Unknown - Game Over

‘Not so much actively choose, more like his dick will jump out of his trousers through habit. Now, I need the logistics crew to work out where the camera should be for the grand seduction. Karen is planning to seduce him over a pint and some pork scratchings in their local.’

‘Very glamorous,’ says Fi wryly.

‘She’s not a glamorous girl. And he’s not a glamorous boy. It should be on their usual turf – we don’t want to arouse suspicions. Besides which, our budget is a pittance. Now go to it.’

Next I interview Tim Barrett. I think that Tim has a good career ahead of him as a criminal. Not because he appears particularly vicious, immoral or crooked but because he would be impossible to identify in a line-up. He is neither extraordinarily skinny nor obscenely fat. He is, in fact, of average build, average height, average looks and average intelligence. His hair is mid-brown; his eyes are a brown/grey/green colour. I forget which. After close investigation I discover that the only thing that distinguishes him at all is his fanatical, obsessive jealousy in relation to his fiancée, Linda. He runs through his suspicions regarding three of her exes. I don’t think his suspicions are founded. But that’s irrelevant. As he tells the stories he fidgets on his chair, moving from one buttock to the other. His hands appear to have developed an independent personality. They are animated. He picks up his coffee cup, puts it down again, he picks up a pen, pencil, ashtray, clipboard, biscuit. Everything, other than the biscuit, is put into his mouth. After he has spent fifteen minutes boring me with his paranoia and insecurity I think that this girl deserves a fling. If we do manage to cause a rift between them we will be providing a public service. I instruct a private detective to track down some of her exes immediately.

My next interview is with a petite brunette, Chloe. Chloe is an advertising executive in a small advertising agency in Bristol. She is more like the type of guest that I crave for the show. She is certainly attractive, with shoulder-length, curly hair, a winning smile and a neat, sharp body, which she is obviously and justifiably proud of. She’s aged twenty-five. She’s bright, funny.

And insecure.

I imagine that generally she hides it quite well. I imagine that her acquaintances and colleagues describe her as confident. But behind her back her friends discuss her ugly neediness. After chatting to her for four and a half minutes it is obvious to anyone who has ever read any popular psychology books (and I’ve read them all) that she is a woman who loves too much. She believes she is half a person unless she has a boyfriend. The men she meets believe she is an entire person, until they become her boyfriends. On sensing her dependency, their cocks go limp and they leave her. However, as I listen to her chat, it seems to me that her fiancé. Rod, breaks the mould. He actually likes her dependency; it makes him feel valued. But her historical, consistent failure has eroded her trust and faith in the concept of fidelity. Instead of being grateful to have found Rod and keeping her head down, Chloe is hitting the self-destruct button by testing him.

On national TV.

As the interview comes to a close and I have all the details I need regarding Rod’s exes, I ask Chloe why she feels compelled to verify his fidelity on TV. She must know that she is risking personal humiliation and universal disdain.

She shrugs and with a bravado which we both know to be fake replies, ‘I think if you are going to be a failure, you should try to be as conspicuous as you can about it. Who wants to be a run-of-the-mill failure?’

I love this wisdom. You’ve got to hand it to the British public. There’s an Aristotle in every one of them.

The queue for the live audience is massive – it stretches the entire length of the car park,’ laughs Fi excitedly. This is a good sign. The PR vehicle must have done its job.

‘What do they look like?’ I ask. The correct live audience is essential. There are lots of things that the majority of us will do in our homes that we wouldn’t do in public. Things like: cheer at other people’s insecurities, rejection and fear, encourage savagery and disloyalty, positively celebrate humiliation and distress. I need people who are either honest or stupid enough to have these reactions on live TV.

‘Generally poor and unhealthy-looking. But they appear oblivious to their aesthetic drawbacks – they’re oozing excitement,’ says Fi.

This is exactly what I want to hear. An anonymous voice cries, ‘Spot checking, ladies and gents.’ Nobody has a clue what that means, if anything at all, but it has the desired effect and the audience squirm with nervous expectancy. I don’t blame them. It is exhilarating. We put on a bit of a show to get them in the mood. The runner’s bleep pings incessantly; she ignores the increasingly desperate calls. The director (long-haired and self-important by necessity), production manager (a grumpy git – it’s a professional qualification) and the stage manager (careworn and exhausted) huddle in a corner debating furiously about some technical point or other. The production executive is running around the set as though her life depends upon it. A plethora of cameramen – dressed entirely in black, baggy combat trousers and Ted Baker shirts, Cats or DKNY trainers – are standing around, trying to look casually indifferent, as though their lives and souls depend upon it. The set, although flimsy, is attractive. The backdrop is a close-up picture of dozens of fat red hearts. At first glance the impression is romantic; a dip in the lights and the effect is satanic, open-heart surgery on stage. There are the compulsory comfy couches in the middle of the stage, ensuring everyone gets the best view of the gallows.

‘Where did he come from?’ I am referring to the warm-up act. He is a fat, northern comedian who has blatantly been on the circuit longer than Schumacher. He looks like a pantomime dame and his requests for the audience to ‘Go wild, go crazy’ illicit nothing more than a few embarrassed titters. Fi shrugs, ‘He does well with the Kin’s Kismet audience.’

I listen to him telling a few mucky jokes. He is the only one laughing.

‘What were you thinking of? I’ve told you I want an up-market show. Which bit of the word up-market is it that you don’t understand?’ I snap. Somewhere I can hear someone say, ‘Thirty seconds to live.’

‘You told me to deal with the detail,’ she defends.

I’m not in the mood for debating. ‘I want him off the show by next week, Fi.’ The voice in my earpiece says, ‘Twenty seconds.’ I tune back in to the fat man.

‘It’s a live show tonight, so if you are sitting next to somebody you shouldn’t be, move.’ The audience finally begins to smirk. ‘Ten seconds.’

‘Did you see anyone move, Fi?’ I ask. I’m always thinking about potentially adulterous relationships. ‘Eight, seven, six.’ There is a swell of expectancy.

‘Now a big hand for Katie Hunt, this evening’s presenter.’ The audience starts to clap their hands raw for the remote chance that there may be a nanosecond mug shot on TV. The fat man tries to get Katie to twirl like a modern-day Anthea. This is proof, if we needed it, that he has had his day. Katie wouldn’t twirl if Robbie Williams asked her to. Katie casts him a withering look. I’m relieved – at least she understands what type of show I’m making here.

Three, two, one – we are on air.’ The roving camera sweeps magnificently across the audience and set. The camera reminds me of an internal. It must do the same for Fi, as I notice she writes ‘smear’ on her hand with a felt tip. The emergence of the cameras acts as an aphrodisiac on the audience. Everyone visibly brightens; they grow a couple of inches, smile a bit wider.