The film makers interview six people who witnessed the attack. They play distinct roles in this tragedy: Daniel Harush (soldier – the victim), Lihi Levi (shop attendant – the nurse), Ronen Cohen (prison officer – the accuser), Moshe Kochavi (kibbutz volunteer – the moralist), Hosni Kombaz (fallafel vendor – the camera man), and Yotam Luggasi (soldier – the defender). Together, they gradually take the story forward, each adding his or her own perspective on and interpretation of the experience. The interviews are combined with surveillance footage from a number of cameras. By zooming in on specific images, the makers manage to edit a suspense narrative.

The film starts with a general imagery of people findings their way to and from the platforms, getting money from an ATM, and trying to keep track of their kids, while the radio announces a cheerful programme. All seems normal until we hear gunfire and see a young lady turn around and run, just before she is almost run over by a fleeing mob. From this point on, the exercise begins.

The witnesses recount in detail what they did and what they thought about the situation. Each interview is accompanied by surveillance camera images illustrating the story told. The narrative starts with Harush, who explains how he and his friend, en route to their army base, walked to the bathrooms. We see the various cameras catch them as they make their way.

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He graphically recalls how he tried to calm his friend, tried to save another victim, and was himself shot by a police officer. Levi then talks about how she tried to attend to two other wounded soldiers, one of whom was the fatally wounded Omri Levi. She was sent away by a veteran paramedic. The surveillance footage now also shows another man being shot and getting a chair thrown at him.

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Cohen is next and tells about his efforts to “neutralise” this “terrorist”, for instance by placing a row of seats over him. In his story, the first clues of an unfavourable ending emerge. Kochavi tries, quite unsuccessfully, to keep bystanders from kicking the severely wounded man, not to protect him – “He’s a terrorist and he needs to die” – but to save these “savage” people from corrupting their souls. He also describes bewilderment: the guy doesn’t look like a terrorist. Kombaz, who immediately starts filming with his phone and whose footage features in the film, immediately comes to the conclusion that they shot the wrong man, for three reasons: he wears slippers; there is no weapon; and he looks like a (Christian) Eritrean.

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