In Borneo, Harry, a large man of 40 with a deep voice, and Rita, a woman in her 30s with beautiful long red hair, are sitting in bamboo chairs on a verandah at night. We hear occasional faint jungle bird noises and the sound of a film running through an old projector. Harry speaks of re-editing a film and Rita mentions that she has been learning about poisons, adding that perhaps “he” could be persuaded to walk on to the rotted wharf and fall through the boards, a nail piercing his carotid artery. Harry comments that that has been done before and says he is on the edge of an abyss. She says he sits in the dark watching the same scenes over and over, and she thinks he should cut the nude scenes, telling him that she didn’t want to do them. He speaks of editing the scene in which a jealous husband murders his wife. She tells him that all he cares about is the film, that he worships death. He replies that he is making a movie about a man who lives in Borneo with his beautiful wife but every take seems to have something wrong with it. He begins to wonder if he actually murdered his wife or if he only imagined it, like a scene in a script that was never shot or was left on the cutting room floor. Rita says that everything is devoured in Borneo and he says he is keeping in the nude scenes.