Remainder Page #3

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What should I compose?

- Chopin.

- Chopin's already composed.

Then compose him again.

Start with the first thing he wrote

and continue through everything else

and when you're done just start over.

I can do that, sure.

Do you know what to do?

Yes, sir.

I-I just stand here without moving.

There's a small cupboard with a broom.

I don't want you to use it ever,

but you have to think about it.

Visualise, don't actualise.

Very good, sir.

Some of you have

specific tasks to perform.

Others just have to be somewhere

without moving.

'You may have noticed that in the building

there are certain areas left blank.

'That's like the masks

some of you are wearing.

'You're not less important,

you're just less specific.'

Spare some change, bro?

Look, what's going on? You haven't

called me back in, like, six weeks.

I've been busy.

Oh, yeah? Doing what?

Moving to a new place.

Look, we need to talk.

It's important.

Come on, let's go for a walk.

- I'm tired, Greg.

- Gentrification's tough work.

What's happened to you?

Why are you being like this?

It's me. I love you.

Leave me alone.

OK.

But who visited you every day

when you were in that hospital?

Who fought to have you transferred

from that vegetable ward?

And who chased down the bastards who

did this to you and got you your money?

Whatever Catherine's been telling you,

it's all lies.

- Goodbye, Greg.

- Well, f*** you too!

Well, take care. Have a nice day.

Prick.

Same time tomorrow?

That's an arrival on TG.

'Everything's in place. Are you ready?'

Yes.

You can turn them all on now.

Three, two, one, go.

Very good.

Stop.

- It should be more quiet.

- OK. Everyone, a touch quieter.

Resume.

Stop.

Very good. Now the liver lady.

Freeze.

Reverse.

Stop.

OK, now forward.

That's it. Freeze.

Yes.

- OK, stop everything, Naz.

- 'OK.'

So sorry, sir.

I'm not a 20-year-old ballerina.

Stop the car.

- Christopher!

- One second, yeah?

Do you remember me?

Nah, sorry. Should I?

The phone box. I had a beard.

Oh, sh*t!

What happened? I thought you was homeless.

- You still have that film on your phone?

- Nah.

When he knocked the phone out of my hand,

it broke, so I had to go get a new phone.

What if I asked you to be

at that phone box every day?

And every night?

Whoa.

Listen, yeah, I'm not a hustler.

I don't want no trouble.

It's nothing illegal.

Just the more time you spend there,

the more money you make.

- All right.

- But the phone will ring.

Randomly. And if you're there

and you answer it, you'll get paid.

But only if you answer it.

All right. Cool.

Try again next week?

30. 5ft 8".

Medium-build, not fat.

Erm, brown eyes. Dark skin.

D-d-don't forget she has to be American.

Yeah, bla...

Whatever you call it.

Black, African-American.

Right.

I don't... I don't care how much it costs.

Just don't send me any more Moldovans, OK?

OK.

Christopher.

Hi. You know what, call me later.

Christopher.

You take care of the camera. Hurry up.

- Christopher's dead.

- I know he was important to you.

I can have someone stand in for him,

if you like.

Do you have any contacts in the police?

- I do. Why do you ask?

- I don't think they're telling the truth.

I want their report.

I want to know what it says.

I'll see what I can do.

Thank you.

Stand him down.

But he's playing the victim.

Send him home, Naz.

- Do you two know what to do?

- Yes, sir.

Your producer talked us through scene.

You won't be shooting at the other guy,

you will be shooting at me.

But you're the wrong colour, boss.

I open the door, I pull out the gun

and then you zap me here.

Do you know how to use this?

- This thing ain't real, is it?

- Yeah, it is.

I'm sorry. That wasn't part of the plan.

Is the gun real too, brother Naz?

No, of course it isn't, but I can't

allow them to use a real Taser.

Then go home. I don't need you.

'1:
18am Christopher Williams

enters the phone box

'near the Southwell Road railway bridge.

'A short time thereafter Williams leaves

the phone box and approaches his bicycle.

'He's accosted by an unknown assailant.

'Pulls out his silver semi-automatic

pistol, but is shot twice at close range.

'No eye witnesses have been identified.

'A nearby surveillance camera

was disabled by heavy rainfall. Go.'

Whoa! OK, some space, please.

Someone get me a medic now.

No. That was not how it was. It can't be.

Let's do it again.

I don't see why it's necessary

that you hurt yourself.

How much time do we have?

OK.

How was Oxford?

You know... very touristy.

- But you went?

- Sure I did.

I've got some pictures.

Do you want to see?

This is me on campus.

This is me in the cathedral.

Here I am at the bookshop.

And, ta-da, me again in front of the...

Sh*t!

Headington Shark.

Oh, shite, it's "shark"! Sorry!

Who took the pictures?

- You know... someone I met.

- What is it, Greg?

No. Just some guy from the concert...

Sorry, conference.

Don't get jealous.

We didn't do anything naughty.

Mind you, he didn't put

his little hand on my arse.

Don't improvise!

Don't add anything! Don't be slutty!

Well, f*** off already!

Why don't I just suck you off

and be done with it, eh?

Two f***ing weeks of this stupid shite!

"Was it Greg?" "Oh, the Paddington Shark."

Do you know what? F*** it! I've had it!

Don't move. Don't move.

Look at me.

Whatever your agency are paying you,

I'll double it.

Please. I won't hurt you.

Who took the pictures?

Who took them?

You know, someone I met.

- Was it Greg?

- No.

Just someone from the conference.

An old friend. We didn't do anything.

He wasn't really my type, you know.

A university man. A bit unpredictable.

He asked me to marry him.

No, that's my line.

Yes. How did you know?

Can you imagine?

We'd live in the country and we'd cook...

- We'd cook...

- Shepherd's pie.

Shepherd's pie!

And I'd drink every Sunday and paint...

No, I mean, I'd develop a drinking habit

in front of his friends

and... I'd act American

in front of his friends.

Together, no, stuck together,

but barely communicating

like some characters in a...

Like some characters in a...

A Harold Pinter play.

The table.

Sorry. Let me wipe that up.

No, not now.

We've had this conversation before.

Don't you remember?

- No, I don't.

- Come on.

Don't... you... remember?

I don't know.

Erm... OK, we're going to...

I'm going to make some tea, then

we're going to do this going from the top.

And can you please clean yourself up?

Because you... you smell horrible.

OK, we both know you've got

the suitcase with the bank money.

I don't know what

you're talking about, please.

I f***ing saw you run out with it.

Come on. Will you stop f***ing around?

He's hurting my knee!

Where is the suitcase?

It's a black suitcase.

On wheels.

Where is the suitcase?

Where is the suitcase?

Where did you f***ing put it?

Just so you know, they've been

frozen for over an hour now,

so you'll have to let me know

when you want to release them.

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