INT. INSOMNIAC'S BATHROOM -- EVENING We are in a bathroom.

A man stares intently at his reflection in the mirror above the sink. His panda eyes show pain and anguish, an unknown anguish. He is unshaven and wrecked. The fluroscent lighting flickers intermittently causing a slight strobe to the current situation, a situation that is un-nerving merely in it's presence. We hear the man's voiceover as he continues staring. INSOMNIAC (V.O.) I wish I could sleep, stupid thoughts keep me awake, the stupidity of reality keeps me awake. I've been sitting here all night, trying to come to some conclusion, some answer, some cure. Still no results. It's like an Escher painting, you think you've worked it out and then you notice something else that's wrong. The past keeps playing these tricks on my mind. Is it disturbance that brings it on or fear of the unknown that let's it happen? The voiceover stops and the INSOMNIAC starts screaming in vision. INSOMNIAC (CONT'D) I just want to sleep! You watch me in your circus arena, anticipating me to fall. I am a person, a person with feelings too complex for you to understand, with your tabloid theories and soap opera emotions. You are armchair anarchists sipping over your last drinks and crushing ice on your grating teeth. Pregnant pause as he stares more intently at his reflection. INSOMNIAC (CONT'D) Gregor Samsa awoke from uneasy dream... CUT TO:

OPENING TITLES. CUT TO: INT. LATE NIGHT TAKEAWAY. -- NIGHT The INSOMNIAC is stood in the take-away flipping burgers, isolated from the throng of workers rushing around him, their voices disenchanted as he tells his story. INSOMNIAC My first job was flipping burgers, it was my ideal. Money in my pocket, late nights to distract from the insomnia. So far removed from what I do now. All I had to do was stand there, flip the meat and listen to the radio in confinement. Creating the fast food fix for the runken masses. CUT TO: INT. LARGE INDUSTRIAL MEAT FREEZER. -- CONTINUOUS INSOMNIAC During my break I stood in the freezer breathing in the cool crisp air, cleansing my lungs. I didn't have to interact with anyone, no stress. CUT TO: INT. LARGE INDUSTRIAL MEAT FREEZER. -- CONTINUOUS We join the INSOMNIAC back at the grill, flippng burgers. INSOMNIAC Just kept the flesh burning over the flames, watching the fat crackle and spit at the indignity of the fire. Packaging it into polystryrene units and forcing it down the food chute for the waiting customer. I saw the weak and pathetic enter the joint. Sweaty bodies dishevelled from their drunken excursions.

Saliva dripping from their incoherent mouths. My faith in humanity is decaying on a daily basis. CUT TO: INT. INSOMNIAC'S FLAT. -- EVENING The INSOMNIAC's flat is a sparse bachelor flat. A shrine to Ikea. The phone rings and he answers it. INSOMNIAC Hello. Sure, say eleven thirty. (HE HANGS UP) My new girlfriend is your typical Soho girl. Full of ideology and stamped with metal. She has a tatoo of Gaelic proportions, probably unsure of what any of it means. Just a sign of the times, a stab at individuality. We met in a coffee bar, I was ordering espresso and she started divulging information about herself. People's stupidity will always reign over their self-esteem... CUT TO: INT. COFFEE SHOP. -- EVENING We join the INSOMNIAC with a girl called POLLy in the situation just described. POLLY My clit's pierced too... INSOMNIAC (V.O.) I could only think of the inconvinience at airports. POLLY It's great for bringing men off and adds an extra little tingle for me. INSOMNIAC Well that's just great.

POLLY So what's your name? Mine's Polly Madelaine, you know like polyurethane... Her voice drowns out as the INSOMNIAC speaks to camera. INSOMNIAC Yap,yap,yap. Like an engine revving in my fucking head! I could feel her voice rapping at my skull, causing pain, a needle injecting bullshit into my head, picking away at another scab. The sweet and sour nervosa grinds away in my stomach. Dementia, twisting, turning, writhing, tearing pain. she was and is merely a penile insertion device, something to slick my dick. Snapping out of it and returning to the conversation: POLLY So you wanna go on a date or something? INSOMNIAC (V.O.) And so it began. CUT TO: EXT. LEICESTER SQUARE. -- NIGHT We are in the thrive of Leicester Square as POLLY and the INSOMNIAC meet as arranged. People are watching buskers etc. POLLY How was work? INSOMNIAC Endless banality and exploitation, same as usual. POLLY Great. So what do you want to see? INSOMNIAC I don't know, you choose.

POLLY They're showing In The Realm of the Senses at the Metro, I hear it's quite hot. INSOMNIAC (V.O.) Polly always had a way of bringing evrything round to sex, it was all her world consisted of. I was merely a tourist. Sure whatever. CUT TO: INT. CINEMA. -- NIGHT We join them as they are sat in the cinema, they are virtually the only people there. We close in on the INSOMNIAC as we slightly hear the soundtrack to the film in the background. INSOMNIAC Celluloid visions do not excite me since seeing the reality of life. When I was fifteen I saw a man jump off a building and die, nothing has really lived up to it since. CUT TO: EXT. STREET OF HIGHRISES. -- DAY We are in inner London amongst the high rise monstrosities. we have joined the chaos moments after impact of the aforementioned suicide and capture snapshots as the INSOMNIAC describes the scene. We never focus on the gore and the entire sequence is filmed on Super8mm film. INSOMNIAC (V.O.) As he hit the ground his skin split like an overloaded plastic bag. He was still alive, barely. I distinctly remember the colours of the mess, not the traditional red I had been led to believe by films. More of a sludgish brown, with varying levels of grey. The paramedic's hands

slipped in and out of the suicide's intestinal tract that had broken free on impact, as he tried to put him on the stretcher. The gore made his latex gloved hands glisten in the stark sunlight of the mid June afternoon. CUT TO: INT. CINEMA FOYER. -- EVENING We rejoin POLLY and the INSOMNIAC as they exit the cinema, through the foyer and into the cold night air. INSOMNIAC I want to buy an 8mm camera. Why? POLLY

INSOMNIAC I like the way the colours bleed into one another and remain fuzzy. I want to film us, capture us. Keep it raw and instinctual. Call it an experiment. POLLY What in a home porn movie kinda way? INSOMNIAC Polly, you steal my sunshine like a nuclear cloud. She is oblivious to his ramblings. POLLY So what do you want to do now? INSOMNIAC I don't know, let's just go home and fuck. CUT TO: INT. INSOMNIACS BEDROOM. -- LATER POLLy and the INSOMNIAC are in bed. They are having sex.

POLLY is riding him in her own ecstatic pleasure. We close in on his face as he divulges more information and her noise drowns out. As he continues with the dialogue we have a montage of shots to accompany the narration. INSOMNIAC Good sex is hard to find, raw sex, subtle sex, thrusting violent sex, it's all there in a karma sutra of ideals. A gradual probe through garments as fabric slides over knuckles and skin, creating flushes across goose pimples. Finding erogenous zones amid straps and fasteners. Sweaty bodies, taught muscles, strained sinew, ruffled hair, juices flowing, scratching, clawing, hurting. The desire to be inside a woman far exceeds the pleasure of actually being there. The fantasy surpasses the reality. The reality being like fucking raw liver. POLLY comes and rolls over in exhaustion. POLLY I can't wait until you get that camera. INSOMNIAC Yeah, I think it will bring a new dimension to our relationship. POLLY I'm exhausted, I think I'm going to go to sleep. INSOMNIAC I'm still awake, I think I'll get up. POLLY When was the last time you slept properly? INSOMNIAC About a month ago.

POLLY I don't know how you function. INSOMNIAC It's the futitility of my existence that causes it. POLLY falls asleep and the INSOMNIAC gets up and moves into the lounge. CUT TO: INT. INSOMNIAC'S LOUNGE. -- CONTINUOUS The INSOMNIAC moves to the window and watches the world go by; all the activities outside the window are sped up. INSOMNIAC The tick tock clock doesn't tell the time, it's face gives no indication; but you see the cogs moving and the pain in it's eyes due to the frustration. It's purpose to be a timepiece and it cannot fulfill it's destiny or calling. The pendulum swings and another moment goes by. Tick, tock, tick, tock... The VO merges into the next scene. CUT TO: EXT. INSOMNIAC'S CAR. -- NIGHT The INSOMNIAC is driving through town, we see a montage of shots to music as he drives through tunnels and urban wastelands of London. It is at one of these run down areas we see a WOMAN who is stumbling along the street drunk, she is all made up with nowhere to go. The INSOMNIAC's car pulls over and starts to talk. CUT TO: EXT. BEACH CAR PARK. -- LATER The INSOMNIAC's car pulls in a desolate beach car park and he gets out and goes to the boot to retrieve the woman. CUT TO:

EXT. BEACH. -- CONTINUOUS It is now dawn and as the sun starts to crack golden light filters in we join the INSOMNIAC now dragging the WOMAN, who is bedraggled and along the beach. She desperately claws at the vain. and the as he is bleeding sand in JUMPCUT: He is now burying her dead body in the sand and we look up from the women's deceased POV as he claws in the sand to bury her and us. JUMPCUT: We now join him as he is on the shoreline, looking out to sea. His actions follow his dialogue. INSOMNIAC (V.O.) The beach was bare, isolation was mine and the desire to swim naked in the shiny brine took over my senses. I peeled off my sweat-drenched clothing and deposited them in a neat pile and paced into the breaking of the waves. The icy water stung my paltry flesh as I immersed myself into the translucent substance. My musclatory body machine swam through the crests and onwards, bringing distance between me and my pile of insignificance on the beach. The salted water sprayed my eyes, burning away my vision, leaving me to unfocus everything I saw. To let impulse take over instinct. I felt truly alive for the first time, a sense of wonderment at what was ahead of me. My destiny was in my hands for the first time. He continues to swim as MUSIC floods in. DISSOLVE TO: END CREDITS