A few more findings…

The bike humps

Burial mounds

What's the vanished hoard?

You can't lay up such treasures on earth
Or take them with you

Imagine a life lived
So there's no time to imagine the choice
Or that you can choose


Bamboo again
The inner room
The only window is to water
Like a wicker submarine


Line of desire

Into the moist and curling tendrils
Growing as we speak

(inside, the most
Unloved of places)


On camera
Pause... No
Not pose (do
What I say, just not
Pose) and
Act natural

And the lens: don’t
look it in the eye


Gothic energy drink

it says and
No half measures

Impaled on a fence post
Someone rammed it with his fist
(or hers)

Traitor’s head on a pole



From the entrails
of this morning's cigarette butts

The future
Stubbed out here

The evidence

A smoking gun


Failed parking cone

Broken at the tip
And... Can it be charred?

The tower of Babel. But
Bend close enough:

The white plastic truss on it
Peeling back has just

A hint of tattered angel

Hints of narrative
(What Kevin and Alice won’t have overheard is W and P exchanging wisps of possibility about a linking narrative, among the atmospheric glimpses of place…)

P’s moment: We have a woman, probably a young one, on the bridge. Her back to us. She might be contemplating jumping, we might think. But no: she gets out her mobile, dials and, when she hears it answered, throws it over. We wait for the splash.

W’s vision: the mobile never hits the water but pulls out of its dive,swoops low, like a swallow, skimming the surface, then up and away, in a helicam sequence, down the Taff.

P’s suggestion: that’s just one of the ending, probably the surprise,.surreal coda to the pilot, and maybe the whole film. Let’s have other alternative possibilities as well. In one it does splash and sink… and moments later we see it (something that might be it, in fish form) breaking surface in midstream, like the fish that kept distracting me yesterday

And…: the phone is live when it enters the water. In each episode to come, we could see someone somewhere on the course of the river, answering their phone, and reacting, puzzled by what they hear. The voice of the river. Or in each episode two people answer, simultaneously, and are connected. The river itself is a mysterious exchange.

Wyn’s character 1: the woman, still dressed for last night, out of place and out of time, in the early morning, limping along the river side path to the bridge

P: I see her stumbling through the bike mounds – building on the sinister but maybe numinous feeling of the grave mounds and the haunted grove. (Since yesterday, I see Pan in the background, watching, in the shape of Kevin!)

Wyn’s character 2: an old guy, Tesco worker, on the very early shift, sees her from the smokers’ hut

P: yes, let her be vulnerable, maybe in distress – we worry for her, and what she might do on the bridge; yes to the old guy too; let him watch her with a look we can’t make out, which might be sympathy, a sudden painful wish to help, or maybe much more sinister, a harmful impulse on seeing a victim.

P: the Gothic energy drink can is his.

W wanted to work with that ‘drama triangle’ of victim / rescuer / persecutor; the mere uncertainty as to which the man might be might be enough

A third person passing on the track – W suggested cyclist; I wonder maybe an early jogger (could be male or female) might be similar but more so, as it were: s/he is a trim lean disciplined and rather driven, someone in control, maybe too much, of her/his life, by contrast to the distressed and sketchy woman. If there’s an encounter, it might be accidentally, between these two others, but because of the woman on the bridge, as each of them heads towards her… rather than either of them with her. She is a catalyst. Or maybe each of their mobiles rings, with the splash, as could be the pattern for each later scene, each later place and pair of people.

Or maybe the person / couple who inhabit/make use of the private/public room


PG 21.07.11