The completed CD soundtrack arrives. It looks as good as it sounds and has a very professional feel to it. They’re even cellophaned and look like the real deal. 1000 of them clog up the office along with the 500 posters. Guy is worried he might have over-catered. The boys seem to love the CD, except Liam who complains about his photo. Guy explains that it’s payback for being on the front of the poster and looking so cool.

More meetings take place in London as the search for sales grow in importance. Money is running out. The final tranche of the sale and leaseback dosh has been spent and there’s nothing left in the pot. We are forced to borrow more. The RBOS won’t help us so we turn to friends for a loan.

A variety of sales agents that we met in Cannes view the film. Their responses are almost mirror images – they like the film, think it’s well made/acted/written etc, but just too niche and not worth their while. The collapse of the Kirch empire in Germany is definitely not helping our cause (if it’s not one thing…..).

To escape the monotony of rejection, Guy writes a new script. Past Present Future Imperfect is an emotional family drama based in a single location (ie cheap to make). He describes it as Mike Leigh meets Peter’s Friends.

John starts to read an early draft when he discovers that he has made it in to the hallowed turf of BBC Bristol. They have offered him a three month contract stretching to nine months if they like each other. This is great news for John as it means regular income at last, but it means putting features to one side for a year.

It appears that Guy will be working with a new director for PPFI.

Venice Film Festival turns us down as does the San Francisco one. Deeply frustratingly, Edinburgh Festival won’t let us enter because we released the film in Bristol.

A mysterious champion by the name of Hamish Gibson of Optic Film appears on the scene. He saw the news item about us on TV and liked the look of the film. He offers to help us sell it, asks for some VHS copies and says he will be in touch. Hopes once again rise.

Elly Kilroy returns to the office to help with the sale of the film to universities and other indie cinemas. Initial responses are good. City Screen who are key targets agree to show the film in Exeter (Guy’s home town), but even Elly can’t persuade Tony Jones to screen it in any of his other cinemas (someone else programs Exeter). This is a major problem as City own cinemas in many student towns including Oxford and Cambridge.