Picture the version of this story that is the film and here the editor cuts from an extreme close shot of the flint’s flicker to an impossible wide shot of the space as the camera is held high on high and looking down as if from a celestial point of view.

There is no next cut and this wide shot remains in place. We begin to read the darkness as an apocalyptic one, ceremental in the way in which it covers everything with its cling from the grave.