{"id":7931,"date":"2017-07-21T09:16:48","date_gmt":"2017-07-21T08:16:48","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=7931"},"modified":"2017-07-21T09:46:03","modified_gmt":"2017-07-21T08:46:03","slug":"her-broken-shadow","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=7931","title":{"rendered":"Her Broken Shadow"},"content":{"rendered":"<style>\n.fulljustify {\n  text-align: left;\n  width:290px;\n  margin-left:8em;\n}\n.fulljustify:after {\n  content: \"\";\n  display:;\n  width: %;\n}\n.character-name {\n  margin-bottom: 0 !important;\n  text-align:center;\n}\n<\/style>\n<h4>An Excerpt from the Shooting Script<\/h4>\n<p><strong>SCENE 1: INT. ADONGO&#8217;S HOME<\/strong><\/p>\n<p>Extreme close up of a hand turning a key, locking a door. The hand then throws the key into a toilet, and flashes.<\/p>\n<p><strong>SCENE 2: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo sits at a desk, typing. She is of nondescript age, her hair nappy, uncombed in many years, recently, badly, self-cut, an attempt at plaiting abandoned mid-way. She is nearly naked, has no make up, her fingernails untrimmed. <\/p>\n<p>Candles light the room, dimly, the laptop screen lights up her face. It&#8217;s not possible to say whether it&#8217;s day or night. <\/p>\n<p>Beside the desk there is a bookshelf, full of books, and memorabilia. Two that stands out are; a framed photo of two children, but one child has been cut out; a Gourd with three LED lights, blinking, ticking like a clock.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO  (V.O.)<\/p>\n<p>She has lived alone for many years, maybe ten, maybe fifteen, she can&#8217;t remember when she shut herself away from the world.<\/p><\/div>\n<p><\/p>\n<p>Adongo pauses her typing. She yawns, maybe sleep, maybe hunger. She leaves the office and walks to<\/p>\n<p><strong>SCENE 3: INT. ADONGO&#8217;S KITCHEN<\/strong><\/p>\n<p>A narrow room with green light. At one end of a long concrete table is the Particle Generator, and at the other end is a gas stove and gas tank. Between these is the sink. In a cupboard under the sink is an array of batteries.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO (V.O.)<\/p>\n<p>\nShe uses solar batteries to power her laptop and Particle Generator. For lighting, she relies on candles to conserve battery power.<\/p><\/div>\n<p> <\/p>\n<p>She puts a kettle on the stove, strikes a match. No gas.<\/p>\n<p>She detaches the tube from the stove, attaches it to an outlet on the Particle Generator marked &#8216;Gassi&#8217;, beside it is a water tap. A touchscreen sits on top of the PG. <\/p>\n<p>She taps, icons of various objects &#8211; they pop out. Finally, she taps on a gas tank.<\/p>\n<p>A question box pops up. &#8216;KILO NGAPI?&#8217; She taps 12, then GO. At once a LED light blinks on the gas outlet, and a progress bar on the screen shows how many minutes to complete the job, and percentage done. 30%, 40%, 50%.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO (V.O.)<\/p>\n<p>\nThe particle generator stores on it&#8217;s hard drive the DNA of millions of living organisms and non-living things, which it uses to clone anything she wants. Whether it&#8217;s food, or water, or clothes, or candles, or a new laptop, the particle generator provides.<\/p><\/div>\n<p><\/p>\n<p>The progress bar hits 100%. A PING erupts. The gas outlet LED light blinks off. She detaches the tube, and puts it back onto the stove, then lights it, and puts on her kettle.<\/p>\n<p>As she waits for the kettle to boil, she returns to the PG, opens up a folder marked &#8216;CHAKULA&#8217;. In it are icons of foods. She scrolls through different foods, then touches on EGGS, types 2 on the Question Box, BREAD, 2 slices, bananas, 1, mango, 1, and then she presses &#8216;GO&#8217;.<\/p>\n<p>The PG starts to hum. Lights come on it. A lower chamber has red, the mid-chamber has green, the upper chamber yellow.<\/p>\n<p>An animation on the screen shows progress, til the little ping. The two lights on the upper and middle chamber go out.<\/p>\n<p>She opens a lid. Inside is a box lined with mirrors on all sides, and 2 eggs, 2 slices of bread, a banana and a mango.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO (V.O.)<\/p>\n<p>If she can get whatever she wants from this machine, why then would she ever go out? Many years have passed. She has lost sense of time and of the world.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 4: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo eats, as she watches a movie on her laptop. She laughs out loud at whatever is on the screen.<\/p>\n<p><strong>SCENE 5: INT. ADONGO&#8217;S KITCHEN<\/strong><\/p>\n<p>Adongo washes the dishes. She has attached a tube to the water outlet of the PG. The tube runs to the sink, coils around the tap, and drips water for her to wash her dishes.<\/p>\n<p><strong>SCENE 6: INT. ADONGO&#8217;S BATHROOM<\/strong><\/p>\n<p>Adongo relaxes in a large basin-bathtub, candles all around, soapy bubbles, a glass of wine in one hand, soft music plays.<\/p>\n<p>The, she picks up a dildo, and plays with herself, at first gently, then faster, faster, until she orgasms.<\/p>\n<p><strong>SCENE 7: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo stares at a computer generated photo showing a woman, who looks like her twin sister, but in futuristic costume. Helmet on the head, bark cloth costume, in an office, a cyrit beside her. Beat.<\/p>\n<p>Adongo works fervently, typing, gripped in the story. <\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>\nShe lives alone in an off planet suburb called New Kololo, a reserve of the very wealthy.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 8: EXT. SPACE<\/strong><\/p>\n<p>Hut-shaped structures are scattered in front of three planet. Spaceships zoom in the distance. Lights burn in the huts. We zoom in on one, to see it&#8217;s an apartment window (next seen).<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONG (V.O.)<\/p>\n<p>\nShe is famous all over the universe, but sells are dropping, so she bought a mind reader called a cyrit, part spirit part cyrit. It picks the story straight out of her sub conscious.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 9: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>The walls are circular, made of palm fronds. A beaded curtain is draped on the entrance to the room. APIO sits on a chair that looks like the fingers of a comb.<\/p>\n<p>APIO has an eerie resemblance to Adongo. Her costume and office are very much like what we saw on the photo. Her costume is of backcloth, her helmet like an art piece. Her lips are a deep shade of black, otherwise no other visible make-up. She sits on the chair, seemingly asleep. <\/p>\n<p>The cyrit beside her is JACHUMA, only a head with arms attached. Two holes with green light for eyes, and a mouth like speakers. One arm is fixed into the helmet, the other turns into a table lamp, shining a green light on a sheet of paper on the table.<\/p>\n<p>The cyrit&#8217;s eyes are wide open, shining green.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO<\/p>\n<p>When in this state it&#8217;s as if she&#8217;s in hibernation, as the cyrit, the only friend she has in the universe, digs into her mind, searching for details of the story.<\/p><\/div>\n<p><\/p>\n<p>Then Apio opens her eyes, instantly, Jachuma&#8217;s green eyes go out, turning to a dull red.<\/p>\n<p>Apio picks the paper from the table. At first it is blank, but the words start to appear, one by one, and she reads.<\/p>\n<p><strong>SCENE 10: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Addong pauses her writing. She reads what she has done, and is not impressed. She pulls her hair in frustration, selects all text, and deletes with anger.<\/p>\n<p><strong>SCENE 11: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio reads the paper, not impressed. <\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>What a pile of spacepoo!<\/p><\/div>\n<p><\/p>\n<p>She crumples it into a ball, and throws it away. Midair, the paper frizzles into vapor.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO (CONT&#8217;D)<\/p>\n<p>(to the Cyrit)<br \/>\nDid you get that from my head?<\/p><\/div>\n<p><\/p>\n<p>The cyrit&#8217;s eyes pulse when she speaks, her mouth being immovable (LED lights on a speaker matching the beats)<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I wasn&#8217;t in anyone else&#8217;s head.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But I can&#8217;t write that kind of dung. No way. It&#8217;s all flat. No conflict. No story. So what? This woman lives all alone in isolation, she has a machine that gives her everything she needs, and then what? It&#8217;s like a utopia for the lonely. Who wants to read that kind of asteriod dung?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Some people prefer utopia to dystopia.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I need conflict! I need thrill. I need a character who is struggling with something.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>She is struggling with loneliness.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>No, no. She isn&#8217;t. She is at peace with loneliness, she relishes it, that&#8217;s why she has stayed all this time alone. She can&#8217;t be struggling with it. I need to give her a motivation, something she can fight to get&#8230; and then I need to put obstacles to stop her from getting it. But what is this something?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You are asking the right questions.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I want answers!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Maybe since she lives alone, this conflict could be internal. Maybe she keeps a diary where she empties her soul and her struggles.<\/p><\/div>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Perfect! She&#8217;s a writer struggling to find her muse. She wants to write a best seller, but she can&#8217;t&#8230; Why? What&#8217;s stopping her? &#8230; Perfect! Let&#8217;s try it again.<\/p><\/div>\n<p>Apio goes to sleep. <\/p>\n<p>The cyrit&#8217;s eyes change from red to green, and the lamp flashes its green light onto a fresh sheet of paper.<\/p>\n<p><strong>SCENE 12: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>There&#8217;s only a bed in sight, and a wardrobe with mirrors. Candles are all over the place, providing the light. Adongo sits on the bed, scribbling in her diary with a pen. <\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>I can&#8217;t write anymore. I&#8217;ve lost it. Once I thrilled millions. My blog got ten thousand hits a day. I had the hottest pen in African scifi. But now I can&#8217;t write anything. Okay, there is this woman who lives in an off-planet suburb. She writes with the aid of a mind-reading machine. It&#8217;s cyrit, hmm fancy, but so what? Where&#8217;s the conflict? Where&#8217;s the story?<br \/>\n(pause, beat)<br \/>\nThe problem is that this woman is a loner, stuck in a tiny room in outer space, nothing much happens to her. Who would want to read that kind of BS?<\/p><\/div>\n<p><\/p>\n<p>She pauses, chews her pen, thinking, thinking &#8211;<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>Oh wow. Maybe, an asteriod crashes into her suburb, and that should put her into trouble. Maybe that should force her to go to land on the planet. And there she meets the man of her dreams&#8230;.<\/p><\/div>\n<p>A smile breaks onto Adongo&#8217;s face. She suddenly scrambles out of the bed, and runs out.<\/p>\n<p><strong>SCENE 13: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo runs in, jumps into her chair, powers on her laptop, and begins to pound on the keyboard with great urgency.<\/p>\n<p><strong>SCENE 14: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio jerks awake, and, excited, snatches the paper from under the green light before it properly forms. The words form on the paper as she&#8217;s holding it.<\/p>\n<p>She reads. A beat.<\/p>\n<p>Then she rolls it up hurls it into the invisible basket.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Are you really working?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I don&#8217;t detect any system problems.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>So what problems do you have?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Nothing. I&#8217;m working perfectly.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Then why can&#8217;t you read my mind!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I did.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>You didn&#8217;t! I was thinking that the bloody writer is having problems with her story but you put out that she finds a nice plot device in the asteriod and now she has a full romantic novel in her effing head.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>The questions you were asking were; one, what she wants to achieve and, two, the obstacles to that goal.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Yes! Effing yes! Why didn&#8217;t it come out?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Maybe you don&#8217;t know enough about this character.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I know everything about her!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Really?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Yes!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Why is she lonely?<\/p><\/div>\n<p><\/p>\n<p>Apio starts to answer, but the words get stuck in her throat.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I hadn&#8217;t thought about that.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>The information from her time indicates that human beings were very social. They had this phenomenon called social media that connected people from all corners of their planet. She did not have to leave her room to socialize.<\/p><\/div>\n<p><\/p>\n<p>As she speaks, a holograph screen projects this data, icons of today&#8217;s social media sites, and faces of happy people in photos shared on social media, selfies, etc.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA (CONT&#8217;D)<\/p>\n<p>She could do it right from her computer. She has a blog, and that was one form of this social media. She became famous because of this blog. Now, why would someone who lives in such a world be lonely?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>\nYou tell me.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I only have the data. I can&#8217;t interpret it. I&#8217;m a mind-reader, after all, not a data analyst. You should research into her world.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Brilliant idea! Get me a book!<\/p><\/div>\n<p><\/p>\n<p>In flies a book, titled &#8216;East Africa in Pre-Space Age.&#8217;<\/p>\n<p><strong>SCENE 15: INT. ADONGO&#8217;S LIVING ROOM<\/strong><\/p>\n<p>Adongo is doing press-ups, her body covered in sweat.<\/p>\n<p><strong>SCENE 16: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio frowns at the book, and begins to read. But now, there is a big pile of books on the table.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I have to read all that?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You need extensive research to understand the world of your character better.<\/p><\/div>\n<p><\/p>\n<p>Apio is not amused. She reads for a beat, and then.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Isn&#8217;t there a faster way?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Shortcuts won&#8217;t give you a better story. Research is &#8211;<\/p><\/div>\n<p><\/p>\n<p>Apio sweeps her hand through the air. The books vanish.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Wait a minute. There is a feature of your program that allows me to physically talk with my characters &#8211;<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Oh no. That&#8217;s a dangerous feature.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>It would solve my problem.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>It&#8217;s very, very dangerous.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But I could go straight to her world and talk to her. Then I&#8217;d understand things about her that I can&#8217;t get in books.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>But she&#8217;s in your head and she can only know what you know.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Unless you put the data in my subconscious before sending me in there. Right?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Yes, but it&#8217;s very &#8211;<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Do it!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>The subconscious is not a place to visit in the physical form.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Whatever, do it!<\/p><\/div>\n<p><\/p>\n<p>Beat, the cyrit is thinking, lights blink.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You&#8217;ll have to pay an extra charge of seven gold bars per visit.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Do I look like I&#8217;m broke?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You&#8217;ll have to sign the Liability Agreement, absolving NeuTec from any harm that my came to you while you are inside your own mind.<\/p><\/div>\n<p><\/p>\n<p>And a holograph agreement appears. Apio gives a cynic laugh.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Your masters tied up all the lose ends, eh?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Do you agree? I must remind you that you&#8217;ll be putting your own life in danger.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I&#8217;m trying to write a masterpiece, the greatest story ever told in human history, so stop asking me silly questions.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Do you agree?<\/p><\/div>\n<p><\/p>\n<p>Apio lets out a sigh of frustration.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Let me read the agreement.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 17: INT. ADONGO&#8217;S KITCHEN<\/strong><\/p>\n<p>Adongo, panting, covered in a sweat, picks oranges from the Particle Generator.<\/p>\n<p>She cuts them up, squeezes them into a glass, makes juice, and gulps it down.<\/p>\n<p><strong>SCENE 18: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>The cyrit passes data into Apio&#8217;s head. A green light flows from the helmet, engulfing Apio&#8217;s head. <\/p>\n<p><strong>SCENE 19: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo paints in her laptop, world building. New Kololo space suburb floats in the sky, a belt of three planets in the distance, labeled New Earth, New Nyasaland, and Ping&#8217;Lieth. <\/p>\n<p>She pastes an asteroid, then moves it across the screen until it slams into the suburb. As it moves, she uses her lips to generate sound effects, of the rock moving, and the crash. Her body jerks at the impact of the crash, for in her head, it is a real event.<\/p>\n<p>She stares at the image for a beat, and then she minimizes it, and begins to type, pausing frequently to glance at it.<\/p>\n<p><strong>SCENE 20: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>The transfer is complete. The green light goes off.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>I don&#8217;t feel different.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>The data is in your subconscious.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But I don&#8217;t feel like I know anything new about her world.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>It&#8217;s your subconscious. You can&#8217;t access it, that&#8217;s why you need me.<\/p><\/div>\n<p><\/p>\n<p>Apio gives the cyrit a smile.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Send me in, you thief. And if I don&#8217;t get anything in there, I&#8217;ll return you to your greedy masters and demand a full repayment.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Please, keep your helmet on at all times otherwise you won&#8217;t return.<\/p><\/div>\n<p><\/p>\n<p>Apio lies back, closes her eyes. Jachuma&#8217;s eyes turn yellow. There&#8217;s a hum, and Apio vanishes in a puff of yellow light.<\/p>\n<p><strong>SCENE 21: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Adongo works fervently on her computer, for a beat. <\/p>\n<p>She does not notice when a shape materializes in the darkness, in the corner between the book shelf and the wall.<\/p>\n<p>Apio steps forward, hesitantly, right in front of Adongo, and now Adongo sees her.<\/p>\n<p>Adongo jumps back with a startled yelp, and then the scream freezes on her face. She tries to let it out, but she can only gasp, sheer terror.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Hey there.<\/p><\/div>\n<p>Adongo is frozen. She pees in her pants. She still can&#8217;t scream. Apio wrinkles her nose in disgust.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO (CONT&#8217;D)<\/p>\n<p>Why are you afraid? It&#8217;s only me. Don&#8217;t you know who I am?<\/p><\/div>\n<p><\/p>\n<p>She takes a step forward, but then Adongo manages to move. She scrambles out of the chair and flees from the room, slamming the door tight behind her.<\/p>\n<p>Apio stares befuddled at the door. <\/p>\n<p><strong>SCENE 22: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Adongo flees into the bedroom, locking the door behind her. And then she doesn&#8217;t know where to hide. She stands there staring at the door in total horror.<\/p>\n<p>When the door does not open, she begins to cry.<\/p>\n<p><strong>SCENE 23: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Apio examines the room, leafing through the books, checking out the memorabilia.<\/p>\n<p>She lingers long at the photo of the two girls with one girl cut out. She examines the box with blinking lights. <\/p>\n<p>Adongo lets out an anguished cry. Apio pauses to listen.<\/p>\n<p><strong>SCENE 24: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Adongo flings herself onto the bed, weeping, screaming, trying to rip her hair out.<\/p>\n<p>She hears something &#8211; the ghost trying the door. She freezes.<\/p>\n<p>Then springs into action, rummages through her drawers, finds two wooden combs, breaks them up to fashion a cross.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO<\/p>\n<p>(chanting)<br \/>\nHail Mary! Hail Mary! Hail Mary!<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 25: INT. ADONGO&#8217;S HOME, CORRIDOR<\/strong><\/p>\n<p>Apio tries the bedroom door, but it&#8217;s locked from inside.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Hey, don&#8217;t be afraid of me.<\/p><\/div>\n<p><\/p>\n<p>But the door doesn&#8217;t open.<\/p>\n<p>Apio waits a beat, shrugs, walks back into the office.<\/p>\n<p><strong>SCENE 26: INT. ADONGO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio again examines the room.<\/p>\n<p>Then she takes the photograph out of the frame, then she goes to the corner between the shelf and the wall.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Hey bug-eye. Get me out of here.<\/p><\/div>\n<p><\/p>\n<p>A beat. There&#8217;s static, and she vanishes.<\/p>\n<p><strong>SCENE 27: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Adongo cowers against the wall, her eyes closed, chanting prayers, ad lib, even though they are not correct.<\/p>\n<p>SMASH CUT: A KNIFE SLASHES. BLOOD SPLASHES ON A WALL.<\/p>\n<p>Adongo screams, dropping the make-shift rosary, and cringes as if the blood has splashed on her.<\/p>\n<p><strong>SCENE 28: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio returns in her chair, with a flash of yellow. Jachuma&#8217;s eyes turn to the dull red.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>She ran away from me.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>She thought you were a ghost.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Why? Doesn&#8217;t she know me? Why is she terrified of me?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>She had a twin sister.<\/p><\/div>\n<p><\/p>\n<p>Apio waves the photograph in her hand.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>This?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Yes. Her twin was called Apio.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But that&#8217;s my name!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>At that time in East Africa they named twin sisters Adongo and Apio.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Adongo? That&#8217;s her name!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>As a writer a part of you goes into the character you create, so she being your twin sister makes sense. You are writing about yourself.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Then why is she afraid of me?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>She thought you are a ghost.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>This doesn&#8217;t make sense. I created her. I didn&#8217;t give her a twin.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 29: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Adongo is looking at her hands. They are dripping blood. She is half screaming, half weeping.<\/p>\n<p><strong>SCENE 30: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio is looking at the photograph, deep in thought.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You&#8217;ll be charged for that.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>(waving the photo)<br \/>\nFor this?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Ten gold bars.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Ten gold bars for this paper?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>It costs a kilojoule of epsonium to pluck it out of your mind.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>You thieving idiots.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I shall instruct your bank to make the deduction.<\/p><\/div>\n<p><\/p>\n<p>Apio gets an idea. She lights up.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Can I bring her here?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You&#8217;ll need a cloning certificate.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>That costs ten thousand gold bars!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Plus another twenty thousand for the actual cloning.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But that&#8217;s outright robbery! I simply will be &#8211;<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>(interrupts)<br \/>\nYou&#8217;ll be replicating yourself.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Thieves.<\/p><\/div>\n<p><strong>SCENE 31: INT. ADONGO&#8217;S BATHROOM<\/strong><\/p>\n<p>Adongo washes her hands in the basin, it&#8217;s full of blood. Her hands can&#8217;t get clean.<\/p>\n<p><strong>SCENE 32: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio gets an idea. She is excited.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>This is the break through in the story. She has a dead twin sister who haunts her. That&#8217;s conflict!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Shall I read your mind now?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Yes, yes, yes! I can grasp it, but not clearly. The twin sister, how did she die? Why is she haunting our heroine?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Did you have a twin sister?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>No! I had a happy childhood.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I didn&#8217;t ask if you had a sad one.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Shut up! Stop making me lose focus!<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I&#8217;m trying to help you understand your character better.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Just read my mind you dump piece of poop! Don&#8217;t ask silly questions!<\/p><\/div>\n<p><\/p>\n<p>And she closes her eyes, lies back in the chair. The cyrit&#8217;s eyes turn green.<\/p>\n<p><strong>SCENE 33: INT. ADONGO&#8217;S BEDROOM<\/strong><\/p>\n<p>Adongo writes in the diary. Her hands are still blood stained, leaving bloody smudges on the page.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>She&#8217;s back. After all this time she has come to haunt me. I&#8217;ve never seen her ghost before, and now she comes. Is it for revenge? I killed her. I put a knife in her back and splashed her blood.<\/p><\/div>\n<p><\/p>\n<p>SMASH CUT: A CHILD FALLS, A KNIFE IN HER BACK.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>Is she back for revenge? Does she want to kill me too?<\/p><\/div>\n<p><\/p>\n<p>SMASH CUT: ANOTHER CHILD&#8217;S HAND PULLS OUT THE KNIFE, AND STABS, AND STABS, AND KEEPS STABBING THE CHILD ON THE FLOOR.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>She&#8217;s back for me. I can&#8217;t run out because there are worse demons out there that waiting for me. They want to punish me. I must stay hidden inside but now I&#8217;m no longer safe inside. What shall I do?<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 34: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio is reading the paper, with a frown, her eyes excited.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>She killed her own twin sister?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Hmmm. Stabbed her thirty times in the back.<\/p><\/div>\n<p><\/p>\n<p>Apio is aghast. She struggles for a reply for several moments, but it has taken away her breath. Then &#8211;<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Thirty times, that&#8217;s a lot of hate. Will readers buy it?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>If you give them an appropriate reason for the stabbing.<\/p><\/div>\n<p><\/p>\n<p>Apio thinks. <\/p>\n<p>SMASH CUT: A CHILD STABBING HER SISTER REPEATEDLY.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>What can make a little child stab her own sister thirty times?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>The answers are in your head&#8230;.<\/p><\/div>\n<p><\/p>\n<p>Apio gives a slight nod, as she prepares to go to sleep.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA (CONT&#8217;D)<\/p>\n<p>Or maybe its in your past.<\/p><\/div>\n<p><\/p>\n<p>Apio&#8217;s eyes flick open at the accusation, she scowls. <\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA (CONT&#8217;D)<\/p>\n<p>I&#8217;m just giving a suggestion.<\/p><\/div>\n<p><\/p>\n<p>Apio goes to sleep, and the cyrit begins to read her mind.<\/p>\n<p><strong>SCENE 35: INT. ADONGO&#8217;S CHILDHOOD HOME, LIVING ROOM &#8211; FLASHBACK<\/strong><\/p>\n<p>LITTLE Adongo, twelve years, stands over the corpse of her sister. She is drenched in blood, her hair, her face, her clothes, all covered up in blood. She kicks the corpse. <\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>Oh poor Apio, who would have thought you had so much blood in your little body? Not all the water in the world can wash away my sin.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 36: INT. ADONGO&#8217;S BATHROOM<\/strong><\/p>\n<p>Adongo is again washing her hand, which can&#8217;t get clean.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">ADONGO (V.O.)<\/p>\n<p>Now she&#8217;s back for revenge. After all these years, she comes back. It has to be for revenge.<\/p><\/div>\n<p><\/p>\n<p><strong>SCENE 37: INT. ADONGO&#8217;S KITCHEN<\/strong><\/p>\n<p>Adongo, her hands and face still stained in blood, pulls out a bottle of red wine from the Particle Generator. She swigs, and swigs, in a desperate attempt to forget everything. The wine runs down her chin, onto her dress, making it bloodier.<\/p>\n<p><strong>SCENE 38: INT. APIO&#8217;S OFFICE<\/strong><\/p>\n<p>Apio comes awake. The green light goes out of the cyrit. Apio snatches up the paper from under the lamp.<\/p>\n<p>Reads.<\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>There&#8217;s nothing here about why she stabbed her own sister.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>That&#8217;s because there was nothing in your subconscious.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>But I&#8217;m creating this character. She&#8217;s not a real person. She&#8217;s my creation. There must be a reason somewhere in my subconscious.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I didn&#8217;t find anything.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>Then what am I paying you for?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>You had a memory implant.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>What?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>I&#8217;ve looked up your medical files. You paid for a memory surgery.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>No. No. No. I&#8217;ve never done that.<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">JACHUMA<\/p>\n<p>Can I show you the files?<\/p><\/div>\n<p><\/p>\n<div class=\"fulljustify\">\n<p class=\"character-name\">APIO<\/p>\n<p>What&#8217;s that got to do with the story? You are just a metallic mind reader, not my effing shrink!<\/p><\/div>\n<p><\/p>\n<p>She punches a button, and all the lights go out of the cyrit. She rips the helmet off her head. She has a bald head. Implants on her head show where the cyrit&#8217;s fingers reach into her subconscious.<\/p>\n<p>She kicks the cyrit to vent her anger, then storms out.<\/p>\n<p><strong>END OF EXCERPT<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>An Excerpt from the Shooting Script SCENE 1: INT. ADONGO&#8217;S HOME Extreme close up of a hand turning a key, locking a door. The hand then throws the key into a toilet, and flashes. SCENE 2: INT. ADONGO&#8217;S OFFICE Adongo sits at a desk, typing. She is of nondescript age, her hair nappy, uncombed in [&hellip;]<\/p>\n","protected":false},"author":209,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[344,343],"tags":[345],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.2.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Her Broken Shadow - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=7931\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Her Broken Shadow - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"An Excerpt from the Shooting Script SCENE 1: INT. ADONGO&#8217;S HOME Extreme close up of a hand turning a key, locking a door. The hand then throws the key into a toilet, and flashes. SCENE 2: INT. ADONGO&#8217;S OFFICE Adongo sits at a desk, typing. She is of nondescript age, her hair nappy, uncombed in [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.themanchesterreview.co.uk\/?p=7931\" \/>\n<meta property=\"og:site_name\" content=\"The Manchester Review\" \/>\n<meta property=\"article:published_time\" content=\"2017-07-21T08:16:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-07-21T08:46:03+00:00\" \/>\n<meta name=\"author\" content=\"Dilman Dila\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dilman Dila\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"20 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=7931\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/?p=7931\",\"name\":\"Her Broken Shadow - The Manchester Review\",\"isPartOf\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\"},\"datePublished\":\"2017-07-21T08:16:48+00:00\",\"dateModified\":\"2017-07-21T08:46:03+00:00\",\"author\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/1b566fccf846d62ad906817dd47a13d1\"},\"breadcrumb\":{\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=7931#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.themanchesterreview.co.uk\/?p=7931\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/?p=7931#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.themanchesterreview.co.uk\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Her Broken Shadow\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#website\",\"url\":\"http:\/\/www.themanchesterreview.co.uk\/\",\"name\":\"The Manchester Review\",\"description\":\"The Manchester Review\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.themanchesterreview.co.uk\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/1b566fccf846d62ad906817dd47a13d1\",\"name\":\"Dilman Dila\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"contentUrl\":\"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif\",\"caption\":\"Dilman Dila\"},\"description\":\"Dilman Dila is the author of a critically acclaimed collection of short stories, A Killing in the Sun. He has been listed in several prestigious prizes, including the BBC International Radio Playwriting Competition (2014), the Commonwealth Short Story Prize (2013), and the Short Story Day Africa prize (2013, 2014). His short fiction has featured in several magazines and anthologies. His films include What Happened in Room 13 (2007), and The Felistas Fable (2013), which was nominated for Best First Feature at Africa Movie Academy Awards (2014) and won four major awards at Uganda Film Festival (2014).\",\"url\":\"https:\/\/www.themanchesterreview.co.uk\/?author=209\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Her Broken Shadow - The Manchester Review","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/www.themanchesterreview.co.uk\/?p=7931","og_locale":"en_US","og_type":"article","og_title":"Her Broken Shadow - The Manchester Review","og_description":"An Excerpt from the Shooting Script SCENE 1: INT. ADONGO&#8217;S HOME Extreme close up of a hand turning a key, locking a door. The hand then throws the key into a toilet, and flashes. SCENE 2: INT. ADONGO&#8217;S OFFICE Adongo sits at a desk, typing. She is of nondescript age, her hair nappy, uncombed in [&hellip;]","og_url":"http:\/\/www.themanchesterreview.co.uk\/?p=7931","og_site_name":"The Manchester Review","article_published_time":"2017-07-21T08:16:48+00:00","article_modified_time":"2017-07-21T08:46:03+00:00","author":"Dilman Dila","twitter_misc":{"Written by":"Dilman Dila","Est. reading time":"20 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"http:\/\/www.themanchesterreview.co.uk\/?p=7931","url":"http:\/\/www.themanchesterreview.co.uk\/?p=7931","name":"Her Broken Shadow - The Manchester Review","isPartOf":{"@id":"http:\/\/www.themanchesterreview.co.uk\/#website"},"datePublished":"2017-07-21T08:16:48+00:00","dateModified":"2017-07-21T08:46:03+00:00","author":{"@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/1b566fccf846d62ad906817dd47a13d1"},"breadcrumb":{"@id":"http:\/\/www.themanchesterreview.co.uk\/?p=7931#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["http:\/\/www.themanchesterreview.co.uk\/?p=7931"]}]},{"@type":"BreadcrumbList","@id":"http:\/\/www.themanchesterreview.co.uk\/?p=7931#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.themanchesterreview.co.uk\/"},{"@type":"ListItem","position":2,"name":"Her Broken Shadow"}]},{"@type":"WebSite","@id":"http:\/\/www.themanchesterreview.co.uk\/#website","url":"http:\/\/www.themanchesterreview.co.uk\/","name":"The Manchester Review","description":"The Manchester Review","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/www.themanchesterreview.co.uk\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/1b566fccf846d62ad906817dd47a13d1","name":"Dilman Dila","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/www.themanchesterreview.co.uk\/#\/schema\/person\/image\/","url":"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif","contentUrl":"https:\/\/www.themanchesterreview.co.uk\/wp-includes\/images\/blank.gif","caption":"Dilman Dila"},"description":"Dilman Dila is the author of a critically acclaimed collection of short stories, A Killing in the Sun. He has been listed in several prestigious prizes, including the BBC International Radio Playwriting Competition (2014), the Commonwealth Short Story Prize (2013), and the Short Story Day Africa prize (2013, 2014). His short fiction has featured in several magazines and anthologies. His films include What Happened in Room 13 (2007), and The Felistas Fable (2013), which was nominated for Best First Feature at Africa Movie Academy Awards (2014) and won four major awards at Uganda Film Festival (2014).","url":"https:\/\/www.themanchesterreview.co.uk\/?author=209"}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2PuXo-23V","_links":{"self":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/7931"}],"collection":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/users\/209"}],"replies":[{"embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7931"}],"version-history":[{"count":43,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/7931\/revisions"}],"predecessor-version":[{"id":8010,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/7931\/revisions\/8010"}],"wp:attachment":[{"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.themanchesterreview.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}