied, let’s go see what Tim’s up to.
Moves into larger room, T stands with Jenine over set holding props.
R (OS): Tim? Care to speak for the video-diary?
T: I’m sorry, who are you mate?
R (OS): Er-
T: Give me that.  Go on, get!
T holding camera shows R being kicked out into the street, door slamming.
 How did he get in here? Did you let him in?
J: I’ve not seen him before.
T (OS): Security in this place is abysmal. Listen, Jenine…  You couldn’t… you got anything you’re doing now?
J: No, if we’re finished with the set…
T (OS): Yeah yeah we’re done here. I was wondering if you could just go out there and maybe offer to buy him a drink, or something, you know, get him away from the door, you know.
J: … Okay. What if he doesn’t want a drink?
T (OS): Just do what you have to Jenine, alright, no one’s gonna judge you for that.
Turns camera to face, starts walking.
T: Right.  Sam? Sam? You alright?
Entering room show S looking down tearful, does not see camera.
S: … It’s all, just… slipping away from me, you know, I can’t…
S looks up, sees camera, lashes out.
 Eventually door slams and T turns camera to face.
T: I think that’s it for today.
Cut to -Day 2- S; R; T & J sit round table, camera is being held secretly by R.
T: This always happens, doesn’t it?

Cut to S standing against wall looking nervous. R holds camera.
S: He’s gone crazy. I am in genuine fear of my life right now.  I am.
T (OS): Alright?
Camera swings round to show T approaching rapidly brandishing said samurai sword.
R (OS): Alright Tim.
T: Alright Sam? Where’s your script? Raising sword.
Cut to make-up room, S with bandaged arm, T still holding sword, both with downcast eyes.
Cut to T in the chair.
T: … I don’t know when you start… saying sorry too much. I mean I’ve said I’m sorry so many times I think it’s just starting to irritate him… Thing is I’ve got to put this thing away (raising sword from under the screen to show that he is still carrying it), I think about it and in that moment, you know, I’d lost it and… well he’s lucky, really. Could’ve just as easily been his neck.
Cut to S in the chair.
S: No, I’m not angry. I’ve moved on, you know, I don’t know why everyone’s still talking about it.
Cut to R holding cam to face walking around outside.
R: Right.  I think this is what you’d call a dress-rehearsal.
Entering café where S & T look over scripts and eat, S is looking around his plate and suddenly throws the script down and leaps up. Cut to S in the chair.
S: I think the breakfast incident was painstaking for all of us. I regret my part in it. To be fair, I know what I ordered. I know that.
Cut to T in the chair.
T: I heard bacon, I heard eggs, I heard beans, I heard mushrooms, I heard toast. And I’m not lying when I say I didn’t hear the man order the hash browns. I simply didn’t hear him say it. And if he didn’t order them, he can’t expect to be served them can he?
Cut to S in the chair.
S: We were all under a lot of stress that morning.
Cut back to café cam reeling with blurry image of S going crazy and tearing the place up.
S: Where are they?!
Cut to -Day 3- S holds camera to face as he walks down a corridor.
S: We’re waiting on a delivery today, don’t know what of, they keep me in the dark. Still not much is really going o-
T (OS): Sam! Bear-trap!
Slamming sound and cam falls with S amidst screams. Cut to R in the chair.
R: He’s gonna lose the leg.
Cut to T; R; J standing outside hospital, R holds cam.
T: I did say bear-trap, didn’t I- you heard me say that, right?
Cut to S in the chair.
S: It’s not something I think I’ll be able to get over quite as easily as the other accidents we’ve had on set… I think mainly because Tim still refuses to tell me why the bear-trap was set up there in the first place, or why he ordered it, even.
Cut to room with S in bed and T standing at the window.
S: Why was it there?
Cut to S in the chair.
S: He’ll change the subject, or just walk away knowing I won’t be able to catch up with him…
Cut to R in the chair.
R: That was one of the worst days, and there was consensus on that. There were a few arguments raised that it actually wasn’t as bad as the day in the home-made hot-air balloon because, well, only one person was hurt. Still I weighed the amount of pain I gauged Sam must’ve felt against those that fell, and the importance of what was lost.
Cut to S in the chair.
S: … Now more than anything I just wish he’d give it back.
Cut to LS of T getting out of a car, putting on sunglasses, reaching into car and pulling out dismembered leg, swinging it over his shoulder, walking OS. Cut to T in the chair, with the leg.
T: Yeah, they say they’ve got a way of reattaching it… (laughing), I don’t see it, no.
Cut to- Day 4- R holds cam to face.
R: I’ve got a feeling we’re gonna get some serious truth this morning fellas, but (placing camera in hidden spot) the secrecy of the… documentation… must be… preserved.
R steps back, knock on door, T enters.
R: Alright Tim.
T: Yeah, listen man I’ve just got word back from our fund-raising committee and, well, we’re broke man. Flat out broke.
R: I see.
T: … So I’m gonna need you to-
R: Need me to what?
T: … Do that thing you do when we run out of juice.
R: … And what would that be?
T: … Do you have the camera on in here?
R: … No.
T: … Alright. Stop trying to make me say it then. Go do your thing.
Exit T, R approaches cam.

Cut to R holding cam to face walking down posh residential street.
R: Nice ‘ouses round ‘ere. They won’t know what ‘it ‘em. Now to pick a winner, and wait… for cover of night…
Cut to J in the chair.
J: I still can’t explain it. It was like magic, or something. Every time our funds ran out, without fail, they were immediately replenished the very next day, often to more than what we’d started with. And whenever I’d ask Tim how it was possible he’d always just say-
Cut to T in the chair.
T: Fortune favours the bold.
Cut to shot of loose swag lain out on table, R holding cam moving it over items.
R (OS): See what we’ve got tonight, got some doorknobs look like real brass… some jewellery here… what’s that… oh yeah I grabbed a sandwich from the fridge, ah it’s gone all mushy-
Cam moves up as T enters, looks at swag, looks up at R.
T: … Good catch?
R (OS): Yeah not bad at all man, coupla hundred here I reckon.

Cut to S in the chair. Long pause.
S: Of course I knew about it. I wasn’t told, but it was obvious.
Cut to R in the chair.
R: I did a church this one time.  Not so. Not a sausage. Committed a cardinal sin for a few pence in the donation box.
Cut to T in the chair.
T: I don’t know his name. He hangs around the set sometimes. I would never condone anything like that.
Cut to -Day 5- Beto in the chair- suit; glasses, clipboard; pen.
B: I was called in by the producers fairly early on, just to interview the cast and crew and, well, just find out what was going on really.
Cut to R in the chair.

Cut to shot of B entering room with briefcase, R holds cam.

Cut to shot of B sitting with S in make-up room, R holds cam.
B: So Sam, sorry this is my first question, but you’re the first person I’m interviewing and I feel I should know- what’s the film about?
S: I’m sorry?
B: What’s the film about?
S: Oh. Er… it’s… I don’t think it’s really the kind of film that’s about anything.
B looks up at cam, cut to shot of corridor R holding cam walking towards T carrying papers.
R (OS): Tim! I want to know what that fucker’s doing here. We don’t need another interviewer.
T: I know, I know. Tell you one thing for certain, he’s not just here for interviews, is he? … I think they might be on to us, man.
R (OS): … Shit. … What do we do?
T: Pre-emptive strike.
Cut to B in the chair.
B: I found it very hard to glean any information… from anyone. After my first- fruitless- interview with Rossi-Harris everyone else just refused to speak on the record… The director is nowhere to be found… I don’t usually like to give up on anything but this does seem like a hopeless situation, to me.
As he is speaking R is gradually creeping up behind him wielding a large spanner. Cut to T in the chair.
T: It’s tragic really.
Cut to S in the chair.
S: We were relying on that guy for the DVD extras, and he seems to have just deserted us. The wanker.
Cut to shot in basement of B tied to chair and gagged, laser-sight aimed at his forehead. R walks onto shot, sits behind B, leans forward.
R: …
Cut to Raz in the chair.
Raz: I dunno, a mate told me about some temp work, good money, good hours, good people-
Cut to shot in basement of Raz & B tied up and gagged, R stands over them holding whip. Cut to T in the chair.
T: No, it is tragic.
Cut to S in the chair.
S: We get a lot of these young guns in here, since the ad we put up in the paper. They’re never with us long, but I’m told their input is invaluable.
Cut to R in the chair, with dog.
R: ‘s gotta get his nutrients from somewhere, hasn’t he? Eh? Who’s a good boy?
Cut to -Day 6- R holds cam and approaches T & J in the larger room standing over laid out tent.
R (OS): Alright Tim. What’s this?

R (OS): Jenine, what is it you’re doing here?
J: We’re making a hot-air balloon Ryan.
R (OS): What for, Jenine?
T: Aerial shots. Can you get that thing out of my face please mate, we’re trying to work.
R (OS): How’s it going to work, then?
T: … We’ve got the tent, and a blowtorch, and a shitload of string. All we need now’s a basket.
R (OS): I’ve got a basket.
T: Do you?
Cut to S in the chair.

Cut to R holding cam showing T attaching string to basket.
T: Can you give me a hand over here Jenine?
J walks on screen with B and Raz following.
 Alright, load ‘em up, we’re almost ready for a trial run.
Cut to Raz in the chair.
 No sir.
Cut to B in the chair.
B: I think I was by that point well past being surprised by anything they did… I hadn’t spoken to my family in weeks, everyone probably just assumed I was dead.
Cut to B & Raz being tied into basket by T & J, R holds cam.
T: Alright, hold still now. (Raises blowtorch).
Cut to R in the chair.
R: When we were on the roof and it was about to take off, Tim takes the camera off me and says it needs to go up with them for the aerial shots, right. Understandably I pointed out that they were tied up so couldn’t film anything, right. So then, he decided to go up with them. I said Tim, this is a mistake.
Cut to S in the chair.
S: I was surprised they fit the first two into that basket, it didn’t look big enough. We all thought it was a bad idea to send them both up first time, and Tim getting in with them… well that was just suicidal. He must’ve known that.  I mean, where did he get the idea that you can make a hot-air balloon out of a tent?
Cut to T in the chair.
T: As we were taking off it was clear that everyone was right and it wasn’t going to hold the weight. I did what any sensible man does in that situation, and I dived out. It wasn’t far to the roof, you know, few grazes, but I was alright. Those other two weren’t able to get out as quickly as me though, and the wind was picking up just as I jumped out-
Cut to Raz in the chair.
Raz: Nine months physical rehabilitation. Nine months. I broke five ribs; both legs; my skull was fractured in three places-
Cut to B in the chair.
B: Yeah the runner I was in there with was in a really bad way when we landed. I can’t really remember, I was unconscious, but they tell me I must’ve landed on him- I had next to no wounds, and he was… well he is still pretty messed up.
Cut to Raz in the chair.
Raz: -I’ve got two hernias and two new hips; I’ve lost seven toes; for eight weeks my spine was twisted so badly I couldn’t even lay down straight-
Cut to shot of Raz laying across a right-angled bed. Cut to Raz in the chair wearing eye-patch.

Cut to LS (from roof) of broken basket and Raz & B sprawled out on the road, R holds cam and whistles.
S (OS): Shall we call an ambulance?
T (OS): … Can we explain this?
J (OS): I’m calling an ambulance.
T (OS): Wait, wait, just let me go down to them first, smooth things over. (cam moves up shows T walking OS).
R (OS): We’ve got to get this people.
Blurred vision of R chasing T down fire escape into street, cam stops over T kneeling over Raz, trying to wake him.
T: Fuck.
R (OS): He dead?
T: No, it ain’t that, it’s just we’re not insured for this. Fuck. Fuck. Alright I need to make a phone call. Turn the camera off.
R lowers cam but does not turn it off.
T (OS): … Yeah man it’s me. Not so good. There’s two of them this time. Yeah, same place. Drive in the back way, alright? … Help me get them inside, man.
Cut to B in the chair.
B: I woke up… in the trunk of a car, tied up, with the runner still in a very bad way next to me. A few seconds later I realised there was water getting in, and we were both going to drown if I didn’t find a way out. Fortunately I’d had quite a long day in the sun with the magic arts when I was younger, and Houdini’s classic has always been one of my favourites. Saved the day, really, the outcome could very well have been a very different one.
Cut to Pierre in the chair.
 Sometimes the jobs are a bit weird, but I’m not one to complain about that. Did I know, when he asked me to drive the car into the lake, that there were two guys in the trunk? No, no I didn’t. If I had known, would I have refused to do it? For forty quid? Probably not. It’s only a bit of water sport. If he was asking me to kill ‘em I’d’ve asked for more but… well to be honest I assumed they were already dead. When I heard… that they was in there, anyway.
Cut to Raz in the chair.
Raz: Mother-fucker tried to kill me. Kill me?! I’ll show him who the mother-fucking killer is around here… (produces hidden blade, stands, stabs the air, makes crazy noises.) You wanna tango with the Raz-man, man? I’ll show him. See how I dance… mother-fucker. You talkin’ to me? You talkin’ to me?! Well I don’t see anyone else around here, so – (some of this should definitely be in slow motion.)

R (OS): Evening Raz. You’ve spoken about wanting to kill the director, both off screen and now on screen as well… just how serious are these plans?

Cut to T sitting with S over script, R approaches holding cam.
S: I don’t like this bit.
R (OS): Tim, the runner we crippled is laying up in there healing and making all kinds of threats.
T: Go away man, we’re busy.
Cut to T in the chair.
T: No, I didn’t think the threats were genuine, and no, I never made a connection between the letters I received and what had happened to the runner that day.  I’m sure by now he’s all healed and back to running for a nice reputable director, and he’s forgotten all about his little escapade with us.
Raz leaps into shot and stabs T in the chest.
Raz: Yeah. How’s that feel?
 Cut to S in the chair.
S: It was the passing of a titan. Can’t say he didn’t have it coming.
Cut to Raz in the chair.
Raz: He died almost as gracefully as he lived. He was a worthy adversary, I’ve nothing but respect, and forgiveness, and regret-
T approaches from behind and quickly breaks Raz’ neck.
Cut to -Day 7- T in the chair.
T: It was shortly after the first attempt on my life that strange things started to happen on set.  Paranormal, you could say.
Cut to shot of doorway, R holds cam, cam spins round on R, R steps back.

Cut to J in the chair.
J: First thing was the chairs moving around, that was a little spooky, then it went after the weapons and we realised, you know, this could get very dangerous.
Cut to shot of samurai swords floating down corridor.
R (OS): Where are these guys off to then?
Follows swords into make-up room where S looks up from floor; screams. Cut to B in the chair.
B: Folks were calling it the runner’s ghost… I’ll be honest, I never witnessed anything like what they were all talking about… I spoke to Rossi-Harris and, well… I wouldn’t be surprised if they’d just made the whole thing up in some desperate attempt to explain all the accidents.
Cut to S in the chair.
S: It’s not the first time he’s done this. And if he isn’t stopped, it won’t be the last time either.
Cut to P in the chair.

R (OS): Pierre, what is it?
P: …
Cut to P; T; J in office heads bowed, R holds cam.
R (OS): So does anyone here have previous experience of dealing with a poltergeist?
All look up. Cut to T in chair.
T: Regrettably it does seem to happen pretty often in this business, but that never makes it any easier. I tried to dissuade the crew from thoughts that what was happening might be somehow connected to the recent death of our runner- Raz, I think his name was.
Cut to P; T; J in office, R holds cam.
T: Stop calling it the runner’s ghost, it’s not the runner’s ghost.

Cut to Raz in the chair, wearing neck brace.
Raz: I’d like to think I had a hand in it, yeah. Practising voodoo over a great distance. I can’t have been there as a ghost though, mainly because I’m not dead. I think I was in Burma at the time.
Cut to S in the chair.
S: It was the first time we’d ever called in a priest to deal with it, I don’t think it’d ever gotten that far before. I think that only happened though because that guy Pierre actually believed there was a ghost, and the distress that he was in… for whatever crazy reason… well it began to effect all of us.
Cut to the larger room, T; S; J stand around set, R holds cam. P enters, screams, lies prostrate on the floor.
P: When’s he getting here? When’s he getting here?
T: Alright man he’ll be here, he’ll be here.
Cut to J in the chair.
J: Tim asks me to call a priest. I didn’t know what to do, I’d never called a priest before, so I call directory inquiries and ask to be put through to the nearest priest. Going in like that I never expected to get through to anyone high up, but the next person I spoke to was the Bishop. He wasn’t of any regular church though, some outlandish one, I can’t remember the name now.
Cut to shot of B sitting with Hosman in make-up room, R holds cam.
B: So you’re a Bishop?
H: (Nods).
B: And… you’ve come to help us eradicate the evil that besets us?
H: (Nods).
B: … Do you actually believe that there is an evil spirit dwelling in this place?
H: - Do you believe in destiny?
Cut to H in the chair.
H: I take my job very seriously. There is no demon I cannot slay; no spirit I cannot banish. When I am called to take on the seeds of Lucifer, I believe that it is fate that I have been called, God telling me that it is time for the evil to perish. … And if I arrive to find that there is no evil… that some punk kids have wasted my precious, sacred time on this beautiful earth on a hoax… then I show them even less mercy than I would the legions of hell. I make an example of them, to all the other would-be usurpers.
Cut to shot of H entering larger room, R holds cam, P runs to H.
P: Father, thank God-
H: Get back, Satan!
Cam blurs and whatnot as R runs through corridor to other room where T; S; J sit around desk.
R (OS): The Bishop’s gone crazy. I think he’s killing Pierre.
T: Oh for fuck’s sake.
More blurred movements; screams; crashes and clangs of swords.
H (OS): The power of Christ-
Cut to P in the chair.
 I remember thinking Pierre, you’ve had a good run, everyone’s got to die sometime, now’s just your time, is all.
Cut to R in the chair.
R: There’s no use in trying to describe it. I could only get a glimpse of what was going on before he knocked me down. Here it is in slow motion.
Cut to slow-motion shot of H standing over P with flaming broad-sword raised. Cut to S in the chair.
S: He was unstoppable. If what Jenine says is true, then it is genuinely frightening who you can get if you go looking for a priest through directory inquiries.
Cut to T in the chair.
T: We owe a lot to that guy the producers sent to us, I can’t recall his name. I didn’t really trust him in the beginning but, if it wasn’t for him, none of us were getting out of that situation alive.
Cut to B in the chair.
B: Yeah, well, I spent five years in the jungle, in Peru, with a tribe that I won’t name; they taught me a few rare martial-arts techniques which are supposed to be… well there’s no defence to them, basically; if I’m coming at you with one of those attacks, there isn’t anything you can do.
Cut to H in the chair.
H: There was one there that I did not see, and he won that battle. But the war isn’t over. My vengeance will be swift, and decimating.
Cut to -Day 8- R holds cam to face, walking down street.
R: Alright today I need to get away from that horrible place, and get very, very loaded. Figured I’d keep the diary going though, while I’m about my business, see what the man on the street has to say about all this.
Turns camera to show Jack walking down street; long coat; scarf; briefcase.
R (OS): Excuse me, sir-
Jk: No, no, I’m sorry.
R (OS): You what?
Jk: I’m in a rush, I’m sorry.

Moment of silence as Jk continues walking and R zooms the camera after him, then begins to chase him. We see Jk look over his shoulder and the fear in his eyes, then see only blurred movements, with the sounds of combat.
Jk (OS): Oi! Oi!
R (OS): Yeah? Yeah?!
Cut to shot of Jk’s face unconscious, R stands over him holding cam.
R (OS): Yeah.  Cut to shot of pavement, R picks up cam and turns to mashed-up face.
R: Mother-fucker must’ve hit and run. Man. Alright, now I’m gonna go get loaded.
Cut to T in the chair.
T: I gave him a few extra quid and sent him off, there was something scheduled for that day that I didn’t want him around for.
Cut to Frank in the chair.
F: Yeah I sell the man his drugs; I get him what he needs. Thing I like about Ryan is that whatever I give him he always has a great time.
Cut to shot of F opening door, R holds cam.
F: Yes yes mate, what’ll it be today?
R (OS): What you got?
 You making a movie?
R (OS): Yeah.
F: Well don’t show no pigs yeah, I’ll be in a world of trouble.
Cut to S in the chair.
S: One of the producers was coming down that day, so Tim sent Ryan off to his dealer, and I seconded that. It was a good move. Unfortunately the inevitable is always inevitable, I’ve found.
Cut to Jk in the chair.
  Heads are gonna roll.
Cut to shot entering larger room, R holds cam & F walks in before him; T stands with Enri and S & J stand on the other side of the room.
 What the fuck’s he doing here?
R (OS): Alright Tim.
 Give me the camera. … (OS) Alright Frank, got any that sticky black left?
F (OS): Nah mate it’s long gone.
T (OS): Alright.
T turns cam to face E.
T (OS): So what makes you think you’re qualified to be a runner?
Cut to E in the chair.
E: I always work well under pressure; I’m dedicated; I’ve got strong legs-
Cut back to T holding cam.
T (OS): Your first task, I want you to go upstairs and find the producer, take the camera, ask him to describe the bloke who attacked him this morning.
E: … Alright. How?
T (OS): I’m not a mathematician, Henry, alright, you can’t ask me these questions, just do it.
Cut to Jk in the chair.
Jk: The guy who jumped me, the crackhead, yeah, he was definitely wearing a blue coat. I told the kid that and he was taking notes, but as he was saying what he was writing he said ‘red coat’, right? I said no mate, he was wearing a blue coat.
Cut to E in the chair.
E: I don’t know if I was confusing him, I was definitely making him angry. I just kept saying the opposite of what he was telling me, but as if that is what he’d told me, y’know?
Cut to shot of Jk with wet towel on forehead sitting next to B, E holds cam.
E (OS): So a blonde guy, about four foot six, with a red coat and green trousers?
Jk: … No. I’ve not told you any of those things.
Sound of door opening, cam swings round as F pokes head in.
F: Pills, anyone?
Cut to R in the chair.
R: Come on.  What’s he doin’ round these parts anyway? Should’ve stayed home, shouldn’t he? I can’t be held responsible for what I do to the monkeys I find out on my streets.
Cut to S in the chair.
S: … Inevitable.
Cut to shot of B approaching T; S; J in larger room, E holds cam following B.
B: Tim? Jack wants a word.
T: We’re really busy at the moment.
S: Just go see him, Tim.
T: (Sighs, turns to E) Go find Ryan, tell him to go get Pierre, and tell them we might have a live one.
B: …
T: (To E) Go.
Blurred shots of building as E leaves room goes through corridor into boiler-room where R & F sit with spliff.
E (OS): Tim wants you to go get Pierre. Says you might have a live one.
R: … Pierre’s on ‘olidays. And I don’t do murder no more.
F: Word.
More blurred shots as E leaves and comes to a room in which T & Jk sit and B stands, T with head bowed.
Jk: It’s a simple question, Tim, where’s the money going? That’s all I want to know.
T: I understand that, your request is completely reasonable. (Turning round to E) -What?
E (OS): … He says Pierre’s on holiday. And he won’t do it.
T: (Sighs) Get Jenine up here, will you?
More blurred shots as E travels to J, brings her to previous setting.
Jk: Alright, so what have you done with it?
J: … Tim?
T: Jenine. Get me the Bishop.
B & J: No.
J: I wouldn’t even know how-
T: I don’t care how you do it, just get him here. We’ll deal with the consequences later.
Cut to B in the chair.
B: At that point I found myself again questioning where my loyalties should lie… I mean in the beginning they were all awful to me, just awful, but we’d all come together through the course of events and, well… we had a common enemy in the Bishop. I was prepared to help out Tim with Jack and even lie on his behalf, just to help everyone fend off the Bishop, and here was this maniac actually trying to bring him back.
Cut to H in the chair.
H: I got the call. It wasn’t fate calling, it was that woman from the film set. I do not doubt that they will pay for their crimes, in this life or the next, but it is not time for my vengeance yet. That much, God has told me.
Cut to Jk in the chair.
Jk: I was this close to shutting the whole thing down. I’d been attacked, I was feeling shit, the set was terrible…  It was a shambles. Total shambles. … Come to think of it I can’t remember why I didn’t.
Cut to S in the chair.
S: Something hit me, while they were up there talking about the funding. I suddenly realised that if I didn’t take the initiative, the whole project was going to fall through. I couldn’t have that.

Jk: … No. I wouldn’t.
S: That’s right. That’s good. And you can’t remember what that crackhead looked like now, can you?
Jk: … No. Dammit.
S: Okay.  When the doors close and the train takes off, you will wake up. Understand?
Jk: … Yes.
S clicks his fingers and Jk stands and sleepwalks out of the room.

Cut to -Day 9- E in the chair.
E: I’d never done this sort of work before so I don’t know if the tasks they set me were abnormal or not… well, some were clearly abnormal, but most of the time I was just running between the druggie and his dealer.
Cut to R in the chair.
R: Sam just took an instant disliking to Henry. I, nah… I don’t know what his problem is. He gets like this, sometimes.
Cut to B in the chair.
B: It was prejudice. Nothing more, or less, than prejudice. I asked him why he hated the new runner so much, the arrogant prick comes back with-
Cut to S in the chair, arms folded.
S: I don’t need a reason.
Cut to shot of T & J standing over papers on desk, R holds cam, S storms in.
S: We need a new runner.
T: Why, what’s he done?
S: It doesn’t matter what he’s done, we need a new runner.
 Spur of the moment like?
T: … Have you, Sam?
S: No. Can you just fire him and get a new runner please?
T: What’s your beef with him?
S: Can you just fire him?
T: I’m not firing him unless you tell me what your beef is.
Cut to S in the chair, he sighs deeply. Cut to E in the chair.
E: There were moments… I wanted to smack him, and it was hard to hold back.  I like this job, though, y’know, I don’t want to give it up over one dickhead.
Cut to S in make-up room, R holds cam, E enters with coffee.
S: You remember what I asked for yeah?
E: Americano, three sugars, no milk.
S: Good. (Throws the coffee on the floor). Now clean it up.
E: I-
S: Clean it up!
Cut to E in the chair, shaking his head. Cut to S in the chair.
S: … He came to me one day and just asked me, straight up, why I was being like that to him. That took courage. I couldn’t tell him, but I did apologise; and the truth is… (sighs) … the truth is he… he bears a striking resemblance to a lover who passed away, and… well it’s just a little painful for me, having him on the set all the time.
Cut to E in the chair.
E: I still don’t know what his problem is. I don’t care. He’s a dickhead.
Cut to R in the chair.
  Prick.
Cut to shot of set; T; J; S; E stand around, R holds cam, moving it between S & E. George enters, looking dazed.
T: Who the fuck’re you?
G: I own the building.
Long pause. T reaches slowly for the radio-mic at his belt. Cut to T in the chair, holding radio-mic.

Cut back to shot of G and the others, zoom in on T as he raises the radio-mic.
T: Pinky, come in, over. … We have a 10-64 over here, over… This is not a drill, over… Pinky?
Cam moves down to radio-mic at R’s belt, then up to T looking at space above cam (R) with unmistakable fury.
R (OS): Well he’s still on ‘oliday, ain’t he? No point letting it go to waste.
T: …
Another long pause. Zoom out as everyone backs away from G towards the door.
G: Where are you going? What the fuck’s going on? … Who let you in here?
T: Run!
Everyone runs out the door, G stands looking bemused, turns to cam, R then begins to back away. H then enters with eyes closed.
G: Who the fuck’re you?
H: (Drawing sword) … In nomine patris, et fili, et spiritus sancti-
Cut to G in the chair.
 I’d only been gone ten days, and they must have really worked to have gotten the place into that state in that amount of time. The mind boggles, but the question remained- who were these people, and why were they doing this to me?
Cut to H in the chair.
H: Finally, finally the hour comes that the Lord tells me it is time to carry out my vengeance. But… when I open my eyes…
Cut back to shot of G & H, H opens eyes.
H: … You are not one of them.
G: One of them?
H: (Looking up at camera) You! (Charges towards cam with sword).

G: Wait! What the fuck’re you doing? You’re a priest aren’t you?
H: I am a mighty demon-slayer, and this, is a demon!
Cut to R in the chair.
R: I don’t scare very easily… usually… I mean I’ve faced the fact that there are moments in The Wizard of Oz that I will never be able to sit through comfortably, but this was different… all you have to do is look into the Bishop’s eyes; see all that hate and… well my bowels have never done well in tight situations.
Cut back to shot of G & H.
H: See how he defecates himself to mock us? A common tactic of the minions of the Prince of Darkness. I need feel no remorse in destroying this foul creature.
G: He’s just a man.
H: The police?! (Charges at G, G screams).
Cut to T in the chair, wiping sweat from forehead and breathing out heavily, then smiling and looking relieved.
Cut to -Day 10- E holds cam to face, walking down corridor.
E: Morning all. Ryan’s off to see his dealer at minute, and not much is happening, so I’ve been given video-diary privileges.  Cut to T; S; B; J in the same outside hospital shot as the last bear-trap incident.
B: … You say this isn’t the first time this has happened?
Cut to S in the chair, he taps his knee and it emits a wooden sound. Cut to B in the chair.
B: I’d begun to see the… purpose, to the whole thing by that point. I wanted to see this film made, so I didn’t feel all that bad about lying to Jack, or having the site-owner taken out by the Bishop, but… one thing we needed was a safety inspector. At the very least, someone should have gone round and un-set all the bear-traps that were set up around the place because people were almost always walking around not looking where they were going-
Cut to T in the chair.
T: Sam once asked me why the bear-traps had been set up, and I couldn’t answer him. I couldn’t remember if they were already set up when we got there, or if I’d set them up.  It wasn’t worth the risk.
Cut to G in the chair.
G: Yeah, well… obviously I don’t regret setting them up before I left, clearly they were necessary.  I should’ve set up proximity mines, is what I should’ve done.
Cut to E in the chair.
E: I think you have to open your mind a little bit, to try to understand the mentality of… the kind of man who would actually set up a bear-trap, not only in an urban environment that is itself located in a land with a bear populace of nil; but actually indoors, in a workplace- and then leave it there, set up, for any unsuspecting runner to step into. … I think once you understand the kind of levels of… malice… involved in such an act… it is a strain not to get a bit angry, yeah.
Cut to shot of T standing over G in hospital bed eyes closed, R holds cam.
T: … I don’t think we need to worry. There’s no way he’s coming back from this.
G: (Opens eyes) … It’s you. (Looks at space above cam (R)) And you.
T: Shh, shh, now. Go back to sleep.
Cut to G in the chair.
G: When I first started to get lucid again, I was in a great deal of pain.  I had two tours in Afghanistan under my belt, so I knew that with the right preparation none of them should have posed any real threat to me.
Cut to shot of drugs laid out on table, F stands over, R holds cam.
R (OS): Right people. Henry’s in lock-up right now, and I can’t be bothered with findin’ out what’s going on with the others; thought I’d just take you through my purchases from my man here today-
Raises cam to show F, F smiles, through the window behind him we see G standing on car in car-park, with an M16, and a loud-speaker.

Cut to S in the chair.
S: The way I remember it, Jenine and I were going over some changes to the script. I wasn’t happy with them; I wasn’t happy with Jenine; I was in a bad mood. Suddenly there’s this fuck-off explosion-
Cut to shot of very dusty room, rumbling sounds, R holds cam, F is bloodied and unconscious on floor.
R (OS): Frank! Frank! For the love of God Frank, please wake up!
Cut to T in the chair.

Cut to shot of very dusty corridor, R holds cam and has F over his shoulders, T; S; B; J come running from the other end, T screaming into radio-mic.
T: Pinky! Pinky, we need you, over!
Cut to P in the chair, holding a broken radio-mic.
P: … I don’t know what happened to it. Could’ve been a number of things.
Cut to G in the chair.
G: At that stage I wasn’t even trying to hurt any of them. All I wanted was a way to get to the Bishop. I’ll admit, though, I was enjoying myself. A bit.
Cut to shot of crew huddled in dusty corridor, R moves cam up to window to show G on car with aforementioned items.
G: (Through loud-speaker) Let the Lord of the Black Land come forth! Let justice be done upon him!

T (OS): I ain’t going out there.
G: (Through loud-speaker) If you do not bring out your priest in T-minus ten minutes, then I will continue to blow apart your barricades, and you will be entirely without defence.
R (OS): Fuckin’ ‘ell. (Moving cam down to crew.) He wants the Bishop.
T: - Make the call, Jenine.
Cut to Jk in the chair.
Jk: … I woke up in Lewisham with, literally, no memory of how I’d gotten there-
Cut to H in the chair.
H: I have a different phone for the calls I get regarding demon-slaying, and it’s never off. Once I know that a call from a certain number has only yielded a hoax in the past, though, I will block-list that number, so, no, there’s no way she could have gotten through.
Cut to R holding cam on G through window, G looking at watch.
G: (Through loud-speaker) Nine minutes!
J (OS): Ah, he’s block-listed me, bastard!
R moves cam down to huddled crew as she speaks.
B: Give me his number, I’ll call him from my phone.
Cut to H in the chair.
H: I did get a call that day though… not about a demon, but about a human threat. A human who wanted me, for something he claims I did to him. What interested me was not this war-torn straggler, but the one who called me about him, to ask for my help.
Cut to shot of B on phone in dusty corridor, R holds cam.
B: … You remember me? … Yeah, yeah I’m the one who put a stop to your craziness the last time, now I need you to put a stop to someone else’s. You know where to find us.
B hangs up and walks back to T; S; F; J, cam swings round with him.
B: He’s coming down.
G (OS): (Through loud-speaker) Eight minutes!
T: … You know there could be a way to work this to our advantage.
S: - No.
Cut to T in the chair.
T: See at the time I was under the impression that Pierre was avoiding us because he was afraid the Bishop might come back. And, well… we need Pierre.  I thought if there was a way to ensure that the site-owner and the Bishop would… cancel each other out, then that could’ve been and end to at least, I’d say… twenty percent of our problems.
Cut back to dusty corridor and crew.
S: I’ve had it with your hare-brained schemes!
G (OS): (Through loud-speaker) Seven minutes!
B: No, no, he’s right. We can kill two birds with one stone here.
Cut to T in the chair.
T: Or two maniacs, with one bomb.
Cut to S in the chair.
S: I was just starting to get a bit depressed I think, by all the death and the bloodshed we’d had, so early on in the making… Not that a lot of it was really our fault, but just that… I just wanted to see an end to it, is all. It was getting me down.
Cut to B in the chair.
B: (Shrugs) I think it was a great idea.
Cut to R in the chair.
R: Problem being, as I often find to be the case with Tim’s plans, that we weren’t properly equipped to carry it out. There were no bombs in the building; there were no materials with which to make any bombs-
Cut to B in the chair.
B: I pride myself on being able to fashion explosives out of almost any house-hold item. Unfortunately, we weren’t in a house, we were in a studio, and the studio was in pretty bad shape.
Cut to shot through window of G, H approaches him from behind.
G: (Through loud-speaker) Six minutes!
H draws sword and runs G through; G falls; H picks up MI6 and looks up at cam; then stalks OS. R moves cam around.
R (OS): Where’s he gone?
H (OS): Frente a mí, cobarde!
Cam swings round to H standing with flaming sword and M16 a ways down the corridor. B steps onto shot and towards H.
B: … Estoy aquí, vil canalla.
Cut to G in the chair.
G: … The first time it happened I was angry, but after the second time I was just a little embarrassed, to be honest. By that point I’d just lost so much blood, that, well… I just gathered it was high time to pack it in, head back to the casino.
Cut to R in the chair.
R: None of us could understand what they were saying. It was clearly some variant of Mexican, but only those two could speak it, so the meaning was lost to us.
Cut to S in the chair.
S: Then Rob goes crazy. He’d told me before about his Peruvian flex, and I suppose I hadn’t listened properly, because… well the Bishop was packing an assault rifle, and Rob was unarmed.
Cut to B in the chair.
B: … Was there ever any doubt?
Cut to F in the chair.
F: I woke up, half the building was blown apart, they had a Bishop locked up in the freezer, this guy was bleeding to death out in the car park…
Cut to -Day 11- R holds cam approaching T & J sitting on the floor of larger room.
J: Well you can’t just leave him in there.
T: (To R) What is it, man?
R (OS): Runners are back. Henry’s got a new leg.
T: Fantastic. Get them to clear this place up, will you?
 We need all hands on deck, yeah?
Cut to P in the chair.
P: I am still bitter, about that. At the time I tried not to let how pissed off I was effect my professionalism, but now it’s over I’ve got no problem saying it.  It’s a waste of my talents.
Cut to Jk in the chair.
Jk: … I couldn’t remember… my own name; where I lived; who I was…
Cut to J in the chair.
J: I’ve been Tim’s PA, and Sam’s too, in a way, for about three years now, and I’ve suffered a lot of injustice, and I’ve done what I was told to do, even if I knew it was wrong. But I couldn’t let that man freeze to death. I let him out of the freezer, that night, and… I don’t think he means any more hurt to us.
Cut to H in the chair; angry.
H: …
Cut to shot of E & Raz in overalls amongst rubble with a wheelbarrow, P & F stand aside with spliff and beers; R holds cam; T & J walk into shot.
T: Well how do I know if things are getting done properly, if you’re running around willy-nilly, disobeying direct orders?
J: I just did what I thought was right.
Jk (OS): Where am I?
Cam swings round to show Jk in the street, in a daze, stay on him, dazed. Cut to S in the chair.
S: Then the producer showed up outside, with no memories prior to having left the site… which couldn’t have been my doing, I never told him to forget anything except what the crackhead looked like.
Cut back to Jk in street, he looks up at space above cam.
Jk: …
Cut to S in the chair.
S: Which… is the only thing he did seem to remember.
Cut to Jk in the chair.
Jk: I look up, and I see this crackhead, right, and I don’t know how I know him, but I know I’ve seen him somewhere before.
Cut to R in the chair.
R: … And I think it was then that we first started to realise that Jenine’s menstrual cycle had begun to effect us in more ways than we were even aware of.
Cut to P in the chair.
P: I’m not misogynistic, yeah, I just don’t trust women.
Cut to shot of P & F aside with spliff and beers; R holds cam; J approaches.
J: Listen, Pierre, the runners have got to look after the producer so, could you finish the clearing up out here?
P: … No.
Cam swings round to door as B falls through it, drenched in blood and gasping for air. Cut to B in the chair.
B: I certainly didn’t want to see Jack remember everything that had happened… but that doesn’t mean I wanted to see him abused and humiliated by the runners, either. I was still technically on his payroll.
Cut to make-up room, Jk sits in chair with a lot of make-up on, Raz & E stand over him, R holds cam.

Cut to E in the chair.
E: Tim goes off to order some Chinese and leaves me and Raz in charge of the producer. We racked our brains for ways to… try to stop him from remembering…
Cut to Raz in the chair.
Raz: I thought dressing him up was to a good way to prevent him from realising who he was, I mean, it’d confuse anyone. I mean, you’d be thinking, who am I, you’d look in the mirror, and you’d be like, oh; I’m a tranny.
Cut to R in the chair, nodding.
R: It was a solid plan.
Cut to shot of Jk standing in make-up room in make-up and dress, Raz & E stand behind, R holds cam.
R (OS): Give us a twirl then.
Cam swings round to door as S falls through it, drenched in blood and gasping for air. Cut to S in the chair.
S: I don’t know where it kept coming from. It can’t have been anything to do with Jenine, I don’t know where they all got that idea.
Cut to Raz in the chair.
Raz: Second time I saw it I knew things were getting too weird, and I’d need to get my fix earlier than usual. I go outside and ask this guy if he knows any dealers in the area-
Cut to F in the chair.
F: This geezer comes up to me asking if I know any dealers, I was like- know a dealer? - I am a dealer.
Cut to T searching through bags of Chinese food in office, R enters holding cam.
R (OS): We’ve got Jack in the dress-room. He’s looking pretty good.
T: …
Cut to T in the chair.
T: I do specifically remember ordering the special fried rice.
Cut to Lee in the chair.
L: (Laughing) He’s always asking for special fried rice, we always give him plain boiled. We get a real kick out of that.
Cut to shot of Jk outside in dress and make-up jogging on the spot, Raz; E; F; P stand aside; R holds cam.
R (OS): Keep those knees high, remember-
Cam swings round to door as T falls through it, drenched in blood and gasping for air. Cut to J in the chair.
J: It seemed to be happening to a lot of them, and they all for some reason seemed to think it had something to do with menstruation, so immediately turned to me as the culprit.
Cut to T in the chair.
T: Where else was it coming from?
Cut to B in the chair.
B: I don’t think it was Jenine’s fault, per se, but… it can’t have been the runner’s ghost; Raz was alive and well, and… well it was just everywhere, and we had to explain it somehow.
Cut to shot of J tied up in larger room, T; B; S; P; E; Raz stand round her; R holds cam.
P: She’s a witch!
R (OS): You’re going down Jenine!
P: She’s a witch!

T: Wait! … Where’s the producer?
Cam swings round to door as Jk falls through it, in dress and make-up, drenched in blood and gasping for air. Cut to J in the chair.
J: They decided not to burn me, in the end. Which I suppose was thoughtful of them.
Cut to Jk in the chair.
Jk: When the blood hit me it was like… suddenly I remembered who I was, and everything, but, I couldn’t remember how I’d gotten there, or why I was dressed up like that. It was a bit of a shock.
Cut to Raz in the chair.
Raz: It happened to each of us, at least once, and it was never nice. We called it kissing the rainbow. For that guy we had dressed up, though, I think it was more than just a sticky inconvenience for him, it was… well he was a new man.
Cut to Jk in the chair.
Jk: I just wanted to say yes to everything, y’know? - Everything. These guys were making a movie, I remember thinking: great; good for you; keep it up.
Cut to T in the chair.
T: So that one wasn’t going to be a problem any more, but there were three more producers who were all scheduled for days on the set, and if they discovered what we’d done to the first one; or any of the other things we’d done… I just want to make it known that I did see it coming. And I did take preventative measures, only… well the measures were rash, and manic, and didn’t really prevent anything.
Cut to shot of T in overalls with wheelbarrow outside, night-time, R approaches with cam.
R (OS): Alright Tim, what you doing?
T: … I’m building a wall, Ryan. I’m building a wall.
Cut to -Day 12- S in the chair.

E: … It definitely wasn’t there yesterday, was it?
Cut to B in the chair.
B: The business with the wall… well it prevented us from getting in, so it did more-or-less put a stop to the entire making of the film. It really… it really did get in the way of things.
Cut to T in the chair.
T: When I’d finished the wall I looked around and realised that I’d finished it from the wrong side, and I had in fact bricked myself into the studio. Which wouldn’t’ve been so bad only we’d had iron bars installed across all the windows the previous week, because the crackhead kept breaking in during the night and stealing the props; then we’d just have to go and buy them back from the pawn shop, and… well that was costing us money.
Cut to R in the chair.
R: They’re good bars, them. I’ve tried everything.
Cut to shot of J; S; B leaning against wall; R holds cam.
J: You don’t think he’s in there, do you?
S: I’d say it’s more than likely.
J: … Shouldn’t we… try to get him out?
S: … Give him a few days. We could all use a break. (Phone rings, takes out of pocket) It’s him. (Answers) Yeah? No I’m in Covent Garden. Um, acting class. Well that’s nice of you to say, but I thought I’d check it out anyway. No, I’ll be in tomorrow, yeah. You’ve done what?  I dunno, call Jenine.  Yeah, alright, good luck with it (hangs up).
Moment of silence; J’s phone rings.
S: - Don’t answer it.
Cut to T in the chair.
T: Jenine wasn’t answering her phone, then my phone died, and we didn’t have a land-line on set, and I remember feeling a bit like the walls were closing in on me. But I thought, no Tim; you’re alright, - at least you’ve got your medicine.

S: (To R) What is this stuff?
R (OS): Dunno, I nabbed it out of Tim’s desk last night. Strong, though.
Cut to T in the chair.
 It felt like light-years I was in there… I’d been digging a tunnel; I’d fairly seriously considered eating my own legs; and I’d had enough conversations with myself by that point that the discussions just didn’t seem to yield anything, any more. After I’d broken down and given up a fair few times I was brought back to a fairly carnal state, trying furiously to remember what it was that first separated us from the animals.
Cut to B in the chair.
B: Sam goes off with the crackhead so, Jenine and I- being decent people- call the necessary people and get the wall down a couple of hours later. We found Tim in the very back of the building, naked, hunched over some flints and kindling he’d stripped from one of the chairs, just… raving… I mean, really raving.
Cut to T in the chair.
T: It can’t have only been two hours. I still don’t believe that.
Cut to R in the chair.
R: We all just took the day off, innit, I thought the earliest that wall was coming down would at least be later on in the afternoon, and I’d just scored some really banging shit out of Tim’s desk. Just as well we didn’t come back that day though, as I heard that, when they first got Tim out he’d… lost something, in there.
Cut to E in the chair.
E: Apparently he was buck naked, yeah, trying to start a fire, with some rocks, and a chair. Then when they got him outside he started shouting his head off about a sacrifice to the Sun God. Hey, that’s just what I heard.
Cut to T in the chair, petting a lamb.
T: No it did come up anyway. Don’t know why I thought it wouldn’t.
Cut to -Day 13- R holds cam to face walking down corridor.
R: You want the real truth, people?   You can’t even handle it. (Opens door, looks inside empty room) Oh it’s not this one. (Continues walking) Here we go.
Enters the next room where T; S; J are leaping out of a bed in a state of undress.

R (OS): The truth people!  (Waving cam around as T; S; J attempt to hide).

R moves cam on S who pushes him away, cracking sound is heard, cam falls and is picked up by S to show R on floor unconscious, T standing over with baseball bat.
T: Fucking… crackheads, like. How does he still keep getting in? Has he got keys to the building or something?
Cut to R in the chair.
R: The camera does not lie.
Cut to S in the chair.
S: We’ve only got one bed on site, so if we’ve worked a bit too late sometimes we will share it, yeah. Nothing happens.
Cut to T in the chair.
T: It’s quite clever footage that the crackhead got there, actually; he makes it look a lot like something was going on, but it really can’t have been. I can’t remember exactly what happened that night, but Sam and I have an agreement about that sort of thing, and I’m pretty sure Jenine’s a lesbian.
Cut to J in the chair.
J: Not exclusively, no, but yeah, I did tell Tim that. I don’t usually lie about stuff like that but, at the time it… seemed like there was just no other way.
Cut to T in the chair.
T: I tried it on with her a few times, yeah. Back in the day.
Re-show shot of T falling through door drenched in blood and gasping for air, this time in slow-motion. Cut to shot of E & Raz sitting on broken wall outside, R approaches holding cam.
R (OS): Morning boys. (Hands E some money) Couldn’t run down to Frank quickly could you mate, I’ve just had bit of a knock on the back of the head-
Cam jerks and rattles as R is pushed forward, swings round to show S still in a state of undress, angry.
S: What have I told you? You can’t go in there, yeah?
R (OS): Alright, I won’t.
S: Seriously, Ryan.
R (OS): Alright, I won’t.
S: (Walking back inside) …
R (OS): Alright, I will.
Moves cam back to E & Raz; both grinning.
Raz: You catch ‘em at it then?
R (OS): Close enough to it, yeah.
Jacob (OS): Is this the film set?
Cam swings round to Jb in the street.
R (OS): Maybe it is. Who’re you?
Jb: I’m Jacob, I’m Jenine’s boyfriend.
R (OS): Is it. Is it. Alright mate I’ll just go get her then.
Jb: … Alright.
Blurred movements as R goes inside and up to previous room in which T; S; J are getting dressed, they look up at R.
S: What did I just tell you?
T: Seriously mate, I was going easy the last time (raising baseball bat).
R (OS): Jenine, your boyfriend’s outside.
T: - Boyfriend?
Zoom in on J looking uncomfortable. Cut to S in the chair.
S: Surprised all of us. I was dead sure she was a dike.
Cut to R in the chair.
R: For me, that moment changed everything.  The kind of shit these executive types might pay good money to keep under wraps, you could say.
Cut to Jb in the chair.
Jb: I’d just gotten back from a stint in Haiti, a mate of mine had lost his house and that in the quake and I was just helping him out, you know. Anyway I thought I’d go see her as soon as I arrived, even though she’s always trying to keep me away from her work. I find her just… in hysterics, you know; tearful, going on about some crackhead trying to blackmail her. I said alright Jenine, calm down, yeah, help take me through this- what’s he got on you?
Cut to T in the chair.
T: He is a crafty fucker, that one. I’ll give him that. He knew that if he’d raised the subject with either me or Sam, we would’ve just smashed the tape, and that would’ve been the end of the diary. So he goes after Jenine, and… well Jenine’s always been a bit…
Cut to S in the chair.
S: We should’ve seen it coming really. I think all the extortion that went on behind the scenes was… the main reason that crackhead took to filming the video-diary in the first place.
Cut to R in the chair.
R: I had her by the fuckin’ ovaries; I was rakin’ it in-
Cut to J in the chair, head in hands. Raises head.
J: Of course I was happy to see him. I did tell him not to visit me at work, though. I told him that. … I couldn’t let him see what was on the tape. It would’ve been… just… too difficult to explain.
Cut to Jb in the chair.
Jb: So she tells me he’s got photographic evidence, yeah, of her, and two other blokes- killing a dog. I said Jenine, why were you killing a dog?
Cut to J in the chair.
J: I told him we needed a dead dog for the film, and they aren’t the easiest things to get hold of, or to make. I told him it was a stray dog, that no one loved, but we could still all get prison sentences if the evidence reached the right people. … It was just the first thing that came into my head.
Cut to Jb in the chair.
Jb: So at least then I understood why she was always trying to keep me away from her work. They were all very dedicated people, and sometimes they crossed lines others wouldn’t. I could respect that.
Cut to shot of ATM screen asking for pin number, R holds cam; turns it round onto Jb.
R (OS): What’s the number?
Cut to Jb in the chair.
Jb: I wasn’t about to let this crackhead get one over on me, but I couldn’t have him going to the RSPCA either-
Cut to shot of B; E; Raz in office each holding a bag of cash; R holds cam.
B: You get all this off Jenine’s boyfriend?

Cut to Jb in the chair.
Jb: I gave him the first instalment without raising any argument; I didn’t want to let him know I had a game plan. Ten minutes later he’s back, and he wants twice as much-
Cut to shot of Jb & J sitting on edge of bed in the room with the bed, heads bowed, holding hands; R is entering with cam; Jb looks up.
R (OS): Alright love-birds.
Jb: … What is it?
R (OS): I’m just doin’ a video-diary, innit. Anything you’d like to contribute?
Jb: … No.
R (OS): Alright, well… I hate to bring this up, but… I might be needing to reload sooner than expected.
J looks up, angrily. Cut to B in the chair.
B: Apparently he thought it was an act of canicide that Jenine had committed, that the crackhead was holding over them. I can’t imagine why he was willing to pay so much; you only get a small fine, usually; for strays anyway.
Cut to Jb in the chair.
Jb: I’ve got a couple of mates, and they’re not violent men, but… I couldn’t go to the police, for obvious reasons, and these guys, they specialise in intimidation. Their work is pretty much designed to help people out of situations like the one I found myself in. They’re not cheap, but to be fair it is quite a specialist field.
Cut to shot of ATM screen asking for pin number, R holds cam; turns it round onto Jb; we see two guys dressed as Police Men approach from behind Jb.
R (OS): What’s the number again?
PM1: Alright fellas, what’s this then? Bit of blackmail, is it?
R (OS): No.
Jb: Heavens no.
PM2: Making a movie are you?
R (OS): … Yeah.
PM1: Alright come on then mate, you’d better come with us.
R (OS): No.
PM2: Just come on down to the station, son, answer a few questions. Come on, it won’t hurt.
R (OS): I don’t want to.
Jb: Come on mate, don’t make this difficult.
R (OS): I just don’t want to, alright? No. No. Oi, what you doin’, get off me!
R protests as the PM grab his arms and carry him.
PM1 (OS): Come on, now.
Show gliding shot of pavement as R is carried towards a standard car, continuously protesting.
R (OS): Oi why haven’t you got a real police car?

Blurred shot as R is thrown into car; show the PM get into the front; show the doors lock.

Show Jb through window, waving and smiling as car drives away. Cut to R in the chair.
R: Fuckin’… three days I was gone, none of them lot even batted a fuckin’ eyelid. I remember getting back, and them all just acting like nothing had happened… I found that quite hurtful.
Cut to T in the chair.
 Just trying to remember now if anything important happened during the days we were without it… I don’t think there was anything, but it’s very hard now to separate the days…
Cut to B in the chair.
B: A load of stuff happened on those days, yeah. We suffered another Bishop attack; the former producer showed up having lost his house and moved into the loft-space; one of the runners was blind for a bit; we found out where all the blood was coming from; we declared war on a local Chinese restaurant-
Cut to H in the chair, sighing and shaking his head, raises bag of blood and begins to drink. Cut to E in the chair.
E: Me and Raz spent a whole afternoon preparing Molotov cocktails out of some bed sheets and cans of diesel, for an assault on Lee’s place across the road; something about plain boiled rice, I think-
Cut to L in the chair, have him say some angry stuff in Chinese, and blow on his fingertips to indicate fire. Cut to Jb in the chair.
Jb: Nah, problem was solved. I just took my money- and Jenine- back home. I did go and visit the crackhead again, but… I won’t talk about that.
Cut to Raz in the chair.
Raz: I couldn’t tell you much, I lost my eyesight later that day and it wasn’t fully back for another couple of nights. My question, right- why call it a cocktail, if you’re not meant to drink it?
Cut to P in the chair.
P: No. Didn’t see any of them, those days.
Cut to F in the chair.
F: My income, just… plummeted-
Cut to J in the chair.
J: I needed a few days off, after all the calamity, but to be honest it’s more like work when I’m away; Sam just does not stop calling me, ever.
Cut to Jk in the chair.
Jk: I lost my house, my wife, and all three of my children in one bad round of rock paper scissors-
Cut to S in the chair.
S: Those were the worst days. I don’t do well when Jenine isn’t around, she’s not even my PA but I’ve become dependent, really. There was no one to help me tie my shoelaces; no one was bringing me my meals; I had to go to the toilet by myself-
Cut to G in the chair, he shrugs and looks bemused. Cut to R in the chair.
R: The only footage that exists from those days wasn’t taken on set, and it wasn’t taken by me. I’ve wondered about putting this in, it’s not a strong moment for me but… no, I’m glad I did.
Cut to shot of R tied to chair and blindfolded in dark room, one of the PM is waving the cam over him. The PM are moving around the room and making strange sounds from different areas, causing R to turn his head apprehensively in the direction of the sounds. Jb walks onto shot and cam stays still on R as Jb unzips his trousers.

Cut to R in the chair.
R: The rest is… far too graphic. I had no problem leaving it in, but the FCC said the whole thing’d have to be X-rated if we didn’t take it out.
Cut to T in the chair.
T: …
Cut to -Day 16- Raz holds cam to face, sitting in office.
Raz: Alright everyone. Ryan brought the camera back today but he’s off having a sulk about something, and Henry goes swimming on Tuesdays, and no one else seems to care; so I thought I’d keep the diary going, y’know, in the absence of anyone official. Um… it’s about noon, on the… well I don’t know the date, but I’m just milling about in here on my jays really, neither Tim or Sam have showed up yet and it’s only Jenine downstairs, and she’s… well I don’t know what she’s doing-
Sound of door opening, cam swings round to show T entering with papers.
T: Fuck’re you doing in my office? You’re not going to stab me again are you?
Raz (OS): I might.
S enters behind T, out of breath.
S: Were you listening to me?
T: … Yes.
S: I didn’t get a wink of sleep.
T: … I’ll deal with it.
S: When?
Raz (OS): …What’s this about then?
S & T look up at cam; cut to Jk in the chair.
Jk: They said I could live in the loft-space. They didn’t say anything about ‘rules’, or ‘time zones’. I’m my own man, yeah. The drum-kit was the only belonging I had to my name and yes, I played it as often as I could.
Cut to S in the chair.
S: The producer- well, former, producer- he just wouldn’t stop playing the drums, even when I was trying to talk to him he’d just be banging away; I wasn’t getting any sleep… I asked Tim to deal with it and I think he called up that guy Pierre to kidnap him or something, but Pierre was just useless-
Cut to doorway; Raz holds cam; enter P.
P: Alright Raz. Where is everyone?
Raz (OS): Dunno mate it’s a bit all over the place today. Couldn’t tell you, really.
P: Alright. D’you know what he needs me for?
Raz (OS): Something about… drums? Maybe?
Drum-beat can be heard from another room, P’s head darts around in fear.
Raz (OS): Pierre, what’s up?
P: … Jumanji…
P runs OS and Raz chases after him so we get a shot of P running down the stairs and out the front door in a wild frenzy.
Raz (OS): Pierre! … Where you goin’?
Cut to T in the chair.
T: … I have absolutely no memory of that day. It’s just gone.
Cut to P in the chair.
P: Sometimes different kinds of rhythms… can affect me very deeply… I had a bad experience with a board game once…
Cut to Jk in the chair.
Jk: Oi, d’you know what, yeah? I should’ve just clapped him the first time he asked me to keep the noise down- what right has he got, trying to stop a man from doing what he loves?
Cut to S in the chair.
S: He never once gave any indication that he could hear me-
Cut to shot moving down corridor; Raz holds cam; drums can be heard OS.
Raz (OS): Feel the beat. Feel the beat.
Entering room in which Jk is playing the drums; S is standing; B is dancing.
S: Can you just stop it, please?
Hones in on B caught in a dance loop with pained expression; cut to Raz in the chair.
Raz: I found Rob stuck, in a kind of rain-dance loop, and it seemed, anyway, as if, as long as Jack was playing those drums; he had next to no control over his own body-
Cut to B in the chair.
B: My motor-functions are very susceptible to sound waves. Not so much what I hear, but if it’s loud enough that I can feel it, then… there’s not really anything I can do. I did try to force myself out of it once, and I was successful, but… about three seconds later I had a stroke, and I’m pretty sure the two things are related. These days I just… let it take me.
Cut back to shot of B caught in the dance loop, Raz can be heard laughing OS and S can be heard shouting at Jk; the beat continues. Cut to shot entering office where T & J sit with coffee; Raz holds cam.
T: … Why do you keep coming into my office?
Raz (OS): Just thought I’d let you know it’s only a matter of time before Sam kills Jack, and Rob’s stuck in a rain-dance.
T: … That all?
Raz (OS): Well the situation won’t solve itself, Tim; and Pierre’s run off.
T: Look, Raz- is it?  Runners stay downstairs, yeah?
Cam swings round as E enters with towel over his shoulders.
Raz (OS): Alright Henry.
E: Alright Raz.
Raz (OS): Good swim?
E: Yeah it was alright, yeah. What’s that noise?
Raz (OS): There’s a drum-kit upstairs.
E: Oh, nice-
T (OS): Why… do I always… seem to find myself… here, with you?
Cam swings round as T is talking to show that he is addressing the samurai sword he has pulled out from under the desk.
T: (Standing and raising sword at Raz & E) Get out of here, now. Go on. I’ve used it before; I’ll use it again. (Climbing over desk.)
Moving shot as Raz & E leave room and door slams behind them, then Raz has cam on E out in the corridor.
Raz (OS): What d’you think of the beat Henry?
E: I like it, yeah. Let’s go check it out.
Show E’s back and corridor and that entering room with the drum-kit; B stuck in the loop; S is trying to grab the drumsticks but Jk is swivelling on the chair and avoiding him, continuing the beat. Move between this and E observing, then move to door as R enters.
 Who’s-
R kicks over base-drum; beat stops; Jk leaps up in righteous indignation.
Jk: - Oi what you doin’?
S: Thank you Ryan.
Cut to Jk in the chair.
Jk: I wasn’t having that. There’s no way I was having that.
Cut to R in the chair.
R: I’d been kept in a fuckin’ dungeon or suttin’ for three days; pissed on; I was hungry; I wasn’t high; I couldn’t sleep; and here’s this dickface- of all the instruments he could be playing, yeah, I mean; a harp, that could be nice, yeah-
Cut to Jk in the chair.
Jk: We were all standing there, and the more I thought about what he’d done, the angrier I got-
Cut to S in the chair.
S: It was getting very tense between the two of them, I didn’t give a shit, y’know, I was off; mission accomplished. Only, as I was leaving, two things happened at once-
Cut to B in the chair.
B: What I didn’t know at that point was that if the beat is suddenly cut off mid-flow, then, it has much the same effect as when I try to force myself out of it-
Cut to B in the drum-room, spasmodic on the floor; Raz still holding cam.
E (OS): The fuck’s wrong with him?
Cam swings round to E as he speaks, showing that P has entered with a large sack behind him and Jk and R are still staring each other down; S stands by the door; P throws sack over Jk and quickly drags the bundle outside. Cut to Raz in the chair.
Raz: Apparently he was just waiting outside ‘til the drums stopped-
Cut to E in the chair.
E: Yeah, Rob had a stroke, then the producer was kidnapped, in almost the same second-
Cut to P in the chair.
P: As I was running outside I remembered what Tim had called me about, so I grabbed the sack out of the car-
Cut to Jk in the chair.
Jk: I was staring into his eyes, fuming, right, everything was going red; then everything goes black-
Cut to -Day 17- R holds cam entering office where T & J sit; T on the phone.
T: No. No. Well, do what you want with him, mate, alright. That’s your business. I wouldn’t know anything about his family, would I? Alright. (Hangs up.)
R (OS): Alright Tim. What’s that about?
T: … Pierre seems to think we’re actually going to pay a ransom to get the producer back. …
R (OS): Yeah. You’re right not to negotiate with these people. You know if you paid up he’d only do the same thing again next week.
T: - What’re you doing up here man?
R (OS): I’m here for Jenine actually. Jenine, Raz wants you outside.
T: What, the runner? What’s he want her for? She’s busy.
J: (Standing) I’d better go see him, Tim.
Cut to T in the chair.
T: The runner who stabbed me… had this strange kind of hold, over Jenine. I can’t explain it. She started spending more and more time with him, and as a result, the organisation process she’d always brought to the table… vanished.
Cut to Raz in the chair.
Raz: I’ve been called a sexist.  Thief. Home-wrecker. Child-abuser. But it’s not sexism, what I do; because it’s not all women.
Cut to S in the chair.
S: I woke up raging that day, so I went to go see Jenine. Overnight the prices had just rocketed; I said Raz, you’ll be running me out of house and home with these prices, what’ve you done; sprayed a bit of perfume on her or something?  J hands him some money, and Raz rubs her face. Cut to J in the chair.
J: Raz really cares about me, you know? That’s what no one else can understand. He does care.
Cut to Raz in the chair.
Raz: I was lucky, with Jenine. On set it was like, having a monopoly, y’know, we made a lot of money.  Who are these men, who think they own women?
Cut to Jb in the chair.
Jb: Jenine always spent a lot of time at the film set, but it got to the point where she was just never home, any more. I drive up there to go see what’s keeping her, and on the way there-
Cut to shot of J in street night-time, whored-up; R holds cam, car drives up and stops, window rolls down; Jb driving; J does not turn around.
R (OS): Oi Jenine I think you’ve caught one over here.
Jb: … Jenine?
Cut to Jb in the chair.
Jb: I don’t know what she was thinking.
Cut to Raz in the chair.
Raz: I’ve found you have to crack down on that kind of mentality as soon as you can, and as hard as you can, and then keep cracking down on it; continuously, until whatever it is in the bitch’s mind that makes her think that craziness just… isn’t going to be an issue, any more.
Cut to shot of Raz walking on set holding J by the arm; R holds cam; Raz throws J into a room and slams the door, then leans against the wall. E approaches and whispers something to Raz.
Raz: What you asking me for? Ask her; I don’t fuckin’ know.
E nods and goes through the door. Cut to E in the chair.
E: … I’ll admit I heard there was some action going on and I wanted a piece. But I get in there, and I see her, and I think… You’re a young girl… you should be at home. You should be dressed up, going out with boys, going to school, you know; that kind of stuff…
Cut to Raz in the chair.
Raz: … Henry started coming to see Jenine more and more and… I knew Henry wasn’t a cop.
E: … Listen, you fuckers, you screwheads… Here is a man who would not take it any more.  Here is a man who stood up.


java.lang.Class
methods. E.g. Xyz.class.isInstance(object)
could be replaced with object instanceof Xyz
.
The instanceof check is preferred, even though the performance will probably be the same as these methods are intrinsics, they show more clear that it is a static check.
New in 2018.2


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