We spent a least another half an hour clambering over Cell 4, climbing the ladders fixed to the sides
of the building itself to try and get further views and fit the whole monstrous beast into the view finder.
Alex stood on the gantry leading to the mouth of Cell 4 adding much-needed human scale,
dwarfed by the whole machine.
Strangely Brown and Marlon chose a more adventurous route into Cell 4
by climbing into the air main and exiting it via a convenient ladder fixed to the side of the cell wall. This
was only possible as the Sahara set-designers removed the section of pipe from the mouth of Cell 4
to the wall; and had also removed a section outside the building. (This was to allow Matthew McConaughey and
Penélope Cruz to climb into the pipe for the first reveal of Cell 4 in Sahara.)
Whilst this allowed a brief interlude for us to appreciate being in exactly the same space as Penélope Cruz
we noticed that as the air main angled upwards for its turn over Weir Road it was fitted with internal ladder struts.
By now Tom had returned from his solitude in Cell 3 and everyone was climbing up into the elevated
section of the pipe. Tom took the lead, disappearing around a bend in the pipe, revelling in the acoustics
and whooping in delight. Marlon joined in the now cacophonous calls, setting up long exposures and capturing a
bizarre blurred shot which matched the soundscape. Alex and Tom were caught in various
multiple poses, bouncing along the featureless pipe, lit by the sweeping light of multiple torches.
"Is this pipe actually moving?"
It had become apparent that five people were starting to cause the pipe to bounce and sway a little. During the working life
of Pyestock, it just had to support the air stream and little else. Perhaps five urban explorers running up and
down with torches was just a little too much for the pipe’s supports. And it must’ve been an odd sight outside with the pipe
swaying in the air and miscellaneous whoops, calls and footfalls echoing around the quiet site.